Ray Bradbury Offers 12 Essential Writing Tips and Explains Why Literature Saves Civilization

We woke up today to learn about the sad pass­ing of Ray Brad­bury. Brad­bury now joins Isaac Asi­mov, Arthur C. Clarke, Robert A. Hein­lein, and Philip K. Dick in the pan­theon of sci­ence fic­tion. It’s a place well deserved, see­ing that he effec­tive­ly brought mod­ern sci­ence fic­tion into the lit­er­ary main­stream. His first short sto­ry, “Holler­bochen’s Dilem­ma,” appeared in 1938. And his last one, “Take Me Home,” was just pub­lished this week in The New York­er’s first spe­cial issue devot­ed to sci­ence fic­tion. Dur­ing the 74 years in between, Brad­bury pub­lished eleven nov­els, includ­ing the great Fahren­heit 451, and count­less short sto­ries. His books, now trans­lat­ed into 36 lan­guages, have sold over eight mil­lion copies.

To help cel­e­brate his lit­er­ary lega­cy, we want to revis­it two moments when Brad­bury offered his per­son­al thoughts on the art and pur­pose of writ­ing. Above, we start you off with a 1970s clip where Brad­bury explains why lit­er­a­ture serves more than an aes­thet­ic pur­pose — it’s actu­al­ly the safe­ty valve of civ­i­liza­tion. (See our orig­i­nal post here.) And below we bring you back to Brad­bury’s 2001 keynote address at Point Loma Nazarene University’s Writer’s Sym­po­sium By the Sea. There, he gives 12 essen­tial pieces of writ­ing advice to young writ­ers. You can find a nice list of his tips in our orig­i­nal post here. And, if you’re hun­ger­ing for more, let us direct you to anoth­er clip rec­om­mend­ed by one of our read­ers: a lengthy talk record­ed in 2005 at the Los Ange­les Times Fes­ti­val of Books.

Relat­ed Con­tent:

Free Sci­ence Fic­tion Clas­sics on the Web: Hux­ley, Orwell, Asi­mov, Gaiman & Beyond

Leonard Nimoy Reads Ray Brad­bury Sto­ries From The Mar­t­ian Chron­i­cles & The Illus­trat­ed Man (1975–76)

Watch Ray Brad­bury: Sto­ry of a Writer, a 1963 Film That Cap­tures the Para­dox­es of the Leg­endary Sci-Fi Author

 

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Patti Smith Reads Her Final Words to Her Dear Friend Robert Mapplethorpe

Per­haps you’ve lis­tened to Pat­ti Smith’s albums. Per­haps you’ve also seen Robert Map­plethor­pe’s pho­tog­ra­phy. If you keep up with mem­oirs, you’ll sure­ly know that Smith’s Just Kids, a remem­brance of her time with Map­plethor­pe in the late six­ties, won all man­ner of acclaim, includ­ing the Nation­al Book Award, when it came out in 2010. But you might still have no idea of the close­ness and impor­tance of each artist to the oth­er, as many of their fans did­n’t before read­ing Smith’s book. While those 278 pages will tell you every­thing you need to know about it, the 178 words of Smith’s let­ter to the dying Map­plethor­pe fea­tured last week on Let­ters of Note say near­ly as much.

But don’t take it from me; in the video above, you can hear the let­ter as read by Smith her­self. She brought it out, appro­pri­ate­ly enough, at the open­ing of her exhi­bi­tion, Cam­era Solo, at Hartford’s Wadsworth Atheneum Muse­um of Art, the first show of her own ven­tures into Mapplethorpe’s craft. Alas, Map­plethor­pe did­n’t live long enough to get around to try­ing his hand at rock music â€” he did­n’t even live long enough to actu­al­ly read this let­ter â€” but his artis­tic sen­si­bil­i­ty per­sists in Smith’s own work. “I learned to see through you,” she reads, “and nev­er com­pose a line or draw a curve that does not come from the knowl­edge I derived in our pre­cious time togeth­er.”

Relat­ed con­tent:

Pat­ti Smith Remem­bers Robert Map­plethor­pe

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Salvador Dalí’s Illustrations of Dante’s The Divine Comedy

In 1957, the Ital­ian gov­ern­ment com­mis­sioned Sal­vador DalĂ­ to paint a series of 100 water­col­or illus­tra­tions of Dante’s Divine Com­e­dy, the great­est lit­er­ary work writ­ten in the Ital­ian lan­guage. The illus­tra­tions were to be fin­ished by 1965, the 700th anniver­sary of the poet­’s birth, and then repro­duced and released in lim­it­ed print edi­tions. The deal fell apart, how­ev­er, when the Ital­ian pub­lic learned that their lit­er­ary pat­ri­mo­ny had been put in the hands of a Spaniard. Unde­terred, DalĂ­ pushed for­ward on his own, paint­ing illus­tra­tions for the epic poem that col­lec­tive­ly recount Dante’s sym­bol­ic trav­els through Hell, Pur­ga­to­ry and Heav­en. After DalĂ­ did his part, the project was hand­ed over to two wood engravers, who spent five years hand-carv­ing 3,500 blocks used to cre­ate the repro­duc­tions of Dalí’s mas­ter­piece. Almost 50 years lat­er, print edi­tions can still be pur­chased online. And the paint­ings them­selves still trav­el the globe, mak­ing their way to muse­ums large and small. You can view images from the col­lec­tion at this Cor­nell Uni­ver­si­ty web­site.

Relat­ed Con­tent 

Sal­vador Dalí’s Haunt­ing 1975 Illus­tra­tions for Shakespeare’s Romeo and Juli­et

The Most Com­plete Col­lec­tion of Sal­vador Dalí’s Paint­ings Pub­lished in a Beau­ti­ful New Book by Taschen: Includes Nev­er-Seen-Before Works

Alice’s Adven­tures in Won­der­land, Illus­trat­ed by Sal­vador Dalí in 1969, Final­ly Gets Reis­sued

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Talking Heads Live in Rome, 1980: The Concert Film You Haven’t Seen

Few bands can boast a per­for­mance so image-defin­ing as the one the Talk­ing Heads pulled off in Jonathan Dem­me’s Stop Mak­ing Sense. Giv­en its phys­i­cal metic­u­lous­ness, its seam­less edit­ing, and its refined aes­thet­ic sense — qual­i­ties rarely pri­or­i­tized in rock con­cert films — its place in the zeit­geist seems well earned. But that pic­ture opened in 1984, when the band had already released its most wide­ly respect­ed albums, and when they had only four years to go before effec­tive­ly dis­solv­ing. Live in Rome, which you can now watch uncut on YouTube, cap­tures the Heads in 1980, a less estab­lished moment in their his­to­ry. David Byrne and com­pa­ny express the same kind of off-kil­ter ener­gy on dis­play in Stop Mak­ing Sense — the enthu­si­asm of punks who also hap­pen to be musi­col­o­gy nerds — but here they express it in a sim­pler, more tra­di­tion­al­ly “rock con­cert-ish” set­ting.

Talk­ing Heads enthu­si­asts, note that Live in Rome fea­tures the group’s full “Afro-Funk Orches­tra” line­up. Addi­tion­al­ly, you’ll see on gui­tar a cer­tain Adri­an Belew, who would begin fronting King Crim­son the fol­low­ing year. (As he might, in anoth­er real­i­ty, have front­ed the Heads them­selves; in our real­i­ty, he turned down an offer to take Byrne’s place.) The songs not heard in Stop Mak­ing Sense include “Stay Hun­gry,” “Cities,” “I Zim­bra,” “Drugs,” “Hous­es in Motion,” “Born Under Punch­es,” and “The Great Curve.” No die-hard fan will feel com­plete­ly sat­is­fied with this con­cert, of course, until some­one remas­ters it on Blu-Ray with a com­plete sur­round sound mix. But if you sim­ply need a hit of a pack of art-school rock­ers unlike any oth­ers Amer­i­ca has pro­duced, this Remain in Light-era hour mer­its a per­ma­nent book­mark. H/T Bib­liok­lept

Relat­ed con­tent:

Talk­ing Heads’ “This Must Be the Place (Naive Melody)” Per­formed on Tra­di­tion­al Chi­nese Instru­ments

David Byrne Inter­views Him­self, Plays Sev­en Char­ac­ters, in Fun­ny Pro­mo for Stop Mak­ing Sense

David Byrne: From Talk­ing Heads Front­man to Lead­ing Urban Cyclist

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Rare Color Footage of the 1939 World Series: Yankees v. Reds

The 1939 World Series was­n’t much of a con­test. The Yan­kees, led by Joltin’ Joe DiMag­gio in cen­ter field, had won the last three cham­pi­onships. And they won this con­test rather eas­i­ly too, sweep­ing the Cincin­nati Reds in four straight games. Yes­ter­day, mem­bers of the Red­dit com­mu­ni­ty unearthed some rare col­or footage of the ’39 Series. In it, we catch glimpses of the Old Yan­kee Sta­di­um, the actu­al House That Ruth Built; pitch­ers doing a dif­fer­ent kind of windup; and a reminder that you could once buy five razors for 25 cents. Find more infor­ma­tion on those at the Inter­net Muse­um of Safe­ty Razors.

Relat­ed Con­tent:

Prince­ton v. Yale, 1903: The Old­est Col­lege Foot­ball Game on Film

Lou Gehrig, Yan­kee Leg­end, Stars in 1938 West­ern Rawhide

Robert Penn Warren Archive Brings Early Civil Rights to Life

While an under­grad­u­ate at Van­der­bilt Uni­ver­si­ty in Ten­nessee, writer Robert Penn War­ren began writ­ing about the south and its tur­bu­lent racial his­to­ry. He trav­eled through­out the Unit­ed States and inter­viewed men and women involved with the Civ­il Rights Move­ment, record­ing each con­ver­sa­tion on a reel-to-reel tape recorder—a project that result­ed in the 1965 book Who Speaks for the Negro? This month, Van­der­bilt University’s Robert Penn War­ren Cen­ter for the Human­i­ties makes a full dig­i­tal record avail­able of Warren’s research for the book—an impres­sive and well-con­struct­ed col­lec­tion of inter­views with his­tor­i­cal fig­ures includ­ing Ralph Elli­son, James Bald­win and Mal­colm X. The rich­ness of the site is its con­nec­tive design. Each inter­view is tagged by top­ic, includ­ing a subject’s link to broad­er issues or to oth­er inter­vie­wees, mak­ing evi­dent through user expe­ri­ence the com­plex nature of the Civ­il Rights Move­ment. A search for the NAACP, for exam­ple, yields mul­ti­ple inter­views fea­tur­ing dif­fer­ent points of view on the organization’s for­ma­tion along with PDFs of orig­i­nal let­ters and the search­able text of news­pa­per arti­cles about ear­ly NAACP demon­stra­tions. But the site’s audio offer­ings are its most pow­er­ful assets.

The mate­r­i­al offers a potent por­trait of a his­tor­i­cal moment and is rich with ref­er­ences to pol­i­tics, art and spe­cif­ic con­flicts over inte­gra­tion. The group inter­views with uni­ver­si­ty stu­dents and pro­test­ers are worth a lis­ten, both for the con­tent and for the ear­ly 1960s group dynam­ics. When War­ren inter­views men and women togeth­er, men tend to speak first and at most length. But the views expressed are fas­ci­nat­ing, as in one case when a female sit-in par­tic­i­pant gives her opin­ion about assim­i­la­tion.

“My first reac­tion of course would be, think­ing of Socrates: Know thy­self. We do face the prob­lem of amal­ga­ma­tion into the whole of Amer­i­can life, being Amer­i­cans first, say, or being what I would like to term Negro Amer­i­cans or Black Amer­i­cans. I think that we as black men have an oblig­a­tion to know our­selves as black men and be proud of what we are, and con­tribute to Amer­i­ca what we could actu­al­ly offer to this cul­ture.”

Kate Rix is an Oak­land based writer. See more of her work at .

Relat­ed Con­tent: 

Mal­colm X at Oxford, 1964

Great Cul­tur­al Icons Talk Civ­il Rights (1963)

MLK’s Omi­nous Final Speech

Great Violinists Playing as Kids: Itzhak Perlman, Anne-Sophie Mutter, & More

For most chil­dren the word “play­ing” brings to mind things like wif­fle­ball or hide-and-seek. But for a very few tal­ent­ed and ded­i­cat­ed kids it means Mozart, or Mendelssohn. Today we bring you four videos of famous vio­lin­ists play­ing when they were incred­i­bly young.

Itzhak Perl­man, age 13: â€śWhen I came to the Unit­ed States, ” Itzhak Perl­man told Pia Lind­strom of The New York Times in 1996, “I appeared on The Ed Sul­li­van Show as a 13-year-old and I played a Mendelssohn Con­cer­to and it sound­ed like a tal­ent­ed 13-year-old with a lot of promise. But it did not sound like a fin­ished prod­uct.” In the clip above, Perl­man plays from the third move­ment of Felix Mendelssohn’s Con­cer­to in E minor dur­ing his debut Sul­li­van Show appear­ance in 1958. The young boy was an instant hit with the audi­ence, and Sul­li­van invit­ed him back. Encour­aged by his sud­den celebri­ty, Perl­man’s par­ents decid­ed to move from Israel to New York and enroll him in Jul­liard. But despite his pre­coc­i­ty, Perl­man mod­est­ly asserts that he was no child prodi­gy. “A child prodi­gy is some­body who can step up to the stage of Carnegie Hall and play with an orches­tra one of the stan­dard vio­lin con­cer­tos with aplomb,” Perl­man told Lind­strom. “I could­n’t do that! I can name you five peo­ple who could do that at the age of 10 or 11, and did. Not five, maybe three. But I could­n’t do that.”

Anne-Sophie Mut­ter, age 13:

One vio­lin­ist who cer­tain­ly was able to per­form at a high lev­el at a very ear­ly age was the Ger­man vir­tu­oso Anne-Sophie Mut­ter, shown here per­form­ing the MĂ©di­ta­tion from the Jules Massenet opera ThaĂŻs with Her­bert von Kara­jan and the Berlin Phil­har­mon­ic in 1976, when she was 13. Mut­ter began play­ing the vio­lin at the age of five, and by nine she was per­form­ing Mozart’s Sec­ond Vio­lin Con­cer­to in pub­lic. Kara­jan took her under his wing when she was 13, call­ing her “the great­est musi­cal prodi­gy since the young Menuhin.”

Jascha Heifetz, age 11:

Jascha Heifetz was indis­putably one of the great­est vio­lin­ists of the 20th cen­tu­ry. His father, a music teacher, first put a vio­lin into his hands when Heifetz was only two years old. He entered music school in his home­town of Vil­nius, Lithua­nia, at the age of five, and by sev­en he was per­form­ing in pub­lic. At nine he entered the St. Peters­burg Con­ser­va­to­ry, where he stud­ied with Leopold Auer. In this very rare audio record­ing from Novem­ber 4, 1912, an 11-year-old Heifetz per­forms Auer’s tran­scrip­tion of Wolf­gang Amadeus Mozart’s Gavotte in G from the opera Idome­neo. It was made by Julius Block on a wax-cylin­der Edi­son phono­graph in GrĂĽnewald, Ger­many. Heifetz is accom­pa­nied by Walde­mar Lia­chowsky on piano. At the end of the per­for­mance the young boy’s voice can be heard speak­ing in Ger­man. Rough­ly trans­lat­ed, he says, “I, Jascha Heifetz of Peters­burg, played with Herr Block, GrĂĽnewald, Gavotte Mozart-Auer on the fourth of Novem­ber, nine­teen hun­dred and ten.” A week ear­li­er, Heifetz made his debut appear­ance with the Berlin Phil­har­mon­ic. In a let­ter of intro­duc­tion to the Ger­man man­ag­er Her­man Fer­now, Auer said of Heifetz: “He is only eleven years old, but I assure you that this lit­tle boy is already a great vio­lin­ist. I mar­vel at his genius, and I expect him to become world-famous and make a great career. In all my fifty years of vio­lin teach­ing, I have nev­er known such pre­coc­i­ty.”

Joshua Bell, age 12:

The Amer­i­can vio­lin­ist Joshua Bell began play­ing when he was four years old, and made his debut as a soloist with the Philadel­phia Orches­tra when he was 14. The video above is dif­fer­ent from the oth­ers, in that it does­n’t present a pol­ished per­for­mance. Instead, we watch as the leg­endary vio­lin teacher Ivan Galami­an con­ducts a les­son in 1980, when Bell was 12. Bell spent two sum­mers study­ing at Galami­an’s Mead­ow­mount School of Music in the Adiron­dack Moun­tains of upstate New York. In the video, the elder­ly teacher works with Bell as he plays from Pierre Rode’s Etude No. 1.

Author Flannery O’Connor Captured on Film at Age 5, with Her Chickens


In 1961, Flan­nery O’Con­nor wrote an essay called “Liv­ing with a Pea­cock,” which begins like this:

When I was five, I had an expe­ri­ence that marked me for life. Pathé News sent a pho­tog­ra­ph­er from New York to Savan­nah to take a pic­ture of a chick­en of mine. This chick­en, a buff Cochin Ban­tam, had the dis­tinc­tion of being able to walk either for­ward or back­ward. Her fame has spread through the press and by the time she reached the at­tention of Pathé News, I sup­pose there was nowhere left for her to go—forward or back­ward. Short­ly after that she died, as now seems fit­ting.

If I put this infor­ma­tion in the begin­ning of an arti­cle on pea­cocks, it is because I am always being asked why I raise them, and I have no short or rea­son­able answer.

From that day with the Pathé man I began to col­lect chick­ens. What had been only a mild inter­est became a pas­sion, a quest. I had to have more and more chick­ens. I favored those with one green eye and one orange or with over-long necks and crooked combs. I want­ed one with three legs or three wings but noth­ing in that line turned up. I pon­dered over the pic­ture in Robert Ripley’s book, Believe It Or Not, of a roost­er that had sur­vived for thir­ty days with­out his head; but I did not have a sci­en­tif­ic tem­pera­ment . I could sew in a fash­ion and I began to make clothes for chick­ens. A gray ban­tam named Colonel Egg­bert wore a white piqué coat with a lace col­lar and two but­tons in the back. Appar­ent­ly Pathé News nev­er heard of any of these oth­er chick­ens of mine; it nev­er sent anoth­er pho­tog­ra­ph­er.

Now you have the back­sto­ry for the video above — the young girl caught on film, tend­ing to her chick­ens, many years before she wrote “A Good Man is Hard to Find” (lis­ten to her read it here) and oth­er sto­ries. Thanks goes to Josh for flag­ging this for us.…

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