Benedict Cumberbatch Reads “the Best Cover Letter Ever Written”

In the 1930s, many a writer journeyed to Hollywood in order to make his fortune. The screenwriter’s life didn’t sit well with some of them — just ask F. Scott Fitzgerald or William Faulkner — but a fair few made more than a go of it out West. Take the Baltimore-born Robert Pirosh, whose studies at the Sorbonne and the University of Berlin landed him a job as a copywriter in New York. This work seems to have proven less than satisfactory, as evidenced by the piece of correspondence that, still in his early twenties, he wrote and sent to “as many directors, producers and studio executives as he could find.” It wasn’t just a request for work; it was what Letters Live today calls “the best cover letter ever written.”

Pirosh’s impressive missive, which you can hear read aloud by favorite Letters Live performer Benedict Cumberbatch in the video above, runs, in full, as follows:

Dear Sir:

I like words. I like fat buttery words, such as ooze, turpitude, glutinous, toady. I like solemn, angular, creaky words, such as straitlaced, cantankerous, pecunious, valedictory. I like spurious, black-is-white words, such as mortician, liquidate, tonsorial, demi-monde. I like suave “V” words, such as Svengali, svelte, bravura, verve. I like crunchy, brittle, crackly words, such as splinter, grapple, jostle, crusty. I like sullen, crabbed, scowling words, such as skulk, glower, scabby, churl. I like Oh-Heavens, my-gracious, land’s-sake words, such as tricksy, tucker, genteel, horrid. I like elegant, flowery words, such as estivate, peregrinate, elysium, halcyon. I like wormy, squirmy, mealy words, such as crawl, blubber, squeal, drip. I like sniggly, chuckling words, such as cowlick, gurgle, bubble and burp.

I like the word screenwriter better than copywriter, so I decided to quit my job in a New York advertising agency and try my luck in Hollywood, but before taking the plunge I went to Europe for a year of study, contemplation and horsing around.

I have just returned and I still like words.

May I have a few with you?

Though not known as an unsubtle actor, Cumberbatch seizes the opportunity to deliver each and every one of these choice words with its own variety of exaggerated relish. Though none of these terms is especially recherché on its own, they must collectively have given the impression of a formidable mastery of the English language, especially to the ear of the average Hollywood big-shot. One way or another, Pirosh’s letter did the trick: according to Letters of Note, it “secured him three interviews, one of which led to his job as a junior writer at MGM. Fifteen years later,” he “won an Academy Award for Best Original Screenplay for his work on the war film Battleground.”

A World War II picture, Battleground was written at least in part from Pirosh’s own experience: a few years into his Hollywood career, he enlisted and made a return to Europe, this time as a Master Sergeant in the 320th Regiment, 35th Infantry Division, seeing action in France and Germany. After the war he went right back to writing and producing, remaining active in the entertainment industry until at least the 1970s (and in fact, his writing credits include contributions to such programs that defined that decade as MannixBarnaby Jones, and Hawaii Five-O). Pirosh’s was an enviable 20th-century career, and one that began with a suitably brazen — and still convincing — 20th-century advertisement for himself.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Benedict Cumberbatch Reads Kurt Vonnegut’s Letter of Advice to People Living in the Year 2088

A few years ago we posted Kurt Vonnegut’s letter of advice to humanity, written in 1988 but addressed, a century hence, to the year 2088. Whatever objections you may have felt to reading this missive more than 70 years prematurely, you might have overcome them to find that the author of Slaughterhouse-Five and Breakfast of Champions single-mindedly importuned his fellow man of the late 21st century to protect the natural environment. He issues commandments to “reduce and stabilize your population” to “stop preparing for war and start dealing with your real problems,” and to “stop thinking science can fix anything if you give it a trillion dollars,” among other potentially drastic-sounding measures.

Commandment number seven amounts to the highly Vonnegutian “And so on. Or else.” A fan can easily imagine these words spoken in the writer’s own voice, but with Vonnegut now gone for well over a decade, would you accept them spoken in the voice of Benedict Cumberbatch instead?




First commissioned by Volkswagen for a Time magazine ad campaign, Vonnegut’s letter to 2088 was later found and republished by Letters of Note. The associated Letters Live project, which brings notable letters to the stage (and subsequently internet video), counts Cumberbatch as one of its star readers: he’s given voice to wise correspondence by the likes of Sol LeWitt, Albert Camus, and Alan Turing.

Cumberbatch even has experience with letters by Vonnegut, having previously read aloud his rebuke to a North Dakota school board that allowed the burning of Slaughterhouse-Five. Vonnegut’s work makes clear that he didn’t suffer fools gladly, and that he considered book-burning one of the infinite varieties of folly he spent his career cataloging. In light of his letter to 2088, the same went for humanity’s poor stewardship of their planet. Vonnegut may not have been a conservationist, exactly, but nor, in his view, was nature itself, a force that needs “no help from us in taking the planet apart and putting it back together some different way, not necessarily improving it from the viewpoint of living things.” This is, of course, the personifying view of a novelist, but a novelist who never forgot his sense of humor — nor his tendency to play the prophet of doom.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Langston Hughes’ Homemade Christmas Cards From 1950

Who doesn’t treasure a handmade present?

As the years go by, we may begin to offload the ill-fitting sweaters, the never lit sand cast candles, and the Styrofoam ball snowmen. But a present made of words takes up very little space, and it has the Ghost of Christmas Past’s power to instantly evoke the sender as they once were.

Seventy years ago, poet Langston Hughes, too skint to go Christmas shopping, sent everyone on his gift list simple, homemade holiday postcards. Typed on white cardstock, each signed card was embellished with red and green pencils and mailed for the price of a 3¢ stamp.

As biographer Arnold Rampersad notes:

The last weeks of 1950 found him nevertheless in a melancholy mood, his spirits sinking lower again as he again became a target of red-baiting.

The year started auspiciously with The New York Times praising his libretto for The Barrier, an opera based on his play, Mulatto: A Tragedy of the Deep South. But the opera was a commercial flop, and positive reviews for his book Simple Speaks His Mind failed to translate into the hoped-for sales.




Although he had recently purchased an East Harlem brownstone with an older couple who doted on him as they would a son, providing him with a sunny, top floor workspace, 1950 was far from his favorite year.

His typewritten holiday couplets took things out on a jaunty note, while paying light lip service to his plight.

Maybe we can aspire to the same…

Hughes’ handmade holiday cards reside in the Langston Hughes Papers in Yale’s Beinecke Rare Book and Manuscript Library, along with holiday cards specific to the African-American experience received from friends and associates.

via the Beinecke Rare Book and Manuscript Library at Yale University

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Her latest alter ego, L’Ourse, wishes you a very merry Xmas and peace and health in the New Year  Follow her @AyunHalliday.

Hear Readings of Albert Einstein’s Love Letters (and Chilly Divorce Letters) to His First Wife Mileva

Beware the fake quotation. They have become so ubiquitous they often appear in books and speeches by politicians and their family members, not that anyone seems to care much. But most of us feel a measure of shame at being duped, as Katharine Rose did when she found herself moved by a letter supposedly written by Albert Einstein to his daughter, Lieserl, “regarding the ‘universal force’ of love.” The letter is a “beautiful read,” and it’s a fake. But many admirers of Einstein were eager to believe it.

Why? Like other famous figures to whom spurious words are attributed, Einstein isn’t just well-known, he is revered, a celebrity, and celebrities are people we feel we know intimately. (A common defense for fake-quote-sharing goes: “Well, if he didn’t say it, then it’s exactly the kind of thing he would say.”) Discussing the theft of Einstein’s brain after his death, Ross Anderson at Aeon observes that “an ordinary person can live and die privately, but a genius—and his grey matter—belongs to the world.” We might add, “and so do the intimate details of his private life.”




The details of Einstein’s marriage, and of his very unpleasant separation and divorce, from Mileva Marić have long been public knowledge. “Few public marriages have been subjected to a more unnuanced verdict,” Maria Popova writes at Brain Pickings. Their love letters first came to light in 1986, discovered by Einstein’s granddaughter Evelyn. They were published in 1992 as The Love Letters, “a collection of fifty-four missives exchanged between the beginning of their romance” when they met as students in 1897 to their marriage in 1903. Dozens more are available at Princeton University’s online collection of Einstein’s papers.

The letters are real, and they are “spicy,” as YouTuber Tibees shows us in the video at the top. No awkward private expression is safe: we begin with letters Einstein wrote to his high school girlfriend, Marie Winteler, including a breakup letter at 3:13. The excerpts here are all timestamped on the video’s YouTube page, with helpful summaries like “Einstein’s mom trying to break them up” (them being Albert and Mileva), “Einstein having an affair with his cousin Elsa,” “Breaking up with Elsa,” and “Getting back with Elsa.”

Elsa, you may know, was Einstein’s second wife, in addition to being his cousin, and the cause of his separation and divorce from Mileva, to whom he had professed undying devotion. In the interest of fully invading the genius’s privacy, we have, above, some readings of his harsh “divorce letters” to Mileva, with hits like “Separation,” “Proposing divorce,” and “Court proceedings.” Love may or may not be a “universal force”—we do not, sadly, have Einstein’s thoughts on the matter—but we do know he found it a troublingly chaotic, unpredictable one.

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

Frida Kahlo’s Venomous Love Letter to Diego Rivera: “I’m Amputating You. Be Happy and Never Seek Me Again”

Painter Diego Rivera set the bar awfully high for other lovers when he—allegedly—ate a handful of his ex-wife Frida Kahlo’s cremains, fresh from the oven.

Perhaps he was hedging his bets. The Mexican government opted not to honor his express wish that their ashes should be co-mingled upon his death. Kahlo’s remains were placed in Mexico City’s Rotunda of Illustrious Men, and have since been transferred to their home, now the Museo Frida Kahlo.

Rivera lies in the Panteón Civil de Dolores.

Other creative expressions of the grief that dogged him til his own death, three years later:

His final painting, The Watermelons, a very Mexican subject that’s also a tribute to Kahlo’s last work, Viva La Vida

And a locked bathroom in which he decreed 6,000 photographs, 300 of Kahlo’s garments and personal items, and 12,000 documents were to be housed until 15 years after his death.

Among the many revelations when this chamber was belatedly unsealed in 2004, her clothing caused the biggest stir, particularly the ways in which the colorful garments were adapted to and informed by her physical disabilities.

Her prosthetic leg, shod in an eye-catching red boot was given a place of honor in an exhibit at the Victoria and Albert Museum.,

These treasures might have come to light earlier save for a judgment call on the part of Dolores Olmedo, Rivera’s patron, former model, and friend. During renovations to turn the couple’s home into a museum, she had a peek and decided the lipstick-imprinted love letters from some famous men Frida had bedded could damage Rivera’s reputation.

In what way, it’s difficult to parse.

The couple’s history of extramarital relations (including Rivera’s dalliance with Kahlo’s sister, Christina) weren’t exactly secret, and both of the players had left the building.

One thing that’s taken for granted is Kahlo’s passion for Rivera, whom she met as girl of 15. Tempting as it might be to view the relationship with 2020 goggles, it would be a disservice to Kahlo’s sense of her own narrative. Self-examination was central to her work. She was characteristically avid in letters and diary entries, detailing her physical attraction to every aspect of Rivera’s body, including his giant belly “drawn tight and smooth as a sphere.” Ditto her obsession with his many conquests.

Not surprisingly, she was capable of penning a pretty spicy love letter herself, and the majority were aimed at her husband:

Nothing compares to your hands, nothing like the green-gold of your eyes. My body is filled with you for days and days. you are the mirror of the night. the violent flash of lightning. The dampness of the earth. The hollow of your armpits is my shelter. my fingers touch your blood. All my joy is to feel life spring from your flower-fountain that mine keeps to fill all the paths of my nerves which are yours.

Her most notorious love letter does not appear to be one at first.

Bedridden, and facing the amputation of a gangrenous right leg that had already sacrificed some toes 20 years earlier, she directed the full force of her emotions at Rivera.

The lover she’d tenderly pegged as “a boy frog standing on his hind legs” now appeared to her an “ugly son of a bitch,” maddeningly possessed of the power to seduce women (as he had seduced her).

You have to read all the way to the twist:

Mexico,
1953

My dear Mr. Diego,

I’m writing this letter from a hospital room before I am admitted into the operating theatre. They want me to hurry, but I am determined to finish writing first, as I don’t want to leave anything unfinished. Especially now that I know what they are up to. They want to hurt my pride by cutting a leg off. When they told me it would be necessary to amputate, the news didn’t affect me the way everybody expected. No, I was already a maimed woman when I lost you, again, for the umpteenth time maybe, and still I survived.

I am not afraid of pain and you know it. It is almost inherent to my being, although I confess that I suffered, and a great deal, when you cheated on me, every time you did it, not just with my sister but with so many other women. How did they let themselves be fooled by you? You believe I was furious about Cristina, but today I confess that it wasn’t because of her. It was because of me and you. First of all because of me, since I’ve never been able to understand what you looked and look for, what they give you that I couldn’t. Let’s not fool ourselves, Diego, I gave you everything that is humanly possible to offer and we both know that. But still, how the hell do you manage to seduce so many women when you’re such an ugly son of a bitch?

The reason why I’m writing is not to accuse you of anything more than we’ve already accused each other of in this and however many more bloody lives. It’s because I’m having a leg cut off (damned thing, it got what it wanted in the end). I told you I’ve counted myself as incomplete for a long time, but why the fuck does everybody else need to know about it too? Now my fragmentation will be obvious for everyone to see, for you to see… That’s why I’m telling you before you hear it on the grapevine. Forgive my not going to your house to say this in person, but given the circumstances and my condition, I’m not allowed to leave the room, not even to use the bathroom. It’s not my intention to make you or anyone else feel pity, and I don’t want you to feel guilty. I’m writing to let you know I’m releasing you, I’m amputating you. Be happy and never seek me again. I don’t want to hear from you, I don’t want you to hear from me. If there is anything I’d enjoy before I die, it’d be not having to see your fucking horrible bastard face wandering around my garden.

That is all, I can now go to be chopped up in peace.

Good bye from somebody who is crazy and vehemently in love with you,

Your Frida

This is a love letter masquerading as a doozy of a break up letter. The references to amputation are both literal and metaphorical:

No doubt, she was sincere, but this couple, rather than holding themselves accountable, excelled at reversals. In the end the letter’s threat proved idle. Shortly before her death,  the two appeared together in public, at a demonstration to protest the C.I.A.’s efforts to overthrow the leftist Guatemalan regime.

Image via Brooklyn Museum

Once Frida was safely laid to rest, by which we mean rumored to have sat bolt upright as her casket was slid into the incerator, Rivera mused in his autobiography:

Too late now I realized the most wonderful part of my life had been my love for Frida. But I could not really say that given “another chance” I would have behaved toward her any differently than I had. Every man is the product of the social atmosphere in which he grows up and I am what I am…I had never had any morals at all and had lived only for pleasure where I found it. I was not good. I could discern other people’s weaknesses easily, especially men’s, and then I would play upon them for no worthwhile reason. If I loved a woman, the more I wanted to hurt her. Frida was only the most obvious victim of this disgusting trait.

via Letters of Note and the book, Letters of Note: Love.

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

Dr. Fauci Reads an Undergrad’s Entire Thesis, Then Follows Up with an Encouraging Letter

Photo via the National Institute of Allergy and Infectious Diseases 

What are some qualities to look for in a leader?

  • A thirst for knowledge
  • A sense of duty
  • The scruples to give credit where credit is due
  • A calm, clear communication style
  • Humility

Dr. Anthony Fauci brings these qualities to bear as Director of the National Institute of Allergy and Infectious Diseases at the National Institute of Health.




They’re also on display in his message to then-undergrad Luke Messac, now an emergency medicine resident at Brown University, whose research focuses on the histories of health policy in southern Africa and the US, and who recently tweeted:

13 years ago, I emailed Dr. Fauci out of the blue to ask if I might interview him for my undergrad thesis. He invited me to his office, where he answered all my questions. When I sent him the thesis, HE READ THE WHOLE THING (see his overly effusive review below). Who does that?!

Here’s what Fauci had to say to the young scientist:

It certainly reads like the work of a class act.

In addition to serving as one of the COVID-19 pandemic’s most recognizable faces, Dr. Fauci has acquired another duty—that of scapegoat for Donald Trump, the 6th president he has answered to in his long career.

He seems to be taking the administration’s potshots with a characteristically cool head, though compared to the furious criticisms AIDS activists directed his way in the 80s and 90s, he’s unlikely to find much of educational value in them.

Last March, The Body Pro, a newsletter for workers on the front lines of HIV education, prevention, care, and services quoted ACT UP NY’s Jim Eigo on the doctor’s response to a letter demanding parallel tracking, a policy revision that would put potentially life-saving drugs in the hands of those who tested positive far earlier than the existing clinical trial requirements’ schedule would have allowed:

Lo and behold, he read the letter and liked it, and the following year he started promoting the idea of a parallel track for AIDS drugs to the FDA. Had he not helped us push that through, we couldn’t have gotten a lot of the cousin drugs to AZT, such as ddC and ddI, approved so fast. They were problematic drugs, but without them, we couldn’t have kept so many people alive. 

Fauci, despite being straight and Catholic, was not only not homophobic, which much of medical practice still was in the late 1980s, he also wouldn’t tolerate homophobia among his colleagues. He knew there was no place for that in a public-health crisis.

Speaking of correspondence, Dr Messac seems to have taken the “perpetual student” concept Dr. Fauci impressed upon him back in 2007 to heart, as evidenced by a recent tweet, regarding a lesson gleaned from Arnold Schwarzenegger in Pumping Iron, a 1977 documentary about bodybuilders:

Schwarzenegger explained how he would figure out what to work out every day by looking in a mirror and finding his weakest muscles. It’s pretty good advice for studying during residency. Every shift reveals a weakness, and greats never stop looking for their own.

In writing to Messac, Dr. Fauci alluded to his commencement speeches, so we thought it appropriate to leave you with one of his most recent ones, a virtual address to the graduating class of his alma mater, College of the Holy Cross:

“Now is the time, if ever there was one” he tells the Class of 2020, “to care selflessly about one another… Stay safe, and I look forward to the good work you will contribute in the years ahead.”

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

Neil Armstrong Sets Straight an Internet Truther Who Accused Him of Faking the Moon Landing (2000)

Image via Wikimedia Commons

People have been graduating from college this year who are as old as the role of internet truther. It is a venerable hobby (some might call it a cult) leading increasing numbers of people to bizarre conclusions drawn from dubious evidence proffered by spurious sources; people convinced that some wild allegation or other must be true because they saw it on the Internet, shared by people they knew and liked.

Twenty years ago, one pioneering truther wrote Mr. Neil Armstrong to put him in his place about that bugbear, the faked moon landing. The author of the letter, a Mr. Whitman, identifies himself as a “teacher of young children” charged with “a duty to tell them history as it truly happened, and not a pack of lies and deceit.” His letter shows some difficulty with grammar, and even more with critical thinking and standards of evidence.

Mr. Whitman makes his accusations with certainty and smugness. “Perhaps you are totally unaware,” he writes, “of all the evidence circulating the globe via the Internet,” which he then summarizes.




He also sends Neil Armstrong—an astronaut who either walked on the Moon or engaged in perhaps the greatest conspiracy in history—a URL, “to see for yourself how ridiculous the Moon landing claim looks 30 years on.” Whitman sent Armstrong the letter on the astronaut’s 70th birthday.

Armstrong’s response, via Letters of Note, can be read in full above. Perhaps Mr. Whitman learned something from the exchange—or had a moment of clarity about his methods of investigation. One can hope. In any case, Armstrong’s unsparing reply serves as a template for responding—should someone be so inclined—to internet truthers armed with wild conspiracy theories 20 years later. These letters have been collected in A Reluctant Icon: Letters to Neil Armstrong.

via Kottke

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

Benedict Cumberbatch, Margaret Atwood, Stephen Fry & Others Read Letters of Hope, Love & Support During COVID-19

Though the coronavirus pandemic has put a stop to many formerly normal activities around the world, it’s hardly put a stop to global communication. In fact, it’s almost certainly intensified global communication, what with all the attention the struggle against COVID-19 commands from 24-hour media professionals — and all the time and energy the rest of us have put into social media as a substitute for socialization. But how would we have communicated amid a pandemic of this kind in an age before the internet? Assuming postal services remained in good working order, we would, of course, have written letters to each other.

We can still write letters to each other in the 21st century, but now we can also read them to each other, wherever in the world we may be. This is the basis for the #ReadALetter campaign, which actor Benedict Cumberbatch introduces in the video at the top of the post. “I really hope this letter finds you in good spirits as we navigate our way through this truly surreal crisis, where upheaval and uncertainty are daily realities,” he says, reading aloud a missive composed at his home and meant for the world at large.




“But so, thankfully, is the totally inspiring self-sacrifice, togetherness, courage, generosity, and camaraderie the people are exhibiting.” It is those honorable qualities, Cumberbatch continues, that “we at Letters Live are looking for a way to celebrate through our favorite medium of the letter.”

You may remember Letters Live, a series of events inspired by Letters of Note, from when we’ve previously featured Cumberbatch’s appearances there interpreting correspondence by the likes of Kurt Vonnegut, Albert Camus, and Alan Turing. The stars of Letters Live have heretofore been historically important letter-writers and the skilled professional performers who read their words. But now, Cumberbatch says, “we want to hear you read letters. They can be letters to the heroes on the front line. They could be letters to relatives in need. They could be letters to strangers who have stepped up and made a difference. They could be letters to neighboring families or streets or towns or countries.” To participate, you need only use a camera phone to record yourself reading a letter aloud, then post that video on Twitter or Instagram and send it to read@letterslive.com.

What you read on camera (or off it, if you prefer) could be “an important letter you have always wanted to send, or a cherished letter you once received. It could be a favorite letter of yours that offers hope in our current crisis or a prescient warning too important to be ignored.” Here we’ve included the #ReadALetter videos so far contributed by other notables including Margaret Atwood, Stephen Fry, and Griffin Dunne, who reads a letter his father Dominick Dunne wrote when he put himself into isolation for creative purposes in 1980. Other participants from all walks of life include a rabbi, a college student, an emergency department doctor, and even a couple of nonagenarians. If you need more inspiration to #ReadALetter yourself, revisit Cumberbatch’s Letters of Live performance of Sol Lewitt’s 1965 letter to Eva Hesse, the one in which he delivers invaluable words of advice: “Stop It and Just DO.”

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

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