Haruki Murakami Reads in English from The Wind-Up Bird Chronicle in a Rare Public Reading (1998)

Murakami 92Y

Note: It looks like the 92nd St Y took the read­ing off of its Youtube chan­nel for unknown rea­sons. How­ev­er you can stream it here.

Haru­ki Muraka­mi does­n’t make many pub­lic appear­ances, but when he does, his fans savor them. This record­ing of a read­ing he gave at New York’s 92nd Street Y back in 1998 (stream it here) counts as a trea­sured piece of mate­r­i­al among Eng­lish-speak­ing Murakamists, espe­cial­ly those who love his eighth nov­el, The Wind-Up Bird Chron­i­cle. When asked to read from that book, the author explains here, he usu­al­ly reads from chap­ter one, “but I’m tired of read­ing the same thing over and over, so I’m going to read chap­ter three today.” And that’s what he does after giv­ing some back­ground on the book, its 29-year-old pro­tag­o­nist Toru Oka­da, and his own thoughts on how it feels to be 29.

The Wind-Up Bird Chron­i­cle, pub­lished in three parts in Japan in 1994 and 1995 and in its entire­ty in Eng­lish in 1997, began a new chap­ter in the writer’s career. You could tell by its size alone: the page count rose to 600 in the Eng­lish-lan­guage edi­tion, where­as none of his pre­vi­ous nov­els had clocked in above 400. The­mat­i­cal­ly, too, Murakami’s mis­sion had clear­ly broad­ened: where its pre­de­ces­sors con­cern them­selves pri­mar­i­ly with West­ern pop cul­ture, dis­ap­pear­ing girls, twen­tysome­thing lan­guor, and mys­te­ri­ous ani­mal-men, The Wind-Up Bird Chron­i­cle takes on Japan­ese his­to­ry, espe­cial­ly the coun­try’s ill-advised wartime colo­nial ven­ture in Manchuria.

As a result, the book final­ly earned Muraka­mi some respect — albeit respect he’d nev­er direct­ly sought — from his home­land’s long-dis­dain­ful lit­er­ary estab­lish­ment. Despite hav­ing held its place since the time of this read­ing as Murakami’s “impor­tant” book, and one many read­ers name as their favorite, it might not offer the eas­i­est point of entry into his work. When I asked Wang Chung lead singer Jack Hues about a Muraka­mi ref­er­ence in the band’s song “City of Light,” he told me he put it there after read­ing The Wind-Up Bird Chron­i­cle on his daugh­ter’s rec­om­men­da­tion and not lik­ing it very much. I sug­gest­ed he try Nor­we­gian Wood instead.

Note: You can down­load a com­plete audio ver­sion of The Wind-Up Bird Chron­i­cle if you take part in one of the free tri­als offered by our part­ners Audible.com and/or Audiobooks.com. Click on the respec­tive links to get more infor­ma­tion.

Relat­ed Con­tent:

Haru­ki Muraka­mi Lists the Three Essen­tial Qual­i­ties For All Seri­ous Nov­el­ists (And Run­ners)

Pat­ti Smith Reviews Haru­ki Murakami’s New Nov­el, Col­or­less Tsuku­ru Taza­ki and His Years of Pil­grim­age

Haru­ki Murakami’s Pas­sion for Jazz: Dis­cov­er the Novelist’s Jazz Playlist, Jazz Essay & Jazz Bar

A Pho­to­graph­ic Tour of Haru­ki Murakami’s Tokyo, Where Dream, Mem­o­ry, and Real­i­ty Meet

In Search of Haru­ki Muraka­mi: A Doc­u­men­tary Intro­duc­tion to Japan’s Great Post­mod­ernist Nov­el­ist

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture as well as the video series The City in Cin­e­ma and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Rolling Stones Drummer Charlie Watts Writes a Children’s Book Celebrating Charlie Parker (1964)

Ode to a Highflying Bird

Char­lie Watts’s first love has always been jazz. While his Rolling Stones band mates spent their youth lis­ten­ing to the Blues, Watts lis­tened to Miles Davis and John Coltrane. And some­thing about that seems to have stuck. Mick Jag­ger and Kei­th Richards defined what a rock star should look like in the late 60s – disheveled and flam­boy­ant. Watts always seemed to car­ry him­self with a jazzman’s sense of cool.

Back in 1960, when he was work­ing as a graph­ic design­er and doing drum­ming gigs on the side, Watts found anoth­er way to show off his love for jazz. He wrote a children’s book. Ode to a High­fly­ing Bird is about alt sax leg­end Char­lie Park­er, ren­dered in doo­dle-like fash­ion as a bird in shades. The hand-drawn text details Parker’s life sto­ry: “Frus­trat­ed with what life had to offer him in his home­town, he packed his whis­tle, pecked his ma good­bye and flew from his nest in Kansas City bound for New York.”

watts children book

The book was orig­i­nal­ly done as a port­fo­lio piece but, in 1964, after Watts became a mem­ber of the Stones, the book was pub­lished. As Watts recalled, “This guy who pub­lished ‘Rolling Stones Month­ly’ saw my book and said ‘Ah, there’s a few bob in this!’”

This wasn’t the only ode to Bird that Watts made over his long career. In 1992, his jazz band, The Char­lie Watts Quin­tet, released an album called From One Char­lie… which, as the title sug­gests, pays homage to Park­er and his oth­er bee-bop gods. “I don’t real­ly love rock & roll,” as he told Rolling Stone mag­a­zine. “I love jazz. But I love play­ing rock & roll with the Stones.”

A few old copies of Ode to a High­fly­ing Bird can be found on Ama­zon and on Abe Books.

via UDis­cov­er­Mu­sic

Relat­ed Con­tent:

Char­lie Park­er Plays with Jazz Greats Cole­man Hawkins, Bud­dy Rich, Lester Young & Ella Fitzger­ald (1950)

Char­lie Park­er Plays with Dizzy Gille­spie in Only Footage Cap­tur­ing the “Bird” in True Live Per­for­mance

Watch Ani­mat­ed Sheet Music for Miles Davis’ “So What,” Char­lie Parker’s “Con­fir­ma­tion” & Coltrane’s “Giant Steps”

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.

Susan Sarandon Reads an Animated Version of Good Night Moon … Without Crying

One’s nev­er too old to be read a sto­ry. There’s no shame in steal­ing a cou­ple of min­utes from your busy, stress-filled day to let actress Susan Saran­don read you one, above.

Good­night Moon was nev­er a part of my child­hood, but it came into heavy rota­tion when my own kids were lit­tle. It wasn’t a title they clam­ored for—in my expe­ri­ence, the intend­ed demo­graph­ic favors the junky and cringe-induc­ing over clas­sics of children’s lit­er­a­ture, but no mat­ter.

All day, I indulged their han­ker­ing for tales of preschool-aged dinosaurs who had to be taught how to share, giant sil­ly cook­ies, and a cer­tain tele­vi­sion char­ac­ter who react­ed poor­ly to being passed over as flower girl. In return, I ruled the night.

I trea­sured Good­night Moon not so much because it made them fall asleep—there are shelves upon shelves of depend­able choic­es in that department—but rather for its sim­plic­i­ty. There were no moral lessons. Noth­ing spark­ly or mag­ic or forced. Noth­ing that catered to their sup­posed whims. Author Mar­garet Wise Brown’s stat­ed aim with regard to the child read­er was “to jog him with the unex­pect­ed and com­fort him with the famil­iar.”

I approve. But there’s not a lot of jog­ging in Good­night Moon. Just that comb and that brush and that bowl­ful of mush. What a blessed relief.

As one approach­es the end, Good­night Moon begins to rival Charlotte’s Web as children’s literature’s great med­i­ta­tion on death. The cat­a­logue of all those things we’re say­ing good­night to harkens to the final scene in Our Town, when the new­ly dead Emi­ly, revis­it­ing her child­hood home, cries, “All that was going on in life and we nev­er noticed.”

Every time my small crew made it to “good­night stars, good­night air, good­night nois­es every­where,” I was croak­ing. (Not fig­u­ra­tive­ly, though a lit­tle research reveals I am not the only one to think this love­ly phrase would make a great epi­taph.)

This emo­tion­al col­lapse was equal parts cathar­tic and embar­rass­ing. What can I say? My cup ran­neth over. I was glad to learn that E. B. White’s voice betrayed him, too, record­ing Charlotte’s Web’s most poignant scene.

“Oh, earth, you’re too won­der­ful for any­body to real­ize you.”

Nar­rat­ing the light­ly ani­mat­ed sto­ry for 1999’s Good­night Moon & Oth­er Sleep­y­time Tales, Saran­don exhibits aston­ish­ing self con­trol. It’s prob­a­bly a good thing for chil­dren every­where to see that there’s at least one adult out there with the steel to sol­dier through. Her youngest child was still lit­tle when she went into the record­ing booth. If she’d want­ed, she could’ve milked it for every last drop of pathos, but I’m glad she played it straight, because most of us can’t.

(And few of us can write a book so ele­gant on a top­ic so pro­found. Sarandon’s would-be pub­lish­ers reject­ed her children’s book about a “very fun­ny rac­coon” who dies.”)

Find oth­er great sto­ries in our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent: 

Christo­pher Walken Reads Where The Wild Things Are

Free Audio: Go the F–k to Sleep Nar­rat­ed by Samuel L. Jack­son

Down­load Bryan Cranston’s Read­ing of You Have to F–king Eat as a Free Audio Book (NSFW)

Ayun Hal­l­i­day is an author whose sole con­tri­bu­tion to the pic­ture book canon is Always Lots of Heinies at the Zoo. Fol­low her @AyunHalliday

O Frabjous Day! Neil Gaiman Recites Lewis Carroll’s “Jabberwocky” from Memory

When the young Neil Gaiman was learn­ing Lewis Carroll’s “Jab­ber­wocky” by heart, he sure­ly had no inkling that years lat­er he’d be called upon to recite it for legions of ador­ing fans…particularly on the Inter­net, a phe­nom­e­non the bud­ding author may well have imag­ined, if not tech­ni­cal­ly imple­ment­ed.

World­builders, a fundrais­ing por­tal that rewards donors not with tote bags or umbrel­las, but rather with celebri­ty chal­lenges of a non-ice buck­et vari­ety, scored big when Gaiman agreed to par­tic­i­pate.

Ear­li­er this year, a rum­pled look­ing Gaiman read Dr. Seuss’s “rather won­der­ful” Green Eggs and Ham into his web­cam.

This month, with dona­tions to Heifer Inter­na­tion­al exceed­ing $600,000, he found him­self on the hook to read anoth­er piece of the donors’ choos­ing. Carroll’s non­sen­si­cal poem won out over Good­night Moon, Fox in Socks, and Where the Wild Things Are

Like fel­low author, Lyn­da Bar­ry, Gaiman is not one to under­es­ti­mate the val­ue of mem­o­riza­tion.

The videog­ra­phy may be casu­al, but his off-book per­for­mance in an undis­closed tul­gey wood is the stuff of high dra­ma.

Cal­looh!

Callay!

Is that a mem­o­ry lapse at the one minute mark? Anoth­er inter­preter might have called for a retake, but Gaiman rides out a four sec­ond pause cooly, his eyes the only indi­ca­tor that some­thing may be amiss. Per­haps he’s just tak­ing pre­cau­tions, lis­ten­ing for tell­tale whif­fling and bur­bling.

If you’re on the prowl to make some year end char­i­ta­ble dona­tions, recre­ation­al math­e­mu­si­cian Vi Hart and author John Green are among those World­builders has in the pipeline to per­form stunts for suc­cess­ful­ly fund­ed cam­paigns.

Jab­ber­wocky is a poem that appears in Car­rol­l’s Through the Look­ing-Glass, the 1871 sequel to Alice’s Adven­tures in Won­der­land (1865). You can find both in our col­lec­tion, 800 Free eBooks for iPad, Kin­dle & Oth­er Devices.

Relat­ed Con­tent:

Neil Gaiman Reads The Grave­yard Book, His Award-Win­ning Kids Fan­ta­sy Nov­el, Chap­ter by Chap­ter

Neil Gaiman Gives Grad­u­ates 10 Essen­tial Tips for Work­ing in the Arts

Where Do Great Ideas Come From? Neil Gaiman Explains

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

The Digital Dostoevsky: Download Free eBooks & Audio Books of the Russian Novelist’s Major Works

Fyodor_Mikhailovich_Dostoyevsky_1876

In the pan­theon of Great Russ­ian Writ­ers, two heads appear to tow­er above all others—at least for us Eng­lish-lan­guage read­ers. Leo Tol­stoy, aris­to­crat-turned-mys­tic, whose detailed real­ism feels like a fic­tion­al­ized doc­u­men­tary of 19th cen­tu­ry Russ­ian life; and Fyo­dor Mikhailovich Dos­to­evsky, the once-con­demned-to-death, epilep­tic for­mer gam­bler, whose fever-dream nov­els read like psy­cho­log­i­cal case stud­ies of peo­ple bare­ly cling­ing to the jagged edges of that same soci­ety. Both nov­el­ists are read with sim­i­lar rev­er­ence and devo­tion by their fans, and they are often pit­ted against each oth­er, writes Kevin Hart­nett at The Mil­lions, like “Williams vs. DiMag­gio and Bird vs. Mag­ic,” even as peo­ple who have these kinds argu­ments acknowl­edge them both as “irre­ducibly great.”

I’ve had the Tol­stoy vs. Dos­to­evsky back and forth a time or two, and I have to say I usu­al­ly give the edge to Dos­to­evsky. It’s the high-stakes des­per­a­tion of his char­ac­ters, the trag­ic irony of their un-self-aware­ness, or the gnaw­ing obses­sion of those who know a lit­tle bit too much, about them­selves and every­one else. Dos­toyevsky has long been described as a psy­cho­log­i­cal nov­el­ist. Niet­zsche famous­ly called him “the only psy­chol­o­gist from whom I have any­thing to learn.” Hen­ry Miller’s praise of the writer of par­tic­u­lar­ly Russ­ian forms of mis­ery and tres­pass is a lit­tle more col­or­ful: “Dos­to­evsky,” he wrote, “is chaos and fecun­di­ty. Human­i­ty, with him, is but a vor­tex in the bub­bling mael­strom.”

Per­haps the most suc­cinct state­ment on the Russ­ian novelist’s work comes from Scot­tish poet and nov­el­ist Edwin Muir, who said, “Dos­toyevsky wrote of the uncon­scious as if it were con­scious; that is in real­i­ty the rea­son why his char­ac­ters seem ‘patho­log­i­cal,’ while they are only visu­al­ized more clear­ly than any oth­er fig­ures in imag­i­na­tive lit­er­a­ture.” Joseph Con­rad may have found him “too Russ­ian,” but even with the cul­tur­al gulf that sep­a­rates him from us, and the well over one hun­dred years of social, polit­i­cal, and tech­no­log­i­cal change, we still read Dos­to­evsky and see our own inner dark­ness reflect­ed back at us—our hypocrisies, neu­roses, obses­sions, ter­rors, doubts, and even the para­noia and nar­cis­sism we think unique to our inter­net age.

This kind of thing can be unset­tling. Although, like Tol­stoy, Dos­to­evsky embraced a fierce­ly uncom­pro­mis­ing Christianity—one more wracked with painful doubt, per­haps, but no less sincere—his will­ing­ness to descend into the low­est depths of the human psy­che made him seem to Tur­genev like “the nas­ti­est Chris­t­ian I’ve ever met.” I’m not sure if that was meant as a com­pli­ment, but it’s per­haps a fit­ting descrip­tion of the cre­ator of such express­ly vicious char­ac­ters as Crime and Pun­ish­ment’s socio­path­ic Arkady Svidri­gailov, Demons’ cru­el rapist Niko­lai Stavro­gin, and The Broth­ers Kara­ma­zov’s psy­cho­path­ic creep Pavel Smerdyakov (a char­ac­ter so nasty he inspired a Mar­vel comics vil­lain).

Next to these dev­ils, Dos­to­evsky places saints: Crime and Pun­ish­ment’s Sonya, Kara­ma­zov broth­er Alyosha the monk, and holy fool Prince Myshkin in The Idiot. His char­ac­ters fre­quent­ly mur­der and redeem each oth­er, but they also work out exis­ten­tial crises, have lengthy the­o­log­i­cal argu­ments, and illus­trate the author’s philo­soph­i­cal ideas about faith and its lack. The genius of Dos­to­evsky lies in his abil­i­ty to explore such heady abstrac­tions while rarely becom­ing didac­tic or turn­ing his char­ac­ters into pup­pets. On the contrary—no fig­ures in mod­ern lit­er­a­ture seem so alive and three-dimen­sion­al as his anguished col­lec­tion of unfor­get­table anar­chists, aris­to­crats, poor folks, crim­i­nals, fla­neurs, and under­ground men.

Should you have missed out on the plea­sure, if it can so be called, of ful­ly immers­ing your­self in Dostoevsky’s world of fear, belief, and madness—or should you desire to refresh your knowl­edge of his dense and mul­ti­fac­eted work—you can find all of his major nov­els and novel­las online in a vari­ety of for­mats. We’ve done you the favor of com­pil­ing them below in ebook for­mat. Where pos­si­ble, we’ve also includ­ed audio books too. (Note: they all per­ma­nent­ly reside in our Free eBooks and Free Audio Books col­lec­tions.)

Find more of Dostoevsky’s work—including his sketch­es of prison life in Siberia and many of his short sto­ries—at Project Guten­berg. Like his con­tem­po­rary Charles Dick­ens, Dostoevsky’s nov­els were seri­al­ized in peri­od­i­cals, and their plots (and char­ac­ter names) can be wind­ing, con­vo­lut­ed, and dif­fi­cult to fol­low. For a com­pre­hen­sive guide through the life and work of the Russ­ian psy­cho­log­i­cal real­ist, see Chris­ti­aan Stange’s “Dos­to­evsky Research Sta­tion,” an online data­base with full text of the author’s work and links to art­work, crit­i­cal essays, bib­li­ogra­phies, quo­ta­tions, study guides and out­lines, and muse­ums and “his­tor­i­cal­ly impor­tant places.” And for even more resources, see FyodorDostoevsky.com, a huge archive of texts, essays, links, pic­tures and more. Enjoy!

Relat­ed Con­tent:

The Dig­i­tal Niet­zsche: Down­load Nietzsche’s Major Works as Free eBooks

Watch a Hand-Paint­ed Ani­ma­tion of Dostoevsky’s “The Dream of a Ridicu­lous Man”

Watch Piotr Dumala’s Won­der­ful Ani­ma­tions of Lit­er­ary Works by Kaf­ka and Dos­to­evsky

The His­toric Meet­ing Between Dick­ens and Dos­to­evsky Revealed as a Great Lit­er­ary Hoax

Crime and Pun­ish­ment: Free Audio­Book and eBook

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

Thug Notes Demystifies 60 Literary Classics (from Shakespeare to Gatsby) with a Fresh Urban Twist

Gen­tle read­er, if you feel your knee jerk­ing at Thug Notes, may I sug­gest tak­ing a moment to gaze beyond the gold bling and du-rag favored by its fic­ti­tious host, lit­er­a­ture lover Sparky Sweets, PhD.

Or do we think YA author John Green should hold the monop­oly on wit­ty, break­neck decon­struc­tions of clas­sic lit­er­a­ture? No shade towards Green. The Crash Course empire he’s cre­at­ed with his sci­en­tist broth­er, Hank, pro­vides a great and enter­tain­ing ser­vice to stu­dents of all ages. His cute-nerd vibe makes him an appeal­ing host.

But there’s more than one way to skin a cat.

A poor choice of metaphor, giv­en the fic­ti­tious Dr. Sweets’ soft spot for baby felines. It’s not some­thing he talks about on the show, but he fre­quent­ly tweets pho­tos of him­self in their oh-so-cud­dly com­pa­ny, tag­ging them #kit­ten­ther­a­py.

He (or per­haps head writer / pro­duc­er Jared Bauer) also turns to Twit­ter to dis­sem­i­nate quotes by the likes of Cer­vantes (“Dili­gence is the moth­er of good for­tune”) and Orwell (“Either we all live in a decent world, or nobody does”).

Thug Notes’ tagline “clas­sic lit­er­a­ture, orig­i­nal gangs­ta” may be its punch­line, but the humor of incon­gruity is not its sole aim.

Come­di­an Greg Edwards, who plays Sparky Sweets, told The New York Times that the project is “triv­i­al­iz­ing academia’s attempt at mak­ing lit­er­a­ture exclu­sion­ary by show­ing that even high­brow aca­d­e­m­ic con­cepts can be com­mu­ni­cat­ed in a clear and open fash­ion.”

Amen. As Sparky Sweets observes fol­low­ing Simon’s mur­der in the Lord of the Flies above, “Whoo, this $hit (is) get­tin’ real!”

Is there a dan­ger that white teenage boys who love com­e­dy and hip hop, who are indif­fer­ent to lit­er­a­ture, and who know few black peo­ple and/or urban dwellers, might run around imi­tat­ing their favorite parts of these videos, not real­iz­ing that their attempt to embody the char­ac­ter is per­pet­u­at­ing a stereo­type in a bad way?

Yes.

Is there an equal or greater dan­ger that a reluc­tant stu­dent might be prod­ded in a pos­i­tive direc­tion by Sparky’s zesty, insight­ful take on their assigned read­ing?

Resound­ing­ly, yes.

Thug Notes’ dis­cus­sion of racism as por­trayed in To Kill a Mock­ing­bird is not the longest I’ve ever heard, but it is the most straight­for­ward and brac­ing. It got my blood going! I’m inspired to drag my dog eared paper­back copy out and give it anoth­er read! (Maybe I’ll have a Scotch and play some clas­si­cal music. Sparky does that too.)

I’m hop­ing the kids at the high school a cou­ple of blocks away — who, for the record, look and sound far more like Sparky than they do me — will be encour­aged to sup­ple­ment their read­ing of this book, and oth­ers, with Thug Notes.

As an out-of-char­ac­ter Greg Edwards, bear­ing as much resem­blance to Sparky Sweets as Stephen Col­bert does to his most famous cre­ation, told inter­view­er Tavis Smi­ley:

We don’t want to stop kids from read­ing the book. We just want to open up doors. Maybe teach­ers can use it. It’s hard being a teacher nowa­days. You’re under­paid, you’re over­worked, the class­rooms are full, the kids are crazy, so throw this on and maybe it’ll spark one kid’s atten­tion.

As of this writ­ing, Thug Notes has tack­led dozens of titles (you can watch them all here, or right below), a heap­ing help­ing of banned books, and four of Shakespeare’s plays (above).

New titles will be added every oth­er Tues­day. I can’t wait.

Relat­ed Con­tent:

Alexan­der Hamil­ton: Hip-Hop Hero at the White House Poet­ry Evening

The Can­ter­bury Tales Remixed: Baba Brinkman’s New Album Uses Hip Hop to Bring Chaucer Into the 21st Cen­tu­ry, Yo

Do Rap­pers Have a Big­ger Vocab­u­lary Than Shake­speare?: A Data Sci­en­tist Maps Out the Answer

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

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

More than 60 years after his death and the close­ly pre­ced­ing pub­li­ca­tion of his best-known nov­el 1984, we look to George Orwell as a kind of prophet of the ills of cor­po­ratism, social­ism, author­i­tar­i­an­ism, total­i­tar­i­an­ism — any pow­er­ful ‑ism, essen­tial­ly, in which we can find nasty, free­dom-destroy­ing impli­ca­tions. The BBC doc­u­men­tary Orwell: A Life in Pic­tures, which we fea­tured a few years back, makes a point of high­light­ing Orwell’s “warn­ing” to what he saw as a fast corporatizing/socializing/authoriatarianizing/totalitarianizing world. In the film’s final dra­ma­tized scene above (watch the com­plete film here), the re-cre­at­ed Orwell him­self makes the fol­low­ing omi­nous pre­dic­tion:

Allow­ing for the book, after all, being a par­o­dy, some­thing like 1984 could actu­al­ly hap­pen. This is the direc­tion the world is going in at the present time. In our world, there will be no emo­tions except fear, rage, tri­umph, and self-abase­ment. The sex instinct will be erad­i­cat­ed. We shall abol­ish the orgasm. There will be no loy­al­ty except loy­al­ty to the Par­ty. But always there will be the intox­i­ca­tion of pow­er. Always, at every moment, there will be the thrill of vic­to­ry, the sen­sa­tion of tram­pling on an ene­my who’s help­less. If you want a pic­ture of the future, imag­ine a boot stamp­ing on a human face, for­ev­er. The moral to be drawn from this dan­ger­ous night­mare sit­u­a­tion is a sim­ple one: don’t let it hap­pen. It depends on you.

This fic­tion­al­ized Orwell — much like the real Orwell — does­n’t mince words. But as with most unminced words, these mask a more com­pli­cat­ed real­i­ty. Though Orwell fans may find each indi­vid­ual piece of this speech rec­og­niz­able, espe­cial­ly the bit about the boot and the face, the man him­self nev­er spoke it — not in this form, any­way.

It mix­es doc­u­ment­ed state­ments of Orwell’s with words from the text of 1984, and its dra­mat­ic clos­er [“Don’t let it hap­pen. It depends on you!”] comes, as writes Barnes and Noble’s Steve King, from a post-pub­li­ca­tion press release direct­ed by pub­lish­er Fredric War­burg toward read­ers who “had mis­in­ter­pret­ed [Orwell’s] aim, tak­ing the nov­el as a crit­i­cism of the cur­rent British Labour Par­ty, or of con­tem­po­rary social­ism in gen­er­al.” The quo­ta­tion from the press release was “soon giv­en the sta­tus of a last state­ment or deathbed appeal, giv­en that Orwell was hos­pi­tal­ized at the time and dead six months lat­er.”

You can read more at georgeorwellnovels.com, which pro­vides a great deal of con­text on this press release, which runs, in full, as fol­lows:

It has been sug­gest­ed by some of the review­ers of Nine­teen Eighty-Four that it is the author’s view that this, or some­thing like this, is what will hap­pen inside the next forty years in the West­ern world. This is not cor­rect. I think that, allow­ing for the book being after all a par­o­dy, some­thing like Nine­teen Eighty-Four could hap­pen. This is the direc­tion in which the world is going at the present time, and the trend lies deep in the polit­i­cal, social and eco­nom­ic foun­da­tions of the con­tem­po­rary world sit­u­a­tion.

Specif­i­cal­ly the dan­ger lies in the struc­ture imposed on Social­ist and on Lib­er­al cap­i­tal­ist com­mu­ni­ties by the neces­si­ty to pre­pare for total war with the U.S.S.R. and the new weapons, of which of course the atom­ic bomb is the most pow­er­ful and the most pub­li­cized. But dan­ger lies also in the accep­tance of a total­i­tar­i­an out­look by intel­lec­tu­als of all colours.

The moral to be drawn from this dan­ger­ous night­mare sit­u­a­tion is a sim­ple one: Don’t let it hap­pen. It depends on you.

George Orwell assumes that if such soci­eties as he describes in Nine­teen Eighty-Four come into being there will be sev­er­al super states. This is ful­ly dealt with in the rel­e­vant chap­ters of Nine­teen Eighty-Four. It is also dis­cussed from a dif­fer­ent angle by James Burn­ham in The Man­age­r­i­al Rev­o­lu­tion. These super states will nat­u­ral­ly be in oppo­si­tion to each oth­er or (a nov­el point) will pre­tend to be much more in oppo­si­tion than in fact they are. Two of the prin­ci­pal super states will obvi­ous­ly be the Anglo-Amer­i­can world and Eura­sia. If these two great blocks line up as mor­tal ene­mies it is obvi­ous that the Anglo-Amer­i­cans will not take the name of their oppo­nents and will not dra­ma­tize them­selves on the scene of his­to­ry as Com­mu­nists. Thus they will have to find a new name for them­selves. The name sug­gest­ed in Nine­teen Eighty-Four is of course Ing­soc, but in prac­tice a wide range of choic­es is open. In the U.S.A. the phrase “Amer­i­can­ism” or “hun­dred per cent Amer­i­can­ism” is suit­able and the qual­i­fy­ing adjec­tive is as total­i­tar­i­an as any­one could wish.

If there is a fail­ure of nerve and the Labour par­ty breaks down in its attempt to deal with the hard prob­lems with which it will be faced, tougher types than the present Labour lead­ers will inevitably take over, drawn prob­a­bly from the ranks of the Left, but not shar­ing the Lib­er­al aspi­ra­tions of those now in pow­er. Mem­bers of the present British gov­ern­ment, from Mr. Attlee and Sir Stafford Cripps down to Aneurin Bevan will nev­er will­ing­ly sell the pass to the ene­my, and in gen­er­al the old­er men, nur­tured in a Lib­er­al tra­di­tion, are safe, but the younger gen­er­a­tion is sus­pect and the seeds of total­i­tar­i­an thought are prob­a­bly wide­spread among them. It is invid­i­ous to men­tion names, but every­one could with­out dif­fi­cul­ty think for him­self of promi­nent Eng­lish and Amer­i­can per­son­al­i­ties whom the cap would fit.

Read­ers can still find plen­ty to quib­ble with in Orwell, but sure­ly that counts as a point toward his sta­tus as an endur­ing­ly fas­ci­nat­ing writer. The les­son, how­ev­er much we may mis­in­ter­pret its deliv­ery — and indeed, how much Orwell him­self may some­times seem to mis­de­liv­er it — holds steady: don’t let it hap­pen. How not to let it hap­pen, of course, remains a mat­ter of active inquiry.

Relat­ed Con­tent:

George Orwell Explains in a Reveal­ing 1944 Let­ter Why He’d Write 1984

For 95 Min­utes, the BBC Brings George Orwell to Life

The Only Known Footage of George Orwell (Cir­ca 1921)

George Orwell and Dou­glas Adams Explain How to Make a Prop­er Cup of Tea

George Orwell’s Five Great­est Essays (as Select­ed by Pulitzer-Prize Win­ning Colum­nist Michael Hiltzik)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

A Cabinet of Curiosities: Discover The Public Domain Review’s New Book of Essays

ANIMATE-CROP

Many of the reg­u­lars to the glo­ri­ous pages of Open Cul­ture might be famil­iar with The Pub­lic Domain Review project, hav­ing been fea­tured on OC a fair few times. From six­teenth-cen­tu­ry wood­cuts on how to swim to hand-col­ored pho­tographs of nine­teenth-cen­tu­ry Japan, you will have seen links to all sorts of his­tor­i­cal odd­i­ties and delights that we’ve gath­ered from var­i­ous archives and high­light­ed on The Pub­lic Domain Review. In addi­tion to these short­er col­lec­tion posts, since we start­ed in 2011, we’ve also pub­lished a steady stream of long-form essays on sim­i­lar won­ders from the his­tor­i­cal record. It is with great plea­sure this week to announce that The Pub­lic Domain Review has com­piled a selec­tion of these essays into a brand-new beau­ti­ful book!

Spread across six themed chap­ters – Ani­mals, Bod­ies, Words, Worlds, Encoun­ters and Net­works – the col­lec­tion includes a total of thir­ty-four essays from a stel­lar line up of con­trib­u­tors, includ­ing Jack Zipes, Frank Delaney, Col­in Dick­ey, George Prochnik, Noga Arikha, and Julian Barnes.

david-music21

There’s a whole host of weird and won­der­ful top­ics explored: from the case of Mary Toft, the woman who claimed to give birth to rab­bits, to William Warren’s search for the coor­di­nates of Eden; from Thomas Browne’s odd litany of imag­ined arte­facts, to the phrase­books of the invent­ed lan­guage Volapük; from the strange lit­er­ary fruits of the “it-nar­ra­tive” fad, to epic verse in praise of a cat named Jeof­fry; from a his­to­ry of the paint­ed smile, to the bizarre world of medieval ani­mals tri­als.

The col­lec­tion is not all obscu­ri­ties and unknown tales. We have some big hit­ters in there too. Great essays on fig­ures you will no doubt have heard of — the Broth­ers Grimm, Proust , Flaubert, Joyce — but all approached from new angles and illu­mi­nat­ed by unfa­mil­iar lights.

With 146 illus­tra­tions, more than half of which have been new­ly sourced espe­cial­ly for the book, this is very far from sim­ply the web­site in print form. It is a beau­ti­ful object in and of itself, lov­ing­ly designed by writer and design­er Nicholas Jeeves.

Any­how, I hope I’ve enticed you all suf­fi­cient­ly to check out the page on the site for more details, and per­haps even to place an order or two! If you would like to grab your­self a copy then do make sure to put your order in before mid­night on Novem­ber 26th as up until then we’ll be offer­ing the book for a spe­cial dis­count­ed rate and also ensur­ing deliv­ery by Christ­mas.

Adam Green is the co-founder and edi­tor of The Pub­lic Domain Review.

« Go BackMore in this category... »
Quantcast