Gore Vidal (1925–2012) Feuds with Norman Mailer & William F. Buckley

Gore Vidal wrote 25 nov­els and var­i­ous mem­oirs, essays, plays, tele­vi­sion dra­mas and screen­plays. He invest­ed him­self in Amer­i­can pol­i­tics and ran for office twice, los­ing both times. He tend­ed open­ly toward homo­sex­u­al­i­ty long before the coun­try warmed up to the idea. And he nev­er backed down from a good argu­ment. Gore Vidal died Tues­day from com­pli­ca­tions of pneu­mo­nia at his home in Los Ange­les.

Dur­ing the 1960s and 70s, Vidal feud­ed pub­licly with lit­er­ary and polit­i­cal foes alike. Some­times it made for good TV. Oth­er times it made for bad TV. It did­n’t real­ly mat­ter. He was ready to go. Above, we have Gore Vidal’s ver­bal brawl with the mer­cu­r­ial (and seem­ing­ly sauced) nov­el­ist Nor­man Mail­er. It hap­pened on The Dick Cavett Show in Decem­ber, 1971, and only the show’s host (and the bewil­dered Janet Flan­ner) emerge from the dust­up look­ing okay. Slate has more on this mem­o­rable episode here.

The next clip brings us back to an ABC tele­vi­sion pro­gram aired dur­ing the 1968 Demo­c­ra­t­ic Con­ven­tion in Chica­go. Suf­fice it to say, emo­tions were run­ning high. In the months lead­ing up to the Con­ven­tion, Mar­tin Luther King Jr. and RFK were both assas­si­nat­ed. Riots fol­lowed. Mean­while, the Viet­nam War splin­tered the nation in two. The Chica­go police tried to shut down demon­stra­tions by anti-war pro­tes­tors, and even­tu­al­ly the two sides clashed in the parks and streets. Amidst all of this, Buck­ley and Vidal, both polit­i­cal ana­lysts for ABC News, start­ed dis­cussing the pro­tes­tors and their rights to free speech, when things came to a head. Vidal called Buck­ley a “pro-cryp­to-Nazi.” Buck­ley called Vidal a “queer” and threat­ened to “sock [him] in the god­damn face.” The threat was not eas­i­ly for­got­ten. It became the fod­der for jokes when Buck­ley inter­viewed Noam Chom­sky the next year.

Rare 1933 Film: The Great Storyteller Rudyard Kipling on Truth in Writing

“We who use words enjoy a pecu­liar priv­i­lege over our fel­lows,” says Rud­yard Kipling in this rare filmed speech. “We can­not tell a lie. How­ev­er much we may wish to do so, we only of edu­cat­ed men and women can­not tell a lie–in our work­ing hours. The more sub­tly we attempt it, the more cer­tain­ly do we betray some aspect of truth con­cern­ing the life of our age.”

The speech was giv­en on July 12, 1933 at Clar­idge’s Hotel in Lon­don, dur­ing a lun­cheon of the Roy­al Soci­ety of Lit­er­a­ture for vis­it­ing mem­bers of the Cana­di­an Authors’ Asso­ci­a­tion. Kipling was 67 years old at the time. The text of the speech (which you can open and read in a new win­dow) was pub­lished in a posthu­mous edi­tion of A Book of Words.

Rud­yard Kipling was one of the most cel­e­brat­ed Eng­lish writ­ers of the late Vic­to­ri­an era. Hen­ry James once said, “Kipling strikes me per­son­al­ly as the most com­plete man of genius (as dis­tinct from fine intel­li­gence) that I have ever known.” In 1907 he was award­ed the Nobel Prize in Lit­er­a­ture. As a pro­lif­ic author of short sto­ries, poet­ry, and nov­els, Kipling was the fore­most chron­i­cler of the British colo­nial expe­ri­ence.

But as the British Empire fad­ed in the 20th cen­tu­ry, so too did Kipling’s lit­er­ary stand­ing. His works for chil­dren, includ­ing The Jun­gle Book and Just So Sto­ries (see below), are still wide­ly enjoyed, but much of his oth­er writing–even the clas­sic nov­el Kim–is viewed with ambiva­lence. The lit­er­ary genius praised by James is often over­shad­owed by our con­tem­po­rary views on the cru­el­ty and exploita­tion of colo­nial­ism.

“Mer­ci­ful­ly,” says Kipling lat­er in his speech to the Cana­di­an authors, “it is not per­mit­ted to any one to fore­see his or her lit­er­ary elec­tion or repro­ba­tion, any more than it was per­mit­ted to our ances­tors to fore­see the just stature of their con­tem­po­raries…”

You can down­load Kipling’s works by vis­it­ing our Free Audio Books and Free eBooks col­lec­tions.

h/t @Rachel_RK

T.S. Eliot Reads His Modernist Masterpieces “The Waste Land” and “The Love Song of J. Alfred Prufrock”

Did you know T.S. Eliot’s por­ten­tous and heav­i­ly allu­sive 1922 mas­ter­piece “The Waste Land” was orig­i­nal­ly titled “He Do the Police in Dif­fer­ent Voic­es,” a quote from Charles Dick­ens’ Our Mutu­al Friend? Filled with ref­er­ences to Dante’s Divine Com­e­dy, Joseph Conrad’s Heart of Dark­ness, and James Frazier’s The Gold­en Bough, this most famous of high mod­ernist poems—scourge of mil­lions of col­lege fresh­man each year—was a very dif­fer­ent ani­mal before noto­ri­ous mod­ernist impre­sario Ezra Pound got his hands on it. Pound’s heavy rework­ing is respon­si­ble for the poem you hear above, read by Eliot him­self. The first image in the video shows Pound’s mar­gin­al anno­ta­tions.

In the video above lis­ten to Eliot read his sec­ond-most famous work, “The Love Song of J. Alfred Prufrock,” with the text of the poem chore­o­graphed by Wor­dook­ie, an open-source ver­sion of Wor­dle.  “Prufrock,” first pub­lished in 1915, is as dense with lit­er­ary allu­sions as “The Waste Land” (and thus as painful for the aver­age under­grad­u­ate). And if Eliot’s reedy alto doesn’t deliv­er “Prufrock“ ‘s grav­i­tas for you, lis­ten to Antho­ny Hop­kins read it here.

You can find these poems cat­a­logued in our col­lec­tion of 700 Free Audio Books and 800 Free eBooks.

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:

Rare 1959 Audio: Flan­nery O’Connor Reads ‘A Good Man is Hard to Find’

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

Nabokov Reads Loli­ta, Names the Great Books of the 20th Cen­tu­ry

Shakespeare’s Satirical Sonnet 130, As Read By Stephen Fry

“My mis­tress’ eyes are noth­ing like the sun,” begins Son­net 130 by William Shake­speare. But why read the rest when you can see and hear it, in the video above, from Stephen Fry? No mat­ter how often I’ve wished the voice inside my head could sound like his, I just can’t mas­ter intracra­nial­ly repli­cat­ing his dis­tinc­tive com­bi­na­tion of accent and man­ner. This defi­cien­cy both­ers me espe­cial­ly when read­ing works as wor­thy as Shake­speare’s son­nets. Son­net 130 in par­tic­u­lar, a satire of the increas­ing­ly and obvi­ous­ly hyper­bol­ic odes to female beau­ty pop­u­lar in Shake­speare’s day, prac­ti­cal­ly demands a per­sona as dry­ly know­ing as Fry’s. But nei­ther Fry in any of his work nor the Shake­speare of Son­net 130 seem con­tent to sim­ply pop bal­loons of grotesque­ly over­in­flat­ed sen­ti­ment. They know that, in refus­ing to trot out grand­ly tired com­par­isons of lips to coral and cheeks to ros­es, they pay their sub­jects a more last­ing, gen­uine trib­ute in the end.

Fry’s read­ing comes from a new iPad app, Shake­speare’s Son­nets. In an appar­ent real­iza­tion of all those lit­er­ary “mul­ti­me­dia expe­ri­ences” we dreamed of but could nev­er quite achieve in the mid-nineties, it presents the 154 son­nets as they looked in their 1609 quar­to edi­tion with schol­ar­ly notes, com­men­tary, and inter­views with experts. Oth­er per­form­ers enlist­ed to read them include Patrick Stew­art (pre­sum­ably anoth­er sine qua non for such a project), David Ten­nant, and — because hey, why not — Kim Cat­trall. A fine idea, but new-media vision­ar­ies should take note that I and many oth­ers are even now wait­ing for apps ded­i­cat­ed to noth­ing more than Stephen Fry read­ing things. Some­one’s got to cap­i­tal­ize on this demand.

Relat­ed con­tent:

Shake­speare in the Orig­i­nal Voice

Shakespeare’s Julius Cae­sar Read in Celebri­ty Voic­es

Acclaimed BBC Pro­duc­tion of Ham­let, Star­ring David Ten­nant (Doc­tor Who) and Patrick Stew­art (Star Trek)

City Poems: A New Lit­er­ary iPhone App

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Neal Stephenson, SciFi Author, Crowdsources $500,000 for New Sword-Fighting Video Game

Neal Stephen­son (Crypto­nom­i­con, Snow Crash, Anath­em) is a hard­work­ing man. In addi­tion to not get­ting any of his sci-fi nov­els made into movies, hang­ing out at Google, writ­ing some of the most fas­ci­nat­ing non­fic­tion in print or online, and being awe­some, he’s work­ing on a project called Clang, a first-per­son sword­fight­ing game, and he’s fund­ing it through Kick­starter. As of yes­ter­day he exceed­ed his goal of $500,000 with over 9,000 back­ers. And why not? Like most of Stephenson’s ideas, it’s bril­liant.

Stephenson—a self-described “swords­man­ship geek”—explains in the video above why he’s decid­ed to cre­ate a real­is­tic sword fight­ing game, in a gam­ing scene rid­dled with high-tech first-per­son shoot­ers. And even though Stephen­son admits to being only a “casu­al gamer,” as you can see, he’s dead­ly seri­ous about the devel­op­ment of Clang. Watch him test sev­er­al dif­fer­ent medieval weapon designs to repli­cate the weight and feel of a real blade and cre­ate the intense inter­ac­tive expe­ri­ence of games like Medal of Hon­or and Met­al Gear Sol­id.

Stephen­son and his team are mak­ing use of a cut­ting-edge track­ing tech­nol­o­gy devel­oped by a com­pa­ny called Six­ense, which promis­es very low laten­cy and “unpar­al­leled pre­ci­sion.” The Clang team are con­fi­dent that their track­ing tech­nol­o­gy, embed­ded in the Raz­er Hydra game con­troller, will bring the thrills and chal­lenges of Medieval sword fight­ing into the hands of fel­low geeks very soon.

Josh Jones is cur­rent­ly a doc­tor­al stu­dent in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

James Baldwin Bests William F. Buckley in 1965 Debate at Cambridge University

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Author of the nov­el Giovanni’s Room and the non­fic­tion col­lec­tion “Notes of a Native Son,” James Bald­win was also a scathing social crit­ic, a wit­ty yet for­mi­da­ble media per­son­al­i­ty, and a lit­er­ary ambas­sador for civ­il rights. And, as an out­spo­ken gay man, he decried dis­crim­i­na­tion against gays and les­bians. In 1965, he accept­ed an invi­ta­tion by Cam­bridge Uni­ver­si­ty to debate the “father of Amer­i­can con­ser­vatism” William F. Buck­ley on the sub­ject, “The Amer­i­can Dream is at the Expense of the Amer­i­can Negro.” In the video above, Bald­win (intro­duced as the “star of the evening”) deliv­ers his stir­ring open­ing remarks, set­ting the tone he main­tains through­out and pulling his near­ly all-white audi­ence to the edge of their seats.

Buck­ley, found­ing edi­tor of the con­ser­v­a­tive jour­nal Nation­al Review, had come out four years ear­li­er against deseg­re­ga­tion and Civ­il Rights leg­is­la­tion and was in the midst of his ulti­mate­ly failed 1965 New York City may­oral cam­paign. He was always will­ing to engage with his ide­o­log­i­cal adver­saries (see him debate Noam Chom­sky in 1969 on his long-run­ning tele­vi­sion pro­gram, Fir­ing Line), but remained a staunch oppo­nent of lib­er­al­ism. In this clip from the debate, Buck­ley responds to many of Bald­win’s asser­tions:

Bald­win had just fin­ished his nov­el Anoth­er Coun­try when this debate took place. He was 41, Buck­ley 40. While both are well-known for the rhetor­i­cal savvy on dis­play here, in this case at least, Bald­win proved the more per­sua­sive voice. After the debate, the Cam­bridge Union Soci­ety took a vote and decid­ed the issue in his favor, 540–160.

You can (and should) view the full debate above.

Josh Jones is cur­rent­ly a doc­tor­al stu­dent in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Relat­ed Con­tent:

375+ Episodes of William F. Buckley’s Fir­ing Line Now Online: Fea­tures Talks with Chom­sky, Borges, Ker­ouac, Gins­berg & More

James Bald­win Debates Mal­colm X (1963) and William F. Buck­ley (1965): Vin­tage Video & Audio

Great Cul­tur­al Icons Talk Civ­il Rights: James Bald­win, Mar­lon Bran­do, Har­ry Bela­fonte & Sid­ney Poiti­er (1963)

22-Year-Old P.O.W. Kurt Vonnegut Writes Home from World War II: “I’ll Be Damned If It Was Worth It”

If you read Open Cul­ture, smart mon­ey says you’ll also enjoy Let­ters of Note, a site we occa­sion­al­ly ref­er­ence. They col­lect, post, and pro­vide con­text for “fas­ci­nat­ing let­ters, post­cards, telegrams, fax­es, and mem­os” to and from all man­ners of lumi­nar­ies through­out the his­to­ry of art, pol­i­tics, music, sci­ence, media, and, er, let­ters. Dig into the archives and you’ll find a mis­sive home from Kurt Von­negut, a notable let­ter-writer if ever there was one. Ded­i­cat­ed Von­negut read­ers will rec­og­nize the tone of the nov­el­ist, although here, at the age of 22, he had yet to become one. A Pri­vate in the Sec­ond World War, he was tak­en pris­on­er on Decem­ber 19, 1944, dur­ing the Bat­tle of the Bulge. Hav­ing then done time in an under­ground sec­tion of a Dres­den work camp known, yes, as “Slaugh­ter­house Five,” he sur­vived the sub­se­quent bomb­ing of the city and wound up in a repa­tri­a­tion camp by May 1945. There, he wrote what fol­lows:

Dear peo­ple:

I’m told that you were prob­a­bly nev­er informed that I was any­thing oth­er than “miss­ing in action.” Chances are that you also failed to receive any of the let­ters I wrote from Ger­many. That leaves me a lot of explain­ing to do — in pre­cis:

I’ve been a pris­on­er of war since Decem­ber 19th, 1944, when our divi­sion was cut to rib­bons by Hitler’s last des­per­ate thrust through Lux­em­burg and Bel­gium. Sev­en Fanat­i­cal Panz­er Divi­sions hit us and cut us off from the rest of Hodges’ First Army. The oth­er Amer­i­can Divi­sions on our flanks man­aged to pull out: We were oblig­ed to stay and fight. Bay­o­nets aren’t much good against tanks: Our ammu­ni­tion, food and med­ical sup­plies gave out and our casu­al­ties out-num­bered those who could still fight — so we gave up. The 106th got a Pres­i­den­tial Cita­tion and some British Dec­o­ra­tion from Mont­gomery for it, I’m told, but I’ll be damned if it was worth it. I was one of the few who weren’t wound­ed. For that much thank God.

Well, the super­men marched us, with­out food, water or sleep to Lim­berg, a dis­tance of about six­ty miles, I think, where we were loaded and locked up, six­ty men to each small, unven­ti­lat­ed, unheat­ed box car. There were no san­i­tary accom­mo­da­tions — the floors were cov­ered with fresh cow dung. There was­n’t room for all of us to lie down. Half slept while the oth­er half stood. We spent sev­er­al days, includ­ing Christ­mas, on that Lim­berg sid­ing. On Christ­mas eve the Roy­al Air Force bombed and strafed our unmarked train. They killed about one-hun­dred-and-fifty of us. We got a lit­tle water Christ­mas Day and moved slow­ly across Ger­many to a large P.O.W. Camp in Muhlburg, South of Berlin. We were released from the box cars on New Year’s Day. The Ger­mans herd­ed us through scald­ing delous­ing show­ers. Many men died from shock in the show­ers after ten days of star­va­tion, thirst and expo­sure. But I did­n’t.

Under the Gene­va Con­ven­tion, Offi­cers and Non-com­mis­sioned Offi­cers are not oblig­ed to work when tak­en pris­on­er. I am, as you know, a Pri­vate. One-hun­dred-and-fifty such minor beings were shipped to a Dres­den work camp on Jan­u­ary 10th. I was their leader by virtue of the lit­tle Ger­man I spoke. It was our mis­for­tune to have sadis­tic and fanat­i­cal guards. We were refused med­ical atten­tion and cloth­ing: We were giv­en long hours at extreme­ly hard labor. Our food ration was two-hun­dred-and-fifty grams of black bread and one pint of unsea­soned pota­to soup each day. After des­per­ate­ly try­ing to improve our sit­u­a­tion for two months and hav­ing been met with bland smiles I told the guards just what I was going to do to them when the Rus­sians came. They beat me up a lit­tle. I was fired as group leader. Beat­ings were very small time: — one boy starved to death and the SS Troops shot two for steal­ing food.

On about Feb­ru­ary 14th the Amer­i­cans came over, fol­lowed by the R.A.F. their com­bined labors killed 250,000 peo­ple in twen­ty-four hours and destroyed all of Dres­den — pos­si­bly the world’s most beau­ti­ful city. But not me.

After that we were put to work car­ry­ing corpses from Air-Raid shel­ters; women, chil­dren, old men; dead from con­cus­sion, fire or suf­fo­ca­tion. Civil­ians cursed us and threw rocks as we car­ried bod­ies to huge funer­al pyres in the city.

When Gen­er­al Pat­ton took Leipzig we were evac­u­at­ed on foot to (‘the Sax­ony-Czecho­slo­va­kian bor­der’?). There we remained until the war end­ed. Our guards desert­ed us. On that hap­py day the Rus­sians were intent on mop­ping up iso­lat­ed out­law resis­tance in our sec­tor. Their planes (P‑39’s) strafed and bombed us, killing four­teen, but not me.

Eight of us stole a team and wag­on. We trav­eled and loot­ed our way through Sude­ten­land and Sax­ony for eight days, liv­ing like kings. The Rus­sians are crazy about Amer­i­cans. The Rus­sians picked us up in Dres­den. We rode from there to the Amer­i­can lines at Halle in Lend-Lease Ford trucks. We’ve since been flown to Le Havre.

I’m writ­ing from a Red Cross Club in the Le Havre P.O.W. Repa­tri­a­tion Camp. I’m being won­der­ful­ly well feed and enter­tained. The state-bound ships are jammed, nat­u­ral­ly, so I’ll have to be patient. I hope to be home in a month. Once home I’ll be giv­en twen­ty-one days recu­per­a­tion at Atter­bury, about $600 back pay and — get this — six­ty (60) days fur­lough.

I’ve too damned much to say, the rest will have to wait, I can’t receive mail here so don’t write.

May 29, 1945

Love,

Kurt — Jr.

 As always, Let­ters of Note offers scans of the orig­i­nal let­ter for your direct inspec­tion.

William Faulkner Reads His Nobel Prize Speech

faulkner nobel

Today is the 50th anniver­sary of the death of William Faulkn­er. To mark the occa­sion, we bring you a 1954 record­ing of Faulkn­er read­ing his Nobel Prize speech from four years ear­li­er. “I feel that this award was not made to me as a man,” Faulkn­er says on the tape, “but to my work–a life’s work in the agony and sweat of the human spir­it, not for glo­ry and least of all for prof­it, but to cre­ate out of the mate­ri­als of the human spir­it some­thing which did not exist before.”

In clas­sic nov­els like As I Lay Dying, Absa­lom, Absa­lom! and The Sound and the Fury, Faulkn­er cre­at­ed his own cos­mos, com­bin­ing his knowl­edge of the peo­ple and his­to­ry of Mis­sis­sip­pi with his gift for spin­ning tales. He called his cos­mos Yok­na­p­ataw­pha Coun­ty. “I dis­cov­ered,” Faulkn­er said in his 1956 Paris Review inter­view, “that my own lit­tle postage stamp of native soil was worth writ­ing about and that I would nev­er live long enough to exhaust it, and that by sub­li­mat­ing the actu­al into the apoc­ryphal I would have com­plete lib­er­ty to use what­ev­er tal­ent I might have to its absolute top.”

Faulkn­er died at Wright’s Sana­to­ri­um in Byhalia, Mis­sis­sip­pi in the ear­ly morn­ing hours on July 6, 1962, which also hap­pened to be the birth­day of the great-grand­fa­ther he was named for, William Clark Falkn­er, the flam­boy­ant rail­road builder and nov­el­ist who was remem­bered as the “Old Colonel.” Faulkn­er had been suf­fer­ing from back pain due to an ear­li­er fall from a horse. His pre­ferred way to deal with pain was to drink alco­hol. After a binge he would typ­i­cal­ly go to the sana­to­ri­um to recov­er. This par­tic­u­lar vis­it had seemed rou­tine. Joseph Blot­ner describes the scene in Faulkn­er: A Biog­ra­phy:

The big clock ticked past mid­night and July 6 came in–the Old Colonel’s birthday–with no promise of a let­up in the heat. Insects thumped against the screens while elec­tric fans hummed here and there. Faulkn­er had been rest­ing qui­et­ly. A few min­utes after half past one, he stirred and then sat up on the side of his bed. Before the nurse could reach him he groaned and fell over. With­in min­utes Dr. Wright was there, but he could not detect any pulse or heart­beat. He began exter­nal heart mes­sage. He con­tin­ued it for forty-five min­utes, with­out results. He tried mouth-to-mouth resus­ci­ta­tion, again with no results. There was noth­ing more he could do. William Faulkn­er was gone.

When Albert Camus died two years ear­li­er, Faulkn­er was asked by La Nou­velle Revue Française to write a few words about his fall­en friend. What Faulkn­er wrote of Camus could be his own epi­taph:

When the door shut for him, he had already writ­ten on this side of it that which every artist who also car­ries through life with him that one same fore­knowl­edge and hatred of death, is hop­ing to do: I was here.

NOTE: To fol­low along as Faulkn­er reads his Nobel address, you can find the text at the Ole Miss Faulkn­er on the Web site. (The page will open in a new win­dow.) The Ole Miss page also includes  a par­tial record­ing of Faulkn­er giv­ing his speech in Stock­holm on Decem­ber 10, 1950, along with film footage of the cer­e­mo­ny. (Faulkn­er won the Nobel Prize in Lit­er­a­ture for 1949 but it was­n’t pre­sent­ed until 1950, the year Bertrand Rus­sell won the award. So Rus­sell and Faulkn­er can both be seen in the film footage.) To hear more of Faulkn­er’s 1954 Caed­mon record­ings, vis­it Harp­er Audio. You can also hear over 28 hours of lec­tures by Faulkn­er at the audio archive of the Uni­ver­si­ty of Vir­ginia, where he was writer-in-res­i­dence in 1957 and 1958. The archive con­cludes with a half-hour press con­fer­ence giv­en by the Eng­lish Depart­ment fac­ul­ty 50 years ago today, as they react­ed to the news of Faulkn­er’s death.

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