A deal for the UK to sell tanks to Iran was cancelled after the Islamic revolution. The company behind it is owned entirely by the British government - International Military Services. Even today, it may hold the key to Nazanin Zaghari-Ratcliffe’s release. Presenter: Ceri Thomas Producer: Matt Russell Original music: Tom Kinsella A Tortoise Media production for BBC Radio 4

What’s the key to bringing home Nazanin Zaghari-Ratcliffe, the British woman who has been held hostage in Iran for almost six years? And how closely linked is Nazanin’s release to a tank deal debt more than 40 years old? In episode 1 of Nazanin, former Today programme editor, Ceri Thomas, explores the origins of the debt, the apparent corruption which surrounded the deal which created it, and its long, difficult legacy. It’s a story which begins in the freewheeling 1970s when the need to ‘grease the wheels’ of big arms deals seemed barely controversial, and when the Shah of Iran and a notorious middleman known around Whitehall as ‘Mr 1%’ were able to pocket millions in commissions paid by the UK. And it leads back to the fate of more than one hostage today. Presenter: Ceri Thomas Producer: Matt Russell Original music: Tom Kinsella A Tortoise Media production for BBC Radio 4

The Irish cultural industries have in recent decades managed to turn James Joyce into a valuable tourist commodity - 'a cash machine', 'the nearest thing we've got to a literary leprechaun.' Joyce would surely have disapproved. "When the soul of man is born in this country," he wrote, "there are nets flung at it to hold it back from flight. You talk to me of nationality, language, religion. I shall try to fly by those nets." That is precisely what he did, leaving Ireland behind and living more than half his life across Continental Europe. As Anthony Burgess put it, "Out there in Europe the modernistic movement was stirring," and by placing himself in the cultural cross-currents of cities like Trieste, Rome, Zurich, Paris & Pola, where he experienced the early rumblings of Dada, Psychoanalysis, Futurism et al, Joyce became a part of an endlessly plural social and linguistic explosion, far removed from the monolithic oppressiveness of Ireland. Backed up by interviewees including Colm Tóibín, John McCourt and Liv Monaghan and illustrated by rich archive recordings, Andrew Hussey argues it was the deliberate rupture of leaving home - taking up "the only arms I know - silence, exile and cunning" - that allowed Joyce to develop the necessary breadth of vision and literary skill to write his greatest works. The Dublin of Ulysses itself becomes, according to Tóibín, 'a Cosmopolis... another great port city like Trieste." For Hussey, who has himself lived and worked as a writer in Paris for many years, Joyce was not only a great pathfinder, he also offers an inspiring trans-national vision of Europe and the world just at a time when borders are tightening and the darker shades of nationalism are once again looming large. Produced by Geoff Bird

‘He was interested in why I was so attached to this penguin’ Bex is at university when she starts feeling anxious and overwhelmed. As Bex deteriorates, doctors are in a race against time to diagnose her. And that’s where the penguin comes in. In Room 5, Helena Merriman interviews people who - like her - were changed by a diagnosis. Written, presented and produced by Helena Merriman Composer: Jeremy Warmsley Sound Design: Eloise Whitmore Production Co-ordinator: Janet Staples Editor: Emma Rippon Commissioning Editor: Richard Knight #Room5 With special thanks to Rachel Roberts, principal viola with the LSO End song: Miffed by Tom Rosenthal If you have a story you’d like to share you can email: room5@bbc.co.uk

Fifty years ago on 30 January 1972, a day that came to be forever known as “Bloody Sunday”, soldiers of the First Battalion, the Parachute Regiment, shot dead 13 civil rights marchers in Londonderry/Derry. Peter Taylor tells the story of that day with a mix of his own unique archive and new interviews from those on all sides about what the events meant then and still mean today - including a rare interview with Lord Saville, who carried out an exhaustive 12 year Inquiry into the events of that day. Bloody Sunday was the moment that changed the history of the conflict in Northern Ireland. It saw the re-birth of the IRA with hundreds of new recruits joining in the immediate aftermath of that day's events. And it was the spark which ignited and intensified the so-called Troubles, which left 3600 dead and tens of thousands injured. Producer: Jim Frank Editor: Penny Murphy

At night women say goodbye, telling each other "text me when you're home". We carry keys between our knuckles, avoid dark streets, cross the road, then cross back again, keep looking over your shoulder. In Night Watch, four women from different parts of Britain share stories of street harassment. Woven through this feature is a new, specially commissioned poem by Hollie McNish. The murders of Sarah Everard and Sabina Nessa compounded the perception of city streets as male spaces- unwelcoming and unsafe for women, and other marginalised groups. Is this the way it's always been? In these raw and unfiltered accounts women will hear their own experiences echoed back in others' words; stories of shouted insults, rejected come-ons, intimidation. Featuring the voices Nosisa and Alison Majuqwana, Aggie Hewitt, Katie Cuddon, Alice Jackson the co-founder of Strut Safe, author Rebecca Solnit, author and moral philosopher at Cornell University Kate Manne and design activist Jos Boys. If you've been impacted by any of the issues raised in this documentary contact details for support organisations can be found in this link: https://www.bbc.co.uk/programmes/articles/2MfW34HqH7tTCtnmx7LVfzp/information-and-support-victims-of-crime Producer: Caitlin Smith Poetry: Hollie McNish Sound Design: Joel Cox Executive Producer: Peter McManus

Felicity Finch reports on a pioneering project that sees members of the Royal Philharmonic Orchestra working alongside inmates in HMP Norwich. The aim is to workshop, draft and perform personal songs that will help establish a bond between offenders and their children.A lullaby is the most immediate of musical forms. The singer is a parent, the audience a child. The communication is intimate and helps form intangible bonds. A reality of prison life is that those bonds are, to a great or lesser extent, broken. The Lullaby Project, run by the Irene Taylor Trust, is an attempt to create all the positives of that parental link, without undermining the reality of prison life.Felicity has been given unique access through the Irene Taylor Trust, to follow their artistic director Sara Lee. Sara and a group of musicians made three visits to Norwich prison to help the inmates write lyrics and work on ideas for melodies and rhythms that will result in lullabies that can be recorded. The process is rewarding in itself, but it also encourages inmates to reflect on the nature of their relationship with their children, and how they would like to be perceived by them.Similar projects have been tried in both the USA and the UK, but following the pilot this is the first time the media has been given access to the process. Felicity follows the process from the early and very nervous engagement between musicians and prisoners, through to the astonishment and delight at what emerges from the collaboration, a delight felt on both sides.

How a simple DNA test turned a world upside down, leading to profound questions of identity. When 71-year-old Philip was given a genetic testing kit for Christmas, he assumed he would stumble across an ancient line of nobility or a novel identity to latch onto. Instead, he found himself unravelling a mystery with more twists and turns than a spiralling strand of DNA. David Reid meets an extraordinary group of people who sent in DNA samples and tested negative to the question: “Who am I?” Join them on a moving, funny and thought-provoking journey as they dig through layers of family myth and secrecy to unearth the incredible story of their origins. Produced and presented by David Reid Editor: Hugh Levinson Production Coordinator: Jacqui Johnson Sound: Tom Brignell

80 years after female conscription, the final few tell their extraordinary World War Two stories as part of the ATS. By war's end, 290,000 women of all backgrounds had served in the Auxiliary Territorial Service. It may have had a less glamorous image than its naval and air force counterparts but the ATS was by far the biggest military service for women. Initially the ATS had a reputation for dull demeaning work. That changed in 1941. In December of that year, for the first time in British history, young single women had to join Britain's war effort. Their choice of jobs expanded dramatically. Dr Tessa Dunlop unpacks some of the controversies that accompanied putting girls, en masse, into military uniform. With a rich cast of veterans she examines the impact and legacy of Britain's female army. Class, comrades, conflict, loss, love, work - for a generation of young women military service was life-changing. Presenter: Dr. Tessa Dunlop Producer: John Murphy Archive in the programme from BFI National Archive and British Pathe

At the start of 2021 and the implementation of Brexit, a trade border was created between Great Britain and Northern Ireland. What does this mean for ordinary people who cross the Irish Sea? And where exactly is this border anyway? Neil McCarthy boards Stena Line's ferry 'Embla" which plies a daily and nightly course between Birkenhead and Belfast. He talks to passengers, and crew, lorry drivers and historians, crossing this body of water that both separates and binds the two islands on a search for the elusive line in the water. 'Meridians' written and read by Mark Ward Sound design by Phil Channell Produced and presented by Neil McCarthy