224 Books About Music in David Byrne’s Personal Library

Image by LivePict, via Wiki­me­dia Com­mons

The mean­ing of the word “library” has nev­er been more ambigu­ous. When we can vir­tu­al­ly car­ry library-sized col­lec­tions of images, music, lit­er­a­ture and ref­er­ence data in our pock­ets, what are phys­i­cal libraries but muse­ums of a sort? Of course, from the point of view of librar­i­ans espe­cial­ly, this isn’t true in the least. Libraries are fortress­es of free speech, pub­lic edu­ca­tion, and “infor­ma­tion lit­er­a­cy” at the com­mu­ni­ty lev­el. Rather than obso­lete or sec­ondary, they may be more nec­es­sary than ever.

On a larg­er view both of these things are true. For mil­lions of peo­ple, phys­i­cal libraries have become sec­ondary and will remain so, but they also remain com­mu­ni­ty resources of para­mount impor­tance. As Ted Mills post­ed here in the sum­mer of 2015, Talk­ing Heads front­man, “poly­math and all-around swell per­son David Byrne” affirmed that lat­ter sta­tus of the phys­i­cal library when he leant out 250 books on music from his per­son­al library to them­selves be leant out at a library host­ed by the 22nd annu­al Melt­down Fes­ti­val and London’s Poet­ry Library.

“I love a library,” wrote Byre in his own Guardian essay announc­ing the project.

I grew up in sub­ur­ban Bal­ti­more and the sub­urbs were not a par­tic­u­lar­ly cos­mopoli­tan place. We were des­per­ate to know what was going on in the cool places, and, giv­en some sug­ges­tions and direc­tion, the library was one place where that wider excit­ing world became avail­able. In my lit­tle town, the library also had vinyl that one could check out and I dis­cov­ered avant-garde com­posers such as Xenakis and Mes­si­aen, folk music from var­i­ous parts of the world and even some pop records that weren’t get­ting much radio play in Bal­ti­more. It was tru­ly a for­ma­tive place.

Hav­ing grown up in the DC sub­urbs in the years before the inter­net, I can relate, and would add the impor­tance of local music stores and afford­able all-age venues. But Byrne has nev­er stayed tied to the media of his youth. Dur­ing his sev­er­al decades as a cul­tur­al crit­ic and arts edu­ca­tor, he has made ecu­meni­cal use of mun­dane new tech­nolo­gies to inter­ro­gate the sta­tus of oth­er old­er forms. One recent project, for exam­ple, con­sist­ed of a 96-page book and 20-minute DVD about his exper­i­ments in Pow­er­Point art. One of the ques­tions raised by the project, writes Veronique Vienne, is whether the book is “an anti­quat­ed cul­tur­al arti­fact” in an age of hyper­vi­su­al­iza­tion.

Clear­ly for Byrne him­self, the answer is no, and that answer is close­ly con­nect­ed to the ques­tion of com­mod­i­fi­ca­tion vers­es open access, whether through libraries or free online archives. “The idea of read­ing books for free,” he writes, “didn’t kill the pub­lish­ing busi­ness, on the con­trary, it cre­at­ed nations of lit­er­ate and pas­sion­ate read­ers. Shared inter­ests and the impulse to cre­ate.” Byrne’s library reflects a life­time of shared inter­ests and cre­ative inspi­ra­tion. He him­self has spent his life writ­ing about music in spite of the clever max­im that such a ven­ture is like “danc­ing about archi­tec­ture.” It is, he writes, “stim­u­lat­ing and inspir­ing nonethe­less.”

In the spir­it of shar­ing infor­ma­tion and cham­pi­oning libraries, Brain Pick­ings’ Maria Popo­va pub­lished a list of near­ly all of the titles in Byrne’s lend­ing library, with links to pub­lic library edi­tions near you through World­Cat. Find the full list below, cour­tesy of David Byrne’s site, and see Brain Picking’s list and short essay here.

1. 40 Watts from Nowhere: A Jour­ney into Pirate Radio by Sue Car­pen­ter
2. A div­ina come­dia dos Mutantes by Car­los Cal­a­do
3. A Pho­to­graph­ic Record: 1969–1980 by Mick Rock
4. A Thelo­nious Monk: Study Album by Lionel Grig­son
5. A Whole Room for Music: A Short Guide to the Bal­four Build­ing Music Mak­ers’ Gallery by Helene La Rue
6. Acoustic Ter­ri­to­ries: Sound Cul­ture and Every­day Life by Bran­don Labelle
7. Acoustics for Radio and Tele­vi­sion Stu­dios by Christo­pher Gil­ford
8. Africa Dances by Geof­frey Gor­er
9. African Music: A People’s Art by Fran­cis Bebey
10. African Rhythm and African Sen­si­bil­i­ty by John Miller Cher­noff
11. Afro-Amer­i­can Folk Songs by H.E. Kre­hbiel
12. AfroPop! An Illus­trat­ed Guide to Con­tem­po­rary African Music by Sean Bar­low & Ban­ning Eyre
13. All You Need to Know About the Music Busi­ness by Don­ald S. Pass­man
14. Aloud: Voic­es from the Nuy­or­i­can Poets Cafè by Miguel Algar­in & Bob Hol­man
15. An Illus­trat­ed Trea­sury of Songs by Nation­al Gallery of Art
16. And They All Sang: Adven­tures of an Eclec­tic Disc Jock­ey by Studs Terkel
17. Arranged Mar­riage by Wal­lace Berman & Robert Watts
18. Audio Cul­ture: Read­ings in Mod­ern Music by Cristoph Cox & Daniel Warn­er
19. Austin City Lim­its: 35 Years in Pho­tographs by Scott New­ton & Ter­ry Lick­ona
20. Bacha­ta: A Social His­to­ry of a Domini­can Pop­u­lar Music by Deb­o­rah Paci­ni Her­nan­dez
21. Ban­dal­ism: The Rock Group Sur­vival Guide by Julian Ridg­way
22. Beats of the Heart: Pop­u­lar Music of the World by Jere­my Marre & Han­nah Charl­ton
23. Best Music Writ­ing 2001 by Nick Horn­by & Ben Schafer
24. Best Music Writ­ing 2002 by Jonathan Lethem & Paul Bres­nick
25. Best Music Writ­ing 2003 by Matt Groen­ing & Paul Bres­nick
26. Best Music Writ­ing 2006 by Mary Gait­skill & Daphne Carr
27. Best Music Writ­ing 2007 by Robert Christ­gau & Daphne Carr
28. Bicy­cle Diaries by David Byrne
29. Black Music of Two Worlds by John Storm Roberts
30. Black Rhythms of Peru: Reviv­ing African Musi­cal Her­itage in the Black Pacif­ic by Hei­di Car­olyn Fei­d­man
31. Blues Gui­tar: The Men Who Made the Music by Jas Obrecht
32. Bossa Nova: The Sto­ry of the Brazil­ian Music that Seduced the World by Ruy Cas­tro
33. Bots­ford Col­lec­tion of Folk Songs Vol­ume 1 by Flo­rence Hud­son Bots­ford
34. Bots­ford Col­lec­tion of Folk Songs Vol­ume 2 by Flo­rence Hud­son Bots­ford
35. Bound for Glo­ry by Woody Guthrie
36. Bour­bon Street Black: The New Orleans Black Jazzman by Jack V Buerkle & Dan­ny Bark­er
37. Brazil­ian Pop­u­lar Music and Cit­i­zen­ship by Idel­ber Ave­lar & Christo­pher Dunn
38. Bru­tal­i­ty Gar­den: Trop­i­calla and the Emer­gence of a Brazil­ian Coun­ter­cul­ture by Christo­pher Dunn
39. Bug Music: How Insects Gave Us Rhythm and Noise by David Rothen­berg
40. But Beau­ti­ful: A Book About Jazz by Geoff Dyer
41. Can­cioneiro Vini­cius De Moraes by Orfeu
42. Cap­tur­ing Sound: How Tech­nol­o­gy Has Changed Music by Mark Katz
43. Catch a Fire: The Life of Bob Mar­ley by Tim­o­thy White
44. Cham­bers by Alvin Luci­er & Dou­glas Simon
45. Chin­aber­ry Side­walks: A Mem­oir by Rod­ney Crow­ell
46. Chris Stein/Negative: Me, Blondie and the Advent of Punk by Deb­o­rah Har­ry, Glenn O’Brien & Shep­ard Fairey
47. Clan­des­ti­no: In Search of Manu Chao by Peter Cul­shaw
48. Clothes Music Boys by Viv Alber­tine
49. Coci­nan­do! Fifty Years of Latin Cov­er Art by Pablo Ygle­sias
50. Con­jun­to by John Dyer
51. Con­ver­sa­tions with Glenn Gould by Jonathan Cott
52. Con­vers­ing with Cage by Richard Koste­lan­etz
53. Copy­rights & Copy­wrongs: The Rise of Intel­lec­tu­al Prop­er­ty and How it Threat­ens Cre­ativ­i­ty by Siva Vaid­hyanathan
54. Danc­ing in Your Head: Jazz, Blues, Rock and Beyond by Gene San­toro
55. Desert Plants: Con­ver­sa­tions with Twen­ty-Three Amer­i­can Musi­cians by Wal­ter Zim­mer­man
56. Dic­cionario de Jazz Lati­no by Nat Che­di­ak
57. Dic­cionario del Rock Lati­no by Nat Che­di­ak
58. Dri­ving Through Cuba: Rare Encoun­ters in the Land of Sug­ar Cane and Rev­o­lu­tion by Car­lo Gebler
59. Drum­ming at the Edge of Mag­ic: A Jour­ney into the Spir­it of Per­cus­sion by Mick­ey Hart & Jay Stevens
60. Essays on Music by Theodor W. Adorno
61. Exper­i­men­tal Music: Cage and Beyond by Michael Nyman
62. Fair Use: The Sto­ry of the Let­ter U and the Numer­al 2 by Neg­a­tiv­land
63. Fela Fela: This Bitch of a Life by Car­los Moore
64. Fetish & Fame: The 1997 MTV Video Music Awards by David Fel­ton
65. Fin­ish­ing the Hat: Col­lect­ed Lyrics (1954–1981) with Atten­dant Com­ments, Prin­ci­ples, Here­sies, Grudges, Whines and Anec­dotes by Stephen Sond­heim
66. Folk and Tra­di­tion­al Music of the West­ern Con­ti­nents by Bruno Net­tl
67. Folk Song Style and Cul­ture by Alan Lomax
68. Folk: The Essen­tial Album Guide by Neal Walers & Bri­an Mans­field
69. For­mal­ized Music: Thought and Math­e­mat­ics in Com­po­si­tion by Ian­nis Xenakis
70. Fotografie in Musi­ca by Gui­do Harari
71. Gen­e­sis of a Music by Har­ry Partch
72. Give my Regards to Eighth Street: Col­lect­ed Writ­ings of Mor­ton Feld­man by B.H. Fried­man
73. Graviko­rds, Whirlies, & Pyro­phones: Exper­i­men­tal Musi­cal Instru­ments by Bart Hop­kin
74. Guia Esen­cial De La Sal­sa by Jose Manuel Gomez
75. Gui­tar Zero: The New Musi­cian and the Sci­ence of Learn­ing by Gary Mar­cus
77. Hear­ing Cul­tures: Essays on Sound, Lis­ten­ing, and Moder­ni­ty by Veit Erl­mann
78. Here Come the Reg­u­lars: How to Run a Record Label on a Shoe­string Bud­get by Ian Ander­son
79. He Stopped Lov­ing Her Today: George Jones, Bil­ly Sher­rill and the Pret­ty-Much Total­ly True Sto­ry of the Mak­ing of the Great­est Coun­try Record of All Time by Jack Isen­hour
80. Hip Hop: The Illus­trat­ed His­to­ry of Break Danc­ing, Rap Music and Graf­fi­ti by Steven Hager
81. Hit Men by Fred­er­ic Dan­nen
82. Hitsville: The 100 Great­est Rock ‘n’ Roll Mag­a­zines 1954–1968 by Alan Betrock
83. Homo Aes­theti­cus: Where Art Comes From and Why by Ellen Dis­sanayake
84. Hot Stuff: Dis­co and the Remak­ing of Amer­i­can Cul­ture by Alice Echols
85. How Music Works: The Sci­ence and Psy­chol­o­gy of Beau­ti­ful Sounds, from Beethoven to the Bea­t­les and Beyond by John Pow­ell
86. Hun­gry for Heav­en: Rock and Roll and the Search for Redemp­tion by Steve Turn­er
87. I Have Seen the End of the World and it Looks Like This by Bob Schnei­der
88. I’ll Take You There Mavis Sta­ples: The Sta­ple Songers, and the March Up Freedom’s High­way by Greg Kot
89. In Pur­suit of Silence: Lis­ten­ing for Mean­ing in a World of Noise by George Prochnik
90. Indi­an Music by B. Chai­tanya Deva
91. It Ain’t Easy: Long John Baldry and the Birth of the British Blues by Paul Myers
92. Japan­ese Music and Musi­cal Instru­ments by William P. Malm
93. Javanese Game­lan by Jen­nifer Lind­say
94. Jazz by William Clax­ton
95. Knit­ting Music by Michael Dorf
96. La Travi­a­ta: In Full Score by Giuseppe Ver­di
97. Lau­rie Ander­son by John How­ell
98. Leon Geico: Cron­i­ca de un Sueno by Oscar Finkel­stein
99. Lex­i­con of Musi­cal Invec­tive by Nico­las Slonim­sky
101. Light Strings: Impres­sions of the Gui­tar by Ralph Gib­son & Andy Sum­mers
102. Lis­ten Again: A Momen­tary His­to­ry of Pop Music by Eric Weis­bard
103. Lis­ten­ing Through the Noise: the Aes­thet­ics of Exper­i­men­tal Elec­tron­ic Music by Joan­na Demers
104. Lis­ten to This by Alex Ross
105. Look, I Made a Hat: Col­lect­ed Lyrics (1981–2011) with Atten­dant Com­ments, Ampli­fi­ca­tions, Dog­mas, Harangues, Digres­sions, Anec­dotes and Mis­cel­lany by Stephen Sond­heim
106. Love Goes to Build­ings on Fire: Music Made New in New York City in the ’70s by Will Her­mes
107. Love in Vain: The Life and Leg­end of Robert John­son by Allen Green­berg
108. Love Saves the Day: A His­to­ry of Amer­i­can Dance Music Cul­ture by Tim Lawrence
109. Low by Hugo Wilck­en
110. Luck­ing Out: My Life Get­ting Down and Semi-dirty in Sev­en­ties New York by James Wol­cott
111. Macum­ba: The Teach­ings of Maria-Jose, Moth­er of the Gods by Serge Bram­ly
112. Man­go Mam­bo by Adal
113. Mas­ters of Con­tem­po­rary Brazil­ian Song: MPB 1965–1985 by Charles Per­rone
114. Max’s Kansas City: Art, Glam­our, Rock and Roll by Steven Kash­er
115. Me, the Mob, and the Music: One Hel­lu­va Ride with Tom­my James and the Shon­dells by Tom­my James
116. Miles: The Auto­bi­og­ra­phy by Miles Davis with Quin­cy Troupe
117. Min­ger­ing Mike: The Amaz­ing Career of an imag­i­nary Soul Super­star by Dori Hadar
118. Mis­ter Jel­ly Roll: The For­tunes of Jel­ly Roll Mor­ton, New Orleans Cre­ole and “Inven­tor of Jazz” by Alan Lomax
119. Mix Tape: The Art of Cas­sette Cul­ture by Thurston Moore
120. Music by Paul Bowles
121. Music and Com­mu­ni­ca­tion by Ter­ence McLaugh­lin
122. Music and Glob­al­iza­tion: Crit­i­cal Encoun­ters by Bob W. White
123. Music and the Brain: Stud­ies in the Neu­rol­o­gy of Music by Mac­Don­ald Critch­ley & R. A. Hen­son
124. Music and the Mind by Antho­ny Storr
125. Music and Trance: A The­o­ry of the Rela­tions between Music and Pos­ses­sion by Gilbert Rouget
126. Music Cul­tures of the Pacif­ic, The Near East, and Asia by William P. Malm
128. Music in Cuba by Ale­jo Car­pen­tier
129. Music, Lan­guage and the Brain by Anirud­dh D. Patel
130. Musi­ca Cubana Del Arey­to a la Nue­va Tro­va by Dr. Cristo­bal Diaz Ayala
131. Musi­cal Instru­ments of the World: An Illus­trat­ed Ency­clo­pe­dia with More than 4,000 Orig­i­nal Draw­ings by Ruth Midge­ly
132. Musi­cophil­ia: Tales of Music and the Brain by Oliv­er Sacks
133. My Music by Susan D Crafts, Daniel Cav­ic­chi & Charles Keil
134. New York Noise: Art and Music from the New York Under­ground 1978–88 by Stu­art Bak­er
135. Noise: A Human His­to­ry of Sound & Lis­ten­ing by David Hendy
136. Noise: The Polit­i­cal Econ­o­my of Music by Jacques Attali
137. Nota­tions by John Cage
138. Ocean of Sound: Aether Talk, Ambi­ent Sound and Imag­i­nary Worlds by David Toop
139. On Son­ic Art by Trevor Wishart
140. Opera 101: A Com­plete Guide to Learn­ing and Lov­ing the Opera by Fred Plotkin
141. Patron­iz­ing The Arts by Mar­jorie Gar­ber
142. Per­fect­ing Sound For­ev­er: An Aur­al His­to­ry of Record­ed Music by Greg Mil­ner
143. Pet Shop Boys: Lit­er­al­ly by Chris Heath
144. Pop­u­lar Musics of the Non-West­ern World: An Intro­duc­to­ry Sur­vey by Peter Manuel
145. The Pow­er of Music: Pio­neer­ing Dis­cov­er­ies in the Sci­ence of Song by Ele­na Mannes
146. Pre­sent­ing Celia Cruz by Alex­is Rodriguez-Duarte
147. Psy­chot­ic Reac­tions and Car­bu­re­tor Dung by Lester Bangs
148. Queens of Havana: The Amaz­ing Adven­tures of the Leg­endary Anacaona, Cuba’s First All-Girl Dance Band by Ali­cia Cas­tro
149. Recor­dan­do a Tito Puente: El Rey del Tim­bal by Steven Loza
150. Reflec­tions on Mace­don­ian Music: Past and Future by Dim­itri­je Buzarovs­ki
151. Remem­ber­ing the Future by Luciano Berio
152. Repeat­ed Takes: A Short His­to­ry of Record­ing Music and Its Effect on Music by Michael Chanan
153. Rev­o­lu­tion in the Head: The Bea­t­les Records and the Six­ties by Ian Mac­don­ald
154. Rhythm & Blues in New Orleans by John Broven
155. Rock ‘n’ Roll is Here to Pay: The His­to­ry of Pol­i­tics in the Music Indus­try by Steve Shap­ple & Reebee Garo­fa­lo
156. Rock Archives by Michael Ochs
157. Rock Images: 1970–1990 by Claude Gassian
158. Rock Lives: Pro­files and Inter­views by Tim­o­thy White
159. Sal­sa Guide­book for Piano & Ensem­ble by Rebe­ca Mauleon
160. Sal­sa: The Rhythm of Latin Music by Ger­ard Sheller
161. Sal­si­ol­o­gy: Afro-Cuban Music and the Evo­lu­tion of Sal­sa in New York City by Ver­non W. Bog­gs
162. Sam­ba by Alma Guiller­mo­pri­eto
163. Son­ic Trans­ports: New Fron­tiers in Our Music by Cole Gagne
164. Son­ic War­fare: Sound, Affect, and the Ecol­o­gy of Fear by Steve Good­man
165. Souled Amer­i­can: How Black Music Trans­formed White Cul­ture by Kevin Phin­ney
166. Sound­ing New Media: Immer­sion and Embod­i­ment in the Arts and Cul­ture by Frances Dyson
167. Sound­ings by Neu­berg­er Muse­um
168. South to Louisiana: The Music of the Cajun Bay­ous by John Broven
169. Spaces Speak, Are You Lis­ten­ing: Expe­ri­enc­ing Aur­al Archi­tec­ture by Bar­ry Bless­er & Lin­da-Ruth Salter
170. Spir­it Ris­ing: My Life, My Music by Angelique Kid­jo
171. Star­mak­ing Machin­ery: The Odyssey of an Album by Geof­frey Stokes
172. Stock­hausen: Con­ver­sa­tions with the Com­pos­er by Jonathan Cott
173. Stolen Moments: Con­ver­sa­tions with Con­tem­po­rary Musi­cians by Tom Schn­abel
174. Stomp­ing the Blues by Albert Mur­ray
175. Tan­go: The Art His­to­ry of Love by Robert Far­ris Thomp­son
176. Text-Sound Texts by Richard Koste­lan­etz
177. The ABCs of Rock by Melis­sa Duke Mooney
178. The Agony of Mod­ern Music by Hen­ry Pleas­ants
179. The Anthro­pol­o­gy of Music by Alan P. Mer­ri­am
180. The Art of Ask­ing: How I Learned to Stop Wor­ry­ing and Let Peo­ple Help by Aman­da Palmer
181. The Bea­t­les: Record­ing Ses­sions by Mark Lewisohn
182. The Book of Drugs: A Mem­oir by Mike Dougher­ty
183. The Brazil­ian Sounds: Sam­ba, Bossa Nova, and the Pop­u­lar Music of Brazil by Chris McGowan & Ricar­do Pes­san­ha
184. The Faber Book of Pop by Hanif Kureishi & Jon Sav­age
185. The Great Ani­mal Orches­tra: Find­ing the Ori­gins of Music in the World’s Wild Places by Bernie Krause
186. The Human Voice by Jean Cocteau
187. The Kacham­ba Broth­ers’ Band: A Study of Neo-Tra­di­tion­al Music in Malawi by Ger­hard Kubik
188. The Last Hol­i­day: A Mem­oir by Gil Scott-Heron
189. The Latin Tinge: The Impact of Latin Amer­i­can Music on the Unit­ed States by John Storm Roberts
190. The Life and Times of Lit­tle Richard: The Quasar of Rock by Charles White
191. The Merge Records Com­pan­ion: A Visu­al Discog­ra­phy of the First Twen­ty Years by Merge Records
192. The Music Instinct by Philip Ball
193. The Music of Brazil by David P. Apple­by
194. The Mys­tery of Sam­ba: Pop­u­lar Music and the Nation­al Iden­ti­ty in Brazil by Her­mano Vian­na
195. The New Woman Poems: A Trib­ute to Mer­cedes Sosa by Nestor Rodriguez Lacoren
196. The Per­former Pre­pares by Robert Cald­well
197. The Ratio­nal and Social Foun­da­tions of Music by Max Weber
198. The Record: Con­tem­po­rary Art and Vinyl by Trevor Schoon­make
199. The Record­ing Angel: Music, Records and Cul­ture from Aris­to­tle to Zap­pa by Evan Eisen­berg
200. The Rest is Noise: Lis­ten­ing to the Twen­ti­eth Cen­tu­ry by Alex Ross
201. The Rolling Stone Inter­views: The 1980s by Var­i­ous
202. The Shape of Things to Come: Prophe­cy and the Amer­i­can Voice by Greil Mar­cus
203. The Sound Book: The Sci­ence of the Son­ic Won­ders of the World by Trevor Cox
204. The Sun and the Drum: African Roots in Jamaican Folk Tra­di­tion by Leonard Bar­rett
205. The Think­ing Ear by R. Mur­ray Schafer
206. The Tra­di­tion­al Music of Japan by Kishibe Shi­geo
207. The Tri­umph of Music: The Rise of Com­posers, Musi­cians and Their Art by Tim Blan­ning
208. The Veil of Silence by Dju­ra
209. The Wilco Book by Dan Nadel
210. This Busi­ness of Music: The Defin­i­tive Guide to the Music Indus­try by M. William Krasilovsky & Sid­ney Shemel
211. This is Your Brain on Music: The Sci­ence of Human Obses­sion by Daniel J. Lev­itin
212. Through Music to Self by Peter Michael Hamel
213. West African Rhythms for Drum­set by Roy­al Har­ti­gan
214. What Good are the Arts? by John Carey
215. White Bicy­cles: Mak­ing Music in the 1960’s by Joe Boyd
216. Who Shot Rock & Roll: A Pho­to­graph­ic His­to­ry 1955–Present by Gail Buck­land
218. Whose Music? A Soci­ol­o­gy of Musi­cal Lan­guages by John Shep­ard, Phil Vir­d­en, Gra­ham Vul­liamy, Trevor Wishart
219. Why is This Coun­try Danc­ing: A One-Man Sam­ba to the Beat of Brazil by John Krich
220. Woody Guthrie: A Life by Joe Klein
221. The Rough Guide to World Music: Latin and North Amer­i­ca, Caribbean, India, Asia, and Pacif­ic: An A‑Z of the Music, Musi­cians and Discs by Simon Broughton & Mark Elling­ham
222. The Rough Guide to World Music: Sal­sa to Souk­ous, Cajun to Calyp­so by Simon Broughton, Mark Elling­ham, David Mud­dy­man & Richard Tril­lo
223. World: The Essen­tial Album Guide by Adam McGov­ern
224. Yakety Yak: The Mid­night Con­fes­sions and Rev­e­la­tions of Thir­ty-Sev­en Rock Stars and Leg­ends by Scott Cohen

Relat­ed Con­tent:

David Byrne’s Per­son­al Lend­ing Library Is Now Open: 250 Books Ready to Be Checked Out

David Byrne & Neil deGrasse Tyson Explain the Impor­tance of an Arts Edu­ca­tion (and How It Strength­ens Sci­ence & Civ­i­liza­tion)

David Byrne: How Archi­tec­ture Helped Music Evolve

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

Discover the 1126 Books in John Cage’s Personal Library: Foucault, Joyce, Wittgenstein, Virginia Woolf, Buckminster Fuller & More

Image by or Rob Bogaerts/Fotocollectie Ane­fo

To prop­er­ly hon­or your cul­tur­al role mod­els, don’t try to do what they did, or even to think what they thought, but to think how they thought. This goes at least dou­ble for John Cage, the exper­i­men­tal com­pos­er whose inno­v­a­tive works can be, and often are, re-staged (go on, have four min­utes and 33 sec­onds of silence to your­self), but it takes a dif­fer­ent kind of effort alto­geth­er to cul­ti­vate the kind of mind that would come up with them in the first place. As a means of acti­vat­ing your own inner Cage­ness, you could do much worse than read through his per­son­al library, a list of whose books you’ll find at johncage.org.

The vol­umes num­ber 1126 in total, and if you load the library’s main page, it will present you with a list of ten ran­dom­ly select­ed books. (You can get a list of all of them by select­ing the “See Entire Library” option on the left side­bar.)

Hit­ting refresh a few times will give you a sense of the breadth of Cage’s read­ing: Emma Gold­man on anar­chism, Chi­nese poet­ry gath­ered by Ken­neth Rexroth, M. Con­rad Hyers’ Zen and the Com­ic Spir­it (two of Cage’s dri­ving forces if ever I’ve heard them), How to Play Backgam­mon, essays on Ulysses (an inter­est shared with Mar­i­lyn Mon­roe), and even essays on John Cage. Here we’ve assem­bled a list of ten books from Cage’s library of par­tic­u­lar inter­est to the Open Cul­ture read­er:

To those who know any­thing of Cage’s life and inter­ests, his shelves on healthy eating—on which Din­ing Nat­u­ral­ly in Japan: A Restau­rant Guide to Whole­some Food also appears, as, nat­u­ral­ly giv­en the era and Cage’s acquired north­ern-Cal­i­for­ni­an­ness, The Tas­sa­jara Bread Bookand espe­cial­ly the eat­ing of mush­rooms, come as no sur­prise, nor might his incli­na­tion toward phi­los­o­phy. But we should note what looks like a par­tic­u­lar fas­ci­na­tion with the work of Lud­wig Wittgen­stein, evi­denced by 22 of the books in his library: his best-known works like the Trac­ta­tus Logi­co-Philo­soph­i­cus, but also his let­ters, lec­tures, and note­books, as well as biogra­phies, com­men­taries, and Wittgen­stein and Bud­dhism, which Cage must have con­sid­ered an excit­ing find indeed.

In one of his most quotable quotes, Cage describes col­lege as “two hun­dred peo­ple read­ing the same book. An obvi­ous mis­take. Two hun­dred peo­ple can read two hun­dred books.” And indeed, 1126 peo­ple can read 1126 books—or many more peo­ple can each read a dif­fer­ent sub­set of those books. While you could method­i­cal­ly read your way through Cage’s entire library, and would sure­ly learn a great deal in the process, would­n’t mak­ing use of the unthink­ing guid­ance of the ten-ran­dom-books func­tion, sur­ren­der­ing the direc­tion of this infor­mal edu­ca­tion to the kind of chance that places Paul Bowles next to the com­mon fun­gi of North Amer­i­can and Charles Ives next to Ital­ian futur­ism, be a much more Cagean way of going about it?

(h/t @lrlarson)

Relat­ed Con­tent:

Avant-Garde Com­pos­er John Cage’s Sur­pris­ing Mush­room Obses­sion (Which Began with His Pover­ty in the Depres­sion)

The Music of Avant-Garde Com­pos­er John Cage Now Avail­able in a Free Online Archive

John Cage Unbound: A New Dig­i­tal Archive Pre­sent­ed by The New York Pub­lic Library

Jorge Luis Borges Selects 74 Books for Your Per­son­al Library

The 321 Books in David Fos­ter Wallace’s Per­son­al Library: From Blood Merid­i­an to Con­fes­sions of an Unlike­ly Body­builder

A Look Inside Han­nah Arendt’s Per­son­al Library: Down­load Mar­gin­a­lia from 90 Books (Hei­deg­ger, Kant, Marx & More)

The 430 Books in Mar­i­lyn Monroe’s Library: How Many Have You Read?

Darwin’s Per­son­al Library Goes Dig­i­tal: 330 Books Online

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

M.C. Escher Cover Art for Great Books by Italo Calvino, George Orwell & Jorge Luis Borges

The writer David Auer­bach once post­ed a fas­ci­nat­ing inquest on left-brained lit­er­a­ture, an exam­i­na­tion of what he calls “a par­al­lel track of lit­er­a­ture that is pop­u­lar specif­i­cal­ly among engi­neers,” exclud­ing genre fic­tion (sci­ence- or oth­er­wise), with an eye toward “which nov­els of some noto­ri­ety and good PR hap­pen to attract mem­bers of the engi­neer­ing pro­fes­sions.” Favored author names turn out to include Richard Pow­ers, Umber­to Eco, Haru­ki Muraka­mi, William Gib­son, Ita­lo Calvi­no, and Jorge Luis Borges.

More of these lit­er­ar­i­ly inclined left-brain­ers exist than one might imag­ine. From the pub­lish­er’s point of view, what cov­er art could best attract them? Books tar­get­ed toward that demo­graph­ic could do far worse than to use the work of M.C. Esch­er, who spent his career with one foot in art and the oth­er in math­e­mat­ics.

In the hith­er­to unseen (and even unimag­ined) worlds pic­tured in his wood­cuts, lith­o­graphs, and mez­zot­ints, he made use of math­e­mat­i­cal con­cepts from tes­sel­la­tion to reflec­tion to infin­i­ty in ways at once impos­si­ble and some­how plau­si­ble, all of them still intel­lec­tu­al­ly and aes­thet­i­cal­ly com­pelling today.

The non-nov­el­ist Dou­glas Hof­s­tadter appears in Auer­bach’s inquest since his best-known work, Gödel, Esch­er, Bach: an Eter­nal Gold­en Braid, “which part­ly uses fic­tion­al forms, is too great not to list.” Not only does Escher’s name appear in Hof­s­tadter’s book title, his art informs its cen­tral con­cepts. “Hof­s­tadter wove a net­work of con­nec­tions link­ing the math­e­mat­ics of Gödel, the art of Esch­er, and the music of Bach,” writes Allene M. Park­er in the paper “Draw­ing Borges: a Two-Part Inven­tion on the Labyrinths of Jorge Luis Borges and M.C. Esch­er.” In Gödel, Esch­er, Bach he describes their com­mon denom­i­na­tor as a “strange loop,” a phe­nom­e­non that “occurs when­ev­er, by move­ment upwards (or down­wards) through the lev­els of some hier­ar­chi­cal sys­tem, we unex­pect­ed­ly find our­selves right back where we start­ed.”

Park­er iden­ti­fies 1948’s “Draw­ing Hands” as a “par­tic­u­lar­ly strik­ing and famil­iar exam­ple” of a strange loop in Escher’s work. We can inter­pret that image by rec­og­niz­ing that “it is Esch­er, the artist, who is draw­ing both hands and who stands out­side this par­tic­u­lar puz­zle.” Or we can “adopt a Zen-inspired solu­tion and let mys­tery be mys­tery by choos­ing to embrace a uni­ty which con­tains oppo­si­tions,” such as one described by the open­ing of Borges’ poem “Labyrinths”:

There’ll nev­er be a door. You’re inside

and the keep encom­pass­es the world

and has nei­ther obverse nor reverse

nor cir­cling in secret cen­ter.

The Esch­er-Borges con­nec­tions go deep­er beyond, and as you can see in John Coulthart’s orig­i­nal post, the selec­tion of Esch­er-cov­ered books extends far­ther.

Aside from count­less non­fic­tion pub­li­ca­tions, the Dutch math­e­mat­i­cal mas­ter’s work has graced sci­ence-fic­tion and fan­ta­sy mag­a­zines, one edi­tion of Flat­land, a col­lec­tion of “Forteana, weird fic­tion, occultism and his­tor­i­cal spec­u­la­tion,” Clive Bark­er’s The Damna­tion Game, and George Orwell’s 1984, a nov­el more wide­ly read than ever by the left- and right-brained alike. But no mat­ter which hemi­sphere we favor, Esch­er — like Orwell, Borges, and Calvi­no — shows us how to see real­i­ty in more inter­est­ing ways.

via John Coulthart

Relat­ed Con­tent:

Watch M.C. Esch­er Make His Final Artis­tic Cre­ation in the 1971 Doc­u­men­tary Adven­tures in Per­cep­tion

Meta­mor­phose: 1999 Doc­u­men­tary Reveals the Life and Work of Artist M.C. Esch­er

Inspi­ra­tions: A Short Film Cel­e­brat­ing the Math­e­mat­i­cal Art of M.C. Esch­er

The Cov­er of George Orwell’s 1984 Becomes Less Cen­sored with Wear and Tear

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Bill Gates Lists His Favorite Books of 2016

Bill Gates has appar­ent­ly been a big read­er all along, even dur­ing his Microsoft days. On his site, Gates Notes, he writes, “I’ve been read­ing about a book a week on aver­age since I was a kid. Even when my sched­ule is out of con­trol, I carve out a lot of time for read­ing.” And peri­od­i­cal­ly he pub­lish­es a list of his favorite reads.

He con­tin­ues: “If you’re look­ing for a book to enjoy over the hol­i­days, here are some of my favorites from this year. They cov­er an eclec­tic mix of topics—from ten­nis to ten­nis shoes, genomics to great lead­er­ship. They’re all very well writ­ten, and they all dropped me down a rab­bit hole of unex­pect­ed insights and plea­sures.”

The list includes String The­o­ry by David Fos­ter Wal­lace; The Gene: An Inti­mate His­to­ry by Sid­dhartha Mukher­jee; The Myth of the Strong Leader: Polit­i­cal Lead­er­ship in the Mod­ern Age by Archie Brown; The Grid by Gretchen Bakke, and Shoe Dog by Phil Knight.

Head to Gates Notes to find out what par­tic­u­lar­ly made each book near and dear to his heart.

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:

29 Lists of Rec­om­mend­ed Books Cre­at­ed by Well-Known Authors, Artists & Thinkers: Jorge Luis Borges, Pat­ti Smith, Neil DeGrasse Tyson, David Bowie & More

Take Big His­to­ry: A Free Short Course on 13.8 Bil­lion Years of His­to­ry, Fund­ed by Bill Gates

‘The Char­ac­ter of Phys­i­cal Law’: Richard Feynman’s Leg­endary Course Pre­sent­ed at Cor­nell, 1964

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

Eats, Shoots, and Leaves is Britain’s num­ber-one best sell­er at the moment, and it’s about punc­tu­a­tion, and no, I don’t get it either,” writes Nick Horn­by in his Feb­ru­ary 2004 “Stuff I’ve Been Read­ing” col­umn for the Believ­er. What explains how Lynne Truss’ guide to the prop­er use of com­mas, semi­colons, and dash­es became such a pub­lish­ing phe­nom­e­non those thir­teen hol­i­day sea­sons ago? Horn­by the­o­rizes that every­one had some­one in mind to give a copy, whether a punc­tu­a­tion pedant them­selves or some­one whose skills in the area could use a sharp­en­ing, ulti­mate­ly pre­dict­ing that “in the end the book will sell a quar­ter-mil­lion copies, but only two hun­dred peo­ple will own them.”

Some­thing sim­i­lar may have hap­pened with Marie Kon­do’s book The Life-Chang­ing Mag­ic of Tidy­ing Up, first pub­lished in Japan in 2011 and in Eng­lish in 2014. Now peo­ple all over the world have read it to learn the sim­ple secrets of Kon­do’s “Kon­Mari method” of declut­ter­ing — or have giv­en it to friends and rel­a­tives they see as bad­ly in need of such a method. Still, all but the most ascetic of us occa­sion­al­ly bend to the hoard­er’s instinct in cer­tain areas of life, and it would sure­ly sur­prise none of us to find out that Open Cul­ture read­ers have, on occa­sion, been known to let their book­shelves run over.

Hence the pop­u­lar­i­ty of Jonathan Crow’s post on tsun­doku, the Japan­ese word for the unread books that pile up unread in our homes. Japan, a land of small domes­tic spaces but a great deal of stuff, has paid spe­cial atten­tion to the prob­lem of hoard­ers and the gomi yashi­ki (or “trash man­sions”) in which they some­times end up. Some observers, like pho­tog­ra­ph­er Kyoichi Tsuzu­ki, cel­e­brate the ever-present threat of total dis­or­der; oth­ers, like Kon­do, go on not just to attain guru sta­tus by sell­ing books, but then to show fans how to tidy up all those books they’ve accu­mu­lat­ed.

“Many peo­ple say that books are one thing they just can’t part with regard­less of whether they are avid read­ers or not,” Kon­do writes, “but the real prob­lem is actu­al­ly the way in which they part with them.” The way she offers requires adher­ence to cer­tain prac­tices and beliefs, includ­ing the fol­low­ing:

Take your books off the shelves. Kon­do recommends–often against the objec­tions of her clients–first de-shelv­ing all their books and pil­ing them on the floor (that is, the books that haven’t spent their entire lives in such a state). “Like clothes or any oth­er belong­ings, books that have been left untouched on the shelf for a long time are dor­mant. Or per­haps I should say that they’re ‘invis­i­ble.’ ” Pos­si­bly draw­ing on what she learned from five years spent as an atten­dant maid­en at a Shin­to shrine, she ren­ders them vis­i­ble again, as you can see in the video above, “by phys­i­cal­ly mov­ing them, expos­ing them to air and mak­ing them ‘con­scious.’ ”

Make sure to touch each one. Only with your books con­scious can you “take them in your hand one by one and decide whether you want to keep or dis­card each one. The cri­te­ri­on is, of course, whether or not it gives you a thrill of plea­sure when you touch it.” Not when you read it (start­ing to read or even open­ing any of them can, she warns, derail the entire project) but when you touch it.

“Some­time” means “nev­er.” We all own books we tell our­selves we’ll get around to one day (a habit which must have led Horn­by to rig­or­ous­ly sep­a­rate “Books Read” from mere “Books Bought” in his col­umn), but Kon­do sug­gests that the accu­mu­la­tion of books with only an intent to read them in the non-imme­di­ate future lessens the impact of the books you do read. “Tim­ing is every­thing,” she writes. “The moment you first encounter a book is the right time to read it. To avoid miss­ing that moment, I rec­om­mend you keep your col­lec­tion small.”

Lithub’s Sum­mer Bren­nan recent­ly wrote up her own expe­ri­ence of weed­ing out her per­son­al library the Kon­Mari way. Bren­nan breaks the do-not-open rule and finds let­ters, lists, tick­ets (both flight and traf­fic), pho­tos, bills, receipts, and even a high-school hall pass stuffed between their pages. Con­tra Kon­do, she argues that our books “are not imper­son­al units of knowl­edge, inter­change­able and replace­able, but rather recep­ta­cles for the moments of our lives, whose pages have sopped up morn­ing hopes and late-night sor­rows, car­ried in hon­ey­moon suit­cas­es or clutched to bro­ken hearts. They are memen­tos, which [Kon­do] cau­tions read­ers not to even attempt to con­tem­plate get­ting rid of until the very last.”

Some of the books we own may spark joy, in oth­er words, but almost all of them spark a range of oth­er feel­ings besides. Even so, the hol­i­day sea­son hav­ing come upon us again, we’ve got no choice but to make at least a lit­tle room on our shelves — or our floors — to accom­mo­date the new books we’ll no doubt receive as gifts. Farewell, then, to all those extra copies of best­selling punc­tu­a­tion guides. Only after they’ve gone will we see about breath­ing some life into the vol­umes to which we’ve grown more deeply attached. After all, a year’s end, as many a writer knows, pro­vides the ide­al time for reflec­tion.

Relat­ed Con­tent:

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

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

7 Tips for Read­ing More Books in a Year

What’s the Fastest Way to Alpha­bet­ize Your Book­shelf?

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Truman Capote Narrates “A Christmas Memory,” a 1966 TV Adaptation of His Autobiographical Story

It’s fruit­cake weath­er, so bust out your han­kies.

You’ll need them by the end of this 1966 tele­vi­sion adap­ta­tion of Tru­man Capote’s auto­bi­o­graph­i­cal 1956 sto­ry, “A Christ­mas Mem­o­ry,” above.

As hol­i­day spe­cials go, it’s bless­ed­ly free of raz­zle daz­zle. Capote’s Depres­sion-era Christ­mases in rur­al Alaba­ma were short on tin­sel and long on wind­fall pecans.

Com­bined with flour, sug­ar, dried fruit, and some hard-pur­chased whiskey, these gifts of nature yield­ed deli­cious cakes the main char­ac­ters send to a long list of recip­i­ents rang­ing from FDR to a young man whose car broke down in front of their house, who snapped the only pho­to­graph of the two of them togeth­er.

The nos­tal­gia may feel a bit thick at times. Both the sto­ry and the hour-long adap­ta­tion are a love let­ter to an eccen­tric, much old­er cousin, Nan­ny Rum­b­ley Faulk, known as Sook. She was part of the house­hold of dis­tant rela­tions where Capote’s moth­er, Lil­lie Mae, spent a por­tion of her child­hood, and on whom she lat­er dumped the 3‑year-old Tru­man.

Sook was “the only sta­ble per­son” in his life, Capote told Peo­ple mag­a­zine thir­ty years after her death.

And accord­ing to Capote’s aunt, Marie Rud­is­ill, “the only per­son that Sook ever cared any­thing about was Tru­man.”

Her inter­ests, while not in keep­ing with those of a lady of her time, place, race, and class, held enor­mous appeal for a lone­ly lit­tle boy with few play­mates his own age. Believ­ing in ghosts, tam­ing hum­ming­birds and cur­ing warts with an “old-time Indi­an cure” are just a few of Sook’s hob­bies he men­tions in the sto­ry, where­in her only name is “my friend.” She is:

small and spright­ly, like a ban­tam hen; but due to a long youth­ful ill­ness, her shoul­ders are piti­ful­ly hunched. Her face is remarkable–not unlike Lin­col­n’s, crag­gy like that, and tint­ed by sun and wind; but it is del­i­cate too, fine­ly boned, and her eyes are sher­ry-col­ored and timid.

Actress Geral­dine Page, then 43 and a favorite of Capote’s con­tem­po­rary, play­wright Ten­nessee Williams, imbued the “six­ty-some­thing” Sook with wide eyes and wild hair.

But the real star of the show is Capote him­self as nar­ra­tor. That famous nasal whine sets his “Christ­mas Mem­o­ry” apart from more gold­en-throat­ed hol­i­day voiceover work by Burl Ives, Greer Gar­son, and Fred Astaire. It also cuts through the trea­cle, as Bart Simp­son would say.

You can find “A Christ­mas Mem­o­ry” in this col­lec­tion.

Relat­ed Con­tent:

John Waters Makes Hand­made Christ­mas Cards, Says the “Whole Pur­pose of Life is Christ­mas”

Bob Dylan Reads “‘Twas the Night Before Christ­mas” On His Hol­i­day Radio Show (2006)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

500+William S. Burroughs Book Covers from Across the Globe: 1950s Through the 2010s

burroughs-hungary

William S. Bur­roughs has shown gen­er­a­tions of read­ers that the writ­ten word can pro­vide expe­ri­ences they’d nev­er before imag­ined. But to get to Bur­roughs’ writ­ten words, most of those read­ers have entered through his covers—or rather, through the cov­ers that a host of pub­lish­ers, all over the world and for over six­ty years now—have con­sid­ered suf­fi­cient­ly appeal­ing rep­re­sen­ta­tions of Bur­roughs’ dar­ing, exper­i­men­tal, and not-espe­cial­ly-rep­re­sentable lit­er­ary work. You can see over 500 of these efforts at the Bur­roughs page of beatbookcovers.com.

burroughs-covers-2

As mild-man­nered as he could seem in per­son, Bur­roughs’ life and work, what with the drugs, the acquain­tance with the homo­sex­u­al under­world, and the reck­less gun­play, has always attract­ed an air of the sor­did and sen­sa­tion­al. Pub­lish­ers did­n’t hes­i­tate to exploit that, as we can see in the first edi­tion of Bur­roughs’ first pub­lished work Junkie just above. Not only did it come out as a 35-cent mass-mar­ket two-in-one paper­back, it promised the “con­fes­sions of an unre­deemed drug addict,” and with that lurid illus­tra­tion implied so much more besides. No mat­ter how much read­er­ly curios­i­ty it piqued, how much of an artis­tic future could some­one impulse-buy­ing it at the drug­store have imag­ined for this “William Lee” fel­low?

burroughs-covers-3

More curi­ous read­ers have prob­a­bly become Bur­roughs fans by pick­ing up The Naked Lunch, his best-known nov­el but a more con­tro­ver­sial and much less con­ven­tion­al­ly com­posed one than Junkie. This sto­ry of William Lee (now just the name of the pro­tag­o­nist, not an autho­r­i­al pseu­do­nym) and his sub­stance-fueled odyssey through Amer­i­ca, Mex­i­co, Moroc­co, the fic­tion­al Annex­ia and far beyond has had many and var­ied visu­al rep­re­sen­ta­tions, all of which try to con­vey how stren­u­ous­ly the text strug­gles against the stric­tures of tra­di­tion­al forms of writ­ing. Some­times, as in the 1986 U.K. edi­tion from Pal­adin above, they resort to telling rather than just show­ing you that you hold in your hands “the book that blew ‘lit­er­a­ture’ apart.”

burroughs-covers-4

Those of us who get deep into Bur­roughs’ work often do so because it tran­scends genre. Still, that has­n’t stopped mar­ket­ing depart­ments from try­ing to place him in one genre or anoth­er, or at least to sell cer­tain of his books as if they belonged in one genre or anoth­er. The “Nova tril­o­gy” with which Bur­roughs fol­lowed up Naked Lunch, has tend­ed to appear on the sci­ence-fic­tion shelves of book­stores around the world, not com­plete­ly with­out rea­son. Still, the sen­si­bil­i­ties of the sci-fi world and Bur­roughs’ mind do clash some­what, pro­duc­ing such intrigu­ing results as the 1978 Japan­ese edi­tion of Nova Express above.

burroughs-covers-5

Ulti­mate­ly, the only image that reli­ably con­veys the work of William S. Bur­roughs is the image of William S. Bur­roughs, which appears on the cov­er of this 1982 Pic­a­dor William Bur­roughs Read­er as well as many oth­er books besides. As any­one who’s gone deep into his bib­li­og­ra­phy knows, the work and the man don’t come sep­a­rate­ly, but they’ll sure­ly always remem­ber the cov­er that led them into his world in the first place, whether it bore images sub­dued or sen­sa­tion­al­is­tic, a design grim­ly real or for­bid­ding­ly abstract, or a prop­er warn­ing about just what it was they were get­ting into.

Vis­it all 500+ William S. Bur­roughs books cov­ers here.

Relat­ed Con­tent:

The Visu­al Art of William S. Bur­roughs: Book Cov­ers, Por­traits, Col­lage, Shot­gun Art & More

Loli­ta Book Cov­ers: 100+ Designs From 37 Coun­tries (Plus Nabokov’s Favorite Design)

Hear a Great Radio Doc­u­men­tary on William S. Bur­roughs Nar­rat­ed by Iggy Pop

83 Years of Great Gats­by Book Cov­er Designs: A Pho­to Gallery

600+ Cov­ers of Philip K. Dick Nov­els from Around the World: Greece, Japan, Poland & Beyond

Down­load 650 Sovi­et Book Cov­ers, Many Sport­ing Won­der­ful Avant-Garde Designs (1917–1942)

The Art of the Book Cov­er Explained at TED

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

What’s the Fastest Way to Alphabetize Your Bookshelf?

We’ve told you about the great Japan­ese word “tsun­doku,” which describes the act of buy­ing books and let­ting them pile up unread. It’s an affliction–or state of affairs–I’m sure many of you are per­son­al­ly famil­iar with.

Now let’s say you move that huge pile of unread books to a new home. And you’re won­der­ing what’s the quick­est way to get them in alpha­bet­i­cal order. Above, a handy life­hack to save you 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.

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:

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

800 Free eBooks for iPad, Kin­dle & Oth­er Devices

700 Free Audio Books: Down­load Great Books for Free

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