The Listener was a weekly magazine, established in 1929 under the chairmanship of Lord Reith. It was designed to complement the BBC’s educational output and covered a wide range of topics. It drew extensively from the BBC’s broadcasting output, often reprinting talks programmes or supplementing them with further illustrations and information. The magazine was a controversial move by the BBC. Other magazine proprietors criticised the corporation for encroaching on territory beyond its remit. As a compromise, the magazine was only allowed to commission ten per cent original content and could only feature a limited amount of advertisements.

The magazine built its reputation on its intellectual and artistic output with its focus on broadcasting matters, the arts, intellectual life and politics. By 1948 it attracted a readership of 153,000. It featured contributions from a wide range of artists scientists and intellectuals, such as E. M. Forster, George Orwell, Laurence Binyon, Herbert Read, William Rothenstein and Mulk Raj Anand. In the 1940s it published many items originally broadcast to India by the BBC's Indian Section of the Eastern Service. It featured reviews of Indian authors and also provided comprehensive survey pieces on Indian art, history, and religion.

The magazine covered extensively the constitutional crises from the Round Table Conference to Indian independence with a view of providing a balanced overview of the issues. Politicians and activists from all sides were given a voice, either as part of round table discussions or articles. During the Second World War, the magazine became a useful propaganda tool, reporting extensively on the Indian contribution to the war effort.

After heavy losses the BBC decided to close down the publication in January 1991.

The New Statesman was founded over a series of gatherings hosted by Fabianists Beatrice and Sidney Webb whose aim was to disseminate socialist and collectivist ideas among the middle classes. Bernard Shaw, among others, donated money to fund the launch of the magazine. The tone of the magazine in its formative years is described on its website as ‘didactic’ and ‘no-nonsense’. Some two years after its launch, its circulation was second only to that of the Spectator among sixpenny weeklies.

As Christopher Hitchens writes in his introduction to Lines of Dissent, ‘embedded in the Fabian idea was an impression of British greatness’ – the logical conclusion of which was an imperialist stance (Howe, pp. 6-7). It was Kingsley Martin, who became editor in the early 1930s, who turned the paper largely away from this stance. Martin also oversaw the take-over of the Nation and Athenaeum, a magazine that had published writing by some of Britain’s most renowned writers of the early twentieth century, in 1931, and of the Weekend Review in 1934.

There are articles and reviews of books on the political situation in India throughout the four decades of the magazine. In the 1930s and especially the 1940s, increasing numbers of books (including fiction) by South Asians are reviewed, and one or two South Asians begin to contribute reviews or articles themselves.

M. J. Tambimuttu and Anthony Dickins launched this literary magazine in 1939, with the former as literary editor and the latter as general editor, but it was Tambimuttu who was the driving force behind it. Well regarded in the literary world, it featured the work of many of the most influential British poets of the period, including Lawrence Durrell, W. H. Auden, Louis MacNeice and Stephen Spender, as well as reviews of poetry, fictions, plays, literary magazines and scholarly work, and some short prose, critical essays and illustrations. It also published work by new poets, declaring in its first editorial that 'every man has poetry within him'. Indeed, T. S. Eliot said of the magazine: 'It is only in Poetry London that I can consistently expect to find new poets who matter'. Initially funded by subscriptions and donations, and frequently suffering from paper shortages during the Second World War, the magazine was beset by financial difficulties and appeared irregularly. From 1942 to 1947, it gained the backing of publishers Nicholson & Watson, who also asked Tambimuttu to develop his own imprint of books, Editions Poetry London. As well as writers, Editions Poetry London promoted several artists, publishing work by Barbara Hepworth and Henry Moore, among others. After Nicholson & Watson withdrew their support in 1947, the magazine gained the financial backing of Richard March until its demise in 1951.

Correspondence between Tambimuttu and his contributors (MSS Add 88907-8, British Library, St Pancras) highlights the central position occupied by Poetry London and its editor Tambimuttu within the literary and artistic networks of 1940s London. Letters to the editor suggest that several well known cultural figures felt much personal affection for Tambimuttu and that the magazine was held in high regard by the literary establishment, as well as triggering debate and controversy. There is some rather limited evidence of connections between Tambimuttu and other Indian writers, resident in both India and Britain (for example, Ahmed Ali and Cedric Dover) – although the work of Indian poets and writers rarely appears in the magazine. The correspondence also gives insight into the impact of war on literary culture.