Pioneering Sci-Fi Author William Gibson Predicts in 1997 How the Internet Will Change Our World

“What’s the one thing that all great works of sci­ence fic­tion have in com­mon?” asks a 1997 episode of The Net, the BBC’s tele­vi­sion series about the pos­si­bil­i­ties of this much-talked-about new thing called the inter­net. “They all tried to see into the future, and they all got it wrong. Orwell’s 1984, Hux­ley’s Brave New World, Arthur C. Clarke’s 2001: all, to some extent or oth­er, wrong. And there’s anoth­er name to add to this list: William Gib­son.” But then on strolls Gib­son him­self, fresh off the writ­ing of Idoru, a nov­el involv­ing a human who wants to mar­ry a dig­i­tal­ly gen­er­at­ed Japan­ese pop star, to grant the inter­view above.

In it Gib­son admits that com­put­ers had­n’t gone quite the way he’d imag­ined thir­teen years ear­li­er in his debut nov­el Neu­ro­mancer — but in which he also offers pre­scient advice about how we should regard new tech­nol­o­gy even today. “The thing that Neu­ro­mancer pre­dicts as being actu­al­ly like the inter­net isn’t actu­al­ly like the inter­net at all!” Gib­son says in a more recent inter­view with Wired. “I did­n’t get it right but I said there was going to be some­thing.” Back in the mid-1980s, as he tells the BBC, “there was effec­tive­ly no inter­net to extrap­o­late from. The cyber­space I made up isn’t being used in Neu­ro­mancer the way we’re using the inter­net today.”

Gib­son had envi­sioned a cor­po­rate-dom­i­nat­ed net­work infest­ed with “cyber­net­ic car thieves skulk­ing through it attempt­ing to steal tid­bits of infor­ma­tion.” By the mid-1990s, though, the inter­net had become a place where “a real­ly tal­ent­ed and deter­mined fif­teen-year-old” could cre­ate some­thing more com­pelling than “a multi­na­tion­al enter­tain­ment con­glom­er­ate might come up with.” He tells the BBC that “what the inter­net has become is as much a sur­prise to me as the col­lapse of the Sovi­et Union was,” but at that point he had begun to per­ceive the shape of things to come. “I can’t see why it won’t become com­plete­ly ubiq­ui­tous,” he says, envi­sion­ing its evo­lu­tion “into some­thing like tele­vi­sion to the extent that it pen­e­trates every lev­el of soci­ety.”

At the same time, “it does­n’t mat­ter how fast your modem is if you’re being shelled by eth­nic sep­a­ratists” — still very much a con­cern in cer­tain parts of the world — and even the most promis­ing tech­nolo­gies don’t mer­it our uncrit­i­cal embrace. “I think we should respect the pow­er of tech­nol­o­gy and try to fear it in a ratio­nal way,” he says. “The only appro­pri­ate response” is to give in to nei­ther techno­pho­bia nor technophil­ia, but “to teach our­selves to be absolute­ly ambiva­lent about them and imag­ine their most inad­ver­tent side effects,” the side effects “that tend to get us” — not to men­tion the ones that make the best plot ele­ments. See­ing as how we now live in a world where mar­riage to syn­thet­ic Japan­ese idols has become a pos­si­bil­i­ty, among oth­er devel­op­ments seem­ing­ly pulled from the pages of Gib­son’s nov­els, we would do well to heed even these decades-old words of advice about his main sub­ject.

via Big Think

Relat­ed Con­tent:

Take a Road Trip with Cyber­space Vision­ary William Gib­son, Watch No Maps for These Ter­ri­to­ries (2000)

How Chris Marker’s Rad­i­cal Sci­Fi Film La Jetée Changed the Life of Cyber­punk Prophet William Gib­son

Cyber­punk: 1990 Doc­u­men­tary Fea­tur­ing William Gib­son & Tim­o­thy Leary Intro­duces the Cyber­punk Cul­ture

Sci-Fi Author J.G. Bal­lard Pre­dicts the Rise of Social Media (1977)

Mark Twain Pre­dicts the Inter­net in 1898: Read His Sci-Fi Crime Sto­ry, “From The ‘Lon­don Times’ in 1904”

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.

The “Slave Bible” Removed Key Biblical Passages In Order to Legitimize Slavery & Discourage a Slave Rebellion (1807)

Pho­to via the Muse­um of the Bible

In an 1846 speech to the British and For­eign Anti-Slav­ery Soci­ety, Fred­er­ick Dou­glass summed up the twist­ed bond between slav­ery and reli­gion in the U.S. He began with a short sum­ma­ry of atroc­i­ties that were legal, even encour­aged, against enslaved peo­ple in Vir­ginia and Mary­land, includ­ing hang­ing, behead­ing, draw­ing and quar­ter­ing, rape, “and this is not the worst.” He then made his case:

No, a dark­er fea­ture is yet to be pre­sent­ed than the mere exis­tence of these facts. I have to inform you that the reli­gion of the South­ern states, at this time, is the great sup­port­er, the great sanc­tion­er of the bloody atroc­i­ties to which I have referred. While Amer­i­ca is print­ing tracts and Bibles; send­ing mis­sion­ar­ies abroad to con­vert the hea­then; expend­ing her mon­ey in var­i­ous ways for the pro­mo­tion of the gospel in for­eign lands, the slave not only lies for­got­ten, uncar­ed for, but is tram­pled under­foot by the very church­es of the land.

Dou­glass did not intend his state­ment to be tak­en as an indict­ment of Chris­tian­i­ty, but rather the hypocrisy of Amer­i­can reli­gion, both that “of the South­ern states” and of “the North­ern reli­gion that sym­pa­thizes with it.” He speaks, he says, to reject “the slave­hold­ing, the woman-whip­ping, the mind-dark­en­ing, the soul-destroy­ing reli­gion” of the coun­try, while pro­fess­ing a reli­gion that “makes its fol­low­ers do unto oth­ers as they them­selves would be done by.”

Dou­glass harsh­ly con­demns slave soci­ety in the U.S., but, per­haps giv­en his audi­ence, he also polit­i­cal­ly elides the exten­sive role many church­es in the British Empire played in the slave trade and Atlantic slave economy—a con­tin­ued role, to Douglass’s dis­may, as he found dur­ing his UK trav­els in the 1840s. I’m not sure if he knew that forty years ear­li­er, British mis­sion­ar­ies trav­eled to slave plan­ta­tions in the Caribbean armed with heav­i­ly-edit­ed Bibles in which “any pas­sage that might incite rebel­lion was removed,” as Brig­it Katz writes at Smith­son­ian. But he would hard­ly have been sur­prised.

The use of reli­gion to ter­ror­ize and con­trol rather than lib­er­ate was some­thing Dou­glass under­stood well, hav­ing for decades keen­ly observed slave­own­ers find­ing what they need­ed in the text and ignor­ing or sup­press­ing the rest. In 1807, the Soci­ety for the Con­ver­sion of Negro Slaves went so far as to lit­er­al­ly excise the cen­tral nar­ra­tive of the Old Tes­ta­ment, cre­at­ing an entire­ly dif­fer­ent book for use by mis­sion­ar­ies to the West Indies. “Gone,” Katz points out, “were ref­er­ences to the exo­dus of enslaved Israelites from Egypt,” ref­er­ences that were inte­gral to the self-under­stand­ing of mil­lions of Dias­po­ra Africans.

Gone also were vers­es that might explic­it­ly con­tra­dict the few proof texts slave­hold­ers quot­ed to jus­ti­fy them­selves. Espe­cial­ly dan­ger­ous was Exo­dus 21:16: “And he that stealeth a man, and sel­l­eth him, or if he be found in his hand, he shall sure­ly be put to death.” The typ­i­cal 66 books of a Protes­tant Bible had been reduced to parts of just 14. How is it pos­si­ble to pub­lish a Bible with­out what amounts to the myth­ic ori­gin sto­ry of ancient Israel? One answer is that this was a dif­fer­ent reli­gion, one whose aim, says Antho­ny Schmidt, cura­tor of the Muse­um of the Bible, was to make “bet­ter slaves.”

The “Slave Bible” did not cut out the sub­ject com­plete­ly. Joseph’s enslave­ment in Egypt remains, but this is like­ly as an exam­ple, says Schmidt, of some­one who “accepts his lot in life” and is reward­ed for it, a sto­ry U.S. church­es used in a sim­i­lar fash­ion. Pas­sages in the New Tes­ta­ment that seemed to empha­size equal­i­ty were cut, as was the entire book of Rev­e­la­tion. The infa­mous Eph­esians 6:5—“servants be obe­di­ent to them that are your mas­ters accord­ing to the flesh, in fear and trembling”—remained.

Whether or not the Bible real­ly did sanc­tion slav­ery is a ques­tion still up for debate—and maybe an unan­swer­able one giv­en dif­fer­ences in inter­pre­tive frame­works and the patch­work nature of the dis­parate, redact­ed texts stitched togeth­er as one. But the fact that British and Amer­i­can church­es delib­er­ate­ly used it as a weaponized tool of pro­pa­gan­da and indoc­tri­na­tion is beyond dis­pute. The so-called “Slave Bible” is both a fas­ci­nat­ing his­tor­i­cal arti­fact, a very lit­er­al sym­bol of a prac­tice that was inte­gral to the insti­tu­tion of slavery—the total con­trol of the nar­ra­tive.

Such prac­tices became more extreme after the Hait­ian Rev­o­lu­tion and the many bloody slave revolts in the U.S., as the planter class became increas­ing­ly des­per­ate to hold on to pow­er. One of only three extant “Slave Bibles,” the abridged version—called Parts of the Holy Bible, select­ed for the use of the Negro Slaves, in the British West-India Islands—is now on dis­play at the Muse­um of the Bible in Wash­ing­ton, DC, on loan from Fisk Uni­ver­si­ty. In the NPR inter­view above, Schmidt explains the book’s his­to­ry to All Things Con­sid­ered’s Michel Mar­tin, who her­self describes the text’s pur­pose in the most con­cise way: “To asso­ciate human bondage and human slav­ery with obe­di­ence to the high­er pow­er.”

via The Smith­son­ian

Relat­ed Con­tent:

The Only Sur­viv­ing Text Writ­ten in Ara­bic by an Amer­i­can Slave Has Been Dig­i­tized & Put Online: Read the Auto­bi­og­ra­phy of Enslaved Islam­ic Schol­ar, Omar Ibn Said (1831)

1.5 Mil­lion Slav­ery Era Doc­u­ments Will Be Dig­i­tized, Help­ing African Amer­i­cans to Learn About Their Lost Ances­tors

The Atlantic Slave Trade Visu­al­ized in Two Min­utes: 10 Mil­lion Lives, 20,000 Voy­ages, Over 315 Years

Cor­nell Cre­ates a Data­base of Fugi­tive Slave Ads, Telling the Sto­ry of Those Who Resist­ed Slav­ery in 18th & 19th Cen­tu­ry Amer­i­ca

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

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

Ray Brad­bury’s Fahren­heit 451 envi­sions a future where “fire­men” are sent out not to put out fires, but to burn up any books they find with flamethrow­ers. To stu­dents assigned to read the nov­el today, the idea of an Amer­i­ca that has out­lawed books entire­ly might seem like an intrigu­ing if far-fetched notion, per­haps more suit­ed to the real­i­ty of the 1950s than the real­i­ty of today. Even if we’ve nev­er read Fahren­heit 451, near­ly all of us know the basic out­line of its sto­ry by now, so why should we still read it? In less than five min­utes, the ani­mat­ed TED-Ed video above by the Uni­ver­si­ty of Wis­con­sin-Madis­on’s Iseult Gille­spie offers an answer to that ques­tion.

Fahren­heit 451 depicts a world gov­erned by sur­veil­lance, robot­ics, and vir­tu­al real­i­ty, a vision that proved remark­ably pre­scient, but also spoke to con­cerns of the time,” says Gille­spie. “The nov­el was pub­lished in 1953, at the height of the Cold War.  The era kin­dled wide­spread para­noia and fear through­out Brad­bury’s home coun­try of the Unit­ed States, ampli­fied by the sup­pres­sion of infor­ma­tion and bru­tal gov­ern­ment inves­ti­ga­tions. In par­tic­u­lar, this witch hunt men­tal­i­ty tar­get­ed artists and writ­ers who were sus­pect­ed of com­mu­nist sym­pa­thies. Brad­bury was alarmed at this cul­tur­al crack­down. He believed it set a dan­ger­ous prece­dent for fur­ther cen­sor­ship, and was remind­ed of the destruc­tion of the Library of Alexan­dria and the book-burn­ing of fas­cist regimes.”

These con­cerns, though rel­e­vant to the era in which Brad­bury wrote Fahren­heit 451, are essen­tial­ly time­less. As with all dystopi­an fic­tion, the nov­el “ampli­fies trou­bling fea­tures of the world around us and imag­ines the con­se­quences of tak­ing them to an extreme.” Some of the trou­bling fea­tures of the world 65 years ago have dimin­ished, but some have great­ly increased, and we would do well to bear in mind that in Fahren­heit 45“it was the apa­thy of the mass­es that gave rise to the cur­rent regime. The gov­ern­ment mere­ly cap­i­tal­ized on short atten­tion spans and the appetite for mind­less enter­tain­ment, reduc­ing the cir­cu­la­tion of ideas to ash. As cul­ture dis­ap­pears, imag­i­na­tion and self-expres­sion fol­low.” Cul­ture may take many more forms now than it did in the 1950s, but with­out our con­stant vig­i­lance, all of them could still be extin­guished, just as eas­i­ly as paper goes up in flame.

Relat­ed Con­tent:

Ray Brad­bury Reveals the True Mean­ing of Fahren­heit 451: It’s Not About Cen­sor­ship, But Peo­ple “Being Turned Into Morons by TV”

Father Writes a Great Let­ter About Cen­sor­ship When Son Brings Home Per­mis­sion Slip to Read Ray Bradbury’s Cen­sored Book, Fahren­heit 451

An Asbestos-Bound, Fire­proof Edi­tion of Ray Bradbury’s Fahren­heit 451 (1953)

New Edi­tion of Ray Bradbury’s Fahren­heit 451 That’s Only Read­able When You Apply Heat to Its Pages: Pre-Order It Today

A Teas­er Trail­er for Fahren­heit 451: A New Film Adap­ta­tion of Ray Bradbury’s Ever-Rel­e­vant Nov­el

Hear Ray Bradbury’s Clas­sic Sci-Fi Sto­ry Fahren­heit 451 as a Radio Dra­ma

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.

Librarian Honors a Dying Tree by Turning It Into a Little Free Library

And then she said to Anni­ka, “Why don’t you feel in that old tree stump? One prac­ti­cal­ly always finds things in old tree stumps.” 

- Pip­pi Long­stock­ing, Astrid Lind­gren 

Remem­ber that oth­er clas­sic of chil­dren’s lit­er­a­ture, where­in a boy runs from the city to a seclud­ed moun­tain, tak­ing up res­i­dence in an old tree he hol­lows into a cozy shel­ter?

Pub­lic librar­i­an and artist Shar­alee Armitage Howard’s Lit­tle Free Library is a bit like that, except there was no run­ning involved.

When the ven­er­a­ble and ail­ing cot­ton­wood in her Coeur d’Alene front yard began drop­ping branch­es on cars parked below, Howard faced the inevitable. But rather than chop the tree even with the ground, she arranged with the removal crew to leave a con­sid­er­able amount of stump intact.

Then, in a Pip­pi Long­stock­ing-ish move, she filled it with books for her neigh­bors and strangers to dis­cov­er.

The inte­ri­or has a snug, wood­land vibe, wor­thy of Beat­rix Pot­ter or Ali­son Utt­ley, with tidy shelves, soft light­ing, and a shin­gled roof to pro­tect the con­tents from the ele­ments.

Ever since Decem­ber, when Howard post­ed pho­tos to social media, the fairy­tale-like struc­ture has been engen­der­ing epic amounts of glob­al good­will.

What a beau­ti­ful way to pre­serve and hon­or a tree that stood for well over a cen­tu­ry.

One of the few naysay­ers is Red­dit user dis­cern­ing­per­vert, who is per­haps not giv­ing voice to the Lorax, so much as Thalia, Muse of Com­e­dy, when he writes:

It’s like a house of hor­rors for trees. Inside the corpse of their for­mer com­rade are the processed rem­nants of their tree­broth­ers and treesisters.

A lit­er­al Tree­house of Hor­ror…

Vis­it Howard’s Lit­tle Free Library (char­ter #8206) the next time you’re in Ida­ho. Or install one of your own.

(Those with trees to throw at the cause may want to begin with the stump hol­low­ing tuto­r­i­al below.)

via Twist­ed Sifter

Relat­ed Con­tent:

RIP Todd Bol, Founder of the Lit­tle Free Library Move­ment: He Leaves Behind 75,000 Small Libraries That Pro­mote Read­ing World­wide

Free Libraries Shaped Like Doc­tor Who’s Time-Trav­el­ing TARDIS Pop Up in Detroit, Saska­toon, Macon & Oth­er Cities

Grow­ing Up Sur­round­ed by Books Has a Last­ing Pos­i­tive Effect on the Brain, Says a New Sci­en­tif­ic Study

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  See her onstage in New York City in Feb­ru­ary as host of  The­ater of the Apes book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

A New Edition of Ray Bradbury’s Fahrenheit 451 That’s Only Readable When You Apply Heat to Its Pages: Pre-Order It Today

Ray Brad­bury’s Fahren­heit 451, a nov­el of a near­ly book­less dystopi­an future in which “fire­men” go around burn­ing any last vol­umes they can find, lends itself well to high­ly phys­i­cal spe­cial edi­tions. Last year we fea­tured an asbestos-bound, fire­proof ver­sion, 200 copies of which were pub­lished at the book’s first print­ing in 1953. The year before we fea­tured an exper­i­men­tal edi­tion per­haps even more faith­ful­ly reflec­tive of the sto­ry’s premise, one whose all-black pages only reveal the neg­a­tive space around the text with the appli­ca­tion of heat.

“Graph­ic design stu­dio Super Terrain’s edi­tion of Ray Bradbury’s sci-fi clas­sic Fahren­heit-451 took the inter­net by storm,” writes Elec­tric Lit­er­a­ture, “thanks to a video show­ing how its all-black pages become read­able text when exposed to an open flame.

Now, “for only $451  —  get it?  —  you can pre­order one to keep on a spe­cial­ly-heat­ed shelf in your home!” As not­ed in that post, you could also expose its text using some­thing oth­er than an open flame (a hair dry­er, for exam­ple), but that would hard­ly put you as much in the mind of the nov­el­’s “fire­men” with their book-erad­i­cat­ing flamethrow­ers. What­ev­er you use to heat up the pages, they revert right back to their car­bonized-look­ing black as soon as they cool down.

In Fahren­heit 451, says Super Ter­rain’s man­i­festo for this unusu­al edi­tion of the nov­el, Brad­bury “ques­tions the cen­tral role played by books in cul­ture and expos­es the pos­si­ble drifts of a soci­ety ruled by imme­di­a­cy. This tyran­ny of hap­pi­ness pre­vents any form of con­tes­ta­tion that could be nur­tured by reflex­ion, mem­o­ry or cul­ture in books or works of art.” This black-paged book “could be part of Bradbury’s fic­tion as a trick to keep and hide away the books from the pyro­ma­ni­ac fire­men. By set­ting the book on fire, the read­er plunges into the nov­el and becomes the hyphen between real­i­ty and fic­tion.” How rel­e­vant has all of this remained in our “time of con­tin­u­ous flow of images, self­ies, fake news, tweets and oth­er ‘digest-digest-digests’ ”? Strike a match, flick on your lighter, or pow­er up your hair dry­er — all, of course, under adult super­vi­sion if nec­es­sary — and find out for your­self.

via Elec­tric Lit­er­a­ture

Relat­ed Con­tent:

To Read This Exper­i­men­tal Edi­tion of Ray Bradbury’s Fahren­heit 451, You’ll Need to Add Heat to the Pages

Ray Brad­bury Reveals the True Mean­ing of Fahren­heit 451: It’s Not About Cen­sor­ship, But Peo­ple “Being Turned Into Morons by TV”

Father Writes a Great Let­ter About Cen­sor­ship When Son Brings Home Per­mis­sion Slip to Read Ray Bradbury’s Cen­sored Book, Fahren­heit 451

An Asbestos-Bound, Fire­proof Edi­tion of Ray Bradbury’s Fahren­heit 451 (1953)

Hear Ray Bradbury’s Clas­sic Sci-Fi Sto­ry Fahren­heit 451 as a Radio Dra­ma

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.

Marie Kondo v. Tsundoku: Competing Japanese Philosophies on Whether to Keep or Discard Unread Books

By now we’ve all heard of Marie Kon­do, the Japan­ese home-orga­ni­za­tion guru whose book The Life-Chang­ing Mag­ic of Tidy­ing Up became an inter­na­tion­al best­seller in 2011. Her advice about how to straight­en up the home, brand­ed the “Kon­Mari” method, has more recent­ly land­ed her that brass ring of ear­ly 21st-cen­tu­ry fame, her own Net­flix series. A few years ago we fea­tured her tips for deal­ing with your piles of read­ing mate­r­i­al, which, like all her advice, are based on dis­card­ing the items that no longer “spark joy” in one’s life. These include “Take your books off the shelves,” “Make sure to touch each one,” and that you’ll nev­er read the books you mean to read “some­time.”

But as a big a fan base as Kon­do now com­mands around the world, not every­one agrees with her meth­ods, espe­cial­ly when she applies them to the book­shelf. “Do NOT lis­ten to Marie Kon­do or Kon­mari in rela­tion to books,” the nov­el­ist Anakana Schofield post­ed to Twit­ter ear­li­er this month. “Fill your apart­ment & world with them. I don’t give a shite if you throw out your knick­ers and Tup­per­ware but the woman is very mis­guid­ed about BOOKS. Every human needs a v exten­sive library not clean, bor­ing shelves.” Fur­ther­more, “the notion that books should spark joy is a LUDICROUS one. I have said it a hun­dred times: Lit­er­a­ture does not exist only to com­fort and pla­cate us. It should dis­turb + per­turb us. Life is dis­turb­ing.”

Wash­ing­ton Post book crit­ic Ron Charles crit­i­cizes Kon­do’s book pol­i­cy from a dif­fer­ent angle. “I have a sin­gle cab­i­net full of chipped mugs, but I have a house full of books — thou­sands of books. To take every sin­gle book into my hands and test it for spark­i­ness would take years. And dur­ing that time, so many more books will pour in.” That phe­nom­e­non will be famil­iar to read­ers of Open Cul­ture, since we’ve pre­vi­ous­ly fea­tured tsun­doku, a pun­nish Japan­ese com­pound word that means the books that amass unread here and there in one’s home.

Though they might have emerged from the same wider cul­ture, the Kon­Mari method and the con­cept of tsun­doku could hard­ly be more direct­ly opposed. But now that Schofield, Charles, and many oth­ers have voiced their per­spec­tives, the bat­tle lines are drawn: must books spark joy in the moment to earn their keep, or can they be allowed to pile up in the name of poten­tial future use­ful­ness — or at least use­ful dis­tur­bance and per­tur­ba­tion?

Relat­ed Con­tent:

Change Your Life! Learn the Japan­ese Art of Declut­ter­ing, Orga­niz­ing & Tidy­ing Things Up

Orga­ni­za­tion Guru Marie Kondo’s Tips for Deal­ing with Your Mas­sive Piles of Unread Books (or What They Call in Japan “Tsun­doku”)

“Tsun­doku,” the Japan­ese Word for the New Books That Pile Up on Our Shelves, Should Enter the Eng­lish Lan­guage

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.

The Books That Samuel Beckett Read and Really Liked (1941–1956)

becket list 1

Samuel Beck­ett, Pic, 1″ by Roger Pic. Via Wiki­me­dia Com­mons

Clad in a black turtle­neck and with a shock of white hair, Samuel Beck­ett was a gaunt, gloomy high priest of mod­ernism. After the 1955 pre­miere of Samuel Beckett’s play Wait­ing for Godot (watch him stage a per­for­mance here), Ken­neth Tynan quipped, ”It has no plot, no cli­max, no denoue­ment; no begin­ning, no mid­dle and no end.” From there, Beckett’s work only got more aus­tere, bleak and despair­ing. His 1969 play Breath, for instance, runs just a minute long and fea­tures just the sound of breath­ing.

An intense­ly pri­vate man, he man­aged to mes­mer­ize the pub­lic even as he turned away from the lime­light. When he won the Nobel Prize in 1969 (after being reject­ed in 1968), his wife Suzanne, fear­ing the onslaught of fame that the award would bring, decried it as a “cat­a­stro­phe.”

A recent­ly pub­lished col­lec­tion of his let­ters from 1941–1956, the peri­od lead­ing up to his inter­na­tion­al suc­cess with his play Wait­ing for Godot, casts some light on at least one cor­ner of the man’s pri­vate life – what books were pil­ing up on his bed stand. Below is an anno­tat­ed list of what he was read­ing dur­ing that time. Not sur­pris­ing­ly, he real­ly dug Albert Camus’s The Stranger. “Try and read it,” he writes. “I think it is impor­tant.” He dis­miss­es Agatha Christie’s Crooked House as “very tired Christie” but prais­es Around the World in 80 Days: “It is live­ly stuff.” But the book he reserves the most praise for is J.D. Salinger’s Catch­er in the Rye. “I liked it very much indeed, more than any­thing for a long time.”

You can see the full list below. It was orig­i­nal­ly pub­lished online by Cam­bridge Uni­ver­si­ty Press in 2011. Books with an aster­isk next to the title can be found in our col­lec­tion of 700 Free eBooks.

Andro­maqueby Jean Racine: “I read Andro­maque again with greater admi­ra­tion than ever and I think more under­stand­ing, at least more under­stand­ing of the chances of the the­atre today.”

Around the World in 80 Days* by Jules Verne: “It is live­ly stuff.”

The Cas­tle by Franz Kaf­ka: “I felt at home, too much so – per­haps that is what stopped me from read­ing on. Case closed there and then.”

The Catch­er in the Rye by J.D. Salinger: “I liked it very much indeed, more than any­thing for a long time.”

Crooked House by Agatha Christie: “very tired Christie”

Effi Briest* by Theodor Fontane: “I read it for the fourth time the oth­er day with the same old tears in the same old places.”

The Hunch­back of Notre Dame* by Vic­tor Hugo

Jour­ney to the End of the Night by Louis-Fer­di­nand Céline

Lautrea­mont and Sade by Mau­rice Blan­chot: “Some excel­lent ideas, or rather start­ing-points for ideas, and a fair bit of ver­biage, to be read quick­ly, not as a trans­la­tor does. What emerges from it though is a tru­ly gigan­tic Sade, jeal­ous of Satan and of his eter­nal tor­ments, and con­fronting nature more than with humankind.”

Man’s Fate by Andre Mal­raux

Mos­qui­toes by William Faulkn­er: “with a pref­ace by Que­neau that would make an ostrich puke”

The Stranger by Albert Camus: “Try and read it, I think it is impor­tant.”

The Temp­ta­tion to Exist by Emil Cio­ran: “Great stuff here and there. Must reread his first.”

La 628-E8* by Octave Mir­beau: “Damned good piece of work.”

Note: An ear­li­er ver­sion of this post appeared on our site in March, 2015.

via Cam­bridge Uni­ver­si­ty Press

Relat­ed Con­tent:

Samuel Beck­ett Directs His Absur­dist Play Wait­ing for Godot (1985)

Mon­ster­piece The­ater Presents Wait­ing for Elmo, Calls BS on Samuel Beck­ett

Rare Audio: Samuel Beck­ett Reads Two Poems From His Nov­el Watt

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

The Largest J.R.R. Tolkien Exhibit in Generations Is Coming to the U.S.: Original Drawings, Manuscripts, Maps & More

“I first took on The Lord of the Rings at the age of eleven or twelve,” writes The New York­er’s Antho­ny Lane. “It was, and remains, not a book that you hap­pen to read, like any oth­er, but a book that hap­pens to you: a chunk bit­ten out of your life.” The pre­teen years may remain the most oppor­tune ones in which to pick up the work of J.R.R. Tolkien, but what­ev­er the peri­od in life at which they find their way in, most read­ers who make the jour­ney through Mid­dle-earth nev­er real­ly leave the place. And it hard­ly requires cov­er­ing much more ground to get from hun­ger­ing to know every­thing about the world of The Lord of the Rings — one rich with its own ter­rain, its own races, its own lan­guages — to hun­ger­ing to know how Tolkien cre­at­ed it.

Now the count­less Lord of the Rings enthu­si­asts in Amer­i­ca have their chance to behold the mate­ri­als first-hand. The exhi­bi­tion Tolkien: Mak­er of Mid­dle-Earth, which runs from Jan­u­ary 25th to May 12th of this year at New York’s Mor­gan Library and Muse­um, will assem­ble “the most exten­sive pub­lic dis­play of orig­i­nal Tolkien mate­r­i­al for sev­er­al gen­er­a­tions,” draw­ing from “the col­lec­tions of the Tolkien Archive at the Bodleian Library (Oxford), Mar­quette Uni­ver­si­ty Libraries (Mil­wau­kee), the Mor­gan, and pri­vate lenders.”

All told, it will include “fam­i­ly pho­tographs and mem­o­ra­bil­ia, Tolkien’s orig­i­nal illus­tra­tions, maps, draft man­u­scripts, and designs relat­ed to The Hob­bit, The Lord of the Rings, and The Sil­mar­il­lion.”

Men­tal Floss’ Emi­ly Pet­sko also high­lights the pres­ence of “orig­i­nal illus­tra­tions of Smaug the drag­on (from The Hob­bit), Sauron’s Dark Tow­er of Barad-dûr (described in The Lord of the Rings and The Sil­mar­il­lion), and oth­er rec­og­niz­able char­ac­ters,” as well as that of Tolkien’s draft man­u­scripts that “pro­vide a win­dow into his cre­ative process, as well as the vivid, expan­sive worlds he cre­at­ed.” You can see more of the things Tolkien­ian that will soon come avail­able for pub­lic view­ing at the Mor­gan in the exhi­bi­tion’s trail­er at the top of the post.

The Lord of the Rings has remained com­i­cal­ly divi­sive,” Lane writes. “It is either adored, with vary­ing degrees of guilt, or robust­ly despised, often by those who have yet to open it.” But after see­ing an exhi­bi­tion like Tolkien: Mak­er of Mid­dle-Earth, even Tolkien’s harsh­est crit­ics may well find them­selves per­suad­ed to acknowl­edge the scale and depth of the books’ achieve­ment, as well as the ded­i­ca­tion and even brav­ery of its cre­ator. As Lane puts it, “The Lord of the Rings may be the final stab at epic, and there is invari­ably some­thing risky, if not down­right ris­i­ble, in a last gasp.” But “Tolkien believed that he could repro­duce the epic form under mod­ern con­di­tions,” the fruit of that belief con­tin­ues to enrap­ture read­ers of all ages more than 60 years lat­er.

If you can’t wait for the exhi­bi­tion, you might want to have a look at Wayne G. Ham­mond and Christi­na Scul­l’s book, J.R.R. Tolkien: Artist and Illus­tra­tor. It’s already pub­lished.

via AM New York and Men­tal Floss

Relat­ed Con­tent:

110 Draw­ings and Paint­ings by J.R.R. Tolkien: Of Mid­dle-Earth and Beyond

Dis­cov­er J.R.R. Tolkien’s Per­son­al Book Cov­er Designs for The Lord of the Rings Tril­o­gy

Hear J.R.R. Tolkien Read From The Lord of the Rings and The Hob­bit

Map of Mid­dle-Earth Anno­tat­ed by Tolkien Found in a Copy of Lord of the Rings

An Atlas of Lit­er­ary Maps Cre­at­ed by Great Authors: J.R.R Tolkien’s Mid­dle Earth, Robert Louis Stevenson’s Trea­sure Island & More

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.

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