The Three Punctuation Rules of Cormac McCarthy (RIP), and How They All Go Back to James Joyce

Cor­mac McCarthy has been—as one 1965 review­er of his first nov­el, The Orchard Keep­er, dubbed him—a “dis­ci­ple of William Faulkn­er.” He makes admirable use of Faulkner­ian traits in his prose, and I’d always assumed he inher­it­ed his punc­tu­a­tion style from Faulkn­er as well. But in his very rare 2008 tele­vised inter­view with Oprah Win­frey, McCarthy cites two oth­er antecedents: James Joyce and for­got­ten nov­el­ist MacKin­lay Kan­tor, whose Ander­son­ville won the Pulitzer Prize in 1955. Joyce’s influ­ence dom­i­nates, and in dis­cus­sion of punc­tu­a­tion, McCarthy stress­es that his min­i­mal­ist approach works in the inter­est of max­i­mum clar­i­ty. Speak­ing of Joyce, he says,

James Joyce is a good mod­el for punc­tu­a­tion. He keeps it to an absolute min­i­mum. There’s no rea­son to blot the page up with weird lit­tle marks. I mean, if you write prop­er­ly you shouldn’t have to punc­tu­ate.

So what “weird lit­tle marks” does McCarthy allow, or not, and why? Below is a brief sum­ma­ry of his stat­ed rules for punc­tu­a­tion:

1. Quo­ta­tion Marks:

McCarthy does­n’t use ’em. In his Oprah inter­view, he says MacKin­lay Kan­tor was the first writer he read who left them out. McCarthy stress­es that this way of writ­ing dia­logue requires par­tic­u­lar delib­er­a­tion. Speak­ing of writ­ers who have imi­tat­ed him, he says, “You real­ly have to be aware that there are no quo­ta­tion marks, and write in such a way as to guide peo­ple as to who’s speak­ing.” Oth­er­wise, con­fu­sion reigns.

2. Colons and semi­colons:

Care­ful McCarthy read­er Oprah says she “saw a colon once” in McCarthy’s prose, but she nev­er encoun­tered a semi­colon. McCarthy con­firms: “No semi­colons.”

Of the colon, he says: “You can use a colon, if you’re get­ting ready to give a list of some­thing that fol­lows from what you just said. Like, these are the rea­sons.” This is a spe­cif­ic occa­sion that does not present itself often. The colon, one might say, gen­u­flects to a very spe­cif­ic log­i­cal devel­op­ment, enu­mer­a­tion. McCarthy deems most oth­er punc­tu­a­tion uses need­less.

3. All oth­er punc­tu­a­tion:

Aside from his restric­tive rationing of the colon, McCarthy declares his styl­is­tic con­vic­tions with sim­plic­i­ty: “I believe in peri­ods, in cap­i­tals, in the occa­sion­al com­ma, and that’s it.” It’s a dis­ci­pline he learned first in a col­lege Eng­lish class, where he worked to sim­pli­fy 18th cen­tu­ry essays for a text­book the pro­fes­sor was edit­ing. Ear­ly mod­ern Eng­lish is noto­ri­ous­ly clut­tered with con­found­ing punc­tu­a­tion, which did not become stan­dard­ized until com­par­a­tive­ly recent­ly.

McCarthy, enam­ored of the prose style of the Neo­clas­si­cal Eng­lish writ­ers but annoyed by their over-reliance on semi­colons, remem­bers par­ing down an essay “by Swift or some­thing” and hear­ing his pro­fes­sor say, “this is very good, this is exact­ly what’s need­ed.” Encour­aged, he con­tin­ued to sim­pli­fy, work­ing, he says to Oprah, “to make it eas­i­er, not to make it hard­er” to deci­pher his prose. For those who find McCarthy some­times mad­den­ing­ly opaque, this state­ment of intent may not help clar­i­fy things much. But lovers of his work may find renewed appre­ci­a­tion for his stream­lined syn­tax.

Relat­ed Con­tent: 

Wern­er Her­zog Reads From Cor­mac McCarthy’s All the Pret­ty Hors­es

Sev­en Tips From William Faulkn­er on How to Write Fic­tion

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

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

The Historic Meeting Between Dickens and Dostoevsky Revealed as a Great Literary Hoax

dostoevsky-dickens

Giv­en the way nine­teenth-cen­tu­ry lit­er­a­ture is some­times conceived—as the spe­cial province of a few great, hairy celebri­ty novelists—one might imag­ine that a meet­ing between Charles Dick­ens and Fyo­dor Dos­to­evsky would not be an unusu­al occur­rence. Maybe it was even rou­tine, like Jay Z and Kanye bump­ing elbows at a par­ty! So when I read that the two had once met, in Lon­don in 1862, my first thought was, “well, sure. And then Her­man Melville and Gus­tave Flaubert stopped by, and they got into a brawl over the check.” Alright, that’s ridicu­lous. Melville didn’t achieve any degree of fame until after his death, after all, and while the oth­er three were respect­ed, even wild­ly famous (in Dick­ens’ case), it is unlike­ly they read much of each oth­er, much less trav­eled hun­dreds of miles for per­son­al vis­its.

And yet, the sto­ry of Dick­ens and Dostoevsky—since revealed to be as much a fab­ri­ca­tion as the image above—was plau­si­ble enough to find pur­chase in two recent Dick­ens biogra­phies. Though the two men had vast­ly dif­fer­ent sen­si­bil­i­ties, their shared expe­ri­ences of the seami­er side of life, and their sprawl­ing seri­al­ized nov­els cat­a­logu­ing their time’s social ills in great detail, would seem like­ly to draw them togeth­er. New York Times lit­er­ary crit­ic Michiko Kaku­tani seemed to think so when she repeat­ed the sto­ry as told in Claire Tomalin’s 2011 Charles Dick­ens, A Life. Tomalin—who found the sto­ry in the Dick­en­sian, the jour­nal of the Dick­ens Fel­low­ship, and report­ed it in good faith—recounts how the Russ­ian nov­el­ist inten­tion­al­ly sought out his Eng­lish coun­ter­part in Lon­don, and, upon find­ing him, heard Dick­ens bare his soul, con­fess­ing that he longed to be like his hon­est, sim­ple char­ac­ters, but used his own per­son­al fail­ings to con­struct his vil­lains.

The sto­ry might still have cur­ren­cy had not sev­er­al Russ­ian lit­er­a­ture schol­ars read Kakutani’s review and found it far too cred­u­lous: Why would Dos­to­evsky have only men­tioned the encounter in a let­ter writ­ten six­teen years after the fact, a let­ter no schol­ar has seen? What lan­guage would the two men have in common—and if they had one, prob­a­bly French, would they be flu­ent enough to have a heart to heart? And even if Dos­to­evsky vis­it­ed Lon­don in 1862, as it seems, he did, would he have inten­tion­al­ly sought out Charles Dick­ens? Eric Naiman, pro­fes­sor of Slav­ic Lan­guage and Lit­er­a­tures at UC Berke­ley, doubt­ed all of this, and, in under­tak­ing some research, found it to be the elab­o­rate pro­duc­tion of a man named A.D. Har­vey, who has cre­at­ed for him­self a coterie of fic­tion­al aca­d­e­m­ic iden­ti­ties so thor­ough as to con­sti­tute what Naiman calls a “com­mu­ni­ty of schol­ars who can analyse, sup­ple­ment and occa­sion­al­ly even ruth­less­ly crit­i­cise each oth­er’s work.”

As far as lit­er­ary hoax­ers go, Har­vey is quite accom­plished. You may find his story—driven, as such things often are, by wound­ed ego, mis­placed tal­ent, van­i­ty, and frus­trat­ed ambition—much more inter­est­ing than any sup­posed tête-à-tête between the Russ­ian and British nov­el­ists. A recent Guardian piece pro­files the “man behind the great Dick­ens and Dos­to­evsky hoax,” and Eric Naiman’s exhaus­tive Times Lit­er­ary Sup­ple­ment expose of the hoax shows us just how deeply embed­ded such spu­ri­ous lore can become in a lit­er­ary com­mu­ni­ty before it can be root­ed out by skep­ti­cal schol­ars. The les­son here is trite, I guess. Don’t believe every­thing you read. But when we’re inclined—mostly for good reasons—to trust the word of those who pose as experts and author­i­ties, this can be a hard les­son to heed.

Relat­ed Con­tent:

Find works by Dos­to­evsky and Dick­ens in our col­lec­tions of Free Audio Books and Free eBooks.

Albert Camus Talks About Adapt­ing Dos­toyevsky for the The­atre, 1959

Watch Piotr Dumala’s Won­der­ful Ani­ma­tions of Lit­er­ary Works by Kaf­ka and Dos­to­evsky

Cel­e­brate the 200th Birth­day of Charles Dick­ens with Free Movies, eBooks and Audio Books

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

The “Celebrity Lecture Series” From Michigan State Features Talks by Great Writers of Our Time

michigan state lecturesThe Celebri­ty Lec­ture Series was estab­lished at Michi­gan State Uni­ver­si­ty in 1988, and it has “fea­tured some of the most illus­tri­ous schol­ars, crit­ics, nov­el­ists, poets, and cre­ative artists of our time.” Now, thanks to a spe­cial online archive, you can revis­it these lec­tures pre­sent­ed by the likes of Amy TanArthur MillerJoyce Car­ol OatesKurt Von­negut, Jr.Mar­garet AtwoodMaya Angelou, Nor­man Mail­erPaul Ther­ouxPhilip RothRichard FordSusan Son­tagTom WolfeCar­los FuentesAugust Wil­sonE.L. Doc­torowEdward AlbeeIsabel AllendeGar­ry WillsJane Smi­leyJohn Irv­ingJohn Updike and Joseph Heller. Just click on any of the links above and you can stream the audio lec­tures for free online.

Relat­ed Con­tent:

7 Nobel Speech­es by 7 Great Writ­ers: Hem­ing­way, Faulkn­er, and More

The New Yorker’s Fic­tion Pod­cast: Where Great Writ­ers Read Sto­ries by Great Writ­ers

Six Post­cards From Famous Writ­ers: Hem­ing­way, Kaf­ka, Ker­ouac & More

Jorge Luis Borges’ 1967–8 Nor­ton Lec­tures On Poet­ry (And Every­thing Else Lit­er­ary)

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Photos of Toni Morrison, Haruki Murakami, J.D. Salinger, and Virginia Woolf As Youngsters

ToniMorrisonYoung

Ah, the Buz­zfeed lis­ti­cle. Gawk­er’s Tom Scoc­ca recent­ly described the dread­ed online pub­lish­ing phe­nom as “aggres­sive­ly designed to ‘go viral’ with­in a spe­cif­ic micro­tar­get­ed pop­u­la­tion and to be worth­less to every oth­er read­er on the plan­et.” Maybe some­thing of an exag­ger­a­tion. Then again, it seems that “17 Things Bears Are Bet­ter at Than You” may reach a minor con­tin­gent of read­ers, and “7 Fan­tas­tic Needle­point Fash­ion Mag­a­zine Cov­ers” may indeed have lim­it­ed appeal. Of course, the lis­ti­cle pre­cedes the inter­net, and dri­ves con­tent beyond Buz­zfeed. A sta­ple of Cos­mo, it’s always been a nar­row form, except when it comes to such irre­sistible click­bait as “before they were famous” lists, such as this selec­tion of awk­ward pho­tos of TV per­son­al­i­ties.

MurakamiYoung

But some­times even Buz­zfeed takes the high road. A recent spread, for instance, show­cased 24 pho­tos of famous authors as young, anony­mous men and women. Take, for exam­ple, the pic at the top of a teenage Toni Mor­ri­son (then Chloe Wof­ford) from 1949. Tak­en at Ohio’s Lor­raine High School, we see senior class trea­sur­er Mor­ri­son posed with seri­ous intent, gaz­ing at some sort of mag­a­zine with three of her class­mates. Buz­zfeed pil­fered this pho­to from anoth­er lit­er­ary lis­ti­cle, Fla­vor­wire’s “20 Famous Authors’ Adorable School Pho­tos.” Not a Mor­ri­son fan? No wor­ries. You may be enlight­ened or amused by the pho­to above, of a young Haru­ki Muraka­mi, work­ing in his Tokyo jazz bar, the Peter Cat, before writ­ing his first nov­el, Hear the Wind Sing, in 1979.

SalingerYoung

Then we have the famous recluse J.D. Salinger above, from his 1936 year­book pho­to from Val­ley Forge Mil­i­tary Acad­e­my. We learn that the future Fran­ny and Zooey author was a cor­po­ral who put in time in the glee club, the avi­a­tion and French clubs, and served as the lit­er­ary edi­tor for the year­book (called Crossed Sabres.) A copy of the year­book, signed by Salinger, went up for auc­tion last year for $2,400. Also from the Buz­zfeed list, below, (and also lift­ed from Fla­vor­wire), we have the ten­der por­trait of a 14-year-old Vir­ginia Woolf (nee Stephen—on the right), cir­ca 1896, posed with her sis­ters Stel­la and Vanes­sa (left and cen­ter).

WoolfYoung

There are sev­er­al more pho­tos float­ing around out there of famous authors as awk­ward or very intense young men and women.  They may not give us the same thrill as see­ing the lat­est hot young thing as an acne-plagued goof­ball with braces, but they pro­vide us with visu­al win­dows on the stages of our favorite writ­ers’ devel­op­ment as real peo­ple in real life.

Relat­ed Con­tent:

Author Flan­nery O’Connor Cap­tured on Film at Age 5, with Her Chick­ens

Writ­ers’ Hous­es Gives You a Vir­tu­al Tour of Famous Authors’ Homes

Pho­tos of Famous Writ­ers (and Rock­ers) with their Dogs

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

George Saunders Extols the Virtues of Kindness in 2013 Speech to Syracuse University Grads

George_Saunders_by_David_Shankbone

Full dis­clo­sure: I love George Saun­ders. Can I say that? Can I say that George Saun­ders rekin­dled my faith in con­tem­po­rary fic­tion? Is that too fawn­ing? Obse­quious, but true! Oh, how bored I had become with fourth-hand deriv­a­tive Carv­er, cheap­ened Cheev­er, some­times the sad approx­i­ma­tions of Chuck Palah­niuk. So bor­ing. It had got­ten so all I could read was Philip K. Dick, over and over and over. And Alice Walk­er. And Wuther­ing Heights. And Thomas Hardy. Do you see the pass I’d come to? Then Saun­ders. In a writ­ing class I took, with one of Gor­don Lish’s acolytes (no names), I read Saun­ders. I read Wells Tow­ers, Pad­gett Pow­ell, Aimee Bender—a host of mod­ern writ­ers who were doing some­thing new, in short, some­times very short, forms, but explo­sive!

What is it about George Saun­ders that grips? He has mas­tered friv­o­li­ty, turned it into an art of dia­mond-like com­pres­sion. And for this, he gets a MacArthur Fel­low­ship? Well, yes. Because what he does is bril­liant, in its shock­ing­ly unaf­fect­ed obser­va­tions of human­i­ty. George Saun­ders is an accom­plished writer who puts lit­tle store in his accom­plish­ments. Instead, he val­ues kind­ness most of all, and gen­eros­i­ty. These are the qual­i­ties he extols, in his typ­i­cal­ly droll man­ner, in a grad­u­a­tion speech he deliv­ered to the 2013 grad­u­at­ing class at Syra­cuse Uni­ver­si­ty. Kind­ness: a lit­tle virtue, you might say. The New York Times has pub­lished his speech, and I urge you to read it in full. I’m going to give you half, below, and chal­lenge you to find George Saun­ders want­i­ng.

Down through the ages, a tra­di­tion­al form has evolved for this type of speech, which is: Some old fart, his best years behind him, who, over the course of his life, has made a series of dread­ful mis­takes (that would be me), gives heart­felt advice to a group of shin­ing, ener­getic young peo­ple, with all of their best years ahead of them (that would be you).

And I intend to respect that tra­di­tion.

Now, one use­ful thing you can do with an old per­son, in addi­tion to bor­row­ing mon­ey from them, or ask­ing them to do one of their old-time “dances,” so you can watch, while laugh­ing, is ask: “Look­ing back, what do you regret?”  And they’ll tell you.  Some­times, as you know, they’ll tell you even if you haven’t asked.  Some­times, even when you’ve specif­i­cal­ly request­ed they not tell you, they’ll tell you.

So: What do I regret?  Being poor from time to time?  Not real­ly.  Work­ing ter­ri­ble jobs, like “knuck­le-puller in a slaugh­ter­house?”  (And don’t even ASK what that entails.)  No.  I don’t regret that.  Skin­ny-dip­ping in a riv­er in Suma­tra, a lit­tle buzzed, and look­ing up and see­ing like 300 mon­keys sit­ting on a pipeline, poop­ing down into the riv­er, the riv­er in which I was swim­ming, with my mouth open, naked?  And get­ting death­ly ill after­wards, and stay­ing sick for the next sev­en months?  Not so much.  Do I regret the occa­sion­al humil­i­a­tion?  Like once, play­ing hock­ey in front of a big crowd, includ­ing this girl I real­ly liked, I some­how man­aged, while falling and emit­ting this weird whoop­ing noise, to score on my own goalie, while also send­ing my stick fly­ing into the crowd, near­ly hit­ting that girl?  No.  I don’t even regret that.

But here’s some­thing I do regret:

In sev­enth grade, this new kid joined our class.  In the inter­est of con­fi­den­tial­i­ty, her Con­vo­ca­tion Speech name will be “ELLEN.”  ELLEN was small, shy.  She wore these blue cat’s‑eye glass­es that, at the time, only old ladies wore.  When ner­vous, which was pret­ty much always, she had a habit of tak­ing a strand of hair into her mouth and chew­ing on it.

So she came to our school and our neigh­bor­hood, and was most­ly ignored, occa­sion­al­ly teased (“Your hair taste good?” – that sort of thing).  I could see this hurt her.  I still remem­ber the way she’d look after such an insult: eyes cast down, a lit­tle gut-kicked, as if, hav­ing just been remind­ed of her place in things, she was try­ing, as much as pos­si­ble, to dis­ap­pear.  After awhile she’d drift away, hair-strand still in her mouth.  At home, I imag­ined, after school, her moth­er would say, you know: “How was your day, sweet­ie?” and she’d say, “Oh, fine.”  And her moth­er would say, “Mak­ing any friends?” and she’d go, “Sure, lots.”

Some­times I’d see her hang­ing around alone in her front yard, as if afraid to leave it.

And then – they moved.  That was it.  No tragedy, no big final haz­ing.

One day she was there, next day she wasn’t.

End of sto­ry.

Now, why do I regret that?  Why, forty-two years lat­er, am I still think­ing about it?  Rel­a­tive to most of the oth­er kids, I was actu­al­ly pret­ty nice to her.  I nev­er said an unkind word to her.  In fact, I some­times even (mild­ly) defend­ed her.

But still.  It both­ers me.

So here’s some­thing I know to be true, although it’s a lit­tle corny, and I don’t quite know what to do with it:

What I regret most in my life are fail­ures of kind­ness. 

Those moments when anoth­er human being was there, in front of me, suf­fer­ing, and I responded…sensibly.  Reserved­ly.  Mild­ly.

Or, to look at it from the oth­er end of the tele­scope:  Who, in your life, do you remem­ber most fond­ly, with the most unde­ni­able feel­ings of warmth?

Those who were kind­est to you, I bet.

It’s a lit­tle facile, maybe, and cer­tain­ly hard to imple­ment, but I’d say, as a goal in life, you could do worse than: Try to be kinder.

Read the rest of Saun­ders’ speech here, and be moved. Try not to be.

Relat­ed Con­tent:

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

Oprah Winfrey’s Har­vard Com­mence­ment Speech: Fail­ure is Just Part of Mov­ing Through Life

David Byrne’s Grad­u­a­tion Speech Offers Trou­bling and Encour­ag­ing Advice for Stu­dents in the Arts

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

100 Great Sci-Fi Stories by Women Writers (Read 20 for Free Online)

Image by Frankie Fougan­thin, via Wiki­me­dia Com­mons

Since 2009, the orga­ni­za­tion VIDA: Women in the Lit­er­ary Arts has sought to bring bal­ance to the rep­re­sen­ta­tion of female authors in the lit­er­ary world. As revealed by the 2010 con­tro­ver­sy begun by author Jodi Picoult over the gush­ing treat­ment Jonathan Franzen’s Free­dom received in the New York Times, the dis­par­i­ty, and the bias, are real. Author Jen­nifer Wein­er chimed in as well, writ­ing: “when a man writes about fam­i­ly and feel­ings, it’s lit­er­a­ture with a cap­i­tal L, but when a woman con­sid­ers the same top­ics, it’s romance, or a beach book.” This fracas—involving a num­ber of most­ly New York literati and the death of the term “chick lit”—didn’t split even­ly down gen­der lines. Both male and female writ­ers lined up to defend Picoult and Franzen, but it did open up legit­i­mate ques­tions about the old (most­ly white) boys club that claims the upper ech­e­lons of lit­er­ary fic­tion and the brass ring that is the New York Times book review.

What received no notice in the pop­u­lar media dur­ing all this chat­ter was the place of women writ­ers in genre fic­tion, which most­ly lives out­side the gates and rarely gets much notice from the crit­ics (with the excep­tion of a hand­ful of “seri­ous” writ­ers and the Young Adult mar­ket). Well, there is a dis­cus­sion about gen­der par­i­ty in the sci­ence fic­tion world tak­ing place now on the blog of sci-fi crit­ic and writer Ian Sales. Sales curates SF Mis­tress­works—a blog for women sci-fi writers—and after review­ing a 1975 anthol­o­gy called Women of Won­der, he asked read­ers over at his blog to sub­mit their favorite short fic­tion by women writ­ers. His goal? To col­lect 100 sto­ries and novel­las as a counter to the clas­sic, and almost whol­ly male-dom­i­nat­ed col­lec­tion, 100 Great Sci­ence Fic­tion Short Short Sto­ries, edit­ed by Isaac Asi­mov. You can read the full list of 100 over at Sales’ blog. Below, we’ve excerpt­ed those sto­ries that are freely avail­able online. If you’re a sci­ence fic­tion fan and find your­self unable to name more than one or two female authors in the genre (every­one knows, for exam­ple, the fab­u­lous Ursu­la K. Le Guin and Mar­garet Atwood, pic­tured above), you might want to take a look at some of the great work you’ve missed out on.

Sales’ list spans sev­er­al decades and, as he writes, demon­strates “a good spread of styles and themes and approach­es across the genre.”

1 ‘The Fate of the Posei­do­nia’, Clare Winger Har­ris (1927, short sto­ry) online here

12 ‘The New You’, Kit Reed (1962, short sto­ry) online here

13 ‘The Put­nam Tra­di­tion’, Sonya Dor­man (1963, short sto­ry) online here

16 ‘The Heat Death of the Uni­verse’, Pamela Zoline (1967, short sto­ry) online here

24 ‘The Violet’s Embryo’, Angéli­ca Gorodis­ch­er (1973, nov­el­ette) online here (excerpt)

28 ‘The View from End­less Scarp’, Mar­ta Ran­dall (1978, short sto­ry) online here

51 ‘The Road to Jerusalem’, Mary Gen­tle (1991, short sto­ry) online here

71 ‘Cap­tive Girl’, Jen­nifer Pel­land (2006, short sto­ry) online here

79 ‘Spi­der the Artist’, Nne­di Okrafor (2008, short sto­ry) online here

81 ‘Eros, Phil­ia, Agape’, Rachel Swirsky (2009, nov­el­ette) online here

82 ‘Non-Zero Prob­a­bil­i­ties’, NK Jemisin (2009, short sto­ry) online here

85 ‘Blood, Blood’, Abbey Mei Otis (2010, short sto­ry) online here and here

88 ‘Amaryl­lis’, Car­rie Vaughn (2010, short sto­ry) online here

89 ‘I’m Alive, I Love You, I’ll See You in Reno’, Vylar Kaf­tan (2010, short sto­ry) online here

91 ‘Six Months, Three Days’, Char­lie Jane Anders (2011, short sto­ry) online here

93 ‘The Car­tog­ra­ph­er Bees and the Anar­chist Wasps’, E Lily Yu (2011, short sto­ry) online here

94 ‘Silent­ly and Very Fast’, Cath­erynne M Valente (2011, novel­la) online here, here and here

96 ‘A Vec­tor Alpha­bet of Inter­stel­lar Trav­el’, Yoon Ha Lee (2011, short sto­ry) online here

97 ‘Immer­sion’, Aliette de Bodard (2012, short sto­ry) online here

98 ‘The Lady Astro­naut of Mars’, Mary Robi­nette Kow­al (2012, nov­el­ette) online here

* Please note: an ear­li­er ver­sion of this post was titled “The 100 Best Sci-Fi Sto­ries by Women Writ­ers (Read 20 for Free Online).” As this list’s cura­tor, Ian Sales, points out unequiv­o­cal­ly below, this is not meant to be a defin­i­tive “best of” in any sense. Our apolo­gies for mis­read­ing his inten­tions. 

via Metafil­ter

Relat­ed Con­tent:

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

Free Philip K. Dick: Down­load 11 Great Sci­ence Fic­tion Sto­ries

Isaac Asi­mov Recalls the Gold­en Age of Sci­ence Fic­tion (1937–1950)

425 Free eBooks: Down­load to Kin­dle, iPad/iPhone & Nook

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

Classic Monty Python: Oscar Wilde and George Bernard Shaw Engage in a Hilarious Battle of Wits

Have you ever won­dered what it would have been like to be present when Oscar Wilde was deliv­er­ing those daz­zling epi­grams of his? In this clas­sic sketch from Mon­ty Python’s Fly­ing Cir­cus, we’re pre­sent­ed with one hilar­i­ous pos­si­bil­i­ty.

The sketch is from Episode 39 of the Fly­ing Cir­cus, the last episode of sea­son three, which was record­ed on May 18, 1972 but not aired until Jan­u­ary 18, 1973. The scene takes place in 1895, in the draw­ing room of Wilde’s Lon­don home. Hold­ing court amid a room­ful of syco­phants, Wilde (played by Gra­ham Chap­man) com­petes with the Irish writer George Bernard Shaw (Michael Palin) and the Amer­i­can-born painter James McNeill Whistler (John Cleese) to impress Queen Vic­to­ri­a’s son Albert Edward (Ter­ry Jones), the Prince of Wales and future King Edward VII.

As for the his­tor­i­cal basis of the sketch, “There seems to be no evi­dence for the con­vivial tri­umvi­rate of Whistler, Wilde, and Shaw,” writes Darl Larsen in Mon­ty Python’s Fly­ing Cir­cus: An Utter­ly Com­plete, Thor­ough­ly Unil­lus­trat­ed, Absolute­ly Unau­tho­rized Guide, “espe­cial­ly as late as 1895, when Whistler was car­ing for his ter­mi­nal­ly ill wife and Wilde was in the ear­ly stages of his fall from grace.” Wilde’s play The Impor­tance of Being Earnest opened in Feb­ru­ary of that year, and short­ly after­ward he became embroiled in a legal bat­tle with the Mar­quess of Queens­ber­ry that led even­tu­al­ly to his impris­on­ment for homo­sex­u­al­i­ty. Wilde was once a pro­tégé of Whistler, but their friend­ship had dete­ri­o­rat­ed by 1895. Whistler was appar­ent­ly jeal­ous of Wilde’s suc­cess, and believed he had stolen many of his famous lines. When Wilde report­ed­ly said “I wish I had said that” in response to a wit­ty remark by Whistler in about 1888, the painter famous­ly retort­ed, “You will, Oscar, you will.” Shaw worked as a Lon­don the­atre crit­ic in the 1890s, and the Prince of Wales was a patron of the arts.

In the Python sketch, Wilde kicks off a round of wit­ti­cisms with his famous line, “There is only one thing in the world worse than being talked about, and that is not being talked about.” But things go rapid­ly down­hill as the con­ver­sa­tion turns into an exer­cise in heap­ing abuse on the Prince of Wales and pin­ning the blame on a rival:

WILDE: Your Majesty is like a big jam dough­nut with cream on the top.

PRINCE: I beg your par­don?

WILDE: Um…It was one of Whistler’s.

WHISTLER: I nev­er said that.

WILDE: You did, James, you did.

WHISTLER: Well, Your High­ness, what I meant was that, like a dough­nut, um, your arrival gives us pleasure…and your depar­ture only makes us hun­gry for more. [The prince laughs and nods his head.] Your High­ness, you are also like a stream of bat’s piss.

PRINCE: What?

WHISTLER: It was one of Wilde’s. One of Wilde’s.

WILDE: It sod­ding was not! It was Shaw!

SHAW: I…I mere­ly meant, Your Majesty, that you shine out like a shaft of gold when all around is dark.

PRINCE: Oh.

WILDE: Right. Your Majesty is like a dose of clap–

WHISTLER: –Before you arrive is plea­sure, and after is a pain in the dong.

PRINCE: What??

WHISTLER AND WILDE: One of Shaw’s, one of Shaw’s.

SHAW: You bas­tards.

Relat­ed Con­tent:

Mon­ty Python’s Best Phi­los­o­phy Sketch­es

Watch Mon­ty Python’s “Sum­ma­rize Proust Com­pe­ti­tion” on the 100th Anniver­sary of Swann’s Way

John Cleese’s Eulo­gy for Gra­ham Chap­man: ‘Good Rid­dance, the Free-Load­ing Bas­tard, I Hope He Fries’

J.R.R. Tolkien Reads From The Two Towers, the Second Book of The Lord of the Rings Trilogy

Tolkien fans, tell me: were you dis­ap­point­ed with the first install­ment of Peter Jackson’s Hob­bit film tril­o­gy? Did you find it as lum­ber­ing and clum­sy as a trio of cock­ney trolls, or as ugly as a bug-eyed and be-wat­tled gob­lin king? Pin­ing away for the days when The Lord of the Rings films were the go-to pop-cul­ture fan­ta­sy references—before, say, Twi­light harshed that buzz? Well, I could rec­om­mend to you some of the fan-made films that stepped in to fill the LOTR void in recent years. There’s the not-very-good Born of Hope and the very much bet­ter The Hunt for Gol­lum. I’ve seen them both because, well…. I just need­ed to is all.

But there is anoth­er way. I know it’s per­verse, pos­si­bly sub­ver­sive, and maybe, just maybe, even dan­ger­ous. Turn off the com­put­er and open the books up again—your yel­lowed, crumbly paper­backs, your Barnes & Noble econ­o­my re-issue edi­tions (I won’t judge), hell, turn on the Kin­dle. Savor the lan­guages Tolkien invent­ed and the Eng­lish that he re-invent­ed, immerse your­self in a lit­er­ary world at once utter­ly fan­tas­tic and per­fect­ly moral­ly seri­ous. Do that, and your crav­ing for spec­ta­cle may van­ish, maybe replaced by a crav­ing for more Tolkien—like his retelling of events in the Norse Edda saga in his Leg­end of Sig­urd and Gudrun.

And while you’re read­ing up on that one, lis­ten to the audio above of Tolkien him­self read­ing from Chap­ter IV of The Two Tow­ers. The rich­ness of his Eng­lish voice makes me wish we had record­ings of him read­ing all three nov­els, but we must work with what we’ve got, and it is good. Enjoy.

Relat­ed Con­tent:

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

Lis­ten to J.R.R. Tolkien Read Poems from The Fel­low­ship of the Ring, in Elvish and Eng­lish (1952)

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

Down­load Eight Free Lec­tures on The Hob­bit by “The Tolkien Pro­fes­sor,” Corey Olsen

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

 

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