Dolly Parton’s Imagination Library Has Given Away 186 Million Free Books to Kids, Boosting Literacy Worldwide

in Books, Education, Music, Video - Arts & Culture | August 19th, 2022

Dol­ly Par­ton cre­at­ed her Imag­i­na­tion Library, a non-prof­it which gives books to mil­lions of chil­dren every month, with her father, Robert Lee Par­ton, in mind.

“I always thought that if Dad­dy had an edu­ca­tion, there’s no telling what he could have been,” she mused in her 2020 book, Songteller: My Life in Lyrics:

Because he knew how to barter, he knew how to bar­gain. He knew how to make every­thing work, and he knew how to count mon­ey. He knew exact­ly what every­thing was worth, how much he was going to make from that tobac­co crop, what he could trade, and how he could make it all work

Despite his busi­ness acu­men, Parton’s father nev­er learned to read or write, a source of shame.

Par­ton explains how there was a time when school­ing was nev­er con­sid­ered a giv­en for chil­dren in the moun­tains of East Ten­nessee, par­tic­u­lar­ly for those like her father, who came from a fam­i­ly of 15:

Kids had to go to work in the fields to help feed the fam­i­ly. Because of the weath­er and because of con­di­tions, a lot of kids couldn’t go to school.

I told him, “Dad­dy, there are prob­a­bly mil­lions of peo­ple in this world who don’t know how to read and write, who didn’t get the oppor­tu­ni­ty. Don’t be ashamed of that. Let’s do some­thing spe­cial.”

Par­ton is con­vinced that her father, whose pride in her musi­cal accom­plish­ments was so great he drove over with a buck­et of soapy water to clean the bronze stat­ue her home­town erect­ed in her hon­or, was proud­er still of a nick­name bestowed on her by the Imag­i­na­tion Library’s child ben­e­fi­cia­ries — the Book Lady.

Togeth­er with the com­mu­ni­ty part­ners who secure fund­ing for postage and non-admin­is­tra­tive costs, the Book Lady has giv­en away some 186,680,000 books since the project launched in 1995.

Orig­i­nal­ly lim­it­ed to chil­dren resid­ing in Sevi­er Coun­ty, Ten­nessee, the pro­gram has expand­ed to serve over 2,000,000 kids in the US, UK, Aus­tralia, Cana­da and the Repub­lic of Ire­land.

Par­tic­i­pa­tion can start well before a child is old enough to attempt their ABCs. Par­ents and guardians are encour­aged to enroll them at birth.

The Imag­i­na­tion Library’s lit­tlest par­tic­i­pants’ love of books is fos­tered with col­or­ful illus­tra­tions and sim­ple texts, often rhymes hav­ing to do with ani­mals or bed­time.

By the time a read­er hits their final year of the pro­gram at age 5, the focus will have shift­ed to school readi­ness, with sub­jects includ­ing sci­ence, folk­tales, and poet­ry.

The books — all Pen­guin Ran­dom House titles — are cho­sen by a pan­el of ear­ly child­hood lit­er­a­cy experts. 

This year’s selec­tion includes such old favorites as The Tale of Peter Rab­bit, Good Night, Goril­la, and The Snowy Day, as well as Parton’s own Coat of Many Col­ors, based on the song in which she famous­ly paid trib­ute to her moth­er’s ten­der resource­ful­ness:

Back through the years

I go won­derin’ once again

Back to the sea­sons of my youth

I recall a box of rags that some­one gave us

And how my mom­ma put the rags to use

There were rags of many col­ors

Every piece was small

And I did­n’t have a coat

And it was way down in the fall

Mom­ma sewed the rags togeth­er

Sewin’ every piece with love

She made my coat of many col­ors

That I was so proud of

The Imag­i­na­tion Library is clear­ly a boon to chil­dren liv­ing, as Par­ton once did, in pover­ty, but par­tic­i­pa­tion is open to any­one under age 5 liv­ing in an area served by an Imag­i­na­tion Library affil­i­ate.

Pro­mot­ing ear­ly engage­ment with books in such a sig­nif­i­cant way has also helped Par­ton to reduce some of the stig­ma sur­round­ing illit­er­a­cy:

You don’t real­ly real­ize how many peo­ple can’t read and write. Me telling the sto­ry about my dad­dy instilled some pride in peo­ple who felt like they had to keep it hid­den like a secret. I get so many let­ters from peo­ple say­ing, “I would nev­er had admit­ted it’ or “I was always ashamed.”

Learn more about Dol­ly Parton’s Imag­i­na­tion Library, which wel­comes dona­tions and inquiries from those who would like to start an affil­i­ate pro­gram in their area, here.

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

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“When We All Have Pocket Telephones”: A 1920s Comic Accurately Predicts Our Cellphone-Dominated Lives

in Comics/Cartoons, History, Technology | August 18th, 2022

Much has been said late­ly about jokes that “haven’t aged well.” Some­times it has do to with shift­ing pub­lic sen­si­bil­i­ties, and some­times with a gag’s exag­ger­a­tion hav­ing been sur­passed by the facts of life. As a Twit­ter user named Max Salt­man post­ed not long ago, “I love find­ing New York­er car­toons so dat­ed that the joke is lost entire­ly and the car­toons become just descrip­tions of peo­ple doing nor­mal things.” The exam­ples includ­ed a par­ty­go­er admit­ting that “I haven’t read it yet, but I’ve down­loaded it from the inter­net,” and a teacher admon­ish­ing her stu­dents to “keep your eyes on your own screen.”

All of those New York­er car­toons appear to date from the nine­teen-nineties. Even more pre­scient yet much old­er is the Dai­ly Mir­ror car­toon at the top of the post, drawn by artist W. K. Haselden at some point between 1919 and 1923. It envi­sions a time “when we all have pock­et tele­phones,” liable to ring at the most incon­ve­nient times: “when run­ning for a train,” “when your hands are full,” “at a con­cert,” even “when you are being mar­ried.” Such a com­ic strip could nev­er, as they say, be pub­lished today — not because of its poten­tial to offend mod­ern sen­si­tiv­i­ties, but because of its sheer mun­dan­i­ty.

For here in the twen­ty-twen­ties, we all, indeed, have pock­et tele­phones. Not only that, we’ve grown so accus­tomed to them that Haselden’s car­toon feels rem­i­nis­cent of the turn of the mil­len­ni­um, when the nov­el­ty and pres­tige of cell­phones (to say noth­ing of their grat­ing­ly sim­ple ring­tones) made them feel more intru­sive in day-to-day-life. Now, increas­ing­ly, cell­phones are day-to-day life. Far from the lit­er­al “pock­et tele­phones” envi­sioned a cen­tu­ry ago, they’ve worked their way into near­ly every aspect of human exis­tence, includ­ing those Haselden could nev­er have con­sid­ered.

Yet this was­n’t the first time any­one had imag­ined such a thing. “Rumors of a ‘pock­et phone’ had been ring­ing around the world since 1906,” writes Laugh­ing Squid’s Lori Dorn. “A man named Charles E. Alden claimed to have cre­at­ed a device that could eas­i­ly fit inside a vest pock­et and used a ‘wire­less bat­tery.’ ” In the event, it would take near­ly eight decades for the first cell­phone to arrive on the mar­ket, and three more on top of that for them to become indis­pens­able in the West. Now the “pock­et tele­phone” has become the defin­ing device of our era all over the world, though the social norms around its use do remain a work in progress.

via Laugh­ing Squid

Relat­ed con­tent:

The First Cell­phone: Dis­cov­er Motorola’s DynaT­AC 8000X, a 2‑Pound Brick Priced at $3,995 (1984)

Lyn­da Bar­ry on How the Smart­phone Is Endan­ger­ing Three Ingre­di­ents of Cre­ativ­i­ty: Lone­li­ness, Uncer­tain­ty & Bore­dom

Film­mak­er Wim Wen­ders Explains How Mobile Phones Have Killed Pho­tog­ra­phy

A 1947 French Film Accu­rate­ly Pre­dict­ed Our 21st-Cen­tu­ry Addic­tion to Smart­phones

The World’s First Mobile Phone Shown in 1922 Vin­tage Film

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

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Texas School Board Bans Illustrated Edition of The Diary of Anne Frank

in Books, Politics | August 18th, 2022

Accord­ing to a recent sur­vey con­duct­ed by the Texas State Teach­ers Asso­ci­a­tion, 70% of sur­veyed teach­ers said they were seri­ous­ly think­ing about leav­ing the teach­ing pro­fes­sion. “Lin­ger­ing stress from the pan­dem­ic is a fac­tor, but it isn’t the only one. Inad­e­quate pay, polit­i­cal attacks on edu­ca­tors and the fail­ure of state lead­ers to pro­tect the health and safe­ty of stu­dents and school employ­ees also have com­bined to dri­ve down the morale of teach­ers to the low­est lev­el in recent mem­o­ry and endan­ger our pub­lic school sys­tem,” TSTA Pres­i­dent Ovidia Moli­na said.

We recent­ly saw how Texas’ edu­ca­tion­al sys­tem has become a vast polit­i­cal mine­field, with con­ser­v­a­tive leg­is­la­tors attempt­ing to ban 800+ books from school libraries–pri­mar­i­ly because the books make stu­dents feel “uncom­fort­able.” This week, the Keller Inde­pen­dent School Dis­trict in Fort Worth, Texas decid­ed to can­cel an acclaimed illus­trat­ed adap­ta­tion of The Diary of Anne Frank, echo­ing the recent deci­sion by a Ten­nessee School board to ban Maus, the Pulitzer-Prize win­ning graph­ic nov­el on the Holo­caust. The ban of The Diary of Anne Frank was trig­gered by a par­ent com­plaint, which the right-lean­ing school board decid­ed to hon­or. Why would think­ing peo­ple want to opt out of teach­ing in the Texas edu­ca­tion­al sys­tem? It’s not hard to imag­ine.

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.

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Relat­ed Con­tent 

Ten­nessee School Board Bans Maus, the Pulitzer-Prize Win­ning Graph­ic Nov­el on the Holo­caust; the Book Becomes #1 Best­seller on Ama­zon

The 850 Books a Texas Law­mak­er Wants to Ban Because They Could Make Stu­dents Feel Uncom­fort­able

Umber­to Eco Makes a List of the 14 Com­mon Fea­tures of Fas­cism

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The Brilliantly Nightmarish Art & Troubled Life of Painter Francis Bacon

in Art, History | August 17th, 2022

The paint­ings of Fran­cis Bacon con­tin­ue to trou­ble their view­ers, not least those view­ers who try to slot his work into a par­tic­u­lar genre or move­ment. Bacon rose to promi­nence paint­ing the human body, hard­ly an uncom­mon sub­ject, but he did so in the mid­dle of the twen­ti­eth cen­tu­ry, just when abstrac­tion had achieved near-com­plete dom­i­na­tion of West­ern art. Though his work may not have been delib­er­ate­ly fash­ion­able, it was­n’t straight­for­ward­ly real­is­tic either. Even as they incor­po­rat­ed human­i­ty, his artis­tic visions twist­ed it out of shape, often in com­pli­cat­ed­ly grotesque or bloody ways. What could have inspired such endur­ing­ly night­mar­ish work?

That ques­tion under­lies Fran­cis Bacon: A Brush with Vio­lence, the 2017 BBC Two doc­u­men­tary above. Some answers are to be found in the painter’s life, whose frag­ile and asth­mat­ic ear­ly years were shad­owed by the for­mi­da­ble pres­ence of the elder Bacon, a Boer War vet­er­an and race­horse train­er. As Bacon’s friend and deal­er Lord Gowrie says, “His father got his sta­ble boys to whip him, and I think that start­ed one or two things off.” Like many stud­ies, the film draws con­nec­tions between Bacon’s har­row­ing art­works and his even more har­row­ing sex life, con­duct­ed in shad­owy under­worlds at great — and to him, seem­ing­ly thrilling — risk of phys­i­cal harm.

Bacon pro­ceed­ed down his long life’s every avenue in the same delib­er­ate­ly reck­less man­ner. As with men, mon­ey, and drink, so with art: he would gam­ble every­thing, as anoth­er inter­vie­wee puts it, on the next brush­stroke. His impul­sive cre­ation often pre­ced­ed equal­ly impul­sive destruc­tion, as evi­denced by one assis­tan­t’s mem­o­ries of fol­low­ing the artist’s orders to destroy a great many paint­ings that would now com­mand seri­ous prices at auc­tion. When Bacon real­ized what he need­ed to paint — a process that began with a youth­ful trip to Paris, where he first encoun­tered the work of Pablo Picas­so — he knew he could accept noth­ing else.

Those paint­ings attract ever more intense crit­i­cal scruti­ny, an enter­prise that has recent­ly pro­duced Fran­cis Bacon: A Taint­ed Tal­ent, the four-part doc­u­men­tary series just above from Youtube chan­nel Blind Dweller (recent­ly fea­tured here on Open Cul­ture for a video essay on Jean-Michel Basquiat). Almost whol­ly untrained in the clas­si­cal sense, Bacon devel­oped not just a dis­tinc­tive set of tech­niques for mak­ing vis­i­ble his tan­ta­liz­ing­ly appalling inner world, but also kept refin­ing those tech­niques to make his work ever less out­ward­ly shock­ing yet ever more affect­ing on sub­tler lev­els. In his life­time, this made him the high­est-paid artist in the world; more than thir­ty years after his death, he remains a move­ment of one.

Relat­ed con­tent:

Fran­cis Bacon on the South Bank Show: A Sin­gu­lar Pro­file of the Sin­gu­lar Painter

William Bur­roughs Meets Fran­cis Bacon: See Nev­er-Broad­cast Footage (1982)

Art His­to­ry School: Learn About the Art & Lives of Toulouse-Lautrec, Gus­tav Klimt, Frances Bacon, Edvard Munch & Many More

The Rev­o­lu­tion­ary Paint­ings of Jean-Michel Basquiat: A Video Essay

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

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Orson Welles Reads the Abolitionist John Brown’s Final Speech After Being Sentenced to Death

in History | August 17th, 2022

Orson Welles was only 25 years old when he direct­ed and starred in Cit­i­zen Kane, a film still wide­ly con­sid­ered the best ever made. Even then, he’d already been a house­hold name for at least three years, since his con­tro­ver­sial­ly real­is­tic radio adap­ta­tion of H. G. Wells’ The War of the Worlds. But Welles’ high pro­file at a young age came as a result of seri­ous work at an even younger one. His ear­li­er efforts include March­ing Song, a nev­er-pro­duced stage play about the abo­li­tion­ist John Brown, which he co-wrote with his for­mer school­mas­ter Roger Hill when he was just sev­en­teen years old.

Pub­lished only in 2019, March­ing Song proves that Welles had been work­ing in the frag­ment­ed-biog­ra­phy nar­ra­tive form well before Cit­i­zen Kane. It also shows the depth of his fas­ci­na­tion with the fig­ure of John Brown. As research, Welles and Hill vis­it­ed his­tor­i­cal sites includ­ing Harper’s Fer­ry, the Vir­ginia town in which Brown, in Octo­ber of 1859, led the raid on a fed­er­al armory meant as the first blow in a large-scale slave-lib­er­a­tion move­ment. As every Amer­i­can learns in school, Brown’s rebel­lion did not go as planned — not only did he lose more men than he’d expect­ed to, he also gained the coop­er­a­tion of few­er slaves than he’d expect­ed to — and brought the coun­try clos­er to civ­il war.

About two months lat­er, Brown became the first per­son exe­cut­ed for trea­son in the his­to­ry of the Unit­ed States. That the ver­dict did­n’t take him by sur­prise is evi­denced by the elo­quence of his last speech, deliv­ered extem­po­ra­ne­ous­ly after his con­vic­tion. Devout­ly reli­gious, he used it to make a final appeal to a high­er author­i­ty. “This court acknowl­edges, as I sup­pose, the valid­i­ty of the law of God,” he said. “I see a book kissed here which I sup­pose to be the Bible, or at least the New Tes­ta­ment. That teach­es me that ‘all things what­so­ev­er I would that men should do to me, I should do even so to them.’ It teach­es me, fur­ther, to ‘remem­ber them that are in bonds, as bound with them.’ I endeav­ored to act up to that instruc­tion.”

He then added, “I am yet too young to under­stand that God is any respecter of per­sons” — with the clear irony that he was at that point 59 years old, not to men­tion inti­mate­ly famil­iar with the Bible. The grav­i­ty of the occa­sion, and of Brown’s demeanor, might have been too much for the teenage Welles to embody. But when he got old­er he did well indeed by the text of Brown’s last speech, a per­for­mance cap­tured in the video above. He’d also man­aged, writes Mass Live’s Ray Kel­ly, to “stage Mac­beth with an all-black cast in Harlem in 1936,” pro­duce “the con­tro­ver­sial Native Son on Broad­way,” and use radio “to seek jus­tice for blind­ed African-Amer­i­can vet­er­an Isaac Woodard Jr.” Welles nev­er had to face the gal­lows for his con­vic­tions, but could cer­tain­ly chan­nel the spir­it of a man who was pre­pared to.

Relat­ed con­tent:

Young Orson Welles Directs “Voodoo Mac­beth,” the First Shake­speare Pro­duc­tion With An All-Black Cast: Footage from 1936

Albert Ein­stein Explains How Slav­ery Has Crip­pled Everyone’s Abil­i­ty to Think Clear­ly About Racism

The Anti-Slav­ery Alpha­bet: 1846 Book Teach­es Kids the ABCs of Slavery’s Evils

How Karl Marx Influ­enced Abra­ham Lin­coln and His Posi­tion on Slav­ery & Labor

When Orson Welles Became a Speech & Joke Writer for Franklin Delano Roo­sevelt

Orson Welles Nar­rates an Ani­mat­ed Para­ble About How Xeno­pho­bia & Greed Will Put Amer­i­ca Into Decline (1971)

When Orson Welles Crossed Paths With Hitler (and Churchill): “He Had No Per­son­al­i­ty…. I Think There Was Noth­ing There.”

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

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Behold a Secret Gallery of Art Created Using Discarded Gum on London’s Millennium Bridge

in Art, Creativity, Travel, Video - Arts & Culture | August 17th, 2022

Through­out his­to­ry, deter­mined artists have worked on avail­able sur­faces — scrap wood, card­board, walls…

Ben Wil­son has cre­at­ed thou­sands of works using chew­ing gum as his can­vas.

Specif­i­cal­ly, chew­ing gum spat out by care­less strangers.

His work has become a defin­ing fea­tur­ing of London’s Mil­len­ni­um Bridge, a mod­ern struc­ture span­ning the Thames, and con­nect­ing such South Bank attrac­tions as Tate Mod­ern and the Shake­speare’s Globe with St. Paul’s Cathe­dral to the north.

A 2021 pro­file in The Guardian doc­u­ments the cre­ation process:

The tech­nique is very pre­cise. He first soft­ens the oval of flat­tened gum a lit­tle with a blow­torch, sprays it with lac­quer and then applies three coats of acrylic enam­el, usu­al­ly to a design from his lat­est book of requests that come from peo­ple who stop and crouch and talk. He uses tiny mod­el­ers’ brush­es, quick-dry­ing his work with a lighter flame as he goes along, and then seals it with more lac­quer. Each paint­ing takes a few hours and can last for many years.

Unsur­pris­ing­ly, Wil­son works very, very small.

For every Mil­len­ni­um Bridge pedes­tri­an who’s hip to the ever-evolv­ing solo exhi­bi­tion under­foot, there are sev­er­al hun­dred who remain com­plete­ly obliv­i­ous.

Stoop to admire a minia­ture por­trait, abstract, or com­mem­o­ra­tive work, and the bulk of your fel­low pedes­tri­ans will give you a wide berth, though every now and then a con­cerned or curi­ous par­ty will stop to see what the deal is.

Wil­son, who works sprawled on the bridge’s met­al treads, his nose close to touch­ing his tiny, untra­di­tion­al can­vas, receives a sim­i­lar response, as described in Zachary Den­man’s short doc­u­men­tary, Chew­ing Gum Man:

They make think I’ve fall­en over and they may think I’ve had a car­diac arrest or some­thing, so I’ve had lots of ambu­lances turn­ing up…I’ve had loads of police.

His sub­jects are sug­gest­ed by the shape of the spat out gum, by friends, by strangers who stop to watch him work:

I’ve had to deal with peo­ple memo­ri­al­iz­ing peo­ple who have been mur­dered. Peo­ple who have been so lone­ly, or remem­ber­ing favorite pets; peo­ple who are des­ti­tute in all sorts of ways. It goes from pro­pos­al pic­tures, ‘Will you mar­ry me?’, to peo­ple who I drew when they were kids and they now have their own kids.

Like any street artist, Wilson’s had his share of run ins with the law, includ­ing a wrong­ful 2010 arrest for crim­i­nal dam­age, when a crowd of school­child­ren who’d been enthu­si­as­ti­cal­ly watch­ing an itty bit­ty St. Pauls tak­ing shape on a blob of gum wit­nessed him being dragged off by his feet. (He asked if he could fin­ish the pic­ture first…)

He may not get per­mis­sion to cre­ate the pub­lic works he goes out dai­ly to cre­ate, but he con­tributes by clear­ing the area of lit­ter, and as he points out, paint­ing on dis­card­ed gum doesn’t con­sti­tute defac­ing anyone’s actu­al prop­er­ty:

Tech­ni­cal­ly in one sense, I’m work­ing with­in the law …if I paint on chew­ing gum, it’s like find­ing No Man’s Land or com­mon ground. It’s a space which is not under the juris­dic­tion of a local or nation­al gov­ern­ment.











See more of Ben Wilson’s work in his online Gum Gallery.

Pho­tos in this arti­cle tak­en by Ayun Hal­l­i­day, 2022. All rights reserved.

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

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When Christopher Hitchens Vigilantly Defended Salman Rushdie After the Fatwah: “It Was a Matter of Everything I Hated Versus Everything I Loved”

in Current Affairs, Literature, Politics, Religion | August 16th, 2022

I have often been asked if Christo­pher defend­ed me because he was my close friend. The truth is that he became my close friend because he want­ed to defend me. –Salman Rushdie

Salman Rushdie remains in crit­i­cal con­di­tion after suf­fer­ing mul­ti­ple stab wounds while on stage in New York, a shock­ing occur­rence but not quite sur­pris­ing giv­en that the author has lived with a death sen­tence over his head since 1989. (You can read the his­to­ry of that con­tro­ver­sy here.) The nation of Iran has denied any respon­si­bil­i­ty for the attack on the author, but it’s prob­a­bly safe to assume that his 1988 nov­el The Satan­ic Vers­es has some­thing to do with it, over thir­ty years after the fact.

“Even before the fat­wa,” Steven Erlanger writes in The New York Times, “the book was banned in a num­ber of coun­tries, includ­ing India, Bangladesh, Sudan and Sri Lan­ka.” Protests of the nov­el result­ed in sev­er­al deaths and attacks on book­sellers. Rushdie had not set out to enrage much of the Islam­ic world, but nei­ther had he any inter­est in appeas­ing its con­ser­v­a­tive lead­ers. Always out­spo­ken, and a fero­cious crit­ic of British Empire as well as Islam­ic theoc­ra­cy, his career since the fat­wa has demon­strat­ed a com­mit­ment to free­ing the lit­er­ary arts from the dic­tates of church and state.

On the sub­ject of impe­ri­al­ism, Rushdie and the late Christo­pher Hitchens came to dis­agree after the U.S.‘s inva­sion of Iraq and Hitchens’ “U‑turn across the polit­i­cal high­way to join forces with the war-mak­ers of George W. Bush’s admin­is­tra­tion,” Rushdie writes in a Van­i­ty Fair appre­ci­a­tion for Hitchens’ after the lat­ter’s death. But his book God is Not Great “car­ried Hitch away from the Amer­i­can right and back toward his nat­ur­al, lib­er­al, ungod­ly con­stituen­cy”; a col­lec­tion of peo­ple who see the free expres­sion of ideas as a far prefer­able con­di­tion to the exis­tence of theo­crat­ic death squads.

Wher­ev­er he fell at any giv­en time on the polit­i­cal spec­trum, Hitchens nev­er gave up his defense of Rushdie, one in which, as he wrote in his mem­oir, Hitch-22, he was com­plete­ly com­mit­ted from the start:

It was, if I can phrase it like this, a mat­ter of every­thing I hat­ed ver­sus every­thing I loved. In the hate col­umn: dic­ta­tor­ship, reli­gion, stu­pid­i­ty, dem­a­gogy, cen­sor­ship, bul­ly­ing, and intim­i­da­tion. In the love col­umn: lit­er­a­ture, irony, humor, the indi­vid­ual, and the defense of free expres­sion. Plus, of course, friend­ship– 

Hitchens was grave­ly dis­ap­point­ed in lib­er­al writ­ers like Arthur Miller who refused to pub­licly sup­port Rushdie out of fear, as he says in the tele­vi­sion inter­view at the top of the post. The ambiva­lent response of many on the left struck him as gross polit­i­cal cow­ardice and hypocrisy. He went on the attack, argu­ing round­ly on pop­u­lar shows like Ques­tion Time (below, with his broth­er Peter, Baroness Williams, and recent­ly deposed prime min­is­ter Boris John­son).

Hitchens “saw that the attack on The Satan­ic Vers­es was not an iso­lat­ed occur­rence,” Rushdie writes, “that across the Mus­lim world, writ­ers and jour­nal­ists and artists were being accused of the same crimes — blas­phe­my, heresy, apos­ta­sy, and their mod­ern-day asso­ciates, ‘insult’ and ‘offense.’ ” Rushdie had meant no offense, he writes, “I had not cho­sen the bat­tle.” But it seems to have cho­sen him:

It was at least the right bat­tle, because in it every­thing that I loved and val­ued (lit­er­a­ture, free­dom, irrev­er­ence, free­dom, irre­li­gion, free­dom) was ranged against every­thing I detest­ed (fanati­cism, vio­lence, big­otry, humor­less­ness, philis­tin­ism, and the new offense cul­ture of the age). Then I read Christo­pher using exact­ly the same every­thing-he-loved-ver­sus-every­thing-he-hat­ed trope, and felt… under­stood.

If the fat­wa against Rushdie made him infa­mous, it did not make him uni­ver­sal­ly beloved, even among his fel­low writ­ers, but he always had a fierce ally in Hitchens. Let’s hope Rushdie can pick up the fight for free expres­sion once again when he recov­ers from this bru­tal stab­bing.

Relat­ed Con­tent:

Christo­pher Hitchens Dis­miss­es the Cult of Ayn Rand: There’s No “Need to Have Essays Advo­cat­ing Self­ish­ness Among Human Beings; It Requires No Rein­force­ment”

Hear Salman Rushdie Read Don­ald Barthelme’s “Con­cern­ing the Body­guard” 

Jeff Koons and Salman Rushdie Teach New Cours­es on Art, Cre­ativ­i­ty & Sto­ry­telling for Mas­ter­Class

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

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What Frank Lloyd Wright’s Unusual Windows Tell Us About His Architectural Genius

in Architecture, History | August 16th, 2022

There could be few more Amer­i­can styles of dwelling than the tract house, and few more Amer­i­can archi­tects than Frank Lloyd Wright. But Wright, of course, nev­er designed a tract house. Each of his dwellings, to say noth­ing of his pub­lic build­ings, was in every sense a one-off, not just in its lay­out and its details but in its rela­tion­ship to its con­text. Wright believed, as he declared in his book The Nat­ur­al House, that a build­ing should be “as dig­ni­fied as a tree in the midst of nature.” This he held true even for rel­a­tive­ly mod­est res­i­dences, as evi­denced by the series of “Uson­ian hous­es” he began in the late nine­teen-thir­ties.

The Vox video above fea­tures the “cypress-and-brick mas­ter­piece” that is Pope-Leighey House in Alexan­dria, Vir­ginia, which Wright com­plet­ed in 1941. “Bound­ed by the hum­ble bud­get of the Pope fam­i­ly” — Loren Pope, its head was work­ing as a news­pa­per copy edi­tor at the time — “this struc­ture nonethe­less exhibits the dis­tinct fea­tures char­ac­ter­is­tic of his for­mi­da­ble vision and style.”

So says the house­’s page at the Frank Lloyd Wright Foun­da­tion, which adds that “the archi­tec­tur­al ele­ment of com­pres­sion and release, the can­tilevered roofs, and the win­dows that open to the out­side cre­ate an imme­di­ate inter­ac­tion with the sur­round­ing land­scape.”

Video pro­duc­er Phil Edwards pays spe­cial atten­tion to those win­dows. He cites Wright’s con­vic­tion that “the best way to light a house is God’s way — the nat­ur­al way, as near­ly as pos­si­ble in the day­time and at night as near­ly like the day as may be, or bet­ter.” In the case of the Pope-Leighey house, achiev­ing this ide­al involved the use of not just near­ly floor-to-ceil­ing win­dows, but also cleresto­ry win­dows per­fo­rat­ed in a dis­tinc­tive geo­met­ric pat­tern and posi­tioned so as to cast “light hung like pic­tures on the wall.” The effect is so strong that the house­’s two relo­ca­tions appear not to have dimin­ished it — and so sin­gu­lar that, despite the enthu­si­asm of post-war tract-house devel­op­ers for Wright’s inno­va­tions in hous­ing, it nev­er did make it into Levit­town.

Relat­ed con­tent:

A Vir­tu­al Tour of Frank Lloyd Wright’s Lost Japan­ese Mas­ter­piece, the Impe­r­i­al Hotel in Tokyo

Take a 360° Vir­tu­al Tour of Tal­iesin, Frank Lloyd Wright’s Per­son­al Home & Stu­dio

12 Famous Frank Lloyd Wright Hous­es Offer Vir­tu­al Tours: Hol­ly­hock House, Tal­iesin West, Falling­wa­ter & More

That Far Cor­ner: Frank Lloyd Wright in Los Ange­les – A Free Online Doc­u­men­tary

How Insu­lat­ed Glass Changed Archi­tec­ture: An Intro­duc­tion to the Tech­no­log­i­cal Break­through That Changed How We Live and How Our Build­ings Work

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

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The Oakland Public Library Puts Online a Collection of Items Forgotten in Library Books: Love Notes, Doodles & More

in Archives, Books, Libraries, Photography, Writing | August 15th, 2022

Librar­i­ans are cham­pi­ons of orga­ni­za­tion, and among its best prac­ti­tion­ers.

Books are shelved accord­ing to the Dewey Dec­i­mal sys­tem.

Cat­e­gories are assigned using Library of Con­gress Rule Inter­pre­ta­tions, Library of Con­gress Sub­ject Head­ings, and Library of Con­gress Clas­si­fi­ca­tion.

And Sharon McKel­lar, the Teen Ser­vices Depart­ment Head at the Oak­land Pub­lic Library, col­lects ephemera she and oth­er staffers find in books returned to the OPL’s 18 loca­tions.

It’s an impulse many share. 

Even­tu­al­ly, she began scan­ning them to share on her employ­er’s web­site, inspired by Found Mag­a­zine, a crowd­sourced col­lec­tion of found let­ters, birth­day cards, kids’ home­work, to-do lists, hand­writ­ten poems, doo­dles, dirty pic­tures, etc.

As Found’s cre­ators, Davy Roth­bart and Jason Bit­ner, write on the magazine’s web­site:

We cer­tain­ly didn’t invent the idea of found stuff being cool. Every time we vis­it our friends in oth­er towns, someone’s always got some kind of unbe­liev­able dis­cov­ered note or pho­to on their fridge. We decid­ed to make a bunch of projects so that every­one can check out all the strange, hilar­i­ous and heart­break­ing things peo­ple have picked up and passed our way.

McKel­lar told NPR that her project “lets us be a lit­tle bit nosy. In a very anony­mous way, it’s like read­ing peo­ple’s secret diaries a lit­tle bit but with­out know­ing who they are.”

The finds, which she stores in a box under her desk pri­or to scan­ning and post­ing, are push­ing 600, with more arriv­ing all the time.

Search­able cat­e­gories include notes, cre­ative writ­ing, art, and pho­tos.

One arti­fact, the scat­o­log­i­cal one-of-a-kind zine Mr Men #48, excerpt­ed above, spans four cat­e­gories, includ­ing kids, a high­ly fer­tile source of both humor and heart­break.

There’s a dis­tinct­ly dif­fer­ent vibe to the items that chil­dren forge for them­selves or each oth­er, as opposed to work cre­at­ed for school, or as presents for the adults in their lives.

McKel­lar admits to hav­ing a sweet spot for their inad­ver­tent con­tri­bu­tions, which com­prise the bulk of the col­lec­tion.

She also cat­a­logues the throw­away fly­ers, tick­et stubs and lists that adult read­ers use to mark their place in a book, but when it comes to place­hold­ers with more obvi­ous poten­tial for sen­ti­men­tal val­ue, she finds her­self won­der­ing if a library patron has acci­den­tal­ly lost track of a pre­cious object:

Does the per­son miss that item? Do they regret hav­ing lost it or were they care­less with it because they actu­al­ly did­n’t share those deep and pro­found feel­ings with the per­son who wrote [it]?

Actu­al book­marks are not exempt…

Future plans include a pos­si­ble writ­ing con­test for short sto­ries inspired by items in the col­lec­tion.

Browse the Found in a Library Book col­lec­tion here.

Relat­ed Con­tent 

Pub­lic Library Receipt Shows How Much Mon­ey You’ve Saved by Bor­row­ing Books, Instead of Buy­ing Them

Free Col­or­ing Books from World-Class Libraries & Muse­ums: Down­load & Col­or Hun­dreds of Free Images

The New York Pub­lic Library Cre­ates a List of 125 Books That They Love

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

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How a Simple, Bauhaus-Designed Chair Ended Up Everywhere Over the Past 100 Years

in Art, Design | August 15th, 2022

If you don’t believe chairs can be art, you’ll have to take it up with the cura­tors, gal­lerists, col­lec­tors, archi­tects, and design­ers around the world who spend their lives obsess­ing over chair design. Every major muse­um has a fur­ni­ture col­lec­tion, and every col­lec­tion dis­play­ing fur­ni­ture gives spe­cial pride of place to the rad­i­cal inno­va­tions of mod­ernist chairs, from ear­ly arti­san cre­ations of the Bauhaus to mass-pro­duced mid-cen­tu­ry chairs of leg­end. Chairs are sta­tus sym­bols, art objects, and phys­i­cal man­i­fes­ta­tions of leisure, pow­er, and repose.

Who could for­get Charles and Ray Eames’ icon­ic lounge chair, Arne Jacob­sen’s “Egg,” the ele­gant­ly sim­ple side chairs of Eero Saari­nen and Charles Eames, or even the more recent cor­ner office sta­ple, the Aeron Chair — the Her­man Miller orig­i­nal that has been part of the Muse­um of Mod­ern Art’s per­ma­nent col­lec­tion since 1992? “In chairs more than in any oth­er object, human beings are the unit of mea­sure,” says Muse­um of Mod­ern Art cura­tor Pao­la Antonel­li, “and design­ers are forced to walk a line between stan­dard­iza­tion and per­son­al­iza­tion.”

Artist Mar­cel Breuer, a Bauhaus design­er, archi­tect, and instruc­tor, applied more than his share of inno­v­a­tive ideas to a series of chairs and tables designed and built in the 1920s and 30s. The most icon­ic of these, from a design per­spec­tive, may be the “Wass­i­ly,” a club chair-shaped con­trap­tion made of steel tub­ing and can­vas straps. (The chair acquired the name because Breuer’s Bauhaus col­league Wass­i­ly Kandin­sky so admired it.) One rarely encoun­ters this chair out­side the envi­rons of upscale fur­ni­ture gal­leries and the fin­er homes and wait­ing rooms.

Breuer’s Cesca, how­ev­er, the Wass­i­ly’s small­er, more util­i­tar­i­an cousin from 1928, seems to show up all over the place. Also called the B32 (with an arm­chair ver­sion called the B64), the Cesca’s one-piece, steel tube design was, like Breuer’s full line of Bauhaus fur­ni­ture, inspired by his exper­i­ments in bike-build­ing and inter­est in “mass pro­duc­tion and stan­dard­iza­tion,” he said. Unlike the Wass­i­ly, which might set you back around $3,300 for a qual­i­ty repro­duc­tion, a Cesca comes in at around 1/10th the price, and seems ubiq­ui­tous, the Vox video above points out.

No, it’s still not cheap, but Breuer’s rat­tan chair design is wide­ly beloved and copied. “The can­tilevered cane-and-chrome chair is all over the place,” Vox writes, “in trendy homes, in movies and on TV shows, even tat­tooed on peo­ple’s bod­ies.… [This] some­what unas­sum­ing two-legged chair is the real­iza­tion of a man­i­festo’s worth of utopi­an ideals about design and func­tion­al­i­ty.” It sat­is­fies the school’s brief, that is to say, for the util­i­tar­i­an as utopi­an, as Breuer him­self lat­er com­ment­ed on his design:

I already had the con­cept of span­ning the seat with fab­ric in ten­sion as a sub­sti­tute for thick uphol­stery. I also want­ed a frame that would be resilient and elas­tic [as well as] achieve trans­paren­cy of forms to attain both visu­al and phys­i­cal light­ness.… I con­sid­ered such pol­ished and curved lines not only sym­bol­ic of our mod­ern tech­nol­o­gy, but actu­al­ly tech­nol­o­gy itself.

Learn more about the prac­ti­cal, com­fort­able, beau­ty of the Cesca — and the ideals of the Bauhaus — in the video at the top. Learn more about the chair’s design­er, Mar­cel Breuer, in this online MoMA mono­graph by Christo­pher Wilk.

Relat­ed Con­tent: 

How the Icon­ic Eames Lounge Chair Is Made, From Start to Fin­ish

Down­load Orig­i­nal Bauhaus Books & Jour­nals for Free: A Dig­i­tal Cel­e­bra­tion of the Found­ing of the Bauhaus School 100 Years Ago

The Women of the Bauhaus: See Hip, Avant-Garde Pho­tographs of Female Stu­dents & Instruc­tors at the Famous Art School

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

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What Does a $275,000 Classical Guitar Sound Like?

in Music | August 12th, 2022

The high­est qual­i­ty clas­si­cal gui­tars hand­made in the 21st cen­tu­ry can run into the tens of thou­sands of dol­lars. This is no friv­o­lous expense for a pro­fes­sion­al play­er. Put such an instru­ment in the hands of an ama­teur and you may not hear much dif­fer­ence between it and a $150 fac­to­ry-made bud­get mod­el. In the hands of a sea­soned play­er, a high-end gui­tar tru­ly sings. Tone resides in the fin­gers — or 90% of it any­way — but a skilled gui­tarist knows how to dis­cov­er and make use of all an instru­men­t’s best qual­i­ties. For a musi­cian who makes a liv­ing doing so, spend­ing the cost of a car on a gui­tar makes eco­nom­ic sense (as does a good insur­ance pol­i­cy).

The tonal qual­i­ties of the instru­ment below, a hand­made clas­si­cal gui­tar from 1888, are clear­ly abun­dant; it’s also clear that gui­tarist Bran­don Ack­er — who has appeared in many of our pre­vi­ous posts on the gui­tar — knows how to exploit them. At times, he brings out such rich res­o­nance, the instru­ment sounds like a piano; at oth­ers, it is almost harp-like. We have a con­flu­ence of rar­i­ty: a high­ly skilled play­er with deep knowl­edge of clas­si­cal stringed instru­ments, and an instru­ment like no oth­er — so rare, in fact, that it’s val­ued at over a quar­ter of a mil­lion dol­lars, rough­ly the aver­age cost of a mod­er­ate­ly-priced house in the U.S., the largest invest­ment most peo­ple make in their life­time.

To under­stand why the instru­ment car­ries such a high price tag, see Ack­er and YouTu­ber and gui­tarist Rob Scal­lon vis­it with father-and-son luthi­er team R.E. and M.E. Bruné at their shops in Illi­nois in the video at the top. The Brunés are spe­cial­ists in clas­si­cal and fla­men­co gui­tars. (The elder Bruné tells a charm­ing sto­ry of mak­ing his first fla­men­co gui­tar for him­self from his par­ents’ first din­ing room table.) In their shop’s stor­age area, they have ready access to some of the rarest gui­tars in the world, and they give us a live­ly tour — start­ing with a “bit of a let­down,” the “low-end,” 1967 Daniel Friederich con­cert mod­el val­ued at $50,000.

In Ack­er’s hands, each gui­tar deliv­ers the full poten­tial of its sus­tain and res­o­nance. Final­ly, at 16:00, we come to the 1888 Anto­nio de Tor­res gui­tar val­ued at $275,000. There are many old­er gui­tars in exis­tence, even gui­tars made by Anto­nio Stradi­vari and his heirs. But it was this gui­tar, or one of the few oth­ers made by the leg­endary Tor­res around the same time, that rev­o­lu­tion­ized what a gui­tar looked and sound­ed like. When Andrés Segovia arrived on stages play­ing his Tor­res, the Brunés tell us, gui­tarists around the world decid­ed that the old style, small-bod­ied gui­tars in use for cen­turies were obso­lete.

There are per­haps 90 to 100 of the Tor­res clas­si­cal gui­tars in exis­tence, and this extrav­a­gant­ly-priced num­ber 124 is “as close as you’re going to get to orig­i­nal,” says the elder Bruné, while his son makes the fas­ci­nat­ing obser­va­tion, “old­er instru­ments that have been played a lot, espe­cial­ly by great play­ers… learn the music.” Ack­er express­es his sur­prise at the “sweet­ness” of the very touch of the gui­tar.

If you had attend­ed the 2016 Gui­tar Foun­da­tion of Amer­i­ca con­fer­ence in Den­ver, where M.E. Bruné exhib­it­ed sev­er­al of his shop’s rare gui­tars, you would have been able to play the Tor­res your­self — or even pur­chase it for the less­er price of $235,000.

In the video inter­view above from the GFA con­fer­ence, M.E. Bruné describes the year plus-long restora­tion process on the gui­tar, one that involved some dis­as­sem­bly, extra brac­ing, and a replace­ment fin­ger­board, but pre­served the beau­ti­ful spruce and bird­s­eye maple of the gui­tar, wood that “does­n’t grow on trees like this any­where” these days, says Bruné. It is, he says, “the best-sound­ing Tor­res” he’s ever heard. Com­ing from some­one who has heard, and restored, the sweet­est-sound­ing gui­tars in exis­tence, that’s say­ing a lot. $275,000 worth? Maybe. Or maybe it’s impos­si­bly arbi­trary to put any price on such an arti­fact.

Relat­ed Con­tent: 

Hear Musi­cians Play the Only Playable Stradi­var­ius Gui­tar in the World: The “Sabionari”

The His­to­ry of the Gui­tar: See the Evo­lu­tion of the Gui­tar in 7 Instru­ments

The Art of Mak­ing a Fla­men­co Gui­tar: 299 Hours of Blood, Sweat & Tears Expe­ri­enced in 3 Min­utes

Encore! Encore! An Hour of the World’s Most Beau­ti­ful Clas­si­cal Gui­tar

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

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