Charles Dickens’ Hand-Edited Copy of His Classic Holiday Tale, A Christmas Carol

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No hol­i­day sea­son can seem to pro­voke as much anx­i­ety, or even out­right dis­cord, as Christ­mas. But there are at least a few things most every­one can agree on. I would like to think one of them is A Char­lie Brown Christ­mas (and its sound­track). Anoth­er, I’m sure, is Charles Dick­ens’ A Christ­mas Car­ol (1843). Some read­ers might object to the tale’s maudlin sen­ti­men­tal­i­ty. But few would say it isn’t a great sto­ry, and well told. And in Dick­ens’ day, you might be lucky enough to catch the author him­self read­ing it aloud. Accord­ing to cura­tor Issac Gewirtz, Dick­ens gave some­where around 150 read­ings of A Christ­mas Car­ol. This, at a time, Gewirtz tells us, when “pub­lic read­ings of fic­tion or poet­ry [were] not done; it was con­sid­ered a des­e­cra­tion of one’s art and a low­er­ing of one’s dig­ni­ty.” Nev­er­the­less, while Dick­ens may have let his own chil­dren down, he would not dis­ap­point his loy­al read­ers.

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As is gen­er­al­ly the case when a work of prose goes to the stage, the text need­ed prun­ing. NPR’s All Things Con­sid­ered brings us these images of Dick­ens’ “prompt­book” for his per­for­mances, a copy of the text great­ly abridged by Dick­ens’ own hand and now resid­ing at the New York Pub­lic Library. While Dick­ens’ first per­for­mance ran three hours, lat­er ver­sions took about half that time. In-between, he slashed out whole para­graphs, sim­pli­fied words and phras­es, and removed entire pages. “What’s inter­est­ing to see,” says Gewirtz, “is how much of the atmos­pher­ics have been delet­ed.” Instead, Dick­ens con­veys the mood with mar­gin­al stage cues like “soft­en very much” and “tone to mys­tery.” It is intrigu­ing to imag­ine Dick­ens tak­ing on the roles of Scrooge, Mar­ley, and Cratch­et père and fils, but alas we’ll nev­er get to hear him. We can, how­ev­er, hear the voice of Dick­ens’ great-grandaugh­ter, nov­el­ist Mon­i­ca Dick­ens (below), who in 1950 record­ed her ver­sion of the fam­i­ly Christ­mas fable.

Monica’s daugh­ter Mary Dan­by, also a nov­el­ist, tells the BBC that her mother’s ren­di­tion is faith­ful to the Dick­ens’ fam­i­ly tra­di­tion of read­ings, begun by Charles him­self. There­fore, Monica’s phras­ing is as much like Charles Dick­ens’ as we’re like­ly to hear. Dick­en­sian­ism is still some­thing of a fam­i­ly busi­ness, as is writ­ing. “In my fam­i­ly,” says Dick­ens’ great-great-grandaugh­ter Mary, “they think you are a bit odd if you haven’t writ­ten a book.” Still, I doubt their Christ­mases are any bet­ter, or any worse, than the rest of ours.

Relat­ed Con­tent:

A Christ­mas Car­ol Pre­sent­ed in a Thomas Edi­son Film (1910)

A Christ­mas Car­ol, A Vin­tage Radio Broad­cast by Orson Welles and Lionel Bar­ry­more (1939)

Cel­e­brate the 200th Birth­day of Charles Dick­ens with Free Movies, eBooks and Audio Books

The His­toric Meet­ing Between Dick­ens and Dos­to­evsky Revealed as a Great Lit­er­ary Hoax

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Horror Legend Christopher Lee Presents a Heavy Metal Version of The Little Drummer Boy

Every year, around this time, I give thanks that I no longer work retail. Sore feet and rude cus­tomers go with the ter­ri­to­ry, but Decem­ber (nay, Novem­ber) brings with it a ter­ri­fy­ing onslaught of Lit­tle Drum­mer Boys. I know folks who can’t abide Grand­ma Got Run Over By a Rein­deer, or the Singing Dogs’ Jin­gle Bells, but as far as I’m con­cerned, noth­ing has­tens a psy­chot­ic break faster than a few dozen pa rum pa pum pum pum rum pa pum pum pum rum pa pum pum pums.

It seems hor­ror leg­end Christo­pher Lee, famil­iar to younger fans as Star Wars’ Count Dooku, feels my pain..and rel­ish­es it. It’s a cliche for an aging actor to release an album of sea­son­al chest­nuts, but the 91-year-old Lee’s A Heavy Met­al Christ­mas is a thing apart. His take on The Lit­tle Drum­mer Boy is the son­ic equiv­a­lent of Rose­mary’s Baby.

I can’t say that I pre­fer Lee’s to any oth­er ver­sion — they’re all tor­tu­ous in my book- but I’m at peace with admir­ing it in the abstract. A stunt? Maybe, but he seems whol­ly sin­cere in his video greet­ing below, wish­ing us all a very hap­py Christ­mas and “for the sake of the world and those peo­ple in it” a safe New Year.

Ayun Hal­l­i­day reveals the true mean­ing of of Xmas here. Fol­low her @AyunHalliday

Relat­ed Con­tent:

Christo­pher Lee Nar­rates a Beau­ti­ful Ani­ma­tion of Tim Burton’s Poem, Night­mare Before Christ­mas

Edgar Allan Poe’s “The Raven,” Read by Christo­pher Walken, Vin­cent Price, and Christo­pher Lee

Orson Welles Records Two Songs with the 1980s Heavy-Met­al Band Manowar

Listen to the Beatles’ Christmas Records: Seven Vintage Recordings for Their Fans (1963 — 1969)

1963:

Every year from 1963 to 1969, the Bea­t­les record­ed a spe­cial Christ­mas greet­ing to their fans. It start­ed when “Beat­le­ma­nia” took off and the band found itself unable to answer all the fan mail.  “I’d love to reply per­son­al­ly to every­one,” says Lennon in the 1963 mes­sage, “but I just haven’t enough pens.” The first mes­sage was intend­ed to make their most loy­al fans feel appre­ci­at­ed. Like those that fol­lowed, the 1963 mes­sage was mailed as a paper-thin vinyl “flexi disc” to mem­bers of the Bea­t­les fan club. The record­ing fea­tures the Bea­t­les’ trade­mark wit and whim­sy, with a cho­rus of “Rudolph the Red-Nosed Ringo” and a ver­sion of “Good King Wences­las” that refers to Bet­ty Grable. It was made on Octo­ber 17, 1963 at Abbey Road Stu­dios, just after the band record­ed “I Want to Hold Your Hand.”

1964:

The band record­ed their next hol­i­day greet­ing, Anoth­er Bea­t­les Christ­mas Record, on Octo­ber 26, 1964, the same day they record­ed the song “Hon­ey Don’t.” Lennon’s rebel­lious nature begins to show, as he pokes fun at the pre­pared script: “It’s some­body’s bad hand wrot­er.”

1965:

Record­ed on Novem­ber 8, 1965 dur­ing the Rub­ber Soul ses­sions at Abbey Road, the 1965 mes­sage fea­tures a re-work­ing of “Yes­ter­day,” with the refrain “Oh I believe on Christ­mas Day.” The band’s gift for free-asso­ci­a­tion­al role play­ing is becom­ing more appar­ent. One piece of dia­logue near the end was even­tu­al­ly re-used by pro­duc­er George Mar­tin and his son Giles at the end of the re-mixed ver­sion of “All You Need is Love” on the 2006 album Love: “All right put the lights off. This is John­ny Rhythm say­ing good night to you all and God Bless­es.”

1966:

You can sense the band’s cre­ative pow­ers grow­ing in the 1966 mes­sage, Pan­tomime: Every­where It’s Christ­mas. The record­ing was made at Abbey Road on Novem­ber 25, 1966, dur­ing a break from work­ing on “Straw­ber­ry Fields For­ev­er.” The Bea­t­les were just begin­ning work on Sgt. Pep­per’s Lone­ly Heart’s Club Band. Instead of sim­ply thank­ing their fans and recount­ing the events of the year, the Bea­t­les use sound effects and dia­logue to cre­ate a vaude­ville play based around a song that goes, “Every­where it’s Christ­mas, at the end of every year.” Paul McCart­ney designed the cov­er.

1967:


This was the last Christ­mas mes­sage record­ed by the Bea­t­les all togeth­er in one place. Titled Christ­mas Time (Is Here Again), it reveals the group’s con­tin­u­ing exper­i­men­ta­tion with sound effects and sto­ry­telling. The sce­nario, writ­ten by the band ear­li­er on the day it was record­ed (Novem­ber 28, 1967), is about a group of peo­ple audi­tion­ing for a BBC radio play. Lennon and Ringo Starr designed the cov­er.

1968:

By the Christ­mas sea­son of 1968, rela­tions with­in the Bea­t­les were becom­ing strained. The hol­i­day mes­sage was pro­duced around the time the “White Album” was released, in Novem­ber of 1968. The four mem­bers’ voic­es were record­ed sep­a­rate­ly, in var­i­ous loca­tions. There’s plen­ty of self-mock­ery. Per­haps the most strik­ing moment comes when the Amer­i­can singer Tiny Tim (invit­ed by George Har­ri­son) strums a ukulele and sings “Nowhere Man” in a high falset­to.

1969:

The Bea­t­les were in the process of break­ing up when they record­ed (sep­a­rate­ly) their final Christ­mas mes­sage in Novem­ber and Decem­ber of 1969. A cou­ple of months ear­li­er, just before the release of Abbey Road, Lennon had announced to the oth­ers that he was leav­ing the group. Yoko Ono appears promi­nent­ly on the record­ing, singing and talk­ing with Lennon about peace. Fit­ting­ly, the 1969 mes­sage incor­po­rates a snip­pet from the Abbey Road record­ing of “The End.”

Relat­ed Con­tent:

The Bea­t­les: Unplugged Col­lects Acoustic Demos of White Album Songs (1968)

Peter Sell­ers Reads The Bea­t­les’ “She Loves You” in Four Dif­fer­ent Accents

The 10-Minute, Nev­er-Released, Exper­i­men­tal Demo of The Bea­t­les’ “Rev­o­lu­tion” (1968)

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Michelangelo’s Handwritten 16th-Century Grocery List

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I admit to hav­ing a hard time keep­ing gro­cery lists. Do I write them by hand? If so, do I do it in a ded­i­cat­ed note­book, on a refrig­er­a­tor pad, or on any old scrap I find around? Do I com­pose them elec­tron­i­cal­ly, using some com­bi­na­tion of my com­put­er, my phone, and oth­er, more spe­cial­ized devices? And do I keep sep­a­rate lists for sep­a­rate trips to sep­a­rate stores? (Cer­tain del­i­ca­cies, after all, you can only get at Trad­er Joe’s.)

Liv­ing in the 15th and 16th cen­turies, the Ital­ian High Renais­sance sculp­tor, painter, archi­tect, poet, and engi­neer Michelan­ge­lo faced a rather less com­pli­cat­ed shop­ping prob­lem: he had only to send assis­tants off to mar­ket to bring back what he need­ed. Though van­ish­ing­ly few of this pro­lif­ic cre­ator’s papers sur­vive today, we do hap­pen to have a few of the gro­cery lists he sent with them, like that which you see above.

John Updike once wrote that “excel­lence in the great things is built upon excel­lence in the small,” and the obser­va­tion holds up ide­al­ly when we think about Michelan­gelo’s numer­ous great achieve­ments — PietàDavidThe Last Judg­ment, St. Peter’s Basil­i­ca — in com­par­i­son to this hum­ble yet strik­ing run­down of ingre­di­ents for a meal, of the same basic kind each of us scrawl out reg­u­lar­ly. But when Michelan­ge­lo scrawled, he scrawled with both a craftsman’s prac­ti­cal pre­ci­sion and an artist’s evoca­tive flair. “Because the ser­vant he was send­ing to mar­ket was illit­er­ate,” writes the Oregonian‘s Steve Duin in a review of a Seat­tle Art Muse­um show, “Michelan­ge­lo illus­trat­ed the shop­ping lists — a her­ring, tortel­li, two fen­nel soups, four anchovies and ‘a small quar­ter of a rough wine’ — with rushed (and all the more exquis­ite for it) car­i­ca­tures in pen and ink.” As we can see, the true Renais­sance Man didn’t just pur­sue a vari­ety of inter­ests, but applied his mas­tery equal­ly to tasks excep­tion­al and mun­dane. Which, of course, ren­ders the mun­dane excep­tion­al.

via Bib­liok­lept

Relat­ed Con­tent:

Take a 3D Vir­tu­al Tour of the Sis­tine Chapel, St. Peter’s Basil­i­ca and Oth­er Art-Adorned Vat­i­can Spaces

The Anatom­i­cal Draw­ings of Renais­sance Man, Leonar­do da Vin­ci

Zoom­ing into Ital­ian Mas­ter­pieces

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

The Rolling Stones “Shattered” Covered by Eddie Vedder & Julie Andrews (Ok, It’s Really Jeanne Tripplehorn)

Pearl Jam front­man Eddie Ved­der and actress Jeanne Trip­ple­horn (Basic Instinct, The Firm, Big Love) per­formed this delight­ful cov­er of The Rolling Stones’ 1978 hit “Shat­tered” at a recent fundrais­er for a non-prof­it called Heal EB. EB stands for Epi­der­mol­y­sis Bul­losa, a dis­ease that caus­es blis­ters (some­times poten­tial­ly fatal ones) to erupt on the skin after the mildest trau­ma. You can lis­ten to The Rolling Stones’ orig­i­nal record­ing here, and fol­low along with the lyrics here. Or, bet­ter yet, you can close your eyes and sim­ply imag­ine Julie Andrews singing these risqué‎ lines. Yeah, on sec­ond thought, do that. H/T Marc

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email or RSS Feed. And we’ll send cul­tur­al curiosi­ties your way, every day.

Relat­ed Con­tent:

Watch the Rolling Stones Write “Sym­pa­thy for the Dev­il”: A High­light in Godard’s ’68 Film One Plus One

The Rolling Stones Jam With Their Idol, Mud­dy Waters

The Rolling Stones Sing Jin­gle for Rice Krispies Com­mer­cial (1964)

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How to Get Great Deals on Great Books Through Audible.com

Open Cul­ture has had a rela­tion­ship with Audible.com for close to six years, and, here and there, we’ve told you about their 30-day free tri­al, which gives you the oppor­tu­ni­ty to down­load a free audio book, lis­ten to it, and then decide whether you want to become an Audi­ble sub­scriber or not. (You can keep the audio book regard­less of the deci­sion you make.) I per­son­al­ly became an Audi­ble sub­scriber a long time ago, and while I’ve always enjoyed lis­ten­ing to audio books, I’ve recent­ly real­ized that an Audi­ble sub­scrip­tion can be a real deal if you’re a fan of big audio books and great lec­tures. Let me break it down for you.

If you sign up for Audi­ble’s Gold plan, you pay $158 for 12 books over a year. (You get one book credit/download per month … and you’re billed in install­ments month­ly.) That trans­lates to $13.20 per book on aver­age. That’s not a bad price (giv­en that main­stream audio books often sell for $30). But here’s where the Audi­ble plan becomes a great deal. Ear­li­er this fall, I re-read Joyce’s Ulysses and want­ed to lis­ten to a pro­fes­sion­al­ly-read unabridged nar­ra­tion of the nov­el that runs 27 hours. For the cost of one book cred­it — $13.20 — I down­loaded the entire audio book. Nax­os, the pub­lish­er, sells it for  £85.00, or $134.00. Audi­ble sells it to non-mem­bers for $104.00.

Here’s anoth­er exam­ple. For the hol­i­days, I’m lis­ten­ing to Mark Lewisohn’s new Bea­t­les biog­ra­phy Tune In: The Bea­t­les: All These Years. The well-reviewed book runs 944 pages in print and 42 hours on audio. The audio usu­al­ly retails for some­where between $53 and $63 — much more than the $13.20 you can snag it for on the Audi­ble plan.

If this sounds like a good plan for you, you can sign up for Audi­ble’s Gold plan via this link. You could also try out their 30-day free tri­al. And, of course, there’s always our col­lec­tion: 1,000 Free Audio Books: Down­load Great Books for Free. What­ev­er way you go, we wish you hap­py lis­ten­ing.

NB: Audi­ble is an Amazon.com sub­sidiary, and we’re a mem­ber of their affil­i­ate pro­gram.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

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Neil Armstrong, Buzz Aldrin & Michael Collins Go Through Customs and Sign Immigration Form After the First Moon Landing (1969)

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I’m not say­ing Man of Steel depressed me, but I found myself pin­ing for Richard Donner’s sense of humor recent­ly as I watched Zack Snyder’s take on Super­man for the first time. I thought of a scene—Superman has to go through immi­gra­tion once he’s dis­cov­ered. They won’t let him in. He’s too high-mind­ed to resist, so he sleeps in an air­port wait­ing room for six months. Plen­ty of dra­mat­ic poten­tial there.

Less pre­pos­ter­ous but still absurd is the sto­ry around the doc­u­ment above, signed by Neil Arm­strong, Buzz Aldrin, and Michael Collins after they land­ed from the first manned trip to the moon. The three astro­nauts came down in the Pacif­ic Ocean and were tak­en to Hon­olu­lu on July 24, 1969, where they sup­pos­ed­ly signed the immi­gra­tion form, declar­ing a car­go of moon rocks and dust.

The form, NASA spokesper­son John Yem­brick told Space.com, is authen­tic. And, he says, it was a joke. He does not, how­ev­er, say exact­ly when the form was signed, either on the day the crew splashed down or some­time after­ward. They did not actu­al­ly arrive in Hon­olu­lu until the 26th. After their return,

The astro­nauts were trapped inside a NASA trail­er as part of a quar­an­tine effort just in case they brought back any germs or dis­ease from the moon. They even wore spe­cial bio­log­i­cal con­tain­ment suits when they walked out on the deck of the USS Hor­net after being retrieved. 

NASA trans­port­ed them to Hous­ton, quar­an­tine trail­er and all, and they emerged from iso­la­tion three weeks lat­er.

Astro­nauts these days most­ly just need a show­er when they touch down, although inter­net savvy Inter­na­tion­al Space Sta­tion astro­naut Chris Had­field did recent­ly tell some cus­toms relat­ed sto­ries on a Red­dit AMA—maybe noth­ing so weird as the cur­rent space snor­kel­ing up there, but still a pret­ty great read.

Relat­ed Con­tent:

“Moon Hoax Not”: Short Film Explains Why It Was Impos­si­ble to Fake the Moon Land­ing

Michio Kaku Schools Takes on Moon Land­ing-Con­spir­a­cy Believ­er on His Sci­ence Fan­tas­tic Pod­cast

Dark Side of the Moon: A Mock­u­men­tary on Stan­ley Kubrick and the Moon Land­ing Hoax

Find Astron­o­my Cours­es in our Col­lec­tion of 800 Free Cours­es Online

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Toni Morrisson: Forget Writing About What You Know; Write About What You Don’t Know

On Decem­ber 12th, the New York Pub­lic Library host­ed a live pro­gram fea­tur­ing Pulitzer Prize-win­ning author Junot Díaz in con­ver­sa­tion with the writer who most deeply influ­enced his career, Toni Mor­ri­son, win­ner of the 1993 Nobel Prize in Lit­er­a­ture. The talk was orig­i­nal­ly streamed live on the web (includ­ing our site), and now you can watch a record­ed ver­sion below, plus some high­lights above. Intro­duc­tions by Paul Hold­en­gräber and friends begin at the 40:09 mark, and every­thing gets real­ly going at the 49:35 time­stamp in the video below. Despite some nerves, Díaz engages his now 82 year-old lit­er­ary idol in a con­ver­sa­tion that’s engag­ing, col­or­ful, some­times even amus­ing­ly off-col­or — like when he tells Mor­ri­son “you can out­write every motherf#cker on the plan­et sen­tence for sen­tence.” The inter­view touch­es on her for­ma­tive years as a writer and edi­tor, and then her years writ­ing her mas­ter­ful nov­els — Song of Solomon, Beloved and the rest. Com­men­tary on the craft of writ­ing is sprin­kled through­out. If you’d like to get Mor­rison’s writ­ing advice in a neat­ly-pack­aged for­mat, please see our pre­vi­ous posts: Toni Mor­ri­son Dis­pens­es Writ­ing Wis­dom in 1993 Paris Review Inter­view and Toni Mor­ri­son, Nora Ephron, and Dozens More Offer Advice in Free Cre­ative Writ­ing “Mas­ter Class”.

Relat­ed Con­tent:

Writ­ing Tips by Hen­ry Miller, Elmore Leonard, Mar­garet Atwood, Neil Gaiman & George Orwell

Ray Brad­bury Gives 12 Pieces of Writ­ing Advice to Young Authors (2001)

Sev­en Tips From F. Scott Fitzger­ald on How to Write Fic­tion

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