Joan Didion Creates a Handwritten List of the 19 Books That Changed Her Life

If you’ve read much Joan Did­ion, you’ve almost sure­ly come across an obser­va­tion or phrase that has changed the way you look at Cal­i­for­nia, the media, or the cul­ture of the late 20th cen­tu­ry — or indeed, changed your life. But if life-chang­ing writ­ers have all had their own lives changed by the writ­ers before them, which writ­ers made Joan Did­ion the Joan Did­ion whose writ­ing still exerts an influ­ence today? Con­ve­nient­ly enough, the author of Play It as It LaysSlouch­ing Towards Beth­le­hem, and The White Album once drew up a list of the books that changed her life, and it sur­faced on Insta­gram a few years ago:

  1. A Farewell to Arms by Ernest Hem­ing­way
  2. Vic­to­ry by Joseph Con­rad
  3. Guer­ril­las by V.S. Naipaul
  4. Down and Out in Paris and Lon­don by George Orwell
  5. Won­der­land by Joyce Car­ol Oates
  6. Wuther­ing Heights by Emi­ly Bron­të
  7. The Good Sol­dier by Ford Madox Ford
  8. One Hun­dred Years of Soli­tude by Gabriel Gar­cia Márquez
  9. Crime and Pun­ish­ment by Fyo­dor Dos­toyevsky
  10. Appoint­ment in Samar­ra by John O’Hara
  11. The Exe­cu­tion­er’s Song by Nor­man Mail­er
  12. The Nov­els of Hen­ry James: Wash­ing­ton Square, Por­trait of a Lady, The Bosto­ni­ans, Wings of the Dove, The Ambas­sadors, The Gold­en Bowl, Daisy Miller, The Aspern Papers, The Turn of the Screw
  13. Speed­boat by Rena­ta Adler
  14. Go Tell It on the Moun­tain by James Bald­win
  15. Notes of a Native Son by James Bald­win
  16. The Berlin Sto­ries by Christo­pher Ish­er­wood
  17. Col­lect­ed Poems by Robert Low­ell
  18. Col­lect­ed Poems by W.H. Auden
  19. The Col­lect­ed Poems by Wal­lace Stevens

In 1978, when Did­ion had already become a new-jour­nal­ism icon, The Paris Review’s Lin­da Kuehl asked her whether any writer influ­enced her more than oth­ers. “I always say Hem­ing­way,” she replied, “because he taught me how sen­tences worked. When I was fif­teen or six­teen I would type out his sto­ries to learn how the sen­tences worked. I taught myself to type at the same time.” Teach­ing A Farewell to Arms, her num­ber-one most influ­en­tial book, she “fell right back into those sen­tences. I mean they’re per­fect sen­tences. Very direct sen­tences, smooth rivers, clear water over gran­ite, no sink­holes.”

Did­ion’s list also includes oth­er mas­ters of the sen­tence, albeit most of them pos­sessed of sen­si­bil­i­ties quite dis­tinct from Hem­ing­way’s. Hen­ry James, for instance: “He wrote per­fect sen­tences, too, but very indi­rect, very com­pli­cat­ed. Sen­tences with sink­holes. You could drown in them.” Con­sid­er them along­side the oth­er writ­ers among her favored nine­teen, from nov­el­ists like Emi­ly Bron­të and Joyce Car­ol Oates to poets like Wal­lace Stevens and W.H. Auden to fig­ures with one foot in lit­er­a­ture and the oth­er in jour­nal­ism like George Orwell and Nor­man Mail­er, and you’ve got a mix that no two aspir­ing writ­ers could read and come out sound­ing exact­ly alike. No sur­prise that such a set of influ­ences would pro­duce a writer like Did­ion, so often imi­tat­ed but, in her niche, nev­er equaled.

via Brain­Pick­ings

Relat­ed Con­tent:

Read 12 Mas­ter­ful Essays by Joan Did­ion for Free Online, Span­ning Her Career From 1965 to 2013

Joan Did­ion Reads From New Mem­oir, Blue Nights, in Short Film Direct­ed by Grif­fin Dunne

New Doc­u­men­tary Joan Did­ion: The Cen­ter Will Not Hold Now Stream­ing on Net­flix

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities 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.

How the Brilliant Colors of Medieval Illuminated Manuscripts Were Made with Alchemy

Today the word “alche­my” seems used pri­mar­i­ly to label a vari­ety of crack­pot pur­suits, with their bogus premis­es and impos­si­ble promis­es. To the extent that alchemists long strove to turn lead mirac­u­lous­ly into gold, that sounds like a fair enough charge, but the field of alche­my as a whole, whose his­to­ry runs from Hel­lenis­tic Egypt to the 18th cen­tu­ry (with a revival in the 19th), chalked up a few last­ing, real­i­ty-based accom­plish­ments as well. Take, for instance, medieval illu­mi­nat­ed man­u­scripts: with­out alche­my, they would­n’t have the vivid and var­ied col­or palettes that con­tin­ue to enrich our own vision of that era.

Many of the illu­mi­na­tors’ most bril­liant pig­ments “did­n’t come straight from nature but were made through alche­my,” says the video from the Get­ty above, pro­duced to accom­pa­ny the muse­um’s exhi­bi­tion “The Alche­my of Col­or in Medieval Man­u­scripts.”

Alchemists “explored how mate­ri­als inter­act­ed and trans­formed,” and “dis­cov­er­ing paint col­ors was a prac­ti­cal out­come.” The col­ors they devel­oped includ­ed “mosa­ic gold,” a fusion of tin and sul­fur; verdi­gris, “made by expos­ing cop­per to fumes of vine­gar, wine, or even urine”; and ver­mil­lion, a mix­ture of sul­fur and mer­cury that made a bril­liant red “asso­ci­at­ed with chem­i­cal change and with alche­my itself.”

The very nature of books, specif­i­cal­ly the fact that they spend most of the time closed, has per­formed a degree of inad­ver­tent preser­va­tion of illu­mi­nat­ed man­u­scripts, keep­ing their alchem­i­cal col­ors rel­a­tive­ly bold and deep. (Although, as the Get­ty video notes, some pig­ments such as verdi­gris have a ten­den­cy to eat through the paper — one some­how wants to blame the urine.) Still, that hard­ly means that preser­va­tion­ists have noth­ing to do where illu­mi­nat­ed man­u­scripts are con­cerned: keep­ing the win­dows they pro­vide onto the his­to­ries of art, the book, and human­i­ty clear takes work, some of it based on an ever-improv­ing under­stand­ing of alche­my. Lead may nev­er turn into gold, but these cen­turies-old illu­mi­nat­ed man­u­scripts may sur­vive cen­turies into the future, a fact that seems not entire­ly un-mirac­u­lous itself.

Relat­ed Con­tent:

Behold the Beau­ti­ful Pages from a Medieval Monk’s Sketch­book: A Win­dow Into How Illu­mi­nat­ed Man­u­scripts Were Made (1494)

The Aberdeen Bes­tiary, One of the Great Medieval Illu­mi­nat­ed Man­u­scripts, Now Dig­i­tized in High Res­o­lu­tion & Made Avail­able Online

1,600-Year-Old Illu­mi­nat­ed Man­u­script of the Aeneid Dig­i­tized & Put Online by The Vat­i­can

Dante’s Divine Com­e­dy Illus­trat­ed in a Remark­able Illu­mi­nat­ed Medieval Man­u­script (c. 1450)

Won­der­ful­ly Weird & Inge­nious Medieval Books

1,000-Year-Old Illus­trat­ed Guide to the Med­i­c­i­nal Use of Plants Now Dig­i­tized & Put Online

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities 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.

Bill Gates Names His New Favorite Book of All Time: A Quick Introduction to Steven Pinker’s Enlightenment Now

How’s this for a nice book blurb?

In a recent blog post, Microsoft co-founder and phil­an­thropist Bill Gates wrote this:

For years, I’ve been say­ing Steven Pinker’s The Bet­ter Angels of Our Nature was the best book I’d read in a decade. If I could rec­om­mend just one book for any­one to pick up, that was it. Pinker uses metic­u­lous research to argue that we are liv­ing in the most peace­ful time in human his­to­ry. I’d nev­er seen such a clear expla­na­tion of progress.

I’m going to stop talk­ing up Bet­ter Angels so much, because Pinker has man­aged to top him­self. His new book, Enlight­en­ment Now, is even bet­ter.

Enlight­en­ment Now takes the approach he uses in Bet­ter Angels to track vio­lence through­out his­to­ry and applies it to 15 dif­fer­ent mea­sures of progress (like qual­i­ty of life, knowl­edge, and safe­ty). The result is a holis­tic pic­ture of how and why the world is get­ting bet­ter. It’s like Bet­ter Angels on steroids.

Although the book won’t get offi­cial­ly released until Feb­ru­ary 13th, Pinker’s Enlight­en­ment Now is already one of the 20 best­selling books on Amazon–no doubt part­ly thanks to Bill Gates. If you’re look­ing to get dis­abused of the wide­ly-shared belief that the world is mov­ing in the wrong direc­tion,  you might want to pick up your own copy. (Soon, you could also down­load it as a free audio­book through Audible.com’s free tri­al pro­gram.)

For a deep­er dive into Enlight­en­ment Now watch the video above, and par­tic­u­lar­ly read Gates’s review of what he calls “my new favorite book of all time.”

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.

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Relat­ed Con­tent:

Steven Pinker Explains the Neu­ro­science of Swear­ing (NSFW)

Bill Gates Rec­om­mends Five Books for Sum­mer 2017

Steven Pinker on the His­to­ry of Vio­lence: A Hap­py Tale

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Werner’s Nomenclature of Colour, the 19th-Century “Color Dictionary” Used by Charles Darwin (1814)

Before Pan­tone invent­ed “a uni­ver­sal col­or lan­guage” or big box hard­ware stores arose with pro­pri­etary dis­plays of col­or­ful­ly-named paints—over a cen­tu­ry before, in fact—a Ger­man min­er­al­o­gist named Abra­ham Got­t­lob Wern­er invent­ed a col­or sys­tem, as detailed and thor­ough a guide as an artist might need. But rather than only cater to the needs of painters, design­ers, and man­u­fac­tur­ers, Werner’s Nomen­cla­ture of Colours also served the needs of sci­en­tists. “Charles Dar­win even used the guide,” writes This is Colos­sal, “dur­ing his voy­age to the Madeira, Canary, and Cape Verde islands on the H.M.S. Bea­gle.”

Werner’s is one of many such “col­or dic­tio­nar­ies” from the 19th cen­tu­ry, “designed to give peo­ple around the world a com­mon vocab­u­lary,” writes Daniel Lewis at Smith­son­ian, “to describe the col­ors of every­thing from rocks and flow­ers to stars, birds, and postage stamps.” These guides appealed espe­cial­ly to nat­u­ral­ists.

Indeed, the book began—before Scot­tish painter Patrick Syme updat­ed the sys­tem in Eng­lish, with swatch­es of exam­ple colors—as a naturalist’s guide to the col­ors of the world, nam­ing them accord­ing to Werner’s poet­ic fan­cy. “With­out an image for ref­er­ence,” the orig­i­nal text “pro­vid­ed immense hand­writ­ten detail describ­ing where each spe­cif­ic shade could be found on an ani­mal, plant, or min­er­al. Many of Wern­er’s unique col­or names still exist in com­mon usage, though they’ve detached from his scheme ages ago.

Pruss­ian Blue, for instance, which can be locat­ed “in the beau­ty spot of a mallard’s wing, on the sta­mi­na of a bluish-pur­ple anemone, or in a piece of blue cop­per ore.” Oth­er exam­ples, notes Fast Company’s Kelsey Camp­bell-Dol­laghan, include “’Skimmed Milk White,’” or no. 7… found in ‘the white of the human eye’ or in opals,” and no. 67, or “’Wax Yel­low’… found in the lar­vae of large Water Bee­tles or the green­ish parts of a Non­pareil Apple.” It would have been Syme’s 1814 guide that Dar­win con­sult­ed, as did sci­en­tists, nat­u­ral­ists, and artists for two cen­turies after­ward, either as a tax­o­nom­ic col­or ref­er­ence or as an admirable his­toric artifact—a painstak­ing descrip­tion of the col­ors of the world, or those encoun­tered by two 18th and 19th cen­tu­ry Euro­pean observers, in an era before pho­to­graph­ic repro­duc­tion cre­at­ed its own set of stan­dards.

The book is now being repub­lished in an afford­able pock­et-size edi­tion by Smith­son­ian Books, who note that the Edin­burgh flower painter Syme, in his illus­tra­tions of Werner’s nomen­cla­ture, “used the actu­al min­er­als described by Wern­er to cre­ate the col­or charts.” This degree of fideli­ty to the source extends to Syme’s use of tables to neat­ly orga­nize Werner’s pre­cise descrip­tions. Next to each color’s num­ber, name, and swatch, are columns with its loca­tion on var­i­ous ani­mals, veg­eta­bles and min­er­als. “Orpi­ment Orange,” named after a min­er­al, though none is list­ed in its col­umn, will be found, Wern­er tells us, on the “neck ruff of the gold­en pheas­ant” or “bel­ly of the warty newt.” Should you have trou­ble track­ing these down, sure­ly you’ve got some “Indi­an cress” around?

While its ref­er­ences may not be those your typ­i­cal indus­tri­al design­er or graph­ic artist is like­ly to find help­ful, Werner’s Nomen­cla­ture of Colours will still find a trea­sured place in the col­lec­tions of design­ers and visu­al artists of all kinds, as well as his­to­ri­ans, writ­ers, poets, and the sci­en­tif­ic inher­i­tors of 19th cen­tu­ry nat­u­ral­ism, as a “charm­ing arti­fact from the gold­en age of nat­ur­al his­to­ry and glob­al explo­ration.” Flip through a scanned ver­sion of the 1821 sec­ond edi­tion just above, includ­ing Wern­er’s intro­duc­tion and care­ful lists of col­or prop­er­ties, or read it in a larg­er for­mat at the Inter­net Archive. The new edi­tion is now avail­able for pur­chase here.

via This Is Colos­sal/Fast Co

Relat­ed Con­tent:

The Vibrant Col­or Wheels Designed by Goethe, New­ton & Oth­er The­o­rists of Col­or (1665–1810)

Goethe’s Col­or­ful & Abstract Illus­tra­tions for His 1810 Trea­tise, The­o­ry of Col­ors: Scans of the First Edi­tion

How Tech­ni­col­or Rev­o­lu­tion­ized Cin­e­ma with Sur­re­al, Elec­tric Col­ors & Changed How We See Our World

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

Read the Poignant Letter Sent to Anne Frank by George Whitman, Owner of Paris’ Famed Shakespeare & Co Bookshop (1960): “If I Sent This Letter to the Post Office It Would No Longer Reach You”

Be not inhos­pitable to strangers, lest they be angels in dis­guise.

More than a few vis­i­tors to Paris’ fabled Shake­speare & Com­pa­ny book­shop assume that the quote they see paint­ed over an arch­way is attrib­ut­able to Yeats or Shake­speare.

In fact, its author was George Whit­man, the store’s late own­er, a grand “hobo adven­tur­er” in his 20s who made such an impres­sion that he spent the rest of his life wel­com­ing trav­el­ers and encour­ag­ing young writ­ers, who flocked to the shop. A great many became Tum­ble­weeds, the nick­name giv­en to those who trad­ed a few hours of vol­un­teer work and a pledge to read a book a day in return for spar­tan accom­mo­da­tion in the store itself.

In light of this gen­eros­i­ty, Whitman’s 1960 let­ter to Anne Frank (1929–1945) is all the more mov­ing.

One won­ders what inspired him to write it. It’s a not an uncom­mon impulse, but usu­al­ly the authors are stu­dents close to the same age as Anne was at the time of her death.

Per­haps it was an inter­ac­tion with a Tum­ble­weed.

Had she sur­vived the hor­rors of the Nazi con­cen­tra­tion camps that exter­mi­nat­ed all but one inhab­i­tant of the Secret Annex in which she penned her famous diary, she would have made a great one.

He refrained from men­tion­ing his own ser­vice in World War II, pos­si­bly because he was post­ed to a remote weath­er sta­tion in Green­land. Unlike oth­er Amer­i­can vet­er­ans, he had­n’t wit­nessed with his own eyes the sort of hell she endured. If he had, he might not have been able to address her with such ini­tial light­ness of tone.

One can’t help but think how delight­ed the ram­bunc­tious young teen would have been by his sense of humor, his descrip­tions of his bohemi­an booklovers’ paradise—then called Le Mistral—and ref­er­ences to his dog, François Vil­lon, and cat, Kit­ty, named in hon­or of Anne’s pet name for her diary.

His pro­found obser­va­tions on the imper­ma­nence of life and the pol­i­tics of war con­tin­ue to res­onate deeply with those who read the let­ter as its intend­ed recip­i­ents’ prox­ies:

Le Mis­tral

37 rue de la Bûcherie

Dear Anne Frank,

If I sent this let­ter to the post office it would no longer reach you because you have been blot­ted out from the uni­verse. So I am writ­ing an open let­ter to those who have read your diary and found a lit­tle sis­ter they have nev­er seen who will nev­er entire­ly dis­ap­pear from earth as long as we who are liv­ing remem­ber her.

You want­ed to come to Paris for a year to study the his­to­ry of art and if you had, per­haps you might have wan­dered down the quai Notre-Dame and dis­cov­ered a lit­tle book­store beside the gar­den of Saint-Julien-le-Pau­vre. You know enough French to read the notice on the door—Chien aimable, Priere d’en­tr­er. The dog is not real­ly a dog at all but a poet called Fran­cois Vil­lon who has returned to the city he loved after many years of exile. He is sit­ting by the fire next to a kit­ten with a very unusu­al name. You will be pleased to know she is called Kit­ty after the imag­i­nary friend to whom you wrote the let­ters in your jour­nal.

Here in our book­store it is like a fam­i­ly where your Chi­nese sis­ters and your broth­ers from all lands sit in the read­ing rooms and meet the Parisians or have tea with the writ­ers from abroad who are invit­ed to live in our Guest House.

Remem­ber how you wor­ried about your incon­sis­ten­cies, about your two selves—the gay flir­ta­tious super­fi­cial Anne that hid the qui­et serene Anne who tried to love and under­stand the world. We all of us have dual natures. We all wish for peace, yet in the name of self-defense we are work­ing toward self-oblit­er­a­tion. We have built arma­ments more pow­er­ful than the total of all those used in all the wars in his­to­ry. And if the mil­i­tarists who dis­like nego­ti­at­ing the minor dif­fer­ences that sep­a­rate nations are not under the wise civil­ian author­i­ty they have the pow­er to write man’s tes­ta­ment on a dead plan­et where radioac­tive cities are sur­round­ed by jun­gles of dying plants and poi­so­nous weeds.

Since a nuclear could destroy half the world’s pop­u­la­tion as well as the mate­r­i­al basis of civ­i­liza­tion, the Sovi­et Gen­er­al Niko­lai Tal­en­sky con­cludes that war is no longer con­ceiv­able for the solu­tion of polit­i­cal dif­fer­ences.

A young girl’s dreams record­ed in her diary from her thir­teenth to her fif­teenth birth­day means more to us today than the labors of mil­lions of sol­diers and thou­sands of fac­to­ries striv­ing for a thou­sand-year Reich that last­ed hard­ly more than ten years. The jour­nal you hid so that no one would read it was left on the floor when the Ger­man police took you to the con­cen­tra­tion camp and has now been read by mil­lions of peo­ple in 32 lan­guages. When most peo­ple die they dis­ap­pear with­out a trace, their thoughts for­got­ten, their aspi­ra­tions unknown, but you have sim­ply left your own fam­i­ly and become part of the fam­i­ly of man.

George Whit­man

via Let­ters of Note

Relat­ed Con­tent:

Watch the Only Known Footage of Anne Frank

Anne Frank’s Diary: From Reject Pile to Best­seller

8‑Year-Old Anne Frank Plays in a Sand­box on a Sum­mer Day, 1937

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City this Thurs­day for Necro­mancers  of the Pub­lic Domain, in which a long neglect­ed book is reframed as a low bud­get vari­ety show. Fol­low her @AyunHalliday.

Behold the Beautiful Pages from a Medieval Monk’s Sketchbook: A Window Into How Illuminated Manuscripts Were Made (1494)

It takes no small amount of inquiry, from no few angles, to tru­ly under­stand a form of art. This goes even more so for forms of art with which most of us in the 21st cen­tu­ry have lit­tle direct expe­ri­ence. Take, for exam­ple, the illu­mi­nat­ed man­u­script: its his­to­ry stretch­es back to the fifth cen­tu­ry and it has arguably shaped all the forms of visu­al-tex­tu­al sto­ry­telling we enjoy today, yet sure­ly not one of a mil­lion of us under­stands how the arti­sans that made them did it.

The Pub­lic Domain Review did their bit to cor­rect this when they post­ed the illu­mi­nat­ed sketch­book of Stephan Schriber, a series of pages dat­ing from 1494 in which “ideas and lay­outs for illu­mi­nat­ed man­u­scripts were tried out and skills devel­oped” by the author, a monk in the south­west of Ger­many. “The monk-artist pro­duced this sketch­book at the tail end of the 1,000-year age of illu­mi­nat­ed man­u­scripts,” write’s Slate’s Rebec­ca Onion, “a type of book pro­duc­tion that was to die out as the Renais­sance moved for­ward and the print­ing press took over.”

As print­ed books began to dis­place illu­mi­nat­ed man­u­scripts, the pro­duc­tion of the lat­ter went com­mer­cial, no longer pro­duced only by the hands of indi­vid­ual monks. But some of those monks, like Schriber, kept up their ded­i­ca­tion to the craft: “These pages show an artist try­ing out ani­mal motifs, prac­tic­ing curlicued embell­ish­ments, and draft­ing beau­ti­ful pre­sen­ta­tions of the cap­i­tal let­ters that would begin a sec­tion, page, or para­graph.”

Bib­liOdyssey points out that the book, “ded­i­cat­ed to Count Eber­hard (Eber­hard the beard­ed, lat­er first Duke) of Würt­tem­berg,” appears to be “a man­u­al of tem­plates and/or a prac­tice book con­tain­ing par­tial­ly com­plet­ed sketch­es, paint­ed and cal­lig­ra­phy ini­tals, stylised flo­ral dec­o­ra­tive motifs, plant foliage ten­drils, fan­tas­tic beast bor­der drol­leries” — yes, a real term from the field of illu­mi­nat­ed man­u­scripts — “togeth­er with some gold and sil­ver illu­mi­na­tion work.”

You can browse more images from Schriber’s sketch­book at this Flickr account, or you can have a look at each and every page at the Munich Dig­i­ti­Za­tion Cen­ter. The images repay close study not just for their own beau­ty, but for what their seem­ing­ly delib­er­ate incom­plete­ness reveals about how a mas­ter of man­u­script illu­mi­na­tions would go about com­pos­ing their art. Even the cre­ation of a form whose hey­day passed more than half a mil­len­ni­um ago has some­thing to teach us today.

via The Pub­lic Domain Review/Slate

Relat­ed Con­tent:

The Aberdeen Bes­tiary, One of the Great Medieval Illu­mi­nat­ed Man­u­scripts, Now Dig­i­tized in High Res­o­lu­tion & Made Avail­able Online

Behold the Mys­te­ri­ous Voyn­ich Man­u­script: The 15th-Cen­tu­ry Text That Lin­guists & Code-Break­ers Can’t Under­stand

1,600-Year-Old Illu­mi­nat­ed Man­u­script of the Aeneid Dig­i­tized & Put Online by The Vat­i­can

Dante’s Divine Com­e­dy Illus­trat­ed in a Remark­able Illu­mi­nat­ed Medieval Man­u­script (c. 1450)

Won­der­ful­ly Weird & Inge­nious Medieval Books

1,000-Year-Old Illus­trat­ed Guide to the Med­i­c­i­nal Use of Plants Now Dig­i­tized & Put Online

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities 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.

Artificial Intelligence May Have Cracked the Code of the Voynich Manuscript: Has Modern Technology Finally Solved a Medieval Mystery?

What is it about the Voyn­ich Man­u­script—that cryp­tic, illus­trat­ed 15th cen­tu­ry text of unknown ori­gin and meaning—that has so fas­ci­nat­ed and obsessed schol­ars for cen­turies? Writ­ten in what appears to be an invent­ed lan­guage, with bizarre illus­tra­tions of oth­er­world­ly botany, mys­te­ri­ous cos­mol­o­gy, and strange anato­my, the book resem­bles oth­er pro­to-sci­en­tif­ic texts of the time, except for the fact that it is total­ly inde­ci­pher­able, “a cer­tain rid­dle of the Sphinx,” as one alchemist described it. The 240-page enig­ma inspires attempt after attempt by cryp­tol­o­gists, lin­guists, and his­to­ri­ans eager to under­stand its secrets—that is if it doesn’t turn out to be a too-clever Medieval joke.

One recent try, by Nicholas Gibbs, has per­haps not lived up to the hype. Anoth­er recent attempt by Stephen Bax, who wrote the short TED Ed les­son above, has also come in for its share of crit­i­cism. Giv­en the invest­ment of schol­ars since the 17th cen­tu­ry in crack­ing the Voyn­ich code, both of these efforts might jus­ti­fi­ably be called quite opti­mistic. The Voyn­ich may for­ev­er elude human under­stand­ing, though it was, pre­sum­ably, cre­at­ed by human hands. Per­haps it will take a machine to final­ly solve the puz­zle, an arti­fi­cial brain that can process more data than the com­bined efforts of every schol­ar who has ever applied their tal­ents to the text. Com­put­er sci­en­tists at the Uni­ver­si­ty of Alber­ta think so and claim to have cracked the Voyn­ich code with arti­fi­cial intel­li­gence (AI).

Com­put­er sci­ence pro­fes­sor Greg Kon­drak and grad­u­ate stu­dent Bradley Hauer began their project by feed­ing a com­put­er pro­gram 400 dif­fer­ent lan­guages, tak­en from the “Uni­ver­sal Dec­la­ra­tion of Human Rights.” While “they ini­tial­ly hypoth­e­sized that the Voyn­ich man­u­script was writ­ten in [ancient] Ara­bic,” reports Jen­nifer Pas­coe, “it turned out that the most like­ly lan­guage was [ancient] Hebrew.” (Pre­vi­ous guess­es, the CBC notes, “have ranged from a type of Latin to a deriva­tion of Sino-Tibetan.”) The next step involved deci­pher­ing the manuscript’s code. Kon­drak and Hauer dis­cov­ered that “the let­ters in each word… had been reordered. Vow­els had been dropped.” The the­o­ry seemed promis­ing, but the pair were unable to find any Hebrew schol­ars who would look at their find­ings.

With­out human exper­tise to guide them, they turned to anoth­er AI, whose results, we know, can be noto­ri­ous­ly unre­li­able. Nonethe­less, feed­ing the first sen­tence into Google trans­late yield­ed the fol­low­ing: “She made rec­om­men­da­tions to the priest, man of the house and me and peo­ple.” It’s at least gram­mat­i­cal, though Kon­drak admits “it’s a kind of strange sen­tence to start a man­u­script.” Oth­er analy­ses of the first sec­tion have turned up sev­er­al oth­er words, such as “farmer,” “light,” “air,” and “fire”—indeed the sci­en­tists have found 80 per­cent of the man­u­scrip­t’s words in ancient Hebrew dic­tio­nar­ies. Fig­ur­ing out how they fit togeth­er in a com­pre­hen­si­ble syn­tax has proven much more dif­fi­cult. Kon­drak and Hauer admit these results are ten­ta­tive, and may be wrong. With­out cor­rob­o­ra­tion from Hebrew experts, they are also unlike­ly to be tak­en very seri­ous­ly by the schol­ar­ly com­mu­ni­ty.

But the pri­ma­ry goal was not to trans­late the Voyn­ich but to use it as a means of cre­at­ing algo­rithms that could deci­pher ancient lan­guages. “Impor­tant­ly,” notes Giz­mo­do, “the researchers aren’t say­ing they’ve deci­phered the entire Voyn­ich man­u­script,” far from it. But they might have dis­cov­ered the keys that oth­ers may use to do so. Or they may—as have so many others—have been led down anoth­er blind alley, as one com­menter at IFL Sci­ence sug­gests, sar­cas­ti­cal­ly quot­ing the wise Bull­win­kle Moose: “This time for sure!”

You can find the Voyn­ich Man­u­script scanned at Yale’s Bei­necke Rare Book & Man­u­script Library. Copies can be pur­chased in book for­mat as well.

Relat­ed Con­tent:

An Ani­mat­ed Intro­duc­tion to “the World’s Most Mys­te­ri­ous Book,” the 15th-Cen­tu­ry Voyn­ich Man­u­script

Behold the Mys­te­ri­ous Voyn­ich Man­u­script: The 15th-Cen­tu­ry Text That Lin­guists & Code-Break­ers Can’t Under­stand

1,000-Year-Old Illus­trat­ed Guide to the Med­i­c­i­nal Use of Plants Now Dig­i­tized & Put Online

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

Harry Potter Finally Gets Translated Into Scots: Hear & Read Passages from Harry Potter and the Philosopher’s Stane

In some­thing of a land­mark, Har­ry Pot­ter and The Sor­cer­er’s Stone has just been trans­lat­ed into its 80th lan­guage–Scots, a lan­guage spo­ken by 1.5 mil­lion peo­ple in Scot­land. Orig­i­nal­ly writ­ten by J.K. Rowl­ing in Edin­burgh, the first Har­ry Pot­ter book was care­ful­ly trans­lat­ed by children’s author, writer, poet, edi­tor and trans­la­tor Matthew Fitt. You can see the first page of Har­ry Pot­ter and the Philoso­pher’s Stane above, and hear Fitt read sam­ples of the text in the NPR inter­view below. Due out on March 1, the book can be pre-ordered now.

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via io9

Relat­ed Con­tent:

J.K. Rowl­ing Plot­ted Har­ry Pot­ter with a Hand-Drawn Spread­sheet

Down­load Two Har­ry Pot­ter Audio Books for Free (and Get the Rest of the Series for Cheap)

Take Free Online Cours­es at Hog­warts: Charms, Potions, Defense Against the Dark Arts & More

30 Min­utes of Har­ry Pot­ter Sung in an Avant-Garde Fash­ion by UbuWeb’s Ken­neth Gold­smith

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