Memory of the Camps (1985): The Holocaust Documentary that Traumatized Alfred Hitchcock, and Remained Unseen for 40 Years

You may have heard the news that the world will soon see “Alfred Hitch­cock­’s unseen Holo­caust doc­u­men­tary.” That intrigu­ing sound­ing announce­ment belies a more com­pli­cat­ed real­i­ty. This new, restored film draws on footage shot by the British Army Film Unit in Nazi con­cen­tra­tion camps in 1945, which was actu­al­ly released in the mid-80s, in a film called Mem­o­ry of the Camps. This first ver­sion, which you can watch above, took near­ly forty years to reach the pub­lic, when it was final­ly released in 1984, first at the Berlin Film Fes­ti­val, then on PBS. Until that time, the orig­i­nal footage sat unused in stor­age at the Impe­r­i­al War Muse­um, con­signed there after the Allied mil­i­tary gov­ern­ment decid­ed that such pub­lic­i­ty for Nazi atroc­i­ties would­n’t get Ger­many recon­struct­ed any faster. How, right in the after­math of the Sec­ond World War, might we have react­ed to its haunt­ing­ly reveal­ing cov­er­age of Bergen-Belsen?

Accord­ing to the Inde­pen­dent, a screen­ing of Mem­o­ry of the Camps’ mate­r­i­al left even Alfred Hitch­cock, cer­tain­ly no stranger to death and malev­o­lence, “so trau­ma­tised that he stayed away from Pinewood Stu­dios for a week.” He’d shown up there in the first place as an advi­sor, and in that capac­i­ty offered direc­tor Sid­ney Bern­stein advice on how, visu­al­ly, to place these shock­ing rev­e­la­tions in a rec­og­niz­able geo­graph­i­cal and human con­text. “He took a cir­cle round each con­cen­tra­tion camp as it were on a map, dif­fer­ent vil­lages, dif­fer­ent places and the num­bers of peo­ple,” Bern­stein remem­bers. “Oth­er­wise you could show a con­cen­tra­tion camp, as you see them now, and it could be any­where, miles away from human­i­ty. He brought that into the film.” For more on Mem­o­ry of the Camps and its upcom­ing suc­ces­sor, a remas­tered ver­sion with a “lost” sixth reel restored, see also Richard Brody’s relat­ed New York­er post.

Mem­o­ry of the Camps and oth­er wartime films appears in our col­lec­tion of 700 Free Movies Online.

Relat­ed Con­tent:

Watch World War II Rage Across Europe in a 7 Minute Time-Lapse Film: Every Day From 1939 to 1945

Did Hol­ly­wood Movies Stu­dios “Col­lab­o­rate” with Hitler Dur­ing WW II? His­to­ri­an Makes the Case

Don­ald Duck’s Bad Nazi Dream and Four Oth­er Dis­ney Pro­pa­gan­da Car­toons from World War II

How Alice Herz-Som­mer, the Old­est Holo­caust Sur­vivor, Sur­vived the Hor­rif­ic Ordeal with Music

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

Read 700 Free eBooks Made Available by the University of California Press

mark twain uc press

The Uni­ver­si­ty of Cal­i­for­nia Press e‑books col­lec­tion holds books pub­lished by UCP (and a select few print­ed by oth­er aca­d­e­m­ic press­es) between 1982–2004. The gen­er­al pub­lic cur­rent­ly has access to 770 books through this ini­tia­tive. The col­lec­tion is dynam­ic, with new titles being added over time.

Read­ers look­ing to see what the col­lec­tion holds can browse by sub­ject. The cura­tors of the site have kind­ly pro­vid­ed a sec­ond brows­ing page that shows only the pub­licly acces­si­ble books, omit­ting any frus­trat­ing off-lim­its titles.

The collection’s strengths are in his­to­ry (par­tic­u­lar­ly Amer­i­can his­to­ry and the his­to­ry of Cal­i­for­nia and the West); reli­gion; lit­er­ary stud­ies; and inter­na­tion­al stud­ies (with strong selec­tions of Mid­dle East­ern Stud­ies, Asian Stud­ies, and French Stud­ies titles).

A quick browse yields a mul­ti­tude of inter­est­ing pos­si­bil­i­ties for future read­ing: Shel­ley Streeby’s 2002 book about sen­sa­tion­al lit­er­a­ture and dime nov­els in the nine­teenth-cen­tu­ry Unit­ed States; Luise White’s intrigu­ing-look­ing Speak­ing with Vam­pires: Rumor and His­to­ry in Colo­nial Africa (2000); and Karen Lystra’s 2004 re-exam­i­na­tion of Mark Twain’s final years. (The image above comes from anoth­er Twain text by Ran­dall Knop­er.) Two oth­er note­wor­thy texts include Roland Barthes’ Inci­dents and Hugh Ken­ner’s Chuck Jones: A Flur­ry of Draw­ings.

Sad­ly, you can’t down­load the books to an e‑reader or tablet. Hap­pi­ly, there is a “book­bag” func­tion that you can use to store your titles, if you need to leave the site and come back.

As always, we’d encour­age you to vis­it our col­lec­tion of 800 Free eBooks for iPad, Kin­dle & Oth­er Devices, where we recent­ly added texts by Vladimir Nabokov, Philip K. Dick and oth­ers. Also find free cours­es in our list of 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Rebec­ca Onion is a writer and aca­d­e­m­ic liv­ing in Philadel­phia. She runs Slate.com’s his­to­ry blog, The Vault. Fol­low her on Twit­ter:@rebeccaonion.

Relat­ed Con­tent:

Free: The Met­ro­pol­i­tan Muse­um of Art and the Guggen­heim Offer 474 Free Art Books Online

Read 18 Short Sto­ries From Nobel Prize-Win­ning Writer Alice Munro Free Online

30 Free Essays & Sto­ries by David Fos­ter Wal­lace on the Web

Down­load 14 Great Sci-Fi Sto­ries by Philip K. Dick as Free Audio Books and Free eBooks

Down­load 20 Pop­u­lar High School Books Avail­able as Free eBooks & Audio Books

The Curious Story of London’s First Coffeehouses (1650–1675)

coffee englandIn his 1621 opusThe Anato­my of Melan­choly, Robert Bur­ton wrote, “The Turks have a drink called cof­fa (for they use no wine), so named of a berry as black as soot, and as bit­ter … which they sip still of, and sup as warm as they can suf­fer; they spend much time in those cof­fa-hous­es, which are some­what like our ale­hous­es or tav­erns…”

Sev­er­al decades lat­er, read­ers would require no such expla­na­tions: Eng­land would be awash in cof­fee­hous­es, num­ber­ing in the thou­sands. The curi­ous sto­ry of how the British swapped much of their dai­ly ale con­sump­tion for this “syrop of soot, or essence of old shoes,” is told by Matthew Green in “The Lost World of The Lon­don Cof­fee House,” on the Pub­lic Domain Review.

Pri­or to 1652, when Pasqua Rosée estab­lished a small cof­fee­house in St. Michael’s Alley in Lon­don, cof­fee was vir­tu­al­ly unknown in Eng­land. Rosée, a ser­vant of a cof­fee-lov­ing trad­er to the Lev­ant, found tremen­dous suc­cess with his ven­ture and, accord­ing to Green, was soon sell­ing over 600 serv­ings a day. Above, read­ers can view Rosée’s orig­i­nal hand­bill, where the entre­pre­neur adver­tised both the ther­a­peu­tic and pro­phy­lac­tic effects of his wares on diges­tion, headaches, rheuma­tism, con­sump­tion, cough, drop­sy, gout, scurvy, and mis­car­riages. It’s a won­der any­one ever drink­ing the stuff got sick.

Cof­fee­hous­es quick­ly became pop­u­lar places for men to con­verse and con­gre­gate, and Green notes that women soon grew tired of their absence. This exas­per­a­tion mount­ed until the 1674 Women’s Peti­tion Against Cof­fee, which claimed that “Exces­sive use of that New­fan­gled, Abom­inable, Hea­then­ish Liquor called COFFEE” led to England’s falling birthrate, mak­ing men “as unfruit­ful as the sandy deserts, from where that unhap­py berry is said to be brought.” Men, as they are wont to do, expressed their dis­agree­ment, and stat­ed in Men’s Answer to the Women’s Peti­tion Against Cof­fee that cof­fee made “the erec­tion more vig­or­ous, the ejac­u­la­tion more full, add[ing] a spir­i­tu­al ascen­den­cy to the sperm.”

A year lat­er, cof­fee­hous­es found more for­mi­da­ble oppo­si­tion in the form of King Charles II, who issued the “Procla­ma­tion for the sup­pres­sion of Cof­fee Hous­es” in 1675. Charles, how­ev­er, was more inter­est­ed in their polit­i­cal effects than the spir­i­tu­al ascen­den­cy of his sub­jects’ sperm. Cof­fee­hous­es pro­vid­ed an oppor­tu­ni­ty for more mind­ful and seri­ous con­ver­sa­tions than did ale­hous­es, and allowed any­one who paid the sin­gle pen­ny entrance charge to par­tic­i­pate in dis­cus­sions — to Charles, these were the ide­al cir­cum­stances for plot­ting sedi­tion and trea­son among the pop­u­lace. Despite the King’s procla­ma­tion, the cof­fee­hous­es, buoyed by a sup­port­ive pub­lic, pre­vailed.

To read Green’s fas­ci­nat­ing essay in full, includ­ing a descrip­tion of the cof­fee­house fre­quent­ed by Alexan­der Pope, Jonathan Swift, Joseph Addi­son, and Richard Steele, head over to the Pub­lic Domain Review.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Relat­ed Con­tent:

Hon­oré de Balzac Writes About “The Plea­sures and Pains of Cof­fee,” and His Epic Cof­fee Addic­tion

Men In Com­mer­cials Being Jerks About Cof­fee: A Mashup of 1950s & 1960s TV Ads

 

The His­to­ry of Cof­fee and How It Trans­formed Our World

Black Cof­fee: Doc­u­men­tary Cov­ers the His­to­ry, Pol­i­tics & Eco­nom­ics of the “Most Wide­ly Tak­en Legal Drug”

 

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

via Wikimedia Commons

Image via Wiki­me­dia Com­mons

Most of the twen­ti­eth cen­tu­ry’s notable men of let­ters — i.e., writ­ers of books, of essays, of reportage — seem also to have, lit­er­al­ly, writ­ten a great deal of let­ters. Some­times their cor­re­spon­dence reflects and shapes their “real” writ­ten work; some­times it appears col­lect­ed in book form itself. Both hold true in the case of George Orwell, a vol­ume of whose let­ters, edit­ed by Peter Davi­son, came out last year. In it we find this mis­sive, also pub­lished in full at The Dai­ly Beast, sent in 1944 to one Noel Will­mett, who had asked “whether total­i­tar­i­an­ism, leader-wor­ship etc. are real­ly on the up-grade” giv­en “that they are not appar­ent­ly grow­ing in [Eng­land] and the USA”:

I must say I believe, or fear, that tak­ing the world as a whole these things are on the increase. Hitler, no doubt, will soon dis­ap­pear, but only at the expense of strength­en­ing (a) Stal­in, (b) the Anglo-Amer­i­can mil­lion­aires and © all sorts of pet­ty fuhrers of the type of de Gaulle. All the nation­al move­ments every­where, even those that orig­i­nate in resis­tance to Ger­man dom­i­na­tion, seem to take non-demo­c­ra­t­ic forms, to group them­selves round some super­hu­man fuhrer (Hitler, Stal­in, Salazar, Fran­co, Gand­hi, De Valera are all vary­ing exam­ples) and to adopt the the­o­ry that the end jus­ti­fies the means. Every­where the world move­ment seems to be in the direc­tion of cen­tralised economies which can be made to ‘work’ in an eco­nom­ic sense but which are not demo­c­ra­t­i­cal­ly organ­ised and which tend to estab­lish a caste sys­tem. With this go the hor­rors of emo­tion­al nation­al­ism and a ten­den­cy to dis­be­lieve in the exis­tence of objec­tive truth because all the facts have to fit in with the words and prophe­cies of some infal­li­ble fuhrer. Already his­to­ry has in a sense ceased to exist, ie. there is no such thing as a his­to­ry of our own times which could be uni­ver­sal­ly accept­ed, and the exact sci­ences are endan­gered as soon as mil­i­tary neces­si­ty ceas­es to keep peo­ple up to the mark. Hitler can say that the Jews start­ed the war, and if he sur­vives that will become offi­cial his­to­ry. He can’t say that two and two are five, because for the pur­pos­es of, say, bal­lis­tics they have to make four. But if the sort of world that I am afraid of arrives, a world of two or three great super­states which are unable to con­quer one anoth­er, two and two could become five if the fuhrer wished it. That, so far as I can see, is the direc­tion in which we are actu­al­ly mov­ing, though, of course, the process is reversible.

As to the com­par­a­tive immu­ni­ty of Britain and the USA. What­ev­er the paci­fists etc. may say, we have not gone total­i­tar­i­an yet and this is a very hope­ful symp­tom. I believe very deeply, as I explained in my book The Lion and the Uni­corn, in the Eng­lish peo­ple and in their capac­i­ty to cen­tralise their econ­o­my with­out destroy­ing free­dom in doing so. But one must remem­ber that Britain and the USA haven’t been real­ly tried, they haven’t known defeat or severe suf­fer­ing, and there are some bad symp­toms to bal­ance the good ones. To begin with there is the gen­er­al indif­fer­ence to the decay of democ­ra­cy. Do you realise, for instance, that no one in Eng­land under 26 now has a vote and that so far as one can see the great mass of peo­ple of that age don’t give a damn for this? Sec­ond­ly there is the fact that the intel­lec­tu­als are more total­i­tar­i­an in out­look than the com­mon peo­ple. On the whole the Eng­lish intel­li­gentsia have opposed Hitler, but only at the price of accept­ing Stal­in. Most of them are per­fect­ly ready for dic­ta­to­r­i­al meth­ods, secret police, sys­tem­at­ic fal­si­fi­ca­tion of his­to­ry etc. so long as they feel that it is on ‘our’ side. Indeed the state­ment that we haven’t a Fas­cist move­ment in Eng­land large­ly means that the young, at this moment, look for their fuhrer else­where. One can’t be sure that that won’t change, nor can one be sure that the com­mon peo­ple won’t think ten years hence as the intel­lec­tu­als do now. I hope they won’t, I even trust they won’t, but if so it will be at the cost of a strug­gle. If one sim­ply pro­claims that all is for the best and doesn’t point to the sin­is­ter symp­toms, one is mere­ly help­ing to bring total­i­tar­i­an­ism near­er.

You also ask, if I think the world ten­den­cy is towards Fas­cism, why do I sup­port the war. It is a choice of evils—I fan­cy near­ly every war is that. I know enough of British impe­ri­al­ism not to like it, but I would sup­port it against Nazism or Japan­ese impe­ri­al­ism, as the less­er evil. Sim­i­lar­ly I would sup­port the USSR against Ger­many because I think the USSR can­not alto­geth­er escape its past and retains enough of the orig­i­nal ideas of the Rev­o­lu­tion to make it a more hope­ful phe­nom­e­non than Nazi Ger­many. I think, and have thought ever since the war began, in 1936 or there­abouts, that our cause is the bet­ter, but we have to keep on mak­ing it the bet­ter, which involves con­stant crit­i­cism.

Yours sin­cere­ly,
Geo. Orwell

Three years lat­er, Orwell would write 1984. Two years after that, it would see pub­li­ca­tion and go on to gen­er­a­tions of atten­tion as per­haps the most elo­quent fic­tion­al state­ment against a world reduced to super­states, sat­u­rat­ed with “emo­tion­al nation­al­ism,” acqui­es­cent to “dic­ta­to­r­i­al meth­ods, secret police,” and the sys­tem­at­ic fal­si­fi­ca­tion of his­to­ry,” and shot through by the will­ing­ness to “dis­be­lieve in the exis­tence of objec­tive truth because all the facts have to fit in with the words and prophe­cies of some infal­li­ble fuhrer.” Now that you feel like read­ing the nov­el again, or even for the first time, do browse our col­lec­tion of 1984-relat­ed resources, which includes the eBook, the audio book, reviews, and even radio dra­ma and com­ic book adap­ta­tions of Orwell’s work.

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:

An Ani­mat­ed Intro­duc­tion to George Orwell

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 Polit­i­cal Views, Explained in His Own Words

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

100 Years of Rock in Less Than a Minute: From Gospel to Grunge

Click the image above and you’ll enter an interactive/moving graph­ic that gives you a fair­ly nice geneal­o­gy of rock n roll and the many forms of music it lat­er spawned. The graph­ic starts you with the blues, appalachi­an folk, and blue­grass. Even­tu­al­ly you hit the 1950s and the advent of rock. Then you keep trav­el­ing through time, reach­ing the hard rock, glam rock and punk of the 70s; the pow­er met­al and emerg­ing grunge of the 80s; the post met­al and neo folk of the 90s; and beyond. At any point, you can click the pause but­ton, click on the name of a par­tic­u­lar musi­cal genre (eg Gotha­bil­ly), and hear a sam­ple of the music. When you’re done, you might want to check out some of the relat­ed items below:

A His­to­ry of Rock ‘n’ Roll in 100 Riffs

The Evo­lu­tion of the Rock Gui­tar Solo: 28 Solos, Span­ning 50 Years, Played in 6 Fun Min­utes

The His­to­ry of Music Told in Sev­en Rapid­ly Illus­trat­ed Min­utes

The Sto­ry of the Gui­tar: The Com­plete Three-Part Doc­u­men­tary

via Digg

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email or RSS Feed. And we’ll send cul­tur­al curiosi­ties your way, every day.

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The University of Richmond Animates the 1932 Atlas of the Historical Geography of the United States

rates_of_travel

In 1902, the new­ly estab­lished Carnegie Insti­tu­tion of Wash­ing­ton set out to devel­op “a real­ly first rate atlas of Amer­i­can his­to­ry.” Work on the atlas began in earnest in 1912, under the direc­tion of the naval his­to­ri­an Charles O. Paullin, who spent the bet­ter part of the next 15 years bring­ing it to life. In 1929, the Amer­i­can Geo­graph­ic Soci­ety (AGS), along with the emi­nent geo­g­ra­ph­er John K. Wright, took over the project and brought it to com­ple­tion. The Atlas of the His­tor­i­cal Geog­ra­phy of the Unit­ed States was final­ly pub­lished in 1932 to wide crit­i­cal acclaim. Called a “mon­u­ment to his­tor­i­cal schol­ar­ship,” the com­pendi­um fea­tured near­ly 700 indi­vid­ual maps that gave visu­al insights into 500 years of Amer­i­can his­to­ry. Top­ic cov­ered includ­ed the “explo­ration and set­tle­ment of the North Amer­i­can con­ti­nent, the loca­tion of col­leges and church­es, dis­putes over inter­na­tion­al and state bound­aries, vot­ing in pres­i­den­tial elec­tions and in Con­gress, reforms from women’s suf­frage to workmen’s com­pen­sa­tion, trans­porta­tion, indus­tries, agri­cul­ture, com­merce, the dis­tri­b­u­tion of wealth, mil­i­tary his­to­ry” and much more.

The Atlas of the His­tor­i­cal Geog­ra­phy of the Unit­ed States remains a valu­able his­tor­i­cal resource today. But, for all of these years, it had one notable short­com­ing. Around the time of its first pub­li­ca­tion, John K. Wright acknowl­edged that “The ide­al his­tor­i­cal atlas might well be a col­lec­tion of motion-pic­ture maps, if these could be dis­played on the pages of a book with­out the para­pher­na­lia of pro­jec­tor, reel, and screen.” The tech­nol­o­gy that would lend itself to cre­at­ing motion-pic­ture maps was­n’t avail­able in the 1930s. But it is today. And thanks to the Uni­ver­si­ty of Richmond’s Dig­i­tal Schol­ar­ship Lab, we can now view The Atlas of the His­tor­i­cal Geog­ra­phy of the Unit­ed States in a new dig­i­tal, some­times ani­mat­ed for­mat. If you want to see a good exam­ple of his­tor­i­cal data put into motion, then you might want to check out this map of Amer­i­can Explo­rations in the West, 1803–1852. (Click here and then click “Ani­mate” at the bot­tom of the screen.) This map will trace for you the expe­di­tions of Lewis and Clark and many oth­er explor­ers. Then, if you’re ready to be an explor­er your­self, you can start your jour­ney through the dig­i­tized atlas by enter­ing the Table of Con­tents.

via The New York Times

Relat­ed Con­tent:

Visu­al­iz­ing Slav­ery: The Map Abra­ham Lin­coln Spent Hours Study­ing Dur­ing the Civ­il War

Hen­ry David Thoreau’s Hand-Drawn Map of Cape Cod (1866)

An Inter­ac­tive Map of Odysseus’ 10-Year Jour­ney in Homer’s Odyssey

Geog­ra­phy of World Cul­tures by Mar­tin Lewis (Stan­ford) in our col­lec­tion of 825 Free Online Cours­es

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The Ten-Year Lunch: Watch the Award-Winning Documentary About the Great Writers Who Sat at the Algonquin Round Table

After reach­ing the rank of Sergeant dur­ing World War I, Alexan­der Wooll­cott returned to New York to become a dra­ma crit­ic for the New York Times. Wooll­cott was a man of large bulk and out­sized per­son­al­i­ty, whose sharp, acer­bic wit made him pop­u­lar with his read­ers. Accord­ing to The Ten-Year Lunch, an Oscar-win­ning doc­u­men­tary about the New York group of writ­ers and jour­nal­ists known as the Algo­nquin Round Table, Woollcott’s quick tongue made his bom­bas­tic pres­ence near­ly unbear­able to his friends:

When he returned from the war, Wooll­cott boast­ed of his mil­i­tary adven­tures so often and so loud­ly that his friends grew tired of lis­ten­ing. He began every sen­tence with “When I was in the the­atre of war…” Irri­tat­ed by his pom­pos­i­ty, press agent Mur­doch Pem­ber­ton lured Wooll­cott [to the Algo­nquin Hotel] with the promise of an ace pas­try chef. The idea was to hold a sort of roast, at which a num­ber of crit­ics and jour­nal­ists from around town would come and poke fun at him.

For bet­ter or worse, the attempt to punc­ture Woollcott’s ego at the Algo­nquin Hotel was unsuc­cess­ful. Rather than take offence, Wooll­cott was flat­tered by the atten­tion, and the var­i­ous fig­ures in atten­dance also thor­ough­ly enjoyed them­selves. Serendip­i­tous­ly, the leg­endary lun­cheons of the Algo­nquin Round Table were born.

Algonquin_Round_Table
Most of the Table’s mem­bers had tak­en part in the war, to one degree or anoth­er: jour­nal­ist Ruth Hale and her syn­di­cat­ed-colum­nist hus­band Hey­wood Broun had been war cor­re­spon­dents; New York­er founder Harold Ross had edit­ed the mil­i­tary news­pa­per Stars & Stripes; acclaimed colum­nist Franklin Pierce Adams had made Cap­tain. Oth­er mem­bers includ­ed poet and crit­ic Dorothy Park­er, a trag­ic roman­tic who had become the city’s most quotable woman. (Parker’s inex­haustible sup­ply of wit­ti­cisms still feels fresh today: when asked to use the word hor­ti­cul­ture in a sen­tence, Park­er replied, “You can lead a whore to cul­ture, but you can’t make her think.”) Parker’s best friend was humorist and essay­ist Robert Bench­ley, who had once writ­ten an essay explor­ing New­found­land fish­ing rights for his Inter­na­tion­al Law class at Har­vard from the unortho­dox per­spec­tive of the fish. Fre­quent­ly join­ing them was Neysa McNein, a sought-after illus­tra­tor who host­ed the Table’s after­noon gath­er­ings in her stu­dio, where Irv­ing Berlin could occa­sion­al­ly be found play­ing the piano.

The near-dai­ly meet­ings at the Algo­nquin Hotel fos­tered a close-knit cul­tur­al fra­ter­ni­ty of New York’s best writ­ers, illus­tra­tors, and artists. The group vaca­tioned togeth­er at their joint­ly-owned Ver­mont island, played games of pok­er wager­ing hous­es and hon­ey­moons, and crit­i­cized each other’s work. When­ev­er a mem­ber of the Round Table would make a con­ceit­ed remark, every­one would imme­di­ate­ly rise and bow, hon­or­ing their friend’s regal affec­ta­tions. The only excep­tion to the rule was Wooll­cott, whose bread and but­ter pom­pos­i­ty was tol­er­at­ed by virtue of its reg­u­lar­i­ty.

With its inter­views of orig­i­nal Table mem­bers, the doc­u­men­tary is a tan­ta­liz­ing look at the lives of the men and women who ruled New York’s cul­tur­al milieu dur­ing the hey­day of the print­ed word. Equal parts wish for the idyl­lic past and his­to­ry of New York’s biggest cul­tur­al play­ers, The Ten-Year Lunch leaves one with a pang of odd­ly potent nos­tal­gia. We can’t rec­om­mend it enough.

In the image above, see Art Samuels, Char­lie MacArthur, Har­po Marx, Dorothy Park­er and Alexan­der Wooll­cott

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Vintage Films Revisits Literary Scene of 1920s New York, with Clips of Sinclair Lewis, Willa Cather, H.L. Mencken & Other Icons

When young artists, be they writ­ers, painters, or musi­cians, aim to strike it big, they invari­ably choose to move to New York. Brook­lyn lofts, hopes of find­ing a like­mind­ed smart set, and the promise of good times beck­on count­less young men and women to devel­op their cre­ative careers in a city whose his­to­ry teems with out­sized aspi­ra­tions and even larg­er per­son­al­i­ties. New York has, after all, been a hub for artis­tic lumi­nar­ies since the ear­ly 20th cen­tu­ry.

In the 1961 doc­u­men­tary enti­tled New York In The Twen­ties, above, Wal­ter Cronkite gives a snap­shot of the tal­ent­ed crowd that was once drawn in by the city’s cul­tur­al rip­tide dur­ing the 1920s. The short video con­sists of inter­views with the pub­lish­er Alfred Knopf; New York Her­ald Tri­bune edi­tor Stan­ley Walk­er; and Pulitzer prize-win­ning author of The Green Pas­tures, Marc Con­nel­ly. Walk­er plays the part of the con­sum­mate New York news­pa­per­man, pin­ing for the days when decent cit­i­zens weren’t forced to rub shoul­ders with the boors now infest­ing the Westch­ester and Con­necti­cut trains. Con­nel­ly, in more affa­ble fash­ion, describes the fabled 1920s group of cre­ative minds known as the Algo­nquin Round Table:

Alexan­der Wooll­cott was sear­ing, acid, rude; I used to feel some­times his only exer­cise was ran­cour. But, he was engag­ing, was com­pelling, and amus­ing… Edna Fer­ber, young, indus­tri­ous, she used to scare us all to death by her habit of indus­try. George Kauf­man was cer­tain­ly one of the wit­ti­est of that group. George’s wit… had the sharp­ness of a sil­ver point etch­ing… There was… Harold Ross, founder of the New York­er. There was spec­u­la­tion about Ross, his curi­ous head of hair; it was very high, very thick. Some­body once said that that jun­gle pic­ture Chang had been filmed in it. I think it was George Kauf­mann that once said he looked like a dis­hon­est Lin­coln. 

A lot of peo­ple who knew noth­ing about the per­son­al lives or the atti­tudes … of the peo­ple at the round table… thought that it was a mutu­al admi­ra­tion soci­ety and a logrolling orga­ni­za­tion. It was any­thing but that because I promise you, the worst pan­nings ever received for our books or our plays came from the crit­i­cal friends who were mem­bers of that group.

Alfred Knopf, in turn, dis­cuss­es the glo­ry days of pub­lish­ers and writ­ers, as well as the genius of H. L. Menck­en, whom he describes as “the great­est edi­tor… that I’ve ever known.”

View­ing the hal­cy­on days of New York’s cre­ative scene, with its jazz clubs and speakeasies, it’s no won­der that Knopf, Walk­er, and Connelly’s accounts leave one with an ineluctable sense of nos­tal­gia. Of course, with its unceas­ing influx of artists, the city’s sub­stance remains the same today. It’s just that its Bloomberg-era steril­i­ty has led to a change in style.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

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