Why Should You Read Haruki Murakami? An Animated Video on His “Epic Literary Puzzle” Kafka on the Shore Makes the Case

Haru­ki Murakami’s vast inter­na­tion­al fan base includes peo­ple ded­i­cat­ed to lit­er­a­ture. It also includes peo­ple who have bare­ly cracked any books in their lives — apart, that is, from Murakami’s nov­els with their dis­tinc­tive mix­ture of the light­heart­ed with the grim and the mun­dane with the uncan­ny. Since the pub­li­ca­tion of his first nov­el, Hear the Wind Sing, 40 years ago in his native Japan, Muraka­mi has become both a lit­er­ary phe­nom­e­non and an extra-lit­er­ary phe­nom­e­non, and dif­fer­ent read­ers endorse dif­fer­ent paths into his unique tex­tu­al realm.

The TED-Ed video above makes the case for one fan favorite in par­tic­u­lar: 2002’s Kaf­ka on the Shore, an “epic lit­er­ary puz­zle filled with time trav­el, hid­den his­to­ries, and mag­i­cal under­worlds. Read­ers delight in dis­cov­er­ing how the mind-bend­ing imagery, whim­si­cal char­ac­ters and eerie coin­ci­dences fit togeth­er.” So says the video’s nar­ra­tor, read­ing from a les­son writ­ten by lit­er­ary schol­ar Iseult Gille­spie (who has also made cas­es for Charles Dick­ens, Vir­ginia Woolf, and Ray Brad­bury).

Muraka­mi tells this sto­ry, and keeps it fresh through more than 500 pages, by alter­nat­ing between two point-of-view char­ac­ters: a teenag­er “des­per­ate to escape his tyran­ni­cal father and the fam­i­ly curse he feels doomed to repeat,” who “renames him­self Kaf­ka after his favorite author and runs away from home,” and an old man with “a mys­te­ri­ous knack for talk­ing to cats.”

When the lat­ter is com­mis­sioned to use his unusu­al skill to track down a lost pet, “he’s thrown onto a dan­ger­ous path that runs par­al­lel to Kafka’s.” Soon, “prophe­cies come true, por­tals to dif­fer­ent dimen­sions open up — and fish and leech­es begin rain­ing from the sky.” But it’s all of a piece with Murakami’s body of work, with its nov­els and sto­ries that “often forge fan­tas­tic con­nec­tions between per­son­al expe­ri­ence, super­nat­ur­al pos­si­bil­i­ties, and Japan­ese his­to­ry.” His “ref­er­ences to West­ern soci­ety and Japan­ese cus­toms tum­ble over each oth­er, from lit­er­a­ture and fash­ion to food and ghost sto­ries.”

All of it comes tied togeth­er with threads of music: “As the run­away Kaf­ka wan­ders the streets of a strange city, Led Zep­pelin and Prince keep him com­pa­ny,” and he lat­er befriends a librar­i­an who “intro­duces him to clas­si­cal music like Schu­bert.” Safe to say that such ref­er­ences put some dis­tance between Murakami’s work and that of his char­ac­ter Kafka’s favorite writer, to whom Muraka­mi him­self has been com­pared. Kaf­ka on the Shore show­cas­es Murakami’s sto­ry­telling sen­si­bil­i­ty, but is it in any sense Kafkaesque? You’ll have plen­ty more ques­tions after tak­ing the plunge into Murakami’s real­i­ty, but there’s anoth­er TED-Ed les­son that might at least help you answer that one.

Relat­ed Con­tent:

An Intro­duc­tion to the World of Haru­ki Muraka­mi Through Doc­u­men­taries, Sto­ries, Ani­ma­tion, Music Playlists & More

Read 6 Sto­ries By Haru­ki Muraka­mi Free Online

What Does “Kafkaesque” Real­ly Mean? A Short Ani­mat­ed Video Explains

Why Should We Read Charles Dick­ens? A TED-Ed Ani­ma­tion Makes the Case

Why Should We Read Ray Bradbury’s Fahren­heit 451? A New TED-Ed Ani­ma­tion Explains

Why Should We Read Vir­ginia Woolf? A TED-Ed Ani­ma­tion Makes the Case

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Discover the Spelling Dictionary That Ludwig Wittgenstein Created for Elementary School Students

He only pub­lished two books of phi­los­o­phy, and only one of them in his life­time, but Lud­wig Wittgen­stein’s influ­ence on 20th cen­tu­ry thought is incal­cu­la­ble. Both of his books, the Trac­ta­tus Logi­co-Philo­soph­i­cus and the posthu­mous Philo­soph­i­cal Inves­ti­ga­tions, con­sti­tute major turn­ing points in ana­lyt­ic philosophy—the one inspir­ing the 1920s log­i­cal pos­i­tivism of the Vien­na Cir­cle, the oth­er repu­di­at­ing Wittgenstein’s ear­li­er thought and invig­o­rat­ing mid-cen­tu­ry prag­ma­tism and the Ordi­nary Lan­guage school.

“By the 1930s,” notes Tim Rayn­er at Phi­los­o­phy for Change, “Wittgen­stein had decid­ed” that the the­o­ry of lan­guage he had advanced in the Trac­ta­tus “was quite wrong. He devot­ed the rest of his life to explain­ing why.” This marked a dra­mat­ic shift away from the work that first made him famous, but Wittgen­stein nev­er did any­thing halfway. After pub­lish­ing the Trac­ta­tus—part­ly com­posed while he fought in World War I—the Aus­tri­an son of a wealthy Vien­nese indus­tri­al­ist announced that he had solved all of the prob­lems in phi­los­o­phy. Noth­ing more need­ed to be said on the mat­ter.

He “retired” to try his hand at sev­er­al oth­er trades, includ­ing grade school teacher, for a peri­od of about six years in rur­al vil­lages in Aus­tria. “By the time he decid­ed to teach,” Spencer Robins notes at The Paris Review, “Wittgen­stein was well on his way to being con­sid­ered the great­est philoso­pher alive.” He couldn’t have cared less. “Con­vinced he was a moral fail­ure, he took extreme steps to change his cir­cum­stances, divest­ing him­self of his enor­mous fam­i­ly for­tune” and choos­ing a pro­fes­sion “influ­enced by a roman­tic idea of what it would be like to work with peasants—an idea he’d got­ten from read­ing Tol­stoy.”

Wittgen­stein was an unspar­ing taskmas­ter, by all accounts. His brief ele­men­tary teach­ing career end­ed abrupt­ly in 1926 when he vicious­ly attacked a stu­dent. While his per­son­al­i­ty did not suit him to the role at all, his ped­a­gogy was appar­ent­ly very effec­tive. Wittgen­stein  “engaged his stu­dents in a sort of ‘project-based learn­ing’ that wouldn’t be out of place in the best ele­men­tary class­rooms today,” writes Robins. In the last years of teach­ing, he worked with his stu­dents to pro­duce what is tech­ni­cal­ly his sec­ond pub­lished book—Wörter­buch für Volkss­chulen, a Ger­man spelling dic­tio­nary for ele­men­tary schools.

One of the shocks that await­ed the philoso­pher when he arrived in rur­al schools was the expense of books, and stu­dents’ inabil­i­ty to obtain them. “I had nev­er real­ized dic­tio­nar­ies would be so might­i­ly expen­sive,” he told edu­ca­tion­al­ist Lud­wig Hansel. “I think, if I live long enough, I will pro­duce a small dic­tio­nary for ele­men­tary schools.” Often a prag­ma­tist in life, if not always in his thought, Wittgen­stein took the oppor­tu­ni­ty to turn this promise into a teach­able moment, test­ing drafts of his dic­tio­nary in the class­room. “The improve­ment of spelling was aston­ish­ing,” he remarked.

The dic­tio­nary, and Wittgenstein’s teach­ing meth­ods in gen­er­al dur­ing this peri­od, “reveal his con­tin­ued inter­est in the phi­los­o­phy of lan­guage and its prac­ti­cal, every­day man­i­fes­ta­tions,” as Désirée Weber, Assis­tant Pro­fes­sor of Polit­i­cal The­o­ry at the Uni­ver­si­ty of Woost­er in Ohio, writes at the British Wittgen­stein Soci­ety site. Copies of the 42-page book are extreme­ly rare. The page above comes from a set of proof pages dis­cov­ered and exam­ined by Weber. The pages show the philoso­pher tai­lor­ing his ref­er­ence guide to the world his stu­dents knew and the lan­guage they already spoke.

“Although there is some ques­tion” which, or whether, the var­i­ous edi­to­r­i­al marks are in Wittgenstein’s own hand, “the con­tents of the dic­tio­nary and the cor­rec­tions yield a fas­ci­nat­ing view of the words that Wittgen­stein deemed cen­tral to the forms of life and lan­guage-games in which his stu­dents were immersed.” He cap­tured “the speci­fici­ty of the rur­al Aus­tri­an dialect,” Weber writes at the Wittgen­stein Ini­tia­tive, as well as “words that per­tained to cul­tur­al prac­tices that were part of their com­mu­ni­ty and with which they would have been well acquaint­ed.”

Wittgen­stein elab­o­rates his prac­ti­cal pur­pose in an intro­duc­tion, show­ing his intent to ini­ti­ate his stu­dents into their “lan­guage-using com­mu­ni­ty” and into “the respon­si­bil­i­ty this car­ries,” Weber writes. The project also shows him engag­ing in the the­o­ret­i­cal work that would occu­py him for the rest of his career.

Relat­ed Con­tent:

Lud­wig Wittgenstein’s Short, Strange & Bru­tal Stint as an Ele­men­tary School Teacher

An Ani­mat­ed Intro­duc­tion to Lud­wig Wittgen­stein & His Philo­soph­i­cal Insights on the Prob­lems of Human Com­mu­ni­ca­tion

In Search of Lud­wig Wittgenstein’s Seclud­ed Hut in Nor­way: A Short Trav­el Film

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

The Books on Barack Obama’s Summer Reading List (2019)

Pho­to by Pete Souza via obamawhitehouse.archive.gov

As is his cus­tom, Barack Oba­ma post­ed on Face­book his sum­mer read­ing list, a mix of nov­els, mem­oirs, and instruc­tive non-fic­tion. If you haven’t achieved the per­fect state of tsun­doku, you can get a few new reads for the wan­ing days of sum­mer. Pres­i­dent Oba­ma writes:

It’s August, so I want­ed to let you know about a few books I’ve been read­ing this sum­mer, in case you’re look­ing for some sug­ges­tions. To start, you can’t go wrong by read­ing or re-read­ing the col­lect­ed works of Toni Mor­ri­son. Beloved, Song of Solomon, The Bluest Eye, Sula, every­thing else — they’re tran­scen­dent, all of them. You’ll be glad you read them. And while I’m at it, here are a few more titles you might want to explore:

Some­times dif­fi­cult to swal­low, The Nick­el Boys by Col­son White­head is a nec­es­sary read, detail­ing the way Jim Crow and mass incar­cer­a­tion tore apart lives and wrought con­se­quences that rip­ple into today.

Exha­la­tion by Ted Chi­ang is a col­lec­tion of short sto­ries that will make you think, grap­ple with big ques­tions, and feel more human. The best kind of sci­ence fic­tion.

Wolf Hall, Hilary Mantel­’s epic fic­tion­al­ized look at Thomas Cromwell’s rise to pow­er, came out in 2009, but I was a lit­tle busy back then, so I missed it. Still great today.

Haru­ki Murakami’s Men With­out Women exam­ines what hap­pens to char­ac­ters with­out impor­tant women in their lives; it’ll move you and con­fuse you and some­times leave you with more ques­tions than answers.

Amer­i­can Spy by Lau­ren Wilkin­son is a whole lot more than just a spy thriller, wrap­ping togeth­er the ties of fam­i­ly, of love, and of coun­try.

The Shal­lows by Nicholas Carr came out a few years ago, but its argu­ments on the internet’s impact on our brains, our lives, and our com­mu­ni­ties are still wor­thy of reflec­tion, which is some­thing we all could use a lit­tle more of in this age.

Lab Girl by Hope Jahren is a beau­ti­ful­ly writ­ten mem­oir about the life of a woman in sci­ence, a bril­liant friend­ship, and the pro­fun­di­ty of trees. Ter­rif­ic.

Inland by Téa Obre­ht just came out yes­ter­day, so I won’t spoil any­thing. But those of you who’ve been wait­ing for Obreht’s next nov­el won’t be dis­ap­point­ed.

You’ll get a bet­ter sense of the com­plex­i­ty and redemp­tion with­in the Amer­i­can immi­grant sto­ry with Dinaw Mengestu’s nov­el, How to Read the Air.

Maid by Stephanie Land is a sin­gle mother’s per­son­al, unflinch­ing look at America’s class divide, a descrip­tion of the tightrope many fam­i­lies walk just to get by, and a reminder of the dig­ni­ty of all work.

POTUS’ pre­vi­ous lists of rec­om­mend­ed books can be found in the Relat­eds below.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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!

Relat­ed Con­tent:

Barack Oba­ma Shares a List of Enlight­en­ing Books Worth Read­ing

The 5 Books on Pres­i­dent Obama’s 2016 Sum­mer Read­ing List

A Free POTUS Sum­mer Playlist: Pres. Oba­ma Curates 39 Songs for a Sum­mer Day

The Books on Barack Obama’s Sum­mer Read­ing List: Naipaul, Ondaat­je & More

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Take a Virtual Tour of Jane Austen’s Library

Jane Austen read vora­cious­ly and as wide­ly as she could in her cir­cum­scribed life. Even so, she told her niece Car­o­line, she wished she had “read more and writ­ten less” in her for­ma­tive years. Her nephew James Edward Austen-Leigh made clear that no mat­ter how much she read, her work was far more than the sum of her read­ing: “It was not,” he wrote in his 1870 biog­ra­phy, “what she knew, but what she was, that dis­tin­guished her from oth­ers.” What she was not, how­ev­er, was the own­er of a great library.

Mem­bers of Austen’s fam­i­ly were well-off, but she her­self lived on mod­est means and nev­er made enough from writ­ing to become finan­cial­ly inde­pen­dent. She owned books, of course, but not many. Books were expen­sive, and most peo­ple bor­rowed them from lend­ing libraries. Nonethe­less, schol­ars have been able to piece togeth­er an exten­sive list of books Austen sup­pos­ed­ly read—books men­tioned in her let­ters, nov­els, and an 1817 bio­graph­i­cal note writ­ten by her broth­er Hen­ry in her posthu­mous­ly pub­lished Northang­er Abbey.

Austen read con­tem­po­rary male and female nov­el­ists. She read his­to­ries, the poet­ry of Mil­ton, Wordsworth, Byron, Cow­per, and Sir Wal­ter Scott, and nov­els writ­ten by fam­i­ly mem­bers. She read Chaucer, Locke, Rousseau, Hume, Spencer, and Woll­stonecraft. She read ancients and mod­ern. “Despite her desire to have ‘read more” in her youth,” write Austen schol­ars Gillian Down and Katie Halsey, “recent schol­ar­ship has estab­lished that the range of Austen’s read­ing was far wider and deep­er than either Hen­ry or James Edward sug­gest.”

Austen may not have had a large library of her own, but she did have access to the hand­some col­lec­tion at God­mer­sham Park, the home of her broth­er Edward Austen Knight. “For a total of ten months spread over fif­teen years,” Rebec­ca Rego Bar­ry writes at Lapham’s Quar­ter­ly, “Austen vis­it­ed her broth­er at his Kent estate. The brim­ming book­shelves at God­mer­sham Park were a par­tic­u­lar draw for the nov­el­ist.” In the last eight years of her life, Jane lived with her moth­er and sis­ter Cas­san­dra at Edward’s Chaw­ton estate, in a vil­la that had its own library.

Recon­struct­ing these shelves show us the books Austen would have reg­u­lar­ly had in view, though schol­ars must use oth­er evi­dence to show which books she read. In 2009, Down and Halsey curat­ed an exhi­bi­tion focused on her read­ing at Chaw­ton. Ten years lat­er, we can see the library at God­mer­sham Park recre­at­ed in a vir­tu­al ver­sion made joint­ly by Chaw­ton House and McGill University’s Bur­ney Cen­ter.

Called “Read­ing with Austen,” the inter­ac­tive site lets us to nav­i­gate three book-lined walls of the library. “Users can hov­er over the shelves and click on any of the antique books,” writes Bar­ry, “sum­mon­ing bib­li­o­graph­ic data and avail­able pho­tos of per­ti­nent title pages, book­plates, and mar­gin­a­lia. Dig­ging deep­er, one can peruse a dig­i­tal copy of the book and deter­mine the where­abouts of the orig­i­nal.”

These vol­umes are what we might expect from an Eng­lish coun­try gen­tle­man: books of law and agri­cul­ture, his­tor­i­cal reg­is­ters, trav­el­ogues, polit­i­cal the­o­ry, and clas­si­cal Latin. There is also Shake­speare, Swift, and Voltaire, Austen’s own nov­els, and some of the con­tem­po­rary fic­tion she par­tic­u­lar­ly loved. The Bur­ney Cen­ter “tried,” says direc­tor Peter Sabor, “to imag­ine Jane Austen actu­al­ly walk­ing around the library…. We’re basi­cal­ly look­ing over her shoul­der as she looks at the book­shelf.” It’s not exact­ly quite like that at all, but the project can give us a sense of how much Austen trea­sured libraries.

She wrote about libraries as a sign of lux­u­ry. In an ear­ly unfin­ished nov­el, “Cather­ine,” she has a furi­ous char­ac­ter exclaim in reproach, “I gave you the key to my own Library, and bor­rowed a great many good books of my Neigh­bors for you.” Austen may have feared los­ing library and lend­ing access, and she longed for a king­dom of books all her own. Dur­ing her final vis­it to God­mer­sham Park in 1813, she wrote to her sis­ter, “I am now alone in the Library, Mis­tress of all I sur­vey.”

Try to imag­ine how she might have felt as you peruse the library’s hap­haz­ard­ly arranged con­tents. Con­sid­er which of these books she might have read and which she might have shelved and why. Enter the “Read­ing with Austen” library project here.

Relat­ed Con­tent:

The Jane Austen Fic­tion Man­u­script Archive Is Online: Explore Hand­writ­ten Drafts of Per­sua­sion, The Wat­sons & More

Down­load the Major Works of Jane Austen as Free eBooks & Audio Books

15-Year-Old Jane Austen Writes a Satir­i­cal His­to­ry Of Eng­land: Read the Hand­writ­ten Man­u­script Online (1791)

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

A 9th Century Manuscript Teaches Astronomy by Making Sublime Pictures Out of Words

Con­crete or visu­al poet­ry does not get much respect these days. Terse­ly defined at the Poet­ry Foun­da­tion as “verse that empha­sizes non­lin­guis­tic ele­ments in its mean­ing” arranged to cre­ate “a visu­al image of the top­ic,” the form looks like a clever but friv­o­lous nov­el­ty in our very seri­ous times. It has seemed so in times past as well.

When Guil­laume Apol­li­naire pub­lished his 1918 Cal­ligrammes, his major col­lec­tion of poems after he fought on the front lines of the first world war, he includ­ed sev­er­al visu­al poems. Crit­ics like Louis Aragon, “at his most hard-nosed,” notes Stephen Romer at The Guardian, “crit­i­cized it sharply for its aes­theti­cism and friv­o­li­ty.”

Apol­li­naire also wrote of war as a daz­zling spec­ta­cle, a ten­den­cy that “raised the hack­les of crit­ics.” One can see there is moral mer­it to the objec­tion, even if it mis­reads Apol­li­naire. But why should visu­al poet­ry not cred­i­bly illus­trate phe­nom­e­na we find sub­lime, just as well as it illus­trates pot­ted Christ­mas trees?

Indeed, the form has always done so, argues pro­lif­ic visu­al poet Karl Kemp­ton, until it took a “dystopi­an” turn after World War I. In his vast his­to­ry of visu­al poet­ry, Kemp­ton reach­es back into ancient Bud­dhist, Sufi, Euro­pean, and Indige­nous cul­tur­al his­to­ry. Forms of visu­al poet­ry, he writes, “are asso­ci­at­ed with ongo­ing tra­di­tions and numer­ous unfold­ing path­ways trace­able to humankind’s ear­li­est sur­viv­ing com­mu­ni­ca­tion marks.”

Not as ancient as the exam­ples into which Kemp­ton first dives, the pages here from a man­u­script called the Aratea nonethe­less show us a use of the form that dates back over 1000 years, and incor­po­rates “near­ly 2000 years of cul­tur­al his­to­ry,” writes the Pub­lic Domain Review. “Mak­ing use of two Roman texts on astron­o­my writ­ten in the 1st cen­tu­ry BC, the man­u­script was cre­at­ed in North­ern France in about 1820.”

The text that has been arranged into images wasn’t orig­i­nal­ly poet­ry, though one might argue that arrang­ing it thus makes us read it that way. Instead, the words are tak­en from Hygi­nus’ Astro­nom­i­ca, a “star atlas and book of sto­ries” of somewhat uncer­tain ori­gin. The poems in lined verse below each image are by 3rd cen­tu­ry BC Greek poet Ara­tus (hence the title), “trans­lat­ed into Latin by young Cicero.”

If this feels like hefty mate­r­i­al for a lit­er­ary pro­duc­tion that might seem more whim­si­cal than awe-inspir­ing, we must con­sid­er that the manuscript’s first—and nec­es­sar­i­ly few—readers would have seen it dif­fer­ent­ly. The text is a visu­al mnemon­ic device, the red dots show­ing the posi­tions of the stars in the con­stel­la­tions: an aes­thet­ic ped­a­gogy that threads togeth­er visu­al per­cep­tion, mem­o­ry, imag­i­na­tion, and cog­ni­tion.

“The pas­sages used to form the images describe the con­stel­la­tion which they cre­ate on the page,” the Pub­lic Domain Review writes, “and in this way they become tied to one anoth­er: nei­ther the words nor the images would make full sense with­out the oth­er to com­plete the scene.” We are encour­aged to read the stars through art and lit­er­a­ture and to read poet­ry with an illus­trat­ed mytho­log­i­cal star chart in hand.

The Aratea is a fas­ci­nat­ing man­u­script not only for its visu­al­ly poet­ic illu­mi­na­tions, but also for its sig­nif­i­cance across sev­er­al spans of time. Its phys­i­cal exis­tence is nec­es­sar­i­ly tied to the British Library where it resides. One of the institution’s first arti­facts, it was “sold to the nation in 1752 under the same Act of Par­lia­ment which cre­at­ed the British Muse­um.”

“Part of a larg­er mis­cel­lany of sci­en­tif­ic works,” includ­ing sev­er­al notes and com­men­taries on nat­ur­al phi­los­o­phy, as the British Library describes it, the medieval text uses clas­si­cal sources to con­tem­plate the heav­ens in a form that is not only pre-Chris­t­ian and pre-Roman, but per­haps, as Kemp­ton argues, dates to the ori­gins of writ­ing itself.

via The Pub­lic Domain Review

Relat­ed Con­tent:

Behold Fan­tas­ti­cal Illus­tra­tions from the 13th Cen­tu­ry Ara­bic Man­u­script Mar­vels of Things Cre­at­ed and Mirac­u­lous Aspects of Things Exist­ing

800 Illu­mi­nat­ed Medieval Man­u­scripts Are Now Online: Browse & Down­load Them Cour­tesy of the British Library and Bib­lio­thèque Nationale de France

700 Years of Per­sian Man­u­scripts Now Dig­i­tized and Avail­able Online

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

Alexis de Tocqueville’s Prediction of How American Democracy Could Lapse Into Despotism, Read by Michel Houellebecq

Michel Houelle­bec­q’s third nov­el Plat­form, which involves a ter­ror­ist bomb­ing in south­east Asia, came out the year before a sim­i­lar real-life inci­dent occurred in Thai­land. His sev­enth nov­el Sub­mis­sion, about the con­ver­sion of France into a Mus­lim coun­try, came out the same day as the mas­sacre at the offices of Islam-pro­vok­ing satir­i­cal week­ly Char­lie Heb­do. His most recent nov­el Sero­tonin, in which farm­ers vio­lent­ly revolt against the French state, hap­pened to come out in the ear­ly stages of the pop­ulist “yel­low vest” move­ment. Houelle­becq has thus, even by some of his many detrac­tors, been cred­it­ed with a cer­tain pre­science about the social and polit­i­cal dan­gers of the world in which we live today.

So too has a coun­try­man of Houelle­bec­q’s who did his writ­ing more than 150 years ear­li­er: Alex­is de Toc­queville, author of Democ­ra­cy in Amer­i­ca, the endur­ing study of that then-new coun­try and its dar­ing­ly exper­i­men­tal polit­i­cal sys­tem. And what does per­haps France’s best-known liv­ing man of let­ters think of Toc­queville, one of his best-known pre­de­ces­sors? “I read him for the first time long ago and real­ly found it a bit bor­ing,” Houelle­becq says in the inter­view clip above, with a flat­ness rem­i­nis­cent of his nov­els’ dis­af­fect­ed nar­ra­tors. “Then I tried again two years ago and I was thun­der­struck.”

As an exam­ple of Toc­queville’s clear-eyed assess­ment of democ­ra­cy, Houelle­becq reads aloud this pas­sage about its poten­tial to turn into despo­tism:

I seek to trace the nov­el fea­tures under which despo­tism may appear in the world. The first thing that strikes the obser­va­tion is an innu­mer­able mul­ti­tude of men, all equal and alike, inces­sant­ly endeav­or­ing to pro­cure the pet­ty and pal­try plea­sures with which they glut their lives. Each of them, liv­ing apart, is as a stranger to the fate of all the rest; his chil­dren and his pri­vate friends con­sti­tute to him the whole of mankind. As for the rest of his fel­low cit­i­zens, he is close to them, but he does not see them; he touch­es them, but he does not feel them; he exists only in him­self and for him­self alone; and if his kin­dred still remain to him, he may be said at any rate to have lost his coun­try.

Above this race of men stands an immense and tute­lary pow­er, which takes upon itself alone to secure their grat­i­fi­ca­tions and to watch over their fate. That pow­er is absolute, minute, reg­u­lar, prov­i­dent, and mild. It would be like the author­i­ty of a par­ent if, like that author­i­ty, its object was to pre­pare men for man­hood; but it seeks, on the con­trary, to keep them in per­pet­u­al child­hood: it is well con­tent that the peo­ple should rejoice, pro­vid­ed they think of noth­ing but rejoic­ing. For their hap­pi­ness such a gov­ern­ment will­ing­ly labors, but it choos­es to be the sole agent and the only arbiter of that hap­pi­ness; it pro­vides for their secu­ri­ty, fore­sees and sup­plies their neces­si­ties, facil­i­tates their plea­sures, man­ages their prin­ci­pal con­cerns, directs their indus­try, reg­u­lates the descent of prop­er­ty, and sub­di­vides their inher­i­tances: what remains, but to spare them all the care of think­ing and all the trou­ble of liv­ing?

Being a writer, Houelle­becq nat­u­ral­ly points out the deft­ness of Toc­queville’s style: “It’s mag­nif­i­cent­ly punc­tu­at­ed. The dis­tri­b­u­tion of colons and semi­colons in the sec­tions is mag­nif­i­cent.” But he also has com­ments on the pas­sage’s phi­los­o­phy, pro­nounc­ing that it “con­tains Niet­zsche, only bet­ter.” The oper­a­tive Niet­zschean con­cept here is the “last man,” described in Thus Spoke Zarathus­tra as the pre­sum­able end point of mod­ern soci­ety. If con­di­tions con­tin­ue to progress in the way they have been, each and every human being will become this last man, a weak, com­fort­able, com­pla­cent indi­vid­ual with noth­ing left to fight for, who desires noth­ing more than his small plea­sure for the day, his small plea­sure for the night, and a good sleep.

Safe to say that nei­ther Niet­zsche nor Toc­queville looked for­ward, nor does Houelle­becq look for­ward, to the world of ener­vat­ed last men into which democ­ra­cy could deliv­er us. Houelle­becq also reads aloud anoth­er pas­sage from Democ­ra­cy in Amer­i­ca, one that now appears on the Wikipedia page for soft despo­tism, describ­ing how a demo­c­ra­t­ic gov­ern­ment might gain absolute pow­er over its peo­ple with­out the peo­ple even notic­ing:

After hav­ing thus suc­ces­sive­ly tak­en each mem­ber of the com­mu­ni­ty in its pow­er­ful grasp and fash­ioned him at will, the supreme pow­er then extends its arm over the whole com­mu­ni­ty. It cov­ers the sur­face of soci­ety with a net­work of small com­pli­cat­ed rules, minute and uni­form, through which the most orig­i­nal minds and the most ener­getic char­ac­ters can­not pen­e­trate, to rise above the crowd. The will of man is not shat­tered, but soft­ened, bent, and guid­ed; men are sel­dom forced by it to act, but they are con­stant­ly restrained from act­ing. Such a pow­er does not destroy, but it pre­vents exis­tence; it does not tyr­an­nize, but it com­press­es, ener­vates, extin­guish­es, and stu­pe­fies a peo­ple, till each nation is reduced to noth­ing bet­ter than a flock of timid and indus­tri­ous ani­mals, of which the gov­ern­ment is the shep­herd.

“A lot of what I’ve writ­ten could be sit­u­at­ed with­in this sce­nario,” Houelle­becq says, adding that in his gen­er­a­tion the “defin­i­tive trans­for­ma­tion of soci­ety into indi­vid­u­als” has been more com­plete than Toc­queville or Niet­zsche would have imag­ined.

In addi­tion to lack­ing a fam­i­ly, Houelle­becq (whose sec­ond nov­el was titled Atom­ized) also men­tions hav­ing “the impres­sion of being caught up in a net­work of com­pli­cat­ed, minute, and stu­pid rules” as well as “of being herd­ed toward a uni­form kind of hap­pi­ness, toward a hap­pi­ness which does­n’t real­ly make me hap­py.” In the end, adds Houelle­becq, the aris­to­crat­ic Toc­queville “is in favor of the devel­op­ment of democ­ra­cy and equal­i­ty, while being more aware than any­one else of its dan­gers.” That the 19th-cen­tu­ry Amer­i­ca Toc­queville knew avoid­ed them he cred­it­ed to the “habits of the heart” of the Amer­i­can peo­ple. We cit­i­zens of demo­c­ra­t­ic coun­tries, whichev­er demo­c­ra­t­ic coun­try we live in, would do well to ask where the habits of our own hearts will lead us next.

Relat­ed Con­tent:

Alex­is De Tocqueville’s Democ­ra­cy in Amer­i­ca: An Ani­mat­ed Intro­duc­tion to the Most Insight­ful Study of Amer­i­can Democ­ra­cy

How to Know if Your Coun­try Is Head­ing Toward Despo­tism: An Edu­ca­tion­al Film from 1946

George Orwell’s Final Warn­ing: Don’t Let This Night­mare Sit­u­a­tion Hap­pen. It Depends on You!

Is Mod­ern Soci­ety Steal­ing What Makes Us Human?: A Glimpse Into Nietzsche’s Thus Spoke Zarathus­tra by The Par­tial­ly Exam­ined Life

The His­to­ry of West­ern Social The­o­ry, by Alan Mac­Far­lane, Cam­bridge Uni­ver­si­ty

Hunter S. Thomp­son Gets in a Gun­fight with His Neigh­bor & Dis­pens­es Polit­i­cal Wis­dom: “In a Democ­ra­cy, You Have to Be a Play­er”

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

An Animated Introduction to the Magical Fictions of Jorge Luis Borges

“Read­ing the work of Jorge Luis Borges for the first time is like dis­cov­er­ing a new let­ter in the alpha­bet, or a new note in the musi­cal scale,” writes the BBC’s Jane Cia­bat­tari. Borges’ essay-like works of fic­tion are “filled with pri­vate jokes and eso­ter­i­ca, his­to­ri­og­ra­phy and sar­don­ic foot­notes. They are brief, often with abrupt begin­nings.” His “use of labyrinths, mir­rors, chess games and detec­tive sto­ries cre­ates a com­plex intel­lec­tu­al land­scape, yet his lan­guage is clear, with iron­ic under­tones. He presents the most fan­tas­tic of scenes in sim­ple terms, seduc­ing us into the fork­ing path­way of his seem­ing­ly infi­nite imag­i­na­tion.”

If that sounds like your idea of good read, look a lit­tle deep­er into the work of Argenti­na’s most famous lit­er­ary fig­ure through the ani­mat­ed TED-Ed les­son above. Mex­i­can writer and crit­ic Ilan Sta­vans, the lesson’s cre­ator, begins his intro­duc­tion to Borges by describ­ing a man who “not only remem­bers every­thing he has ever seen, but every time he has seen it in per­fect detail.” Many of you will imme­di­ate­ly rec­og­nize Funes the Mem­o­ri­ous, the star of Borges’ 1942 sto­ry of the same name — and those who don’t will sure­ly want to know more about him.

Sta­vans goes on to describe a library “built out of count­less iden­ti­cal rooms, each con­tain­ing the same num­ber of books of the same length,” that as a whole “con­tains every pos­si­ble vari­a­tion of text.” He also men­tions a rumored “lost labyrinth” that turns out to be “not a phys­i­cal maze but a nov­el,” and a nov­el that reveals the iden­ti­ty of the real labyrinth: time itself. Borges enthu­si­asts know which places Sta­vans is talk­ing about, mean­ing they know in which of Borges’ sto­ries — which their author, stick­ing to a word from his native Span­ish, referred to as fic­ciones — they orig­i­nate.

But though “The Library of Babel” (which in recent years has tak­en a dig­i­tal form online) and “The Gar­den Fork­ing Paths” count as two par­tic­u­lar­ly notable exam­ples of what Sta­vans calls “Borges’ many explo­rations of infin­i­ty,” he found so many ways to explore that sub­ject through­out his writ­ing career that his lit­er­ary out­put func­tions as a con­scious­ness-alter­ing sub­stance. It does to the right read­ers, that is, a group that includes such oth­er mind-bend­ing writ­ers as Umber­to Eco, Rober­to Bolaño, and William Gib­son, none of whom were quite the same after they dis­cov­ered the fic­ciones. Behold Borges’ mir­rors, mazes, tigers, and chess games your­self — there­by catch­ing a glimpse of infin­i­ty — and you, too, will nev­er be able to return to the read­er you once were. Not that you’d want to.

Relat­ed Con­tent:

Jorge Luis Borges Explains The Task of Art

Jorge Luis Borges’ 1967–8 Nor­ton Lec­tures On Poet­ry (And Every­thing Else Lit­er­ary)

An Ani­mat­ed Intro­duc­tion to H.P. Love­craft and How He Invent­ed a New Goth­ic Hor­ror

Why Should You Read James Joyce’s Ulysses?: A New TED-ED Ani­ma­tion Makes the Case

Why You Should Read The Mas­ter and Mar­gari­ta: An Ani­mat­ed Intro­duc­tion to Bulgakov’s Rol­lick­ing Sovi­et Satire

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Beatles Songs Re-Imagined as Vintage Book Covers and Magazine Pages: “Drive My Car,” “Lucy in the Sky with Diamonds” & More

What makes the Bea­t­les the best-known rock band in his­to­ry? None can deny that they com­posed songs of unsur­passed catch­i­ness, a qual­i­ty demon­strat­ed as soon as those songs hit the air­waves. But the past 55 or so years have shown us that they also pos­sess an endur­ing pow­er to inspire: how many begin­ning musi­cians, fired up by their enjoy­ment of the Bea­t­les, play their first notes each day? The trib­utes to the music of the Bea­t­les keep com­ing in non-musi­cal forms as well: take, for exam­ple, these Bea­t­les songs turned into vin­tage book cov­ers and mag­a­zine pages by screen­writer and self-described “graph­ic-arts prankster” Todd Alcott.

“ ‘Dri­ve My Car’ re-imag­ines the clas­sic 1965 Bea­t­les song as a clas­sic 1965 adver­tise­ment for an actu­al car,” Alcott writes of the work at the top of the post, “mash­ing up the image from an ad for a 1966 Chevro­let Cor­vair with the lyrics from the song.”

Below that, “Lucy in the Sky with Dia­monds” makes of that num­ber a mass-mar­ket book cov­er “in the style of Erich von Daniken’s clas­sic 1970s alien-vis­i­ta­tion book Char­i­ots of the Gods?” Below, Alcot­t’s inter­pre­ta­tion of “Tomor­row Nev­er Knows” per­fect­ly re-cre­ates the look (and, with that vis­i­ble cov­er wear, the feel) of a heady 1960s sci­ence-fic­tion nov­el.

Tomor­row Nev­er Knows does sound like a plau­si­ble piece of spec­u­la­tive fic­tion from that era, but Alcott has made use of much more than these songs’ titles. Even casu­al Bea­t­les fans will notice how much of their lyri­cal con­tent he man­ages to work into his designs, for which the 1967 Nation­al Enquir­er cov­er pas­tiche he put togeth­er for the 1967 sin­gle “A Day in the Life” (“com­plete with pho­tos of Tory Browne, the Guin­ness heir about whom the song was writ­ten”) offered an espe­cial­ly rich oppor­tu­ni­ty. Just when the Bea­t­les broke up in real life, the era of the new-age self-help book began, and after see­ing what Alcott did with “Hel­lo Good­bye” using the dis­tinc­tive visu­al brand­ing of that pub­lish­ing trend, you’ll won­der why no one cashed in on such a com­bi­na­tion at the time.

You can see all of Alcot­t’s Bea­t­les book cov­er and mag­a­zine page designs, and buy prints of them in var­i­ous sizes, over at Etsy. Oth­er selec­tions include “Rocky Rac­coon” as an 1880s dime nov­el (pub­lish­ers of which includ­ed a firm named Bea­dles) and “Rev­o­lu­tion” as a Sovi­et his­to­ry book. Open Cul­ture read­ers will know Alcott from his pre­vi­ous for­ays into retro music-to-book graph­ic design, which took the songs of David Bowie, Bob Dylan, Radio­head and oth­ers and re-imag­ined them as sci-fi nov­els, pulp-fic­tion mag­a­zines, and oth­er arti­facts of print cul­ture from times past. In the case of the Bea­t­les, Alcot­t’s for­mi­da­ble skill at evok­ing a high­ly spe­cif­ic era of recent his­to­ry with an image under­scores, by con­trast, the time­less­ness of the songs that inspired them.

Relat­ed Con­tent:

A Short Film on the Famous Cross­walk From the Bea­t­les’ Abbey Road Album Cov­er

How The Bea­t­les’ Sgt. Pepper’s Lone­ly Hearts Club Band Changed Album Cov­er Design For­ev­er

Songs by David Bowie, Elvis Costel­lo, Talk­ing Heads & More Re-Imag­ined as Pulp Fic­tion Book Cov­ers

Clas­sic Songs by Bob Dylan Re-Imag­ined as Pulp Fic­tion Book Cov­ers: “Like a Rolling Stone,” “A Hard Rain’s A‑Gonna Fall” & More

Clas­sic Radio­head Songs Re-Imag­ined as a Sci-Fi Book, Pulp Fic­tion Mag­a­zine & Oth­er Nos­tal­gic Arti­facts

Pulp Cov­ers for Clas­sic Detec­tive Nov­els by Dashiell Ham­mett, Arthur Conan Doyle, Agatha Christie & Ray­mond Chan­dler

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

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