Famous Writers’ Report Cards: Ernest Hemingway, William Faulkner, Norman Mailer, E.E. Cummings & Anne Sexton

MailerReportCard

“It’s not about the grade,” I’d say to per­turbed stu­dents ask­ing me to change theirs: “it’s about what you learned.” No one will care what you got in first-year Eng­lish Com­po­si­tion; they’ll care if you can write a sen­tence, a para­graph, a pro­fes­sion­al, ele­gant, or mov­ing text. All of this is true, and yet (of course I nev­er told them this) I still remem­ber every grade I earned in every class I took in high school, col­lege, and grad­u­ate school. Obses­sive? Maybe. But it’s also symp­to­matic of that same com­pul­sion that dri­ves stu­dents to try, by any means, to get pro­fes­sors to bump their grades up at the end of the semester—fear of the “per­ma­nent record.” Like Sein­feld’s Elaine, strug­gling to expunge a black mark from her med­ical chart, we all fear the reams of documents—or archives of data—that cat­a­logue our every mis­step, stum­ble, fail­ure or faux pas.

CummingsReportCard

In many cas­es, this anx­i­ety is jus­ti­fi­able, but as you can see here, the occa­sion­al bad mark didn’t stop famed writ­ers Nor­man Mail­er or E.E. Cum­mings from achiev­ing lit­er­ary great­ness, even if those grades remain, in ink, on record today. See Mailer’s first-year Har­vard Col­lege report card at the top of the post, aca­d­e­m­ic year 1939–40. The bear­ish nov­el­ist did well, but for the C in his sec­ond semes­ter of Engi­neer­ing Sci­ence. Just above, we have Cum­mings’ report card from what is like­ly his fifth grade year giv­en his age of 11 at the time. The 1905-06 grad­ing sys­tem looks for­eign to us now, but the C that Cum­mings received that year prob­a­bly did not put him at the top of the class. Nor, I’m sure, did his 61 absences.

HemingwayReportCard

Ernest Hem­ing­way, on the oth­er hand, had lit­tle rea­son to hide the high school report card above, but if you look close­ly, you’ll see that the col­umn of straight A’s does not mean what we might think. The Oak Park and Riv­er For­est Town­ship High School only gave two let­ter grades, A for “Accept­ed” and D for “Defi­cient.” Still, Hemingway’s numer­i­cal per­cent­ages show his schol­ar­ly apti­tude, though his 75 in Latin may have haunt­ed him.

FaulknerReportCard

Hemingway’s mod­ernist con­tem­po­rary William Faulkn­er, you may know, strug­gled in school after the fourth grade, and even­tu­al­ly dropped out of high school after the 11th (though his father’s job at Ole Miss meant he could enroll there for the three semes­ters he attend­ed). The sev­enth grade report card above does not show us his grades, and Faulkner’s teacher neglect­ed to fill in the “Espe­cial­ly Good In” and “Espe­cial­ly Poor In” box­es. Nev­er­the­less, Faulkn­er (then William Falkn­er), did well enough to move up, and his moth­er signed off on each month of the term but the last.

SextonReportCard

Final­ly we bring you the report card of Anne Sex­tonnée Harvey—for a 10th grade Amer­i­can Lit­er­a­ture class at the Junior-Senior High School in Welles­ley, Mass­a­chu­setts, from which Sylvia Plath also grad­u­at­ed. As you can see, Sex­ton received a C in the class, with an F for effort in the first quar­ter. Accord­ing to Beth Hinch­liffe—a Welles­ley native who con­duct­ed one of Sexton’s final interviews—the poet remem­bered the grade. She also remem­bered her teenage self as “ ‘a pim­ply, boy-crazy thing’ who was obsessed with flirt­ing.”

Most of these report cards come from col­lec­tions at the Uni­ver­si­ty of Texas’ Har­ry Ran­som Cen­ter, a trove of his­tor­i­cal and lit­er­ary doc­u­ments that, unlike some oth­er archives, I’m very glad keeps per­ma­nent records. Anne Sex­ton’s report card comes to us via the always infor­ma­tion-rich Brain Pick­ings.

via The Wall Street Jour­nal

Relat­ed Con­tent:

Ernest Hem­ing­way Cre­ates a Read­ing List for a Young Writer, 1934

The Art of William Faulkn­er: Draw­ings from 1916–1925

Two Child­hood Draw­ings from Poet E.E. Cum­mings Show the Young Artist’s Play­ful Seri­ous­ness

Anne Sex­ton, Con­fes­sion­al Poet, Reads “Want­i­ng to Die” in Omi­nous 1966 Video

How Famous Writ­ers — From J.K. Rowl­ing to William Faulkn­er — Visu­al­ly Out­lined Their Nov­els

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

The Hobbit: The First Animation & Film Adaptation of Tolkien’s Classic (1966)

If you come to the first film pro­duc­tion of J.R.R. Tolkien’s 1937 nov­el The Hob­bit expect­ing any­thing like a rev­er­ent ren­di­tion of the sto­ry, pre­pare your­self for dis­ap­point­ment. Pro­duced in 1966, the 12-minute ani­mat­ed short takes ele­ments of the clas­sic work of fan­ta­sy and adapts—or corrupts—them to fit a dif­fer­ent sto­ry, one with a drag­on, a hob­bit, a wiz­ard, and an Arken­stone, to be sure, but with a great many odd lib­er­ties tak­en with Tolkien’s world. Instead of the great Smaug, we have a drag­on named “Slag.” Instead of pil­lag­ing The Lone­ly Moun­tain, he steals the trea­sure of the vil­lage of Dale. Instead of a troupe of dwarves, we have one Gen­er­al Oak­en­shield, a princess named “Mika,” and an unnamed watch­man. Trolls and gob­lins become “Groans” and “Grablins,” and Gol­lum appears as “Goloom.”

Is this some off-brand knock-off, you may ask? Not exact­ly. Pro­duc­er William Sny­der became the first per­son to acquire rights to Tolkien’s book, and he orig­i­nal­ly intend­ed a fea­ture length film. The project failed, but when the novel’s pop­u­lar­i­ty soared, Sny­der con­tract­ed Prague-based com­ic illus­tra­tor and ani­ma­tor Gene Deitch to cre­ate the short film you see above. Snyder’s motives, it seems, were mer­ce­nary: he want­ed to extend his license, which he then sold back to Tolkien’s pub­lish­ers for $100,000. But the film itself has a cer­tain charm, despite the nar­ra­tive butch­ery. Deitch hired Czech illus­tra­tor Adolf Born for the project, and he ren­ders the sto­ry in the col­or­ful, folk-art style of East­ern Europe (some of the draw­ings remind me of the lurid car­i­ca­tures of Ger­man artist George Grosz, some of Rocky and Bull­win­kle).

If Deitch’s Hob­bit short fails to move you, con­sid­er it at least a minor entry in the career of a fas­ci­nat­ing char­ac­ter in the world of comics, ani­ma­tion, and folk music. Deitch pro­duced car­toons for Colum­bia, 20th Cen­tu­ry Fox, MGM, and Para­mount (includ­ing some Tom and Jer­ry and Pop­eye shorts) and made record­ings of John Lee Hook­er and Pete Seeger, as well as the recent­ly re-dis­cov­ered won­der Con­nie Con­verse. He also wrote the pop­u­lar guide How to Suc­ceed in Ani­ma­tion and fathered three car­toon­ist sons, the most well-known of whom, Kim Deitch, holds a spe­cial place in the his­to­ry of under­ground comics. But I offer none of this infor­ma­tion to excuse the flaws of Deitch and Snyder’s Hob­bit short. Fans of com­ic art may love it, Tolkien purists not at all. Deitch tells the full sto­ry of the “Hol­ly­wood­ized” short film’s slap­dash mak­ing on his blog, and it is well worth a read. The film itself can be found in the Ani­ma­tion sec­tion of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

EndlessHobbit

For anoth­er, much more faithful—albeit wordless—illustrated take, see Anna Repp’s End­less Book Project (screen shot above). A Metafil­ter user describes it as “one con­tin­u­ous scroll, with new art­work added almost every week.” Each pan­el has a unique look—some in the intri­cate style of Ger­man Renais­sance engrav­ing, some resem­bling wood­cuts, some inkwash draw­ings. And of course, you can­not go wrong with Tolkien’s own orig­i­nal illus­tra­tions for The Hob­bit, some pub­lished in the first edi­tion, and many more late­ly dis­cov­ered among the author’s papers. See Tolkien’s draw­ing of The Lone­ly Moun­tain at night below, and vis­it Brain­pick­ings for more.

The-Lonely-Mountain-from--001

Relat­ed Con­tent:

“The Tolkien Pro­fes­sor” Presents Three Free Cours­es on The Lord of the Rings

C.S. Lewis’ Pre­scient 1937 Review of The Hob­bit by J.R.R. Tolkien: It “May Well Prove a Clas­sic”

Lis­ten to J.R.R. Tolkien Read a Lengthy Excerpt from The Hob­bit (1952)

Sovi­et-Era Illus­tra­tions Of J. R. R. Tolkien’s The Hob­bit (1976)

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

Botticelli’s 92 Surviving Illustrations of Dante’s Divine Comedy (1481)


Every true Renais­sance man need­ed a wealthy patron, and many Ital­ian artist-inven­tor-schol­ar-poets found theirs in Loren­zo de’Medici, scion of a Flo­ren­tine dynasty and him­self a schol­ar and poet. Loren­zo either spon­sored direct­ly or helped secure com­mis­sions for such 15th cen­tu­ry art stars as Michelan­ge­lo Buonaroti and Leonar­do da Vin­ci.

Among Lorenzo’s many artist friends was a painter who most­ly dis­ap­peared from his­to­ry until the late nine­teenth cen­tu­ry, when the redis­cov­ery of his Pri­mav­era and Birth of Venus made him one of the most pop­u­lar of Renais­sance artists. I’m refer­ring of course, to San­dro Bot­ti­cel­li, por­traitist of Loren­zo de’Medici, his father, and grand­fa­ther and also, it turns out, illus­tra­tor of Dante Alighieri’s Divine Com­e­dy.

In 1550, the so-called “father of art his­to­ry” Gior­gio Vasari record­ed that “since Bot­ti­cel­li was a learned man, he wrote a com­men­tary on part of Dan­te’s poem, and after illus­trat­ing the Infer­no, he print­ed the work.”  The painter also made a por­trait of Dante, Vasari tells us, and drew sketch­es for engrav­ings in the first Flo­ren­tine edi­tion of The Divine Com­e­dy in 1481.

It seems, how­ev­er, that Botticelli’s inter­est in Dante went much fur­ther than even Vasari knew. Some­time late in his career—after he had already achieved local renown in Florence—Botticelli promised his patron Loren­zo an illus­trat­ed Divine Com­e­dy on sheep­skin with a sep­a­rate image for each Can­to, some­thing no artist had yet attempt­ed. 92 of those illus­tra­tions sur­vive, in var­i­ous stages of com­ple­tion, such as the two above, “Pan­der­ers, Flat­ter­ers” (top–the only draw­ing in col­or) and “Giants” (above), both from the Infer­no.

These are two of the most ful­ly real­ized of the col­lec­tion. Accord­ing to art his­to­ri­an Jonathan K. Nel­son, “Bot­ti­cel­li com­plet­ed the out­line draw­ings for near­ly all the can­tos, but only added col­ors for a few. The artist shows his ‘learn­ing’ and artis­tic skill by rep­re­sent­ing each of the three realms each in a dis­tinc­tive way.” Many of Botticelli’s draw­ings for the Pur­ga­to­rio and Par­adiso sur­vive as well, but—like the books themselves—these are increas­ing­ly less detailed (and arguably less inter­est­ing). See “Dan­te’s Con­fes­sion” from the Pur­ga­to­rio above, his “Map of Hell” at the top, “Jacob’s Lad­der” from the Par­adiso below, and the remain­ing 88 illus­tra­tions at World of Dante.

Relat­ed Con­tent:

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

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

In 1964, Arthur C. Clarke Predicts the Internet, 3D Printers and Trained Monkey Servants

“If by some mir­a­cle some prophet could describe the future exact­ly as it was going to take place, his pre­dic­tions would sound so absurd, so far-fetched that every­one would laugh him to scorn.”

That was Sir Arthur C. Clarke, sci­ence fic­tion author best known for 2001: A Space Odyssey, describ­ing the inher­ent fol­ly of pre­dict­ing the future in a 1964 BBC doc­u­men­tary. Of course, he then goes on to do exact­ly that – with remark­able, unnerv­ing accu­ra­cy. Part one of the doc­u­men­tary is above. Part two is below.

The piece opens with a gener­ic nar­ra­tion that describes a dio­ra­ma of future soci­ety at the GM pavil­ion at the 1964 World Fair. Per­haps because it was a more inno­cent time or maybe because it was spon­sored by an automak­er, this vision of the future is touch­ing­ly obliv­i­ous to any­thing relat­ed to cli­mate change. Machines with laser guns will clear jun­gles in hours flat and peo­ple will live in domed com­mu­ni­ties on the ice caps. (Ice caps in the future. Hilar­i­ous.)

Then the reedy, bespec­ta­cled author appears and starts to describe how he thinks the world in fifty years (i.e. 2014) will look. And this is where the movie starts to feel uncan­ny. He talks about how the advance­ment of tran­sis­tors and satel­lites will rad­i­cal­ly alter our under­stand­ing of phys­i­cal space.

These things will make pos­si­ble a world in which we can be in instant con­tact wher­ev­er we may be. Where we can con­tact our friends any­where on earth, even if we don’t know their actu­al phys­i­cal loca­tion. It will be pos­si­ble in that age, pos­si­bly 50 years from now, for a man to con­duct his busi­ness from Tahi­ti or Bali just as well as he could from Lon­don.

For the record, I’m writ­ing this post in a cof­fee shop in Los Ange­les, hun­dreds of miles from the mas­sive Open Cul­ture head­quar­ters in Palo Alto, but I could just as eas­i­ly be writ­ing this on a beach in Sri Lan­ka or a hotel room in Dubrovnik. Clarke sounds here less like some pie-in-the-sky futur­ist than an aspi­ra­tional lifestyle guru like Tim Fer­ris.

Clarke then describes how med­i­cine might change. “One day, we might have brain sur­geons in Edin­burgh oper­at­ing on patients in New Zealand.” The long-dis­tance vir­tu­al surgery first was pio­neered back in 2001 and it con­tin­ues to improve as inter­net speeds increase.

And he pre­dicts that at some point sci­ence will invent a “repli­cat­ing device” that would cre­ate an exact copy of any­thing. That sounds an awful lot like a 3D print­er. Clarke warns that this inven­tion might cause mas­sive soci­etal dis­rup­tion. “Con­front­ed by such a device, our present soci­ety would prob­a­bly sink into a kind of glut­to­nous bar­barism. Since every­one would want unlim­it­ed quan­ti­ties of every­thing.” In oth­er words, 3D print­ers might turn the world into Black Fri­day at Wal­mart.

Some of his oth­er ideas are just weird. Clarke pro­pos­es to tame and train armies of chim­panzees to cook, clean and do society’s grunt work. “We can cer­tain­ly solve our ser­vant prob­lem with the help of the mon­key king­dom. “ Plan­et of the Apes wouldn’t come out for anoth­er four years so Clarke could be for­giv­en for not real­iz­ing that that is one ter­ri­ble idea. On the oth­er hand, it’s hard to see how hir­ing mon­keys could pos­si­bly make the cus­tomer ser­vice at Time Warn­er Cable any worse than it already is.

Relat­ed Con­tent:

Arthur C. Clarke Nar­rates Film on Mandelbrot’s Frac­tals; David Gilmour Pro­vides the Sound­track

Isaac Asi­mov Pre­dicts in 1964 What the World Will Look Like Today — in 2014

Free Sci­ence Fic­tion Clas­sics on the Web: Hux­ley, Orwell, Asi­mov, Gaiman & Beyond

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.

 

Cartoonist Lynda Barry Reveals the Best Way to Memorize Poetry

Car­toon­ist and Patron Saint of Hon­or­ing the Cre­ative Impulse, Lyn­da Bar­ry, believes that the secret to under­stand­ing poet­ry is to com­mit it to mem­o­ry. Effort­less recall is key. Get that poem lodged inside your brain as if it were a Top 40 hit of your youth.

That’s all well and good, but is there a secret to mem­o­riz­ing poet­ry?

Accord­ing to Bar­ry (or Pro­fes­sor Chew­bac­ca, as she is known to stu­dents in her Mak­ing Comics course at the Uni­ver­si­ty of Wis­con­sin), the secret to mem­o­riz­ing poet­ry is to set it to music.

The work of Emi­ly Dick­in­son, a Bar­ry favorite, is par­tic­u­lar­ly well suit­ed to this tac­tic, as this Inter­net-sourced “hill­bil­ly ren­di­tion” of “I Felt a Funer­al in My Brain” proves.

As Bar­ry demon­strates, above, the Belle of Amherst also lends her­self well to “The Girl from Ipane­ma” and a cer­tain move­ment of Gersh­win’s “Rhap­sody in Blue”.

It does the soul good to see poet­ry offer­ing this lady the sort of joy­ful release her dog expe­ri­ences, rolling around in a dead squir­rel.

Per­haps you, too, are in need of such an out­let. Odds are, we all are. Bar­ry, who traces her pas­sion for poet­ry to the 1974 anthol­o­gy Mad Sad & Glad: Poems from Scholas­tic Cre­ative Writ­ing Awards, claims that the best poems deal with our dark­est feel­ings. Dick­in­son, she posits, wrote what she did to stay alive, a the­o­ry she sup­ports with a hilar­i­ous imper­son­ation of Dick­in­son’s per­ceived hand­writ­ing ver­sus Dick­in­son’s actu­al hand­writ­ing.

Dick­in­son wrote vol­umes, but as Bar­ry points out, she also wrote short. Look at how many there are to choose from, were you to chal­lenge your­self to learn one by heart today. (Don’t think about it. Just do it. What­ev­er hap­pens, it’s sure to be a more grat­i­fy­ing expe­ri­ence than lis­ten­ing to the female robot charged with recit­ing “A Day! Help! Help! Anoth­er Day!” here.)

- Ayun Hal­l­i­day believes that Lyn­da Bar­ry has enough milk of human kind­ness & funk pow­er supreme to be the Patron Saint of Every­thing. Fol­low her @AyunHalliday

Relat­ed Con­tent

Join Car­toon­ist Lyn­da Bar­ry for a Uni­ver­si­ty-Lev­el Course on Doo­dling and Neu­ro­science

The Sec­ond Known Pho­to of Emi­ly Dick­in­son Emerges

Bill Mur­ray Reads Poet­ry at a Con­struc­tion Site

David Foster Wallace Subscribes to the The Believer Magazine with a Little Humor & Snark (2003)

dfwbelieversubscriptioncard1

Found­ed by Dave Eggers in 1998, McSweeney’s ini­tal­ly began as a lit­er­ary jour­nal that pub­lished only works reject­ed by oth­er mag­a­zines. But, almost imme­di­ate­ly, the jour­nal start­ed pub­lish­ing, it likes to say, “pieces pri­mar­i­ly writ­ten with McSweeney’s in mind.” Since then, McSweeney’s has also launched McSweeney’s Quar­ter­ly and The Believ­er, not to men­tion lots of fic­tion, non­fic­tion, poet­ry, and chil­dren’s books.

Cre­at­ed in 2003, The Believ­er, writes the Har­ry Ran­som Cen­ter blog, “has become a month­ly art and cul­ture mag­a­zine fea­tur­ing con­tent unim­ped­ed by arbi­trary word lim­its and high­light­ing schemat­ic draw­ings, illus­tra­tions by Tony Mil­lion­aire, and reg­u­lar columns by Nick Horn­by, Greil Mar­cus, and Jack Pen­darvis.” “The Believ­er attracts remark­able writ­ers and remark­able read­ers. David Fos­ter Wallace’s sub­scrip­tion post­card for The Believ­er is evi­dence that they’re some­times both.” Fos­ter Wal­lace sat down for a long inter­view with the mag­a­zine, and per­son­al­ly sub­scribed to the jour­nal, fill­ing out the sub­scrip­tion post­card by hand. It’s believed that the humor­ous post­card — click the image to view it in a larg­er for­mat — once hung on the wall of The Believ­er’s edi­tor Andrew Leland. It now resides in the new­ly-opened McSweeney’s archive at the Ran­som Cen­ter in Austin, Texas. There, vis­i­tors can also find a David Fos­ter Wal­lace archive, with lots of inter­est­ing DFW mate­r­i­al that we’ve high­light­ed in years past. For your con­ve­nience, we’ve high­light­ed a few of our favorite items right below:

David Fos­ter Wallace’s 1994 Syl­labus: How to Teach Seri­ous Lit­er­a­ture with Light­weight Books

Read Two Poems David Fos­ter Wal­lace Wrote Dur­ing His Ele­men­tary School Days

David Fos­ter Wal­lace Breaks Down Five Com­mon Word Usage Mis­takes in Eng­lish

David Fos­ter Wallace’s Love of Lan­guage Revealed by the Books in His Per­son­al Library

via Bib­liok­lept/Dan­ger­ous Minds

Stephen King Reveals in His First TV Interview Whether He Sleeps With the Lights On (1982)

The look of this 1982 video mag­a­zine inter­view with Stephen King comes right out of a Lav­erne and Shirley episode, which makes it dou­bly charm­ing. Broad­cast at the time only in Ban­gor and Port­land, this Uni­ver­si­ty of Maine pro­duc­tion marks the first “up close and per­son­al” TV inter­view with King, who rep­re­sents one of the school’s “high achiev­ers,” many of whom Hen­ry Nevi­son inter­viewed for the local series. The inter­view takes place at King’s home in Ban­gor. Nevi­son describes the cir­cum­stances on his web­site:

At the time, King had just fin­ished writ­ing his nov­el “Chris­tine” and one year ear­li­er had starred in Creepshow, a campy hor­ror/s­ci-fi movie based on sev­er­al of his short­er sto­ries. Ini­tial­ly, I con­duct­ed a radio inter­view and we dis­cov­ered that we had a lot of sim­i­lar inter­ests, most impor­tant­ly the same warped sense of humor. He then agreed to an extend­ed “sit-down” tele­vi­sion inter­view, even though he had avoid­ed that con­cept up to this point. I think he did it because he knew it would be good for the uni­ver­si­ty.

In his video intro, Nevi­son points out that King had pub­lished most of the hor­ror nov­els that made his career—including Car­rie, The Dead Zone, The Shin­ing, The Stand, and Firestarter—and had already sold movie rights for those books. Which means he was a ver­i­ta­ble pop-lit super­star even at this ear­ly point in his career. Through a bushy beard the size of a small wood­chuck, King genial­ly opines on whether leav­ing the light on at night keeps the mon­sters away (“bot­tom line,” it does) and how he keeps the scares fresh after so many sto­ries and nov­els. We see him hunt and peck on an ancient, hulk­ing word proces­sor (per­haps com­pos­ing “Word Proces­sor of the Gods”) and look gen­er­al­ly creepy but good-natured.

King and Nevi­son spend most of the near­ly half-hour inter­view dis­cussing the dif­fer­ences between books and film (they’re “dia­met­ri­cal­ly opposed”). It’s a sub­ject King has returned to sev­er­al times over the years, often in com­plaint, vent­ing for exam­ple over Stan­ley Kubrick’s 1980 take on The Shin­ing. King gloss­es over his hatred of Kubrick’s film here, say­ing the book will out­live the movie (not like­ly, in this case). He also talks Hitch­cock, and we see clips from a fair­ly decent stu­dent film pro­duc­tion of his sto­ry “The Boogy­man.” Much of the cred­it for this engag­ing inter­view should go to Nevi­son, who does what a good inter­view­er should: keeps the con­ver­sa­tion going in new direc­tions with­out get­ting in the way of it. It’s vin­tage King and sets the tone for the hun­dreds of tele­vised inter­views to come.

via Net­work Awe­some

Relat­ed Con­tent:

Stephen King’s Top 20 Rules for Writ­ers

Stephen King Cre­ates a List of 96 Books for Aspir­ing Writ­ers to Read

Stephen King Reads from His Upcom­ing Sequel to The Shin­ing

Stan­ley Kubrick’s Anno­tat­ed Copy of Stephen King’s The Shin­ing

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

Illustrations of The Lord of the Rings in Russian Iconography Style (1993)

russian LOTR 1

Giv­en the detail with which J.R.R. Tolkien describes his fan­tas­ti­cal yet earth­i­ly ground­ed char­ac­ters and land­scapes, you’d think illus­tra­tors would have an easy time putting pic­tures to the words. You might even assume that any artist who tried his or her hand at the job would pro­duce more or less the same visu­al inter­pre­ta­tion. And yet the his­to­ry of illus­trat­ed edi­tions of The Hob­bit and the Lord of the Rings tril­o­gy has­n’t gone that way at all. Dif­fer­ent pub­lish­ers at dif­fer­ent times and dif­fer­ent places have com­mis­sioned very styl­is­ti­cal­ly dif­fer­ent things. We have shown you exam­ples of Tolkien’s Per­son­al Book Cov­er Designs for The Lord of the Rings Tril­o­gy as well as what Where the Wild Things Are author Mau­rice Sendak could come up with. And, in March, we fea­tured a play­ful­ly visu­al­ized Sovi­et LOTR edi­tion from 1976. Now, take a look at the large set of images here, pulled from a 1993 edi­tion illus­trat­ed by Sergey Yuhi­mov (more infor­ma­tion, albeit in Russ­ian, here and here), and you’ll get the sense that the Rus­sians may have a knack for visu­al­iz­ing the goings-on of Mid­dle-Earth.

russian LOTR2

Still, the illus­tra­tions from Rus­si­a’s Hob­bit and almost 30-years-new­er Lord of the Rings could hard­ly share less of a sen­si­bil­i­ty. A Metafil­ter post on the lat­ter draw a num­ber of attempt­ed descrip­tions by Tolkien fans: “LOTR trans­lat­ed almost as Chris­t­ian iconog­ra­phy.” “They leap around about 1000 years of art his­to­ry.” “Mad, but also charm­ing.” “They would make great tarot cards.”

LOTR 6
Objec­tions may arise to the accu­ra­cy of the char­ac­ters por­trayed — as always — as well as the artist’s adher­ence (or lack there­of) to the traits of one peri­od of art or anoth­er, but we can hard­ly ignore what an aes­thet­ic impact these illus­tra­tions make even just on first glance. Some of the Metafil­ter com­menters express their wish­es for The Adven­tures of Huck­le­ber­ry Finn (“used in Russ­ian pri­ma­ry school cur­ric­u­la, or was dur­ing the Com­mu­nist era”) illus­trat­ed this way, or maybe a Lord of the Rings “in the style of Hierony­mus Bosch.” But from these vivid, styl­is­ti­cal­ly Medieval, reli­gious-icon-sat­u­rat­ed images, I per­son­al­ly take away one con­clu­sion: when the idea first came to find a direc­tor to bring Tolkien to the screen, they real­ly should’ve hired Andrei Tarkovsky.

You can see a gallery of images in four parts: Part 1 — Part 2Part 3, Part 4.

Our thanks go to @zeljka8 for help­ing find back­ground infor­ma­tion for these illus­tra­tions.

LOTR 4.1

Relat­ed con­tent:

Sovi­et-Era Illus­tra­tions Of J. R. R. Tolkien’s The Hob­bit (1976)

Dis­cov­er J.R.R. Tolkien’s Per­son­al Book Cov­er Designs for The Lord of the Rings Tril­o­gy

The Only Draw­ing from Mau­rice Sendak’s Short-Lived Attempt to Illus­trate The Hob­bit

Two Beau­ti­ful­ly-Craft­ed Russ­ian Ani­ma­tions of Chekhov’s Clas­sic Children’s Sto­ry “Kash­tan­ka”

Watch Sovi­et Ani­ma­tions of Win­nie the Pooh, Cre­at­ed by the Inno­v­a­tive Ani­ma­tor Fyo­dor Khitruk

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

« Go BackMore in this category... »
Quantcast