A Dazzling Gallery of Clockwork Orange Tattoos

clockwork-orange-tattoo-3

Alex, the pro­tag­o­nist of Antho­ny Burgess’ A Clock­work Orange takes teenage rebel­lion to psy­chot­ic extremes, but one act he and his droogs nev­er indulge in is get­ting tat­tooed. It doesn’t even seem to be on their radar. How dif­fer­ent things were in 1962, when the book was pub­lished!

I have no doubt that direc­tor Stan­ley Kubrick (or design­er Mile­na Canonero) could have devised some icon­ic ink for the 1971 film adap­ta­tion, but it would’ve been gild­ing the lily. Movie Alex Mal­colm McDow­ell’s sin­gle false eye­lash is so arrest­ing as to be instant­ly rec­og­niz­able. It deserved its star billing on the updat­ed book cov­er that coin­cid­ed with the film’s release.

It’s also just one of many Clock­work Orange-inspired images that dec­o­rates fans’ hides now that tat­too­ing has hit the main­stream. What would Alex think?

The lit­tle mon­ster’s ego would’ve have rel­ished the noto­ri­ety, but I bet he’d have had a snick­er, too, at the lengths to which eager chellovecks and devotchkas will go. It’s the kind of thing his dim droo­gie Dim would do—mark him­self up per­ma­nent when he could’ve just as well have bought a tote­bag.

clockwork-orange-tattoo-1

Whether or not you per­son­al­ly would con­sid­er mak­ing a salute to A Clock­work Orange a life­long fea­ture of your birth­day suit, it’s hard not to admire the com­mit­ment of the pas­sion­ate lit­er­a­ture and film lovers who do.

In assem­bling the gallery below, we’ve opt­ed to for­go the pho­to­re­al­is­tic por­traits of McDowell—particularly the ones that recre­ate the aver­sion ther­a­py scene—in favor of the graph­ic, the cre­ative, the jaw drop­ping, the sly… and the unavoid­able Hel­lo Kit­ty mash up, which we’re kind of hop­ing wash­es off.

Clockwork Tattoo 4

Clockwork Tattoo 6

Clockwork Tattoo 5

Clockwork Tattoo 7

Clockwork Tattoo 8

Clockwork Tattoo 9

clockwork-orange-tattoo-10

Clockwork Tattoo 11

SONY DSC

Clockwork Tattoo 13

Relat­ed Con­tent:

The Mak­ing of Stan­ley Kubrick’s A Clock­work Orange

Watch The Simp­sons’ Hal­loween Par­o­dy of Kubrick’s A Clock­work Orange and The Shin­ing

15 Great Films Adapt­ed From Equal­ly Great Nov­els

Ayun Hal­l­i­day is an author, home­school­er, and car­toon­ist, whose lat­est com­ic cel­e­brates Civ­il War fire­brand, “Crazy Bet” Van Lew. Fol­low her @AyunHalliday

Leo Tolstoy’s Masochistic Diary: I Am Guilty of “Sloth,” “Cowardice” & “Sissiness” (1851)

tolstoy1

1850 was a tough year for Leo Tol­stoy. It was a time when his future suc­cess­es were impos­si­ble to see while his past fail­ures were all too obvi­ous. A few years pri­or, he had been thrown out of the Uni­ver­si­ty of Kazan. His teach­ers wrote him off as “both unable and unwill­ing to learn.” There­after, he went into a spi­ral of dis­so­lu­tion, first in St. Peters­burg and then in Moscow, where he drank, caroused and racked up some seri­ous gam­bling debts.

Yet Tol­stoy had ambi­tions beyond being just anoth­er debauched scion of the upper class. He strug­gled to improve him­self. So he start­ed a jour­nal in 1847 while recov­er­ing in a hos­pi­tal ward from vene­re­al dis­ease. Influ­enced by Jean-Jacques Rousseau, the future author of War and Peace sought to use the diary as a tool for self-explo­ration. For the first few years, he was an inter­mit­tent diarist. Then, in 1850, he took this tool to new lac­er­at­ing lev­els. Part psy­chother­a­py, part lit­er­ary explo­ration, part inquiry into the lim­its of nar­ra­tive and part straight up masochism, Tol­stoy set out to account for his every action dur­ing the day in what he called the “Jour­nal of Dai­ly Occu­pa­tions.”

He divid­ed his page into two columns. In “The Future” col­umn, he list­ed the things he planned to do the next day. In “The Past” col­umn, he judges him­self (harsh­ly) on how well he fol­lowed through on those plans, label­ing each one of his fail­ures with the appro­pri­ate sin – sloth, avarice etc. There was no col­umn for “The Present.”

You can see a selec­tion from his jour­nal, cour­tesy of schol­ar Iri­na Paper­no, who wrote a nice piece on Tol­stoy’s diary over at Salon. The diary entries below date from March, 1851:

24. Arose some­what late and read, but did not have time to write. Poiret came, I fenced, and did not send him away (sloth and cow­ardice). Ivanov came, I spoke with him for too long (cow­ardice). Koloshin (Sergei) came to drink vod­ka, I did not escort him out (cow­ardice). At Ozerov’s argued about noth­ing (habit of argu­ing) and did not talk about what I should have talked about (cow­ardice). Did not go to Beklemishev’s (weak­ness of ener­gy). Dur­ing gym­nas­tics did not walk the rope (cow­ardice), and did not do one thing because it hurt (sissiness).—At Gorchakov’s lied (lying). Went to the Novotroit­sk tav­ern (lack of fierté). At home did not study Eng­lish (insuf­fi­cient firm­ness). At the Volkon­skys’ was unnat­ur­al and dis­tract­ed, and stayed until one in the morn­ing (dis­tract­ed­ness, desire to show off, and weak­ness of char­ac­ter).

25. [This is a plan for the next day, the 25th, writ­ten on the 24th—I.P.] From 10 to 11 yesterday’s diary and to read. From 11 to 12—gymnastics. From 12 to 1—English. Bek­lem­i­shev and Bey­er from 1 to 2. From 2 to 4—on horse­back. From 4 to 6—dinner. From 6 to 8—to read. From 8 to 10—to write.—To trans­late some­thing from a for­eign lan­guage into Russ­ian to devel­op mem­o­ry and style.—To write today with all the impres­sions and thoughts it gives rise to.—25. Awoke late out of sloth. Wrote my diary and did gym­nas­tics, hur­ry­ing. Did not study Eng­lish out of sloth. With Begichev and with Islavin was vain. At Beklemishev’s was cow­ard­ly and lack of fierté. On Tver Boule­vard want­ed to show off. I did not walk on foot to the Kaly­mazh­nyi Dvor (sissi­ness). Rode with a desire to show off. For the same rea­son rode to Ozerov’s.—Did not return to Kaly­mazh­nyi, thought­less­ness. At the Gor­chakovs’ dis­sem­bled and did not call things by their names, fool­ing myself. Went to L’vov’s out of insuf­fi­cient ener­gy and the habit of doing noth­ing. Sat around at home out of absent­mind­ed­ness and read Werther inat­ten­tive­ly, hur­ry­ing.

26 [This is a plan for the next day, the 26th, writ­ten on the 25th—I.P.] To get up at 5. Until 10—to write the his­to­ry of this day. From 10 to 12—fencing and to read. From 12 to 1—English, and if some­thing inter­feres, then in the evening. From 1 to 3—walking, until 4—gymnastics. From 4 to 6, dinner—to read and write.— (46:55).

Tolstoy’s regime of self-improve­ment wasn’t restrict­ed to this pun­ish­ing dai­ly account­ing of fail­ures. He also kept a “Jour­nal for Weak­ness­es,” which tal­lied up all of his moral fail­ures, arranged in columns for lazi­ness, inde­ci­sion, sen­su­al­i­ty etc., not to men­tion a series of note­books for rules: “Rules for life,” “Rules for devel­op­ing will,” and “Rules for play­ing cards in Moscow until Jan­u­ary 1.”

One gets the sense that there’s a real oppor­tu­ni­ty for a line of Tol­stoy­an self-help books. Six Pil­lars of Self-Fla­gel­la­tion, per­haps? 7 Habits of High­ly Effec­tive Moral Fail­ures? The Pow­er of Spir­i­tu­al Angst?

Read more about Tol­stoy’s jour­nal­ing over at Salon.

Relat­ed Con­tent:

Find great works by Tol­stoy in our col­lec­tion, 800 Free eBooks for iPad, Kin­dle & Oth­er Devices

Rare Record­ing: Leo Tol­stoy Reads From His Last Major Work in Four Lan­guages, 1909

Vin­tage Footage of Leo Tol­stoy: Video Cap­tures the Great Nov­el­ist Dur­ing His Final Days

The Com­plete Works of Leo Tol­stoy Online: New Archive Will Present 90 Vol­umes for Free (in Russ­ian)

Leo Tolstoy’s Fam­i­ly Recipe for Mac­a­roni and Cheese

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.

Haruki Murakami’s Advice Column (“Mr. Murakami’s Place”) Is Now Online: Read English Translations

murakamiwebsite-1601e

Ear­li­er this month, the read­ing world thrilled to the news that Haru­ki Muraka­mi would, in a new col­umn on his offi­cial site, take on the role of agony uncle. I, for one, had to look up the term “agony uncle,” a term out of British Eng­lish, a lan­guage that sur­pris­es me even more often than does Murakami’s native Japan­ese. It means an advice colum­nist, or more specif­i­cal­ly an avun­cu­lar type of writer to whom read­ers can pour out their ago­nies.

Despite his rare pub­lic appear­ances and few first-per­son pieces avail­able in trans­la­tion, read­ers around the globe have sure­ly sensed the writer’s calm man­ner and sym­pa­thet­ic ear. And when he gives advice straight-up, as when he talks about what makes a good run­ner or writer (almost the same thing, to his mind) he does it with suc­cinct­ness and wis­dom. And so we have 村上さんのところ, or “Mr. Murakami’s Place,” where Muraka­mi will, over the next few months, briefly address all man­ner of read­er queries sub­mit­ted in Jan­u­ary.

(Which means that, if you have any­thing to ask him you’ve still got a few days left to do so. Though you’ll notice that the site appears almost entire­ly in Japan­ese, the Eng­lish-speak­ing Muraka­mi also answers ques­tions sub­mit­ted in that lan­guage; just con­sult James Smyth’s trans­la­tion of the ques­tion sub­mis­sion form if you want to go that route.)

“Do you think cats can under­stand how humans feel?” asks a fan named Vivian. “My cat Bobo ran away when she saw me cry­ing.” And despite, or because of, hav­ing spent a good deal of time ren­der­ing cats as lit­er­ary pres­ences, Muraka­mi feels a bit dubi­ous about the issue: “I sus­pect that either you or your cat is extreme­ly sen­si­tive. I have had many cats, but no cat has ever been so sym­pa­thet­ic. They were just as ego­is­tic as they could be.” “Do you have some places you always stay for a while?” asks a 20-year-old stu­dent. “An easy ques­tion. In the bed with some­one I love. Where else?”

Not only do the Japan­ese-lan­guage ques­tions and answers get slight­ly more expan­sive, they some­times even take the tra­di­tion­al advice-col­umn form. Take, for exam­ple, “On the Cusp of 30”:

30 is right around the cor­ner for me, but there isn’t a sin­gle thing that I feel like I’ve accom­plished.  When I was young, I thought to be an ‘adult’ must be so won­der­ful, but my cur­rent real­i­ty is so far away from what I imag­ined.  And when faced with that real­i­ty, I get very dis­heart­ened.  What should I do with myself?

(Jo & Maca, Female, 28)

I don’t mean to be rude, but I think “to be an ‘adult’ must be so won­der­ful,” is just wrong.  ‘Adult’ is noth­ing more than an emp­ty form.  What you fill that form with is your own respon­si­bil­i­ty.  Accom­plish­ments don’t come eas­i­ly.  When you start to fill your ‘adult’ form lit­tle by lit­tle, then every­thing will begin.  But 28 is not real­ly ‘adult.’  You’re only just begin­ning.

That trans­la­tion comes from an anony­mous trans­la­tor and Muraka­mi fan writ­ing their own Eng­lish com­pan­ion blog to the col­umn. It presents anoth­er urgent query from a des­per­ate read­er as fol­lows:

My wife quite fre­quent­ly belch­es right near the back of my head when she pass­es behind me.  When I say to her, “Stop burp­ing behind me all the time,” she says, “It’s not on pur­pose.  It just comes out.”  I don’t think I’m bring­ing it upon myself in any way.  Is there some­thing I can do to stop my wife’s belch­ing?

(ukuleleKazu, Male, 61, Self-Employed)

I hope you’ll par­don me for say­ing so, but I think belch­ing is far bet­ter than fart­ing. Per­haps you should think of it that way.

Muraka­mi has so far weighed in on such oth­er mat­ters of import as dis­ap­pear­ing cats [trans­la­tion], how to deal with ris­ing marathon times [trans­la­tion], his plans for fur­ther non-fic­tion writ­ing [trans­la­tion], what to do at age nine­teen [trans­la­tion], wan­ing libido [trans­la­tion], and his love of Ice­land [trans­la­tion]. Even if you don’t care about the nov­el­ist’s thoughts on these mat­ters, do take a look at the site and its abun­dance of bipedal cats and sheep, jazz albums, John­nie Walk­er fig­ures, and Yakult Swal­lows mem­o­ra­bil­ia — in any lan­guage, a Muraka­mi fan’s delight.

Relat­ed Con­tent:

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

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

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

Haru­ki Muraka­mi Trans­lates The Great Gats­by, the Nov­el That Influ­enced Him Most

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.

Ayn Rand Writes a Harsh Letter To Her 17-Year-Old Niece: “I Will Write You Off As a Rotten Person” (1949)

ayn-rand-social-security

Image via YouTube, 1959 inter­view with Mike Wal­lace

I recent­ly hap­pened upon the Mod­ern Library’s “100 Best Nov­els” list and noticed some­thing inter­est­ing. The list divides into two columns—the “Board’s List” on the left and “Reader’s List” on the right. The “Board’s List” con­tains in its top ten such expect­ed “great books” as Joyce’s Ulysses (#1) and William Faulkner’s The Sound and the Fury (#6). These are indeed wor­thy titles, but not the most acces­si­ble of books, to be sure, though Ulysses does appear at num­ber eleven on the “Reader’s List.” At the very top of that more pop­u­lar rank­ing, how­ev­er, is a book the literati could not find more wor­thy of con­tempt: Ayn Rand’s Atlas Shrugged. Just below it is Rand’s The Foun­tain­head, and at num­bers sev­en and eight, respec­tive­ly, her Anthem and We the Liv­ing. (Also in the top ten on the “Read­er’s List,” three nov­els by L. Ron Hub­bard.)

One obvi­ous take­away… mass­es of ordi­nary peo­ple real­ly like Ayn Rand. Which is odd, because Ayn Rand seemed to pos­i­tive­ly hate the mass­es of ordi­nary peo­ple. As Michael O’Donnell writes in Wash­ing­ton Month­ly, “Rand… lived a life of con­tempt: for peo­ple, for ideas, for gov­ern­ment, and for the very con­cept of human kind­ness.”

Per­haps her most sym­pa­thet­ic read­er, econ­o­mist Lud­wig von Mis­es, summed up the over­ar­ch­ing theme of her life’s work in one very tidy sen­tence: “You have the courage to tell the mass­es what no politi­cian told them: you are infe­ri­or and all the improve­ments in your con­di­tions which you sim­ply take for grant­ed you owe to the effort of men who are bet­ter than you.” This is appar­ent­ly a mes­sage that a great many peo­ple are eager to hear. (And if any fic­tion is “mes­sage dri­ven,” it is Rand’s.)

But imag­ine, if you will, that you are not a read­er of Ayn Rand, but a fam­i­ly mem­ber. Not by blood, but mar­riage, but con­nect­ed, nonethe­less. You are Ayn Rand’s niece—Rand’s hus­band Frank O’Connor’s sister’s daugh­ter, to be pre­cise. Your name is Con­nie Papurt, you are 17, and you have writ­ten Aun­tie Ayn to ask for $25 for a new dress. Have you done this sim­ply to be cheeky? You do know, Con­nie, how deeply your Aunt Ayn despis­es moochers, do you not? No matter—we have nei­ther Connie’s let­ter, nor a win­dow into her moti­va­tions. We do have, how­ev­er, Rand’s replies, plur­al, from May 22, 1949, then again—in response to Connie’s follow-up—from June 4 of that same year. The ini­tial request prompt­ed some earnest ser­mo­niz­ing from Rand on the val­ue of hard work, and of being a “self-respect­ing, self-sup­port­ing, respon­si­ble, cap­i­tal­is­tic per­son.” Etcetera.

Now, to Rand’s cred­it, the first reply let­ter con­tains some com­mon sense advice, and describes some sit­u­a­tions in which oth­er close con­nec­tions appar­ent­ly took advan­tage of her gen­eros­i­ty. She seems to have cause for leer­i­ness, as, grant­ed, do we all in these sit­u­a­tions. Bor­row­ing from fam­i­ly is very often a tricky busi­ness. As was her wont, how­ev­er, Rand seized upon the occa­sion not only to dis­pense wis­dom on per­son­al respon­si­bil­i­ty, but also to mor­al­ize on the worth­less­ness of peo­ple who fail her test of char­ac­ter. As The Toast com­ments, the let­ter is “30% very good advice, 50% unnec­es­sary yelling, and 20% non­sense.” First, Rand lays out for Con­nie an install­ment plan:

           Here are my con­di­tions: If I send you the $25, I will give you a year to repay it. I will give you six months after your grad­u­a­tion to get set­tled in a job. Then, you will start repay­ing the mon­ey in install­ments: you will send me $5 on Jan­u­ary 15, 1950, and $4 on the 15th of every month after that; the last install­ment will be on June 15, 1950—and that will repay the total.

            Are you will­ing to do that?

Notice, Rand assess­es no interest—a kind­ness, indeed. And yet,

            I want you to under­stand right now that I will not accept any excuse—except a seri­ous ill­ness. If you become ill, then I will give you an exten­sion of time—but for no oth­er rea­son. If, when the debt becomes due, you tell me that you can’t pay me because you need­ed a new pair of shoes or a new coat or you gave the mon­ey to some­body in the fam­i­ly who need­ed it more than I do—then I will con­sid­er you as an embez­zler. No, I won’t send a police­man after you, but I will write you off as a rot­ten per­son and I will nev­er speak or write to you again.

Accord­ing to her 2012 obit­u­ary, Con­nie went on to became a local Cleve­land actress and nurse, a per­son “ded­i­cat­ed to mak­ing the lives of oth­ers bet­ter.” Accord­ing to her aunt, she should have noth­ing bet­ter to do—for anyone—but to pay back her debt, should she wish to remain in the good graces of the great Objec­tivist. We do not know if Con­nie accept­ed the terms, but she appar­ent­ly wrote back in such a way as to leave quite an impres­sion on Rand, whose June 4 reply is “damn charm­ing!”

          I must tell you that I was very impressed with the intel­li­gent atti­tude of your let­ter. If you real­ly under­stood, all by your­self, that my long lec­ture to you was a sign of real inter­est on my part, much more so than if I had sent you a check with some hyp­o­crit­i­cal gush note, and if you under­stood that my let­ter was intend­ed to treat you as an equal—then you have just the kind of mind that can achieve any­thing you choose to achieve in life.

The let­ter goes on in very kind­ly, even sen­ti­men­tal, terms. In fact, it may con­vince you that O’Donnell is dead wrong to sin­gle out con­tempt as Rand’s defin­ing qual­i­ty. And yet, he argues, her biog­ra­phers show that “she hap­pi­ly accept­ed help from oth­ers while denounc­ing altru­is­tic kind­ness” (and those who accept it), espous­ing “an indi­vid­u­al­ism so extreme that it does not mere­ly ignore oth­ers, but actu­al­ly spits in their faces.” While Con­nie man­aged to escape her wrath, such as it was, most oth­ers, through their own fail­ings of true cap­i­tal­is­tic char­ac­ter or the cru­el­ty of cir­cum­stances beyond their con­trol, did not.

Read both of Rand’s let­ters here.

via The Toast

Relat­ed Con­tent:

Ayn Rand Helped the FBI Iden­ti­fy It’s A Won­der­ful Life as Com­mu­nist Pro­pa­gan­da

In Her Final Speech, Ayn Rand Denounces Ronald Rea­gan, the Moral Major­i­ty & Anti-Choicers (1981)

A Free Car­toon Biog­ra­phy of Ayn Rand: Her Life & Thought

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

William Blake Illustrates Dante’s Divine Comedy (1827)

Just over a year ago, we fea­tured John Mil­ton’s Par­adise Lost as illus­trat­ed by William Blake, the 18th- and 19th-cen­tu­ry Eng­lish poet, painter, and print­mak­er who made uncom­mon­ly full use of his already rare com­bi­na­tion of once-a-gen­er­a­tion lit­er­ary and visu­al apti­tude. Blake may have had an obses­sion with Par­adise Lost, as Josh Jones point­ed out in that post, but it hard­ly kept him from illus­trat­ing oth­er texts. Today we have his artis­tic accom­pa­ni­ment to that text that has gone under the hands of Sal­vador Dalí, Gus­tave DoréAlber­to Mar­ti­niSan­dro Bot­ti­cel­li, and Mœbius, to name a few: Dante Alighieri’s Divine Com­e­dy

Blake nev­er com­plet­ed the full set of engrav­ings com­mis­sioned, but only because death itself cut the project short. Still, he man­aged to com­plete sev­er­al water­col­ors and a hand­ful of engrav­ing proofs, all of which have drawn praise not just for the way they evoke the dif­fer­ent envi­ron­ments of the Infer­no, Pur­ga­to­rio, and Par­adiso, but for how they cast a some­times crit­i­cal eye on the the­o­log­i­cal and moral sen­si­bil­i­ties of Dan­te’s orig­i­nal work.

(“Every thing in Dantes Come­dia shews That for Tyran­ni­cal Pur­pos­es he has made This World the Foun­da­tion of All & the God­dess Nature & not the Holy Ghost,” Blake once wrote to him­self in a piece of mar­gin­a­lia often cit­ed by schol­ars of this par­tic­u­lar project.)

Yet Blake and Dante had com­mon ground. “Blake was drawn to the project because, despite the five cen­turies that sep­a­rat­ed them, he res­onat­ed with Dante’s con­tempt for mate­ri­al­ism and the way pow­er warps moral­i­ty — the oppor­tu­ni­ty to rep­re­sent these ideas pic­to­ri­al­ly no doubt sang to him,” writes Maria Popo­va at Brain Pick­ings, who tells more of the sto­ry sur­round­ing Blake’s Divine Com­e­dy. He stopped only when just about to step off this mor­tal coil, a moment in which his­to­ry has remem­bered him say­ing to his wife, “Keep just as you are — I will draw your por­trait — for you have ever been an angel to me.” That por­trait did­n’t sur­vive, but what he com­plet­ed of his Dante illus­tra­tions did, grant­i­ng them the sta­tus of William Blake’s final work — and, giv­en the post-life nature of its sub­ject mat­ter, a suit­able sta­tus indeed.

via Brain Pick­ings

Relat­ed Con­tent:

A Free Course on Dante’s Divine Com­e­dy from Yale Uni­ver­si­ty

William Blake’s Hal­lu­ci­na­to­ry Illus­tra­tions of John Milton’s Par­adise Lost

Mœbius Illus­trates Dante’s Par­adiso

Botticelli’s 92 Illus­tra­tions of Dante’s Divine Com­e­dy

Gus­tave Doré’s Dra­mat­ic Illus­tra­tions of Dante’s Divine Com­e­dy

Alber­to Martini’s Haunt­ing Illus­tra­tions of Dante’s Divine Com­e­dy (1901–1944)

Sal­vador Dalí’s 100 Illus­tra­tions of Dante’s The Divine Com­e­dy

Dante’s Divine Com­e­dy Illus­trat­ed in a Remark­able Illu­mi­nat­ed Medieval Man­u­script (c. 1450)

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.

Hear Hemingway Read Hemingway, and Faulkner Read Faulkner (90 Minutes of Classic Audio)

Hemingway.Faulkner

Images via Wiki­me­dia Com­mons

Hem­ing­way and Faulkn­er, Faulkn­er and Hem­ing­way…. The Amer­i­can lit­er­ary canon has expand­ed so much in the past thir­ty years or so that it almost spans the globe, like Amer­i­can busi­ness, draw­ing in writ­ers from every pos­si­ble cor­ner. With greater inclu­sion comes the pass­ing out of fash­ion of many a for­mer icon (does any­one read Dreis­er or Dos Pas­sos any­more?). And yet, no mat­ter how much crit­i­cal tastes and schol­ar­ly mea­sures change, it seems we’ll nev­er be able to do with­out our Hem­ing­way and Faulkn­er.

Per­haps it’s their deep takes on history—Hemingway’s sen­ti­men­tal war cor­re­spon­dence and trag­ic sense of a chang­ing Europe; Faulkner’s sense of a South held in thrall to squalid delu­sions of grandeur and epic colo­nial vio­lence. Geopo­lit­i­cal­ly rel­e­vant they still may be, but there’s much more to both than geopol­i­tics. Per­haps it’s the time­less styl­is­tic dialec­tic, or the Nobels, or the trad­ed insults, or that the names them­selves, like Roo­sevelt and Kennedy, trig­ger instant recall of the “Amer­i­can cen­tu­ry.” Of course, devo­tees of Faulkn­er (I am one), of Hem­ing­way, or of Faulkn­er and Hem­ing­way need no ratio­nale, and it is to such peo­ple prin­ci­pal­ly that today’s post is addressed.

For today, we bring you Hem­ing­way and Faulkn­er, read­ing Hem­ing­way and Faulkn­er. In the Spo­ti­fy playlists above (down­load Spo­ti­fy here), we have both authors read­ing from their Nobel accep­tance speech­es, then excerpts from their lit­er­ary works. These record­ings were orig­i­nal­ly released as vinyl albums by Caed­mon Records, that pre-audio­book phe­nom­e­non found­ed by Bar­bara Holdridge and Mar­i­anne Roney in 1952. Caed­mon released albums of read­ings by dozens of major writ­ers, like Dylan Thomas and Eudo­ra Wel­ty, and we have fea­tured many of them here before—such as those from T.S. Eliot, Sylvia Plath, W.H. Auden, and Ten­nessee Williams (read­ing Hart Crane). But today, it’s Hem­ing­way and Faulkn­er, who despite—or because of—their dif­fer­ences, belong togeth­er for­ev­er as great Amer­i­can lit­er­ary patri­archs, even if patri­archy is ter­mi­nal­ly passé.

If you need the Spo­ti­fy soft­ware, please down­load it here.

Relat­ed Con­tent:

Down­load 55 Free Online Lit­er­a­ture Cours­es: From Dante and Mil­ton to Ker­ouac and Tolkien

William Faulkner’s Review of Hemingway’s The Old Man and the Sea (1952)

18 (Free) Books Ernest Hem­ing­way Wished He Could Read Again for the First Time

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

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

Neil Gaiman Reads “The Man Who Forgot Ray Bradbury”

man who forgot ray bradbury

Neil Gaiman sent Ray Brad­bury a gift for what turned out to be his last birth­day, his 91st. It was a sto­ry called “The Man Who For­got Ray Brad­bury.” And when Brad­bury’s edi­tor read it to the bed-rid­den author, he report­ed­ly took great plea­sure in it.

What could have been bet­ter? I guess only hear­ing Neil Gaiman read the sto­ry him­self. Which is pre­cise­ly what you can do with the audio below.

Gaiman’s read­ing was taped at the Aladdin The­ater in Port­land, Ore­gon. You can read the text of the sto­ry over at i09. We have many more instances of Gaiman read­ing Gaiman in our col­lec­tion of Free Neil Gaiman Sto­ries.

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:

Neil Gaiman’s Free Short Sto­ries

Neil Gaiman Reads Dr. Seuss’ Green Eggs and Ham

Vladimir Nabokov Names the Greatest (and Most Overrated) Novels of the 20th Century

Just above, hear émi­gré Russ­ian nov­el­ist Vladimir Nabokov, author of Loli­ta read the open­ing sen­tences of that nov­el in both Eng­lish and Russ­ian, after offer­ing some brief com­ments on his rela­tion­ship to his for­mer native coun­try. Then, after a few min­utes of dis­cus­sion of a work that became incor­po­rat­ed into his Ada or Ardor: A Fam­i­ly Chron­i­cle, we get Nabokov the can­tan­ker­ous crit­ic. Or rather, Nabokov, the crit­ic of crit­ics. The author had lit­tle regard for crit­ics them­selves. In a Paris Review inter­view, he opines that the only pur­pose of lit­er­ary crit­i­cism was that it “gives read­ers, includ­ing the author of the book, some infor­ma­tion about the critic’s intel­li­gence, or hon­esty, or both.” In the filmed inter­view above (at the 3:24 mark), Nabokov points his lance at the inflat­ed pop­u­lar notion of “great books”:

I’ve been per­plexed and amused by fab­ri­cat­ed notions about so-called “great books.” That, for instance, Mann’s asi­nine Death in Venice, or Pasternak’s melo­dra­mat­ic, vile­ly writ­ten Doc­tor Zhiva­go, or Faulkner’s corn­cob­by chron­i­cles can be con­sid­ered mas­ter­pieces, or at least what jour­nal­ists term “great books,” is to me the same sort of absurd delu­sion as when a hyp­no­tized per­son makes love to a chair.

That Loli­ta reg­u­lar­ly tops such “great books” lists, such as the Mod­ern Library’s “100 Best Nov­els,” would hard­ly have impressed its author.

Nonethe­less, after his take­down of such ven­er­at­ed names as Thomas Mann, Boris Paster­nak, and the “corn­cob­by” William Faulkn­er, Nabokov doesn’t hes­i­tate to name his “great­est mas­ter­pieces of 20th cen­tu­ry prose.” They are, in this order:

1) James Joyce’s Ulysses

2) Kafka’s The Meta­mor­pho­sis

3) Andrei Bely’s St. Peters­burg

4) The first half of Proust’s fairy tale, In Search of Lost Time

So there you have it, from the mouth of the mas­ter him­self. Should you hang in there for the next clip, you will hear Nabokov read from his note­book titled “Things I Detest.” How seri­ous­ly we are to take any of this is hard to say—one nev­er real­ly knows with Nabokov.

Relat­ed Con­tent:

Vladimir Nabokov (Chan­nelled by Christo­pher Plum­mer) Teach­es Kaf­ka at Cor­nell

Vladimir Nabokov Mar­vels Over Dif­fer­ent “Loli­ta” Book Cov­ers

The Note­cards on Which Vladimir Nabokov Wrote Loli­ta: A Look Inside the Author’s Cre­ative Process

Vladimir Nabokov Cre­ates a Hand-Drawn Map of James Joyce’s Ulysses

Vladimir Nabokov’s Delight­ful But­ter­fly Draw­ings

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

« Go BackMore in this category... »
Quantcast