The Metamorphosis of Mr. Samsa: A Wonderful Sand Animation of the Classic Kafka Story (1977)

At home I often watch EBS, essen­tial­ly Kore­a’s equiv­a­lent of PBS, which often airs short inter­sti­tial seg­ments drawn in sand to fill the time between pro­grams. Only recent­ly have I learned that sand actu­al­ly has a gen­uine his­to­ry as a medi­um for ani­ma­tion, one that has pro­duced a work as strik­ing as Car­o­line Leaf’s The Meta­mor­pho­sis of Mr. Sam­sa back in 1977. Astute (or even not-very-astute) Kaf­ka fans will rec­og­nize this as an adap­ta­tion of The Meta­mor­pho­sis, far and away the writer’s best-known sto­ry, in which the young sales­man Gre­gor Sam­sa wakes up trans­formed into a giant bug. Find it in our Free Audio Books and Free eBooks col­lec­tions.

We see this bug writhing his way out of bed before we see any oth­er action in Leaf’s ten-minute sand short, whose (yes) ever-shift­ing visu­al tex­ture lends itself well to the theme of the tale. Not that this con­ver­gence of form and sub­stance came eas­i­ly: “What makes [Leaf’s] work stand out is the con­trol of the mate­r­i­al,” writes John­ny Chew, About Tech’s ani­ma­tion expert. “The Meta­mor­pho­sis of Mr. Sam­sa is an awe­some short film on its own, and a great adap­ta­tion of the Kaf­ka work, but when you con­sid­er the style in which it was made and the con­trol that would have to go into each frame, it’s unbe­liev­able.”

“The medi­um of ani­ma­tion, and specif­i­cal­ly cer­tain ani­mat­ed tech­niques, offer an abil­i­ty to faith­ful­ly repro­duce in part both the con­tent and the per­cep­tu­al expe­ri­ence of a lit­er­ary work,” writes Geof­frey Beat­ty in his paper “The Prob­lem of Adap­ta­tion Solved!.” In it, he quotes the ani­ma­tor on why she chose this par­tic­u­lar sto­ry: “ ‘Kafka’s sto­ries give this kind of room to invent,’ she says. This was an impor­tant val­ue for Leaf as she was estab­lish­ing a body of work based on a unique visu­al approach. The Meta­mor­pho­sis, sug­gest­ed to her by a friend and men­tor, was a good fit, as her own ‘black and white sand images had the poten­tial to have a Kaf­ka-esque feel – dark and mys­te­ri­ous.’ ”

The Metamorphosis of Mr. Samsa

Any worth­while artis­tic medi­um impos­es lim­i­ta­tions — and sand, as you’d imag­ine, impos­es some pret­ty seri­ous ones. Work­ing with it, Leaf “would not be able to cre­ate high­ly detailed images [such as] the fes­ter­ing wound on Gregor’s back or his over­all dete­ri­o­ra­tion and decay. How­ev­er, this lim­i­ta­tion was not nec­es­sar­i­ly a prob­lem. ‘I think that the lim­i­ta­tions of draw­ing in sand, the sim­pli­fi­ca­tions that it requires, made me inven­tive in the sto­ry­telling in the ways I men­tioned above. Sand forced me to adapt the sto­ry to sand, which is inter­est­ing.’ ”

Those read­ers who apply the word “Kafkan” to any point­less­ly dif­fi­cult task (like, say, get­ting out the door to work when you’ve become a giant bug) might also use it to describe Leaf’s labor-inten­sive sand ani­ma­tion process. But unlike a tru­ly Kafkan labor, Leaf’s gen­er­at­ed a result — and a delight­ful one at that. Now if only the next gen­er­a­tion of sand ani­ma­tors would step foward to adapt the rest of Kafka’s oeu­vre. Maybe we could inter­est PBS in air­ing it?

Find more lit­er­ary ani­ma­tions in our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

20 Ani­ma­tions of Clas­sic Lit­er­ary Works: From Pla­to and Dos­to­evsky, to Kaf­ka, Hem­ing­way & Brad­bury

Watch Franz Kaf­ka, the Won­der­ful Ani­mat­ed Film by Piotr Dumala

The Art of Franz Kaf­ka: Draw­ings from 1907–1917

Franz Kafka’s It’s a Won­der­ful Life: The Oscar-Win­ning Film About Kaf­ka Writ­ing The Meta­mor­pho­sis

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.

Guidelines for Handling William Faulkner’s Drinking During Foreign Trips From the US State Department (1955)

Faulkner1

Image by Carl Van Vecht­en, via Wiki­me­dia Com­mons

There’s a polite turn of phrase I’ve always found amus­ing, if a lit­tle sad; when some­one has too much to drink at a social func­tion and embar­rass­es him or her­self, we say the per­son has been “over­served.” This euphemism gra­cious­ly lays the blame at the host’s feet rather than the some­times shame­faced imbiber’s, sug­gest­ing that a good host cares enough about his or her guests—whether they be light­weights or binge-drink­ing alcoholics—to mon­i­tor their intake and keep things on an even keel. In the case of one noto­ri­ous­ly hard-drink­ing guest, nov­el­ist William Faulkn­er, this respon­si­bil­i­ty became much more than the tact­ful bur­den of a few friends. Keep­ing an eye on the writer’s drink­ing became a man­date of State Depart­ment offi­cers at the U.S. Infor­ma­tion Agency dur­ing Faulkn­er’s offi­cial trips abroad.

FaulknerVisit.jpg.CROP.original-original

Since his 1950 Nobel win—writes Greg Barn­his­el at Slate—Faulkn­er was in high demand as a Cold War good­will ambas­sador for Amer­i­can cul­ture, along with Martha Gra­ham, John Updike, and Louis Arm­strong, all “liv­ing proof that Amer­i­ca wasn’t just Mick­ey Mouse and chew­ing gum.” Unfor­tu­nate­ly, as most every­one knows, “the author had a bit of a drink­ing prob­lem.” Dur­ing a 1955 vis­it to Japan, for exam­ple, he got so drunk at the wel­come recep­tion “that the U.S. ambas­sador ordered he be put on the next plane back to the states.” U.S. offi­cials may have been embar­rassed, but the Japan­ese, it seems, did not feel that Faulkner’s drink­ing was a hin­drance. Accord­ing to Dr. Leon Picon, books offi­cer at the Tokyo embassy, the writer’s hosts “didn’t see any­thing wrong with the amount of drink that he had, and they under­stood when he went off com­plete­ly, and was not com­mu­ni­ca­ble again….” Rather than send Faulkn­er home, Picon found ways to make sure his guest was nev­er over­served.

2FaulknerVisit.jpg.CROP.original-original

Picon—whom Faulkn­er called his “wet nurse”—composed and dis­creet­ly cir­cu­lat­ed a doc­u­ment called “Guide­lines for Han­dling Mr. William Faulkn­er on His Trips Abroad.” These instruc­tions came from Picon’s obser­va­tions that Faulkn­er “fared bet­ter… when there was lit­tle time for con­cert­ed drink­ing.” Of the Japan­ese vis­it Faulkn­er biog­ra­ph­er David Mint­ner writes:

Giv­en shrewd­ly arranged sched­ules and care­ful­ly arranged audi­ences, Faulkn­er talked eas­i­ly about books, war, and race, hunt­ing, farm­ing, and sail­ing. Although his man­ners remained for­mal and his replies for­mu­la­ic, he seemed poised and respon­sive.

Barn­his­el quotes among Picon’s guide­lines for assur­ing a smooth vis­it the fol­low­ing:

  • “Keep sev­er­al pret­ty young girls in the front two rows of any pub­lic appear­ance to keep his atten­tion up”
  • “Put some­one in charge of his liquor at all times so that he doesn’t drink too quick­ly”
  • “Do not allow him to ven­ture out on his own with­out an escort”

As the declas­si­fied mem­o­ran­da above tes­ti­fy (click once, and then again, to view them in a larg­er for­mat), the instruc­tions helped oth­er for­eign ser­vice offi­cers to suc­cess­ful­ly nav­i­gate the writer’s habits. In the memo near the top of the post with the odd­ly-word­ed sub­ject “Exploita­tion of Faulkn­er Vis­it,” Dr. Picon is laud­ed for “humor­ing and han­dling Mr. Faulkn­er,” and his guide­lines cred­it­ed with being “effec­tive and vital to the suc­cess of the whole tour.” The memo just above—written in need­less­ly wordy bureau­cratese, appar­ent­ly by none oth­er than J. Edgar Hoover—commends Picon in more detail:

The Depart­ment wish­es to com­mend Mr. Leon Picon for the superb job he did in describ­ing a pro­ce­dure for devel­op­ing a pro­gram for Mr. Faulkn­er in oth­er coun­tries.

In his book Cold War Mod­ernists, Barn­his­el, a pro­fes­sor at Duquesne Uni­ver­si­ty, notes that Faulkn­er con­tin­ued to rep­re­sent the U.S. abroad, in trips to Greece and Venezuela, and though his drink­ing remained a chal­lenge for his gov­ern­ment han­dlers, the trips were deemed unqual­i­fied suc­cess­es.

via Slate

Relat­ed Con­tent:

Drink­ing with William Faulkn­er: The Writer Had a Taste for The Mint Julep & Hot Tod­dy

Rare Audio: William Faulkn­er Names His Best Nov­el, And the First Faulkn­er Nov­el You Should Read

William Faulkn­er Reads His Nobel Prize Speech

Free Online Lit­er­a­ture Cours­es, part of our larg­er col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties

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

Dostoyevsky’s The Brothers Karamazov Strikingly Illustrated by Expressionist Painter Alice Neel (1938)

the-brothers-karamazov-1

Images belong to The Estate of Alice Neel.

We all know the rep­u­ta­tion of 19th-cen­tu­ry Russ­ian nov­els: long, dense bricks of pure prose, freight­ed with deep moral con­cerns and, to the unini­ti­at­ed, enlivened only by a con­fus­ing far­ra­go of patronymics. And sure, while they may have a bit of a learn­ing curve to them, these clas­sic works of lit­er­a­ture also, so their advo­cates assure us, boast plen­ty to keep them rel­e­vant today — just the qual­i­ty, of course, that makes them clas­sic works of lit­er­a­ture in the first place.

the-brothers-karamazov-8

While we should by all means read them, that does­n’t mean we can’t get a taste of these much-dis­cussed books before we heft them and turn to page one by, for exam­ple, check­ing out their illus­tra­tions. These vary in qual­i­ty with the edi­tions, of course, but how much of the art that has ever accom­pa­nied, say, Fyo­dor Dos­toyevsky’s The Broth­ers Kara­ma­zov has looked quite as evoca­tive as the nev­er-pub­lished illus­tra­tions here? They come from the hand of the Penn­syl­va­nia-born artist Alice Neel, com­mis­sioned in the 1930s for an edi­tion of the nov­el that nev­er saw the print­ing press.

the-brothers-karamazov-6

The Paris Review’s Dan Piepen­berg, post­ing eight of Neel’s illus­tra­tions, high­lights “how attuned these two sen­si­bil­i­ties are: it’s the mar­riage of one kind of dark­ness to anoth­er”; “the black storm cloud of Neel’s pen is well suit­ed to Dostoyevsky’s ques­tions of God, rea­son, and doubt.” And yet Neel also man­ages to express the nov­el­’s “mad­ness and com­e­dy,” bring­ing “a man­ic bathos to these scenes that lends them both grav­i­ty and lev­i­ty; in every wide, glassy pair of eyes, grave ques­tions of moral cer­ti­tude are under­cut by the absurd.”

You can see all of eight of Neel’s Kara­ma­zov illus­tra­tions at The Paris Review, not that they pro­vide a sub­sti­tute for read­ing the nov­el itself (which you can find in our col­lec­tion of Free eBooks). After all, that’s the only way to find out what exact­ly hap­pens at that bac­cha­nal just above.

Relat­ed Con­tent:

Fyo­dor Dos­to­evsky Draws Elab­o­rate Doo­dles In His Man­u­scripts

Albert Camus Talks About Adapt­ing Dos­toyevsky for the The­atre, 1959

Crime and Pun­ish­ment by Fyo­dor Dos­toyevsky Told in a Beau­ti­ful­ly Ani­mat­ed Film by Piotr Dumala

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

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.

Hunter S. Thompson, Existentialist Life Coach, Gives Tips for Finding Meaning in Life

hst

Image by Steve Ander­son, via Wiki­me­dia Com­mons

At first blush, Hunter S. Thomp­son might be the last per­son you would want to ask for advice. After all, his dai­ly rou­tine involved copi­ous amounts of cocaine, LSD and Chivas Regal. He once raked a neighbor’s house with gun­fire. And he once almost acci­den­tal­ly blew up John­ny Depp. Yet beneath his gonzo per­sona lay a man who thought deeply and often about the mean­ing of it all. He was some­one who spent a life­time star­ing into the abyss.

So in 1958, before he became a counter-cul­ture icon, before he even start­ed writ­ing pro­fes­sion­al­ly, Thomp­son wrote a long let­ter about some of the big ques­tions in life to his friend, Hume Logan, who was in the throes of an exis­ten­tial cri­sis.

While the first cou­ple of para­graphs warns against the dan­gers of seek­ing advice, Hunter then expounds at length on some deep, and sur­pris­ing­ly lev­el-head­ed truths. Below are a few pearls of wis­dom:

  • Whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this!
  • You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.)
  • To put our faith in tan­gi­ble goals would seem to be, at best, unwise. We do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.
  • Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.
  • Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

The let­ter was pub­lished in the 2013 book, Let­ters of Note. You can read it in its entire­ty below.

April 22, 1958
57 Per­ry Street
New York City

Dear Hume,

You ask advice: ah, what a very human and very dan­ger­ous thing to do! For to give advice to a man who asks what to do with his life implies some­thing very close to ego­ma­nia. To pre­sume to point a man to the right and ulti­mate goal— to point with a trem­bling fin­ger in the RIGHT direc­tion is some­thing only a fool would take upon him­self.

I am not a fool, but I respect your sin­cer­i­ty in ask­ing my advice. I ask you though, in lis­ten­ing to what I say, to remem­ber that all advice can only be a prod­uct of the man who gives it. What is truth to one may be dis­as­ter to anoth­er. I do not see life through your eyes, nor you through mine. If I were to attempt to give you spe­cif­ic advice, it would be too much like the blind lead­ing the blind.

“To be, or not to be: that is the ques­tion: Whether ’tis nobler in the mind to suf­fer the slings and arrows of out­ra­geous for­tune, or to take arms against a sea of trou­bles … ” (Shake­speare)

And indeed, that IS the ques­tion: whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this! Think of any deci­sion you’ve ever made which had a bear­ing on your future: I may be wrong, but I don’t see how it could have been any­thing but a choice how­ev­er indi­rect— between the two things I’ve men­tioned: the float­ing or the swim­ming.

But why not float if you have no goal? That is anoth­er ques­tion. It is unques­tion­ably bet­ter to enjoy the float­ing than to swim in uncer­tain­ty. So how does a man find a goal? Not a cas­tle in the stars, but a real and tan­gi­ble thing. How can a man be sure he’s not after the “big rock can­dy moun­tain,” the entic­ing sug­ar-can­dy goal that has lit­tle taste and no sub­stance?

The answer— and, in a sense, the tragedy of life— is that we seek to under­stand the goal and not the man. We set up a goal which demands of us cer­tain things: and we do these things. We adjust to the demands of a con­cept which CANNOT be valid. When you were young, let us say that you want­ed to be a fire­man. I feel rea­son­ably safe in say­ing that you no longer want to be a fire­man. Why? Because your per­spec­tive has changed. It’s not the fire­man who has changed, but you. Every man is the sum total of his reac­tions to expe­ri­ence. As your expe­ri­ences dif­fer and mul­ti­ply, you become a dif­fer­ent man, and hence your per­spec­tive changes. This goes on and on. Every reac­tion is a learn­ing process; every sig­nif­i­cant expe­ri­ence alters your per­spec­tive.

So it would seem fool­ish, would it not, to adjust our lives to the demands of a goal we see from a dif­fer­ent angle every day? How could we ever hope to accom­plish any­thing oth­er than gal­lop­ing neu­ro­sis?

The answer, then, must not deal with goals at all, or not with tan­gi­ble goals, any­way. It would take reams of paper to devel­op this sub­ject to ful­fill­ment. God only knows how many books have been writ­ten on “the mean­ing of man” and that sort of thing, and god only knows how many peo­ple have pon­dered the sub­ject. (I use the term “god only knows” pure­ly as an expres­sion.) There’s very lit­tle sense in my try­ing to give it up to you in the prover­bial nut­shell, because I’m the first to admit my absolute lack of qual­i­fi­ca­tions for reduc­ing the mean­ing of life to one or two para­graphs.

I’m going to steer clear of the word “exis­ten­tial­ism,” but you might keep it in mind as a key of sorts. You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.) But back to the answer. As I said, to put our faith in tan­gi­ble goals would seem to be, at best, unwise. So we do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.

But don’t mis­un­der­stand me. I don’t mean that we can’t BE fire­men, bankers, or doc­tors— but that we must make the goal con­form to the indi­vid­ual, rather than make the indi­vid­ual con­form to the goal. In every man, hered­i­ty and envi­ron­ment have com­bined to pro­duce a crea­ture of cer­tain abil­i­ties and desires— includ­ing a deeply ingrained need to func­tion in such a way that his life will be MEANINGFUL. A man has to BE some­thing; he has to mat­ter.

As I see it then, the for­mu­la runs some­thing like this: a man must choose a path which will let his ABILITIES func­tion at max­i­mum effi­cien­cy toward the grat­i­fi­ca­tion of his DESIRES. In doing this, he is ful­fill­ing a need (giv­ing him­self iden­ti­ty by func­tion­ing in a set pat­tern toward a set goal), he avoids frus­trat­ing his poten­tial (choos­ing a path which puts no lim­it on his self-devel­op­ment), and he avoids the ter­ror of see­ing his goal wilt or lose its charm as he draws clos­er to it (rather than bend­ing him­self to meet the demands of that which he seeks, he has bent his goal to con­form to his own abil­i­ties and desires).

In short, he has not ded­i­cat­ed his life to reach­ing a pre-defined goal, but he has rather cho­sen a way of life he KNOWS he will enjoy. The goal is absolute­ly sec­ondary: it is the func­tion­ing toward the goal which is impor­tant. And it seems almost ridicu­lous to say that a man MUST func­tion in a pat­tern of his own choos­ing; for to let anoth­er man define your own goals is to give up one of the most mean­ing­ful aspects of life— the defin­i­tive act of will which makes a man an indi­vid­ual.

Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.

Nat­u­ral­ly, it isn’t as easy as it sounds. You’ve lived a rel­a­tive­ly nar­row life, a ver­ti­cal rather than a hor­i­zon­tal exis­tence. So it isn’t any too dif­fi­cult to under­stand why you seem to feel the way you do. But a man who pro­cras­ti­nates in his CHOOSING will inevitably have his choice made for him by cir­cum­stance.

So if you now num­ber your­self among the dis­en­chant­ed, then you have no choice but to accept things as they are, or to seri­ous­ly seek some­thing else. But beware of look­ing for goals: look for a way of life. Decide how you want to live and then see what you can do to make a liv­ing WITHIN that way of life. But you say, “I don’t know where to look; I don’t know what to look for.”

And there’s the crux. Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

If I don’t call this to a halt, I’m going to find myself writ­ing a book. I hope it’s not as con­fus­ing as it looks at first glance. Keep in mind, of course, that this is MY WAY of look­ing at things. I hap­pen to think that it’s pret­ty gen­er­al­ly applic­a­ble, but you may not. Each of us has to cre­ate our own cre­do— this mere­ly hap­pens to be mine.

If any part of it doesn’t seem to make sense, by all means call it to my atten­tion. I’m not try­ing to send you out “on the road” in search of Val­hal­la, but mere­ly point­ing out that it is not nec­es­sary to accept the choic­es hand­ed down to you by life as you know it. There is more to it than that— no one HAS to do some­thing he doesn’t want to do for the rest of his life. But then again, if that’s what you wind up doing, by all means con­vince your­self that you HAD to do it. You’ll have lots of com­pa­ny.

And that’s it for now. Until I hear from you again, I remain,

your friend,
Hunter

Relat­ed Con­tent:

Read 10 Free Arti­cles by Hunter S. Thomp­son That Span His Gonzo Jour­nal­ist Career (1965–2005)

Hunter S. Thomp­son Inter­views Kei­th Richards

John­ny Depp Reads Let­ters from Hunter S. Thomp­son

Hunter S. Thomp­son Gets Con­front­ed by The Hell’s Angels

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.

Read the Lost Sherlock Holmes Story That Was Just Discovered in an Attic in Scotland

sherlock_holmes_in_public-domain

In Novem­ber, we pre­sent­ed for you a quick way to down­load The Com­plete Sher­lock Holmes — not know­ing that, a few months lat­er, a lost Sher­lock Holmes sto­ry, seem­ing­ly attrib­uted to Arthur Conan Doyle, would be dis­cov­ered in an attic in Scot­land.

The sto­ry, The Guardian writes, was “part of a pam­phlet print­ed in 1903 to raise mon­ey to restore a bridge in the Scot­tish bor­der town of Selkirk.” Dis­cov­ered by the his­to­ri­an Wal­ter Elliot, the tale enti­tled “Sher­lock Holmes: Dis­cov­er­ing the Bor­der Burghs and, By Deduc­tion, the Brig Bazaar” can be read below, thanks to Vul­ture.

In 2013, a US judge ruled that Sher­lock Holmes sto­ries now belonged in the pub­lic domain. The same would appear to hold true for this hap­pi­ly dis­cov­ered, 1300-word sto­ry. You can find more Sher­lock Holmes sto­ries in our col­lec­tion of Free eBooks.

“Sher­lock Holmes: Dis­cov­er­ing the Bor­der Burghs and, By Deduc­tion, the Brig Bazaar”

We’ve had enough of old roman­cists and the men of trav­el” said the Edi­tor, as he blue-pen­cilled his copy, and made arrange­ments for the great Sat­ur­day edi­tion of the Bazaar Book. “We want some­thing up-to-date. Why not have a word from ‘Sher­lock Holmes?’ ”

Edi­tors have only to speak and it is done, at least, they think so. “Sher­lock Holmes!” As well talk of inter­view­ing the Man in the Moon. But it does not do to tell Edi­tors all that you think. I had no objec­tions what­ev­er, I assured the Edi­tor, to but­ton­hole “Sher­lock Holmes,” but to do so I should have to go to Lon­don.

“Lon­don!” scorn­ful­ly sniffed the Great Man. “And you pro­fess to be a jour­nal­ist? Have you nev­er heard of the tele­graph, the tele­phone, or the phono­grah? Go to Lon­don! And are you not aware that all jour­nal­ists are sup­posed to be qual­i­fied mem­bers of the Insti­tute of Fic­tion, and to be qual­i­fied to make use of the Fac­ul­ty of Imag­i­na­tion? By the use of the lat­ter men have been inter­viewed, who were hun­dreds of miles away; some have been ‘inter­viewed’ with­out either knowl­edge or con­sent. See that you have a top­i­cal arti­cle ready for the press for Sat­ur­day. Good day.”

I was dis­missed and had to find copy by hook or by crook. Well, the Fac­ul­ty of Imag­i­na­tion might be worth a tri­al.

The famil­iar house in Sloan Street met my bewil­dered gaze. The door was shut, the blinds drawn. I entered; doors are no bar­ri­er to one who uses the Fac­ul­ty of Imag­i­na­tion. The soft light from an elec­tric bulb flood­ed the room. “Sher­lock Holmes” sits by the side of the table; Dr Wat­son is on his feet about to leave for the night. Sher­lock Holmes, as has late­ly been shown by a promi­nent jour­nal, is a pro­nounced Free Trad­er. Dr. Wat­son is a mild Pro­tec­tion­ist, who would take his gru­elling behind a Martel­lo tow­er, as Lord Goschen wit­ti­ly put it, but not “lying down!” The twain had just fin­ished a stiff argu­ment on Fis­cal pol­i­cy. Holmes loq—

“And when shall I see you again, Wat­son? The inquiry into the ‘Mys­ter­ies of the Secret Cab­i­net’ will be con­tin­ued in Edin­burgh on Sat­ur­day. Do you mind a run down to Scot­land? You would get some cap­i­tal data which you might turn to good account lat­er.”

“I am very sor­ry,” replied Dr Wat­son, “I should have liked to have gone with you, but a pri­or engage­ment pre­vents me. I will, how­ev­er, have the plea­sure of being in kind­ly Scot­tish com­pa­ny that day. I, also, am going to Scot­land.”

“Ah! Then you are going to the Bor­der coun­try at that time?”

“How do you know that?”

“My dear Wat­son, it’s all a mat­ter of deduc­tion.”

“Will you explain?”

“Well, when a man becomes absorbed in a cer­tain theme, the mur­der will out some day. In many dis­cus­sions you and I have on the fis­cal ques­tion from time to time I have not failed to notice that you have tak­en up an atti­tude antag­o­nis­tic to a cer­tain school of thought, and on sev­er­al occa­sions you have com­ment­ed on the pass­ing of “so-called’ reforms, as you describe them, which you say were not the result of a spon­ta­neous move­ment from or by the peo­ple, but sole­ly due to the pres­sure of the Man­ches­ter School of politi­cians appeal­ing to the mob. One of these allu­sions you made a pecu­liar ref­er­ence to ‘Huz an’ Main­ches­ter’ who had ‘turned the world upside down.’ The word ‘Huz’ stuck to me, but after con­sult­ing many authors with­out learn­ing any­thing as to the source of the word, I one day in read­ing a provin­cial paper noticed the same expres­sion, which the writer said was descrip­tive of the way Haw­ick peo­ple looked at the progress of Reform. ‘Huz an’ Main­ches­ter’ led the way. So, thought I, Wat­son has a knowl­edge of Haw­ick. I was still fur­ther con­firmed in this idea by hear­ing you in sev­er­al absent moments croon­ing a weird song of the Nor­we­gian God Thor. Again I made enquires, and writ­ing to a friend in the South coun­try I pro­cured a copy of ‘Teribus.’ So, I rea­soned, so — there’s some­thing in the air! What attrac­tion has Haw­ick for Wat­son?”

“Won­der­ful,” Wat­son said, “and —”

“Yes, and when you char­ac­terised the action of the Ger­man Gov­ern­ment in seek­ing to ham­per Cana­di­an trade by rais­ing her tar­iff wall against her, as a case of ‘Sour Plums,’ and again in a draw­ing room asked a mutu­al lady friend to sing you that fine old song, ‘Braw, braw lads,’ I was curi­ous enough to look up the old bal­lad, and find­ing it had ref­er­ence to a small town near to Haw­ick, I began to see a ray of day­light. Haw­ick had a place in your mind; like­wise so had Galashiels — so much was appar­ent. The ques­tion to be decid­ed was why?”

“So far so good. And—”

“Lat­er still the plot deep­ened. Why, when I was retail­ing to you the steps that led up to the arrest of the Nor­wood builder by the impres­sion of his thumb, I found a very great sur­prise that you were not lis­ten­ing at all to my rea­son­ing, but were lilt­ing a very sweet — a very sweet tune, Wat­son — ‘The Flow­ers of the For­est;’ then I in turn con­sult­ed an author­i­ty on the sub­ject, and found that that love­ly if trag­ic song had a spe­cial ref­er­ence to Selkirk. And you remem­ber, Wat­son, how very enthu­si­as­tic you grew all of a sud­den on the sub­ject of Com­mon-Rid­ings, and how much you stud­ied the his­to­ry of James IV., with spe­cial ref­er­ence to Flod­den Field. All these things speak, Wat­son, to the order­ly brain of a thinker. Haw­ick, Galashiels, and Selkirk. What did the com­bi­na­tion mean? I felt I must solve the prob­lem, Wat­son; so that night when you left me, after we had dis­cussed the “Tragedy of a Divid­ed House,” I ordered in a ton of tobac­co, wrapped my cloak about me, and spent the night in thought. When you came round in the morn­ing the prob­lem was solved. I could not on the accu­mu­la­tive evi­dence but come to the con­clu­sion that you con­tem­plat­ed anoth­er Par­lia­men­tary con­test. Wat­son, you have the Bor­der Burghs in your eye!”

“In my heart, Holmes,” said Wat­son.

“And where do you trav­el to on Sat­ur­day, Wat­son?”

“I am going to Selkirk; I have an engage­ment there to open a Bazaar.”

“Is it in aide of a Bridge, Wat­son?”

“Yes,’ replied Wat­son in sur­prise; “but how do you know? I have nev­er men­tioned the mat­ter to you.”

“By word, no; but by your action you have revealed the bent of your mind.”

“Impos­si­ble!”

“Let me explain. A week ago you came round to my rooms and asked for a look at ‘Macaulay’s Lays of Ancient Rome.’ (You know I admire Macaulay’s works, and have a full set.) That vol­ume, after a casu­al look at, you took with you. When you returned it a day or two lat­er I noticed it was marked with a slip of paper at the ‘Lay of Hor­atius,’ and I detect­ed a faint pen­cil mark on the slip not­ing that the clos­ing stan­za was very appro­pri­ate. As you know, Wat­son, the lay is all descrip­tive of the keep­ing of a bridge. Let me remind you how nice­ly you would per­orate —

When the good­man mends his armour
And trims his hel­met’s plume,
When the good­wife’s shut­tle mer­ri­ly
Goes flash­ing through the loom,
With weep­ing and with laugh­ter.
Still the sto­ry told —
How well Hor­atius kept the bridge,
In the brave days of old.

Could I, being mor­tal, help think­ing you were bent on some such exploit your­self?”

“Very true!”

“Well, good­bye, Wat­son; shall be glad of your com­pa­ny after Sat­ur­day. Remem­ber Hor­atius’ words when you go to Bor­der Burghs: ‘How can man die bet­ter than fac­ing fear­ful odds.’ But there, these words are only illus­tra­tions. Safe jour­ney, and suc­cess to the Brig!”

Relat­ed Con­tent:

Down­load the Com­plete Sher­lock Holmes, Arthur Conan Doyle’s Mas­ter­piece

Arthur Conan Doyle Dis­cuss­es Sher­lock Holmes and Psy­chics in a Rare Filmed Inter­view (1927)

Hear the Voice of Arthur Conan Doyle After His Death

800 Free eBooks for iPad, Kin­dle & Oth­er Devices

by | Permalink | Make a Comment ( 5 ) |

Read 3 Stories from Haruki Murakami’s Short Story Collection Published in Japan Last Year

Briefly not­ed: Last spring, Haru­ki Muraka­mi released a new col­lec­tion of short sto­ries in Japan, rough­ly trans­lat­ed as Men With­out Women. If past trends hold, this vol­ume may nev­er see the light of day in the States. But we may get to read all of the indi­vid­ual sto­ries in the pages of The New York­er. Last year, the mag­a­zine pub­lished two of Murakami’s six new sto­ries — “Scheherazade” and “Yes­ter­day.” And now comes anoth­er, “Kino.”  You can read it online here.

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:

Read 6 Sto­ries By Haru­ki Muraka­mi Free Online

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

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

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

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

7 Short Stories by Junot Díaz Free Online, In Text and Audio

As much as any con­tem­po­rary writer of lit­er­ary fic­tion ever does, Junot Díaz has become some­thing of a house­hold name in the years since his debut nov­el, The Brief Won­drous Life of Oscar Wao appeared in 2007, then went on to win the Pulitzer Prize, among oth­er many oth­er hon­ors. The nov­el has recent­ly topped crit­ics lists of the best 21st cen­tu­ry nov­els (so far), and the recog­ni­tion is well-deserved, and very hard-won. Díaz spent a decade writ­ing the book, his process, in the words of The New York Times’ Sam Ander­son, “noto­ri­ous­ly slow” and labo­ri­ous. But none of his time work­ing on Oscar Wao, it seems, was spent idle. Dur­ing the long ges­ta­tion peri­od between his first book of sto­ries, 1996’s Drown, his first nov­el, and the many acco­lades to fol­low, Diaz has reli­ably turned out short sto­ries for the likes of The New York­er, cul­mi­nat­ing in his most recent col­lec­tion from 2012, This Is How You Lose Her.

Díaz is his own worst critic—even he admits as much, call­ing his over­bear­ing crit­i­cal self “a char­ac­ter defect” and “way too harsh.” Per­haps one of the rea­sons he finds his process “mis­er­able” is that his “nar­ra­tive space,” as crit­ic Liz­a­beth Par­avisi­ni-Gebert writes, con­sists not of “nos­tal­gic recre­ations of ide­al­ized child­hood land­scapes,” but rather the “bleak, bar­ren, and decayed mar­gins of New Jersey’s inner cities,” as well as the trag­ic, bloody past of his native Domini­can Repub­lic.

Despite the his­tor­i­cal vio­lence from which his char­ac­ters emerge, the voic­es of Diaz’s nar­ra­tives are a vital force, full of light­en­ing-fast recall of pop cul­tur­al touch­stones, hip-hop, his­toric and folk­loric allu­sions, and the minu­ti­ae of high geek­ery, from sci-fi film, to gam­ing, to com­ic book lore. (Watch Diaz dis­cuss geek cul­ture at New York’s St. Mark’s Comics above.)

Like a nerdy New World Joyce, Díaz works in a dizzy­ing swirl of ref­er­ences that crit­ic and play­wright Gregg Bar­rios calls a “deft mash-up of Domini­can his­to­ry, comics, sci-fi, mag­ic real­ism and foot­notes.” The writer’s unique idiom—swinging with ease from the most street­wise and pro­fane ver­nac­u­lar to the most for­mal aca­d­e­m­ic prose and back again—interrogates cat­e­gories of gen­der and nation­al iden­ti­ty at every turn, ask­ing, writes Bar­rios, “Who is Amer­i­can? What is the Amer­i­can expe­ri­ence?” Diaz’s nar­ra­tive voice—described by Leah Hager Cohen as one of “rad­i­cal inclusion”—provides its own answers.

That noto­ri­ous­ly slow process pays div­i­dends when it comes to ful­ly-real­ized char­ac­ters who seem to live and breathe in a space out­side the page, a con­se­quence of Díaz “sit­ting with my char­ac­ters” for a long time, he tells Cres­si­da Leyshon, “before I can write a sin­gle word, good or bad, about them. I seem to have to make my char­ac­ters fam­i­ly before I can access their hearts in any way that mat­ters.” You can read the results of all that sit­ting and ago­niz­ing below, in sev­en sto­ries that are avail­able free online, in text and audio. Sto­ries with an aster­isk next to them appear in This Is How You Lose Her. The final sto­ry comes from Diaz’s first col­lec­tion, Drown.

  • “The Cheater’s Guide to Love” * (The New York­er, July 2012—text, audio)
  • “Mon­stro” (The New York­er, June 2012—text)
  • “Miss Lora” * (The New York­er, April 2012—text)
  • “The Pura Prin­ci­ple” * (The New York­er, March 2010—text)
  • “Alma” * (The New York­er, Decem­ber 2007—text, audio)
  • “Wild­wood” (The New York­er, June 2007—text)
  • “How to date a brown girl (black girl, white girl, or hal­fie)” (text, audio)

Relat­ed Con­tent:

1,000 Free Audio Books: Down­load Great Books for Free

A Sneak Peek at Junot Díaz’s Syl­labi for His MIT Writ­ing Class­es, and the Nov­els on His Read­ing List

Junot Díaz Anno­tates a Selec­tion of The Brief Won­drous Life of Oscar Wao for “Poet­ry Genius”

10 Free Sto­ries by George Saun­ders, Author of Tenth of Decem­ber, “The Best Book You’ll Read This Year”

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

800 Free eBooks for iPad, Kin­dle & Oth­er Devices

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

Predict Which 21st Century Novels Will Enter the Literary Canon? And Which Overrated Ones Won’t?

oscarwao11

Last year, we fea­tured a 1936 poll where read­ers pre­dict­ed what writ­ers would make it into the lit­er­ary canon of the year 2000. But what results would the same inquiry yield today? What 21st-cen­tu­ry nov­els (ear­ly in the game, I know, but still) will remain wide­ly read over half a cen­tu­ry from now? How much more pre­science have we evolved com­pared to that of our equiv­a­lents almost 80 years ago? How many mod­ern Sin­clair Lewis­es and Willa Cathers would we pick — ver­sus how many mod­ern James Truslow Adamses and James Branch Cabells?

Writ­ing for Arts.Mic, Claire Luchette gives one pos­si­ble set of answers to this ques­tion with her list of “11 Twen­ty-First Cen­tu­ry Books Our Kids Will Be Taught in School,” which runs as fol­lows:

  1. White Teeth (Zadie Smith, 2000)
  2. Life of Pi (Yann Mar­tel, 2001)
  3. Mid­dle­sex (Jef­frey Eugenides, 2002)
  4. The Kite Run­ner (Khaled Hos­sei­ni, 2003)
  5. The Name­sake by Jhumpa Lahiri (2003)
  6. Gilead by Mar­i­lynne Robin­son (2004)
  7. The Brief Won­drous Life of Oscar Wao (Junot Díaz, 2008)
  8. A Vis­it From the Goon Squad (Jen­nifer Egan, 2010)
  9. Free­dom (Jonathan Franzen, 2010)
  10. Dear Life (Alice Munro, 2012)
  11. Tenth of Decem­ber (George Saun­ders, 2013)

The future already looks bright for sev­er­al of Luchet­te’s picks. Junot Diaz’s “habit-form­ing­ly col­or­ful and bright” (not to men­tion Pulitzer-win­ning) The Brief Won­drous Life of Oscar Wao recent­ly topped BBC Cul­ture’s crit­ics poll for the best nov­el of the 21st cen­tu­ry so far. Oth­ers face longer odds. As high a point in the zeit­geist as Yann Martel’s Life of Pi reached — and no less an opin­ion leader than Barack Oba­ma called it “an ele­gant proof of God” — I per­son­al­ly tend to agree with the assess­ment of James Wood, who likens its cen­tral rev­e­la­tion to “an edi­to­r­i­al meet­ing of Social Text.

And so we hand it over to you, Open Cul­ture read­ers. What does the future’s canon look like from where you stand? In the com­ments, name the books you think will remain wide­ly read (or grow more so) at the end of the cen­tu­ry, or indeed, the ones wide­ly read now that will have, by that point, col­lect­ed the bet­ter part of a cen­tu­ry’s dust. Bonus points for telling us why.

Relat­ed Con­tent:

Read­ers Pre­dict in 1936 Which Nov­el­ists Would Still Be Wide­ly Read in the Year 2000

The 10 Great­est Books Ever, Accord­ing to 125 Top Authors (Down­load Them for Free)

The 25 Best Non-Fic­tion Books Ever: Read­ers’ Picks

The Books You Think Every Intel­li­gent Per­son Should Read: Crime and Pun­ish­ment, Moby-Dick & Beyond (Many Free Online)

600 Free eBooks for iPad, Kin­dle & Oth­er Devices

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.

« Go BackMore in this category... »
Quantcast