Christopher Hitchens Remembers Ayatollah Khomeini’s Fatwa Against His Friend Salman Rushdie, 2010

When his tele­phone rang on Feb­ru­ary 14, 1989, Christo­pher Hitchens was thun­der­struck. A news­pa­per reporter was on the line, ask­ing for his reac­tion to a radio speech from Tehran ear­li­er that day in which the theo­crat­ic ruler of Iran, Aya­tol­lah Ruhol­lah Khome­i­ni, called on Mus­lims around the world to mur­der his friend the nov­el­ist Salman Rushdie because of some­thing Rushdie had writ­ten in his book The Satan­ic Vers­es. As Hitchens lat­er wrote in his mem­oir, Hitch-22:

I felt at once that here was some­thing that com­plete­ly com­mit­ted me. It was, if I can phrase it like this, a mat­ter of every­thing I hat­ed ver­sus every­thing I loved. In the hate col­umn: dic­ta­tor­ship, reli­gion, stu­pid­i­ty, dem­a­gogy, cen­sor­ship, bul­ly­ing, and intim­i­da­tion. In the love col­umn: lit­er­a­ture, irony, humor, the indi­vid­ual, and the defense of free expres­sion. Plus, of course, friendship–though I like to think that my reac­tion would have been the same if I had­n’t known Salman at all. To re-state the premise of the argu­ment again: the theo­crat­ic head of a for­eign despo­tism offers mon­ey in his own name in order to sub­orn the mur­der of a civil­ian cit­i­zen of anoth­er coun­try, for the offense of writ­ing a work of fic­tion. No more root-and-branch chal­lenge to the val­ues of the Enlight­en­ment (on the bicen­ten­ni­al of the fall of the Bastille) or to the First Amend­ment to the Con­sti­tu­tion, could be imag­ined.

Rushdie went into hid­ing, but his Japan­ese trans­la­tor, Hitoshi Igarashi, was mur­dered, and attempts were made against the lives of sev­er­al oth­er trans­la­tors and a pub­lish­er. Book­stores in Eng­land and Cal­i­for­nia were fire­bombed, and many more received threats of vio­lence. The pub­lic reac­tion to all of this was a bit­ter dis­ap­point­ment to Hitchens. In his book, God is Not Great: How Reli­gion Poi­sons Every­thing, he wrote:

One might have thought that such arro­gant state-spon­sored homi­cide, direct­ed at a lone­ly and peace­ful indi­vid­ual who pur­sued a life devot­ed to lan­guage, would have called forth a gen­er­al con­dem­na­tion. But such was not the case. In con­sid­ered state­ments, the Vat­i­can, the arch­bish­op of Can­ter­bury, the chief sephardic rab­bi of Israel all took a stand in sym­pa­thy with–the aya­tol­lah. So did the car­di­nal arch­bish­op of New York and many oth­er less­er reli­gious fig­ures. While they usu­al­ly man­aged a few words in which to deplore the resort to vio­lence, all these men stat­ed that the main prob­lem raised by the pub­li­ca­tion of The Satan­ic Vers­es was not mur­der by mer­ce­nar­ies, but blas­phe­my. Some pub­lic fig­ures not in holy orders, such as the Marx­ist writer John Berg­er, the Tory his­to­ri­an Hugh Trevor-Rop­er, and the doyen of espi­onage authors John Le Car­ré, also pro­nounced that Rushdie was the author of his own trou­bles, and had brought them on him­self by “offend­ing” a great monothe­is­tic reli­gion. There seemed noth­ing fan­tas­tic, to these peo­ple, in the British police hav­ing to defend an Indi­an-born ex-Mus­lim cit­i­zen from a con­cert­ed cam­paign to take his life in the name of god.

This month Rushdie pub­lished Joseph Anton: A Mem­oir, describ­ing his nine-years of life in hid­ing under the Ayotol­lah’s death order. The new book’s rel­e­vance could not be more obvi­ous, giv­en the Anti-Amer­i­can riot­ing that broke out in much of the Mus­lim world this month in reac­tion to a YouTube video called Inno­cence of Mus­lims. Hitchens died last Decem­ber, and his voice in the mat­ter is sore­ly missed. But it isn’t hard to imag­ine what he might have said. In a 2009 Van­i­ty Fair essay, “Assas­sins of the Mind,” Hitchens wrote: “For our time and gen­er­a­tion, the great con­flict between the iron­ic mind and the lit­er­al mind, the exper­i­men­tal and the dog­mat­ic, the tol­er­ant and the fanat­i­cal, is the argu­ment that was kin­dled by The Satan­ic Vers­es.”

For a recent dis­cus­sion with Rushdie, lis­ten to his Sep­tem­ber 21 inter­view with Studio360:

Discovered: Lord Byron’s Copy of Frankenstein Signed by Mary Shelley

The sto­ry behind the writ­ing of Franken­stein is famous. In 1816, Mary Shel­ley and Per­cy Bysshe Shel­ley, sum­mer­ing near Lake Gene­va in Switzer­land, were chal­lenged by Lord Byron to take part in a com­pe­ti­tion to write a fright­en­ing tale. Mary, only 18 years old, lat­er had a wak­ing dream of sorts where she imag­ined the premise of her book:

When I placed my head on my pil­low, I did not sleep, nor could I be said to think. My imag­i­na­tion, unbid­den, pos­sessed and guid­ed me, gift­ing the suc­ces­sive images that arose in my mind with a vivid­ness far beyond the usu­al bounds of rever­ie. I saw — with shut eyes, but acute men­tal vision, — I saw the pale stu­dent of unhal­lowed arts kneel­ing beside the thing he had put togeth­er. I saw the hideous phan­tasm of a man stretched out, and then, on the work­ing of some pow­er­ful engine, show signs of life, and stir with an uneasy, half vital motion.

This became the ker­nel of Franken­stein; or, The Mod­ern Prometheus, the nov­el first pub­lished in Lon­don in 1818, with only 500 copies put in cir­cu­la­tion.

Near­ly two cen­turies lat­er, a first edi­tion signed by Shel­ley has turned up in the ves­tiges of Lord Byron’s library. The grand­son of Lord Jay notes, “I saw the book lying at an angle in the cor­ner of the top shelf. On open­ing it, I saw the title page, recog­nised what it was at once and leafed hun­gri­ly through the text — it was only when I flicked idly back to the first blank that I saw the inscrip­tion in cur­sive black ink, “To Lord Byron, from the author.”

Today this inscribed copy is on dis­play at Peter Har­ring­ton’s, a Lon­don spe­cial­ist in rare books. And there it will be put on auc­tion, like­ly fetch­ing north of £350,000, or $575,000. The video above gives you more of the back­sto­ry on the writ­ing and gift­ing of the book.

You can find Franken­stein in our col­lec­tions of Free eBooks and Free Audio Books. Also don’t miss the first film adap­ta­tion of Franken­stein from 1910 here, or the 1931 ver­sion list­ed in our meta list of Free Movies Online.

via Huff­Po

by | Permalink | Make a Comment ( 10 ) |

The Moby Dick Big Read: Tilda Swinton & Others Read a Chapter a Day from the Great American Novel

“Moby-Dick is the great Amer­i­can nov­el. But it is also the great unread Amer­i­can nov­el. Sprawl­ing, mag­nif­i­cent, deliri­ous­ly digres­sive, it stands over and above all oth­er works of fic­tion, since it is bare­ly a work of fic­tion itself. Rather, it is an explo­sive expo­si­tion of one man’s inves­ti­ga­tion into the world of the whale, and the way humans have relat­ed to it. Yet it is so much more than that.”

That’s how Ply­mouth Uni­ver­si­ty intro­duces Her­man Melville’s clas­sic tale from 1851. And it’s what sets the stage for their web project launched ear­li­er this week. It’s called The Moby Dick Big Read, and it fea­tures celebri­ties and less­er known fig­ures read­ing all 135 chap­ters from Moby Dick — chap­ters that you can start down­load­ing (as free audio files) on a rolling, dai­ly basis. Find them on iTunesSound­cloud, RSS Feed, or the Big Read web site itself.

The project start­ed with the first chap­ters being read by Til­da Swin­ton (Chap­ter 1), Cap­tain R.N. Hone (Chap­ter 2), Nigel Williams (Chap­ter 3), Caleb Crain (Chap­ter 4), Musa Okwon­ga (Chap­ter 5), and Mary Nor­ris (Chap­ter 6). John Waters, Stephen Fry, Simon Cal­low and even Prime Min­is­ter David Cameron will read future chap­ters, which often find them­selves accom­pa­nied by con­tem­po­rary art­work inspired by the nov­el.

If you want to read the nov­el as you go along, find the text in our col­lec­tion of Free eBooks. We also have ver­sions read by one nar­ra­tor in our Free Audio Books col­lec­tion. Til­da Swin­ton’s nar­ra­tion of Chap­ter 1 appears right below:

by | Permalink | Make a Comment ( 4 ) |

“Single Sentence Animations” Visualize the Short Stories of Contemporary Writers

Lit­er­ary jour­nal Elec­tric Lit­er­a­ture has a mis­sion, to “use new media and inno­v­a­tive dis­tri­b­u­tion to return the short sto­ry to a place of promi­nence in pop­u­lar cul­ture.” In so doing, they promise to deliv­er their quar­ter­ly, 5‑story anthol­o­gy “in every viable medi­um”: paper­back, enhanced pdf, Kin­dle, and ePub.  One clever way they pro­mote short fic­tion is with a free, week­ly sin­gle-sto­ry fea­ture called “Rec­om­mend­ed Read­ing.” And with the help of an ani­ma­tor and a musi­cian, Elec­tric Jour­nal pro­duces what it calls a “Sin­gle Sen­tence Ani­ma­tion” of each week’s rec­om­mend­ed sto­ry.

As the jour­nal describes these short videos, “Sin­gle Sen­tence Ani­ma­tions are cre­ative col­lab­o­ra­tions. The writer selects a favorite sen­tence from his or her work and the ani­ma­tor cre­ates a short film in response.” The Sin­gle Sen­tence Ani­ma­tion above draws from from A.M. Homes’Hel­lo Every­body,” as imag­ined by artist Gret­ta John­son and with music by Michael Asif. The ani­ma­tion cap­tures some­thing of Homes’ “par­tic­u­lar blend of log­ic and unre­al­i­ty” as well as her strange and often unnerv­ing twists of lan­guage.  Homes chose the ser­pen­tine sen­tence:

They are mak­ing their bod­ies their own—renovating, redec­o­rat­ing, the body not just as cor­pus but as object of self-expres­sion, a sym­bi­ot­ic rela­tion between imag­i­na­tion and real­i­ty.

Johnson’s ani­ma­tion imag­ines the body as Play-doh, a mal­leable sub­stance, unre­strict­ed by fixed forms.

In anoth­er “Sin­gle Sen­tence Ani­ma­tion,” Ben Marcus’s intri­cate “Watch­ing Mys­ter­ies with My Moth­er” gets inter­pret­ed by Edwin Ros­tron, with music by Supreme Vagabond Crafts­man. The sen­tence Mar­cus chose is:

We speak of hav­ing one foot in the grave, but we do not speak of hav­ing both feet and both legs and then one’s entire tor­so, arms, and head in the grave, inside a cof­fin, which is cov­ered in dirt, upon which is plant­ed a pret­ty lit­tle stone.

As Marcus’s sen­tence drills through clichéd euphemism into the mor­bid and mun­dane, Rostron’s ani­ma­tion peels back lay­ers of dead metaphor to encounter the pro­sa­ic.

Elec­tric Lit­er­a­ture’s Rec­om­mend­ed Read­ing series also fea­tures free online sto­ries from Mary Gait­skill, Clarice Lispec­tor, Peter Stamm, and many oth­ers, in HTML, Kin­dle, or ePub. You can watch all of the Sin­gle Sen­tence Ani­ma­tions here.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

With Or Without U: Promoting a Scrabble Book to the Tune of U2

David Buk­sz­pan’s new book for Scrab­ble afi­ciona­dos is out — Is That a Word? From AA to ZZZ, the Weird and Won­der­ful Lan­guage of SCRABBLE®. And, when it comes to pro­mot­ing the book, Buk­sz­pan and his pub­lish­ers aren’t cut­ting cor­ners. In the book trail­er above, we find the author chan­nel­ing the young Bono — the Bono who came into star­dom in 1987’s wide­ly-played video for “With or With Out You” (below). Watch­ing the two clips togeth­er, you’ll see that the aes­thet­ic remains entire­ly the same. But the “You” in “With or With­out You” takes on a new mean­ing. H/T Gal­l­ey­Cat

by | Permalink | Make a Comment ( 2 ) |

The Comic Biography of Underground Publisher & Political Writer, John Wilcock

He describes him­self as a “peri­patet­ic patri­arch of the free press,” and so he may be. John Wilcock, a British ex-pat who helped found the Vil­lage Voice in 1955 went to work as the New York Times’ trav­el edi­tor. His Europe on $5 a Day was sem­i­nal in the trav­el guide­book pub­lish­ing world. His sub­se­quent Mex­i­co on $5 a Day was a trail­blaz­er.

Wilcock, who lives in Cal­i­for­nia and pub­lish­es the online Ojai Orange, was the ulti­mate gad­fly. His 1971 Auto­bi­og­ra­phy and Sex Life of Andy Warhol includ­ed inter­views with Nico, Lou Reed and oth­er asso­ciates of the enig­mat­ic artist. Wilcock was also a found­ing edi­tor, with Warhol, of Inter­view Mag­a­zine in 1969. He accom­pa­nied Warhol out the night that the Vel­vet Under­ground played its first gig and wrote lin­er notes for Nico.

Pub­lished online in graph­ic nov­el form, John Wilcock: The New York Years chron­i­cles this peri­od in Wilcock­’s life with an exten­sive inter­view and sump­tu­ous car­toon illus­tra­tions by artists Ethan Per­soff and Scott Mar­shall. Chap­ters one and two are deli­cious­ly fun read­ing, as Wilcock recounts his arrival in New York City from Eng­land and his ear­ly inter­views with Leonard Bern­stein, Rock Hud­son and Mil­ton Berle and launch­ing the Vil­lage Voice.

It’s an impres­sive site that cap­tures the Bohemi­an cir­cles Wilcock moved in. Per­soff and Mar­shall have just released chap­ter three, which includes Wilcock’s time edit­ing Nor­man Mail­er and his inter­views with actor Jean Shep­herd and Mar­i­lyn Mon­roe. Stay tuned for more. Chap­ter three brings us up to 1957 so there should be plen­ty more to share.

Kate Rix is free­lance writer. Find more of her work at

O. Henry on the Secrets of Writing Short Stories: Rare Audio Recording

Today is the 150th anniver­sary of the birth of the short sto­ry writer O. Hen­ry. He was born William Syd­ney Porter in Greens­boro North Car­oli­na on Sep­tem­ber 11, 1862, and his life was not easy. He chose the pen name “O. Hen­ry” while he was in the pen­i­ten­tiary.

Trained as a phar­ma­cist, Porter came down with tuber­cu­lo­sis in his ear­ly twen­ties and moved to the dri­er cli­mate of Texas, where he worked as a ranch hand, a drafts­man for the Texas Land Office, and a clerk at the First Nation­al Bank of Austin before strik­ing out on his own as a writer and launch­ing a humor mag­a­zine called The Rolling Stone. When the mag­a­zine fold­ed the fol­low­ing year, Porter took a job as a reporter, colum­nist and car­toon­ist at the Hous­ton Post. Mean­while, though, Fed­er­al inves­ti­ga­tors were look­ing into short­ages in Porter’s accounts from his days at the bank in Austin, and in Feb­ru­ary of 1896, when he was 33 years old and had a wife and a young daugh­ter to sup­port, Porter was arrest­ed and charged with embez­zle­ment.

While being brought to Austin for tri­al, Porter man­aged to elude his cap­tors and hop a train to New Orleans, where he arranged pas­sage on a freighter bound for Hon­duras. Despite the appear­ance of guilt Porter would always main­tain his inno­cence, say­ing that his flight from jus­tice was brought on by pan­ic. He com­pared him­self to the pro­tag­o­nist of one of Joseph Con­rad’s clas­sic nov­els, a sailor who aban­doned a ful­ly loaded pas­sen­ger ship that he thought was sink­ing. “I am like Lord Jim,” he said, “because we both made one fate­ful mis­take at the supreme cri­sis of our lives, a mis­take from which we could not recov­er.”

When Porter got to Cen­tral Amer­i­ca he began mak­ing plans for his fam­i­ly to join him there, but soon learned that his wife was dying of tuber­cu­lo­sis. He returned to Texas and was with his wife when she died. A few months lat­er he was sen­tenced to five years in a fed­er­al pen­i­ten­tiary in Ohio. While behind bars, Porter began writ­ing short sto­ries in earnest. To dis­guise his iden­ti­ty he used a series of pen names, even­tu­al­ly set­tling on “O. Hen­ry.”

Porter was released from prison in 1901, two years ear­ly for good behav­ior. He moved to New York to write sto­ries under his new name for mag­a­zines. From there he sky­rock­et­ed to suc­cess. Between 1904 and his death in 1910, he pub­lished some 300 sto­ries and ten books. “O. Hen­ry worked at whirl­wind speed,” writes Vic­to­ria Blake in the Barnes & Noble Clas­sics edi­tion of Select­ed Sto­ries of O. Hen­ry, “pro­duc­ing more over a short­er peri­od than any oth­er writer of his time and cul­ti­vat­ing a lit­er­ary demand unmatched by any­one, any­where in the his­to­ry of Amer­i­can let­ters.”

Some of the very same ele­ments that made O. Hen­ry’s sto­ries so pop­u­lar in his lifetime–the sen­ti­men­tal­i­ty, the “twist” endings–have caused them to age poor­ly since his death. A few of his sto­ries, like “The Gift of the Magi,” are still wide­ly read, but his rep­u­ta­tion has been sur­passed by more mod­ern writ­ers like Ernest Hem­ing­way, James Joyce and Sher­wood Ander­son. A lit­tle of his for­mer pres­tige is revived every year with the award­ing of the O. Hen­ry Prize for the best short fic­tion.

For his 150th birth­day we bring you what is said to be a rare record­ing of O. Hen­ry’s voice. Although the date and authen­tic­i­ty are an open ques­tion, the record­ing was appar­ent­ly made on an Edi­son cylin­der some­time between 1905 and the writer’s death in 1910. It was includ­ed in the vinyl record The Gold­en Age of Opera: Great Per­son­al­i­ties, 1888–1940. Here is a tran­script:

This is William Syd­ney Porter speak­ing, bet­ter known to you, no doubt, as O. Hen­ry. I’m going to let you in on a few of my secrets in writ­ing a short sto­ry. The most impor­tant thing, at least in my hum­ble opin­ion, is to use char­ac­ters you’ve crossed in your life­time. Truth is indeed stranger than fic­tion. All of my sto­ries are actu­al expe­ri­ences that I have come across dur­ing my trav­els. My char­ac­ters are fac­sim­i­lies of actu­al peo­ple I’ve known. Most authors spend hours, I’m told even days, labor­ing over out­lines of sto­ries that they have in their minds. But not I. In my way of think­ing that’s a waste of good time. I just sit down and let my pen­cil do the rest. Many peo­ple ask me how I man­age to get that final lit­tle twist in my sto­ries. I always tell them that the unusu­al is the ordi­nary rather than the unex­pect­ed. And if you peo­ple lis­ten­ing to me now start think­ing about your own lives, I’m sure you’ll dis­cov­er just as many odd expe­ri­ences as I’ve had. I hope this lit­tle talk will be heard long after I’m gone. I want you all to con­tin­ue read­ing my sto­ries then too. Good­bye, folks.

Relat­ed con­tent:

John Stein­beck­’s Six Tips for the Aspir­ing Writer

James Joyce Reads ‘Anna Livia Plura­belle’ from Finnegans Wake

Rare 1959 Audio: Flan­nery O’Con­nor Reads ‘A Good Man is Hard to Find’

Goodnight Keith Moon: “The Most Inappropriate Bedtime Story Ever”

Lit­tle known fact. My first adven­ture in pub­lish­ing began as a 16 year old, when I teamed up with my best friend, anoth­er ardent fan of The Who, and togeth­er we pub­lished a fanzine ded­i­cat­ed to the British rock band. We called it Tales from The Who, a name tak­en from a boot­leg con­cert album record­ed in our native Philadel­phia dur­ing the ’70s. To get the zine going, we bor­rowed an elec­tric type­writer, cut out pic­tures, col­laged it all togeth­er, made copies on a pho­to­copy machine, then start­ed mar­ket­ing the pub­li­ca­tion in Rolling Stone mag­a­zine. When actu­al sub­scrip­tions rolled into our P.O. Box, we could­n’t believe it.

Alas, Tales from the Who did­n’t enjoy a long run. We maybe pub­lished three edi­tions, if that. But it did teach me the val­ue of Ray Brad­bury’s say­ing — “The things that you love should be things that you do.” And, years lat­er, I still get pangs of nos­tal­gia when­ev­er I encounter Who mem­o­ra­bil­ia on the web, whether it’s footage of Kei­th Moon pass­ing out at a 1973 con­cert and a fan tak­ing over, or videos that iso­late the great drum, bass, gui­tar, and vocal tracks of The Who’s anthem, “Won’t Get Fooled Again.” And you should­n’t begrudge me when I give you this: Good­night Kei­th Moon: A Par­o­dy.

If you liked Adam Mans­bach’s Go the F**k to Sleep, you’ll like­ly enjoy Clare Cross and Bruce Wor­den’s par­o­dy of the chil­dren’s clas­sic Good­night Moon. This twist­ed lit­tle rock tale can be pur­chased on Ama­zon. But it also lives freely on the web, just as it ought to. It begins:

In the great green room / There was a tele­phone / And a dead Kei­th Moon.

And Tow­shend jump­ing over the moon.

And there were four lit­tle gents piss­ing on cement.

And two bro­ken sticks and a pile of sick.

Find the rest here, and, don’t be the “cool” par­ent who actu­al­ly reads this to your kids. It is, after all, “the most inap­pro­pri­ate bed­time sto­ry ever,” accord­ing to The New York­er.

via Coudal

Relat­ed Con­tent:

Wern­er Her­zog Reads “Go the F**k to Sleep” in NYC (NSFW)

« Go BackMore in this category... »
Quantcast