In His Latest Film, Slavoj Žižek Claims “The Only Way to Be an Atheist is Through Christianity”

For some time now, Slavoj Žižek has been show­ing up as an author and edi­tor of the­ol­o­gy texts along­side ortho­dox thinkers whose ideas he thor­ough­ly nat­u­ral­izes and reads through his Marx­ist lens. Take, for exam­ple, an essay titled, after the Catholic G.K. Chester­ton, “The ‘Thrilling Romance of Ortho­doxy’ ” in the 2005 vol­ume, part­ly edit­ed by Žižek, The­ol­o­gy and the Polit­i­cal: The New Debate. In Chesterton’s defense of Chris­t­ian ortho­doxy, Žižek sees “the ele­men­tary matrix of the Hegelian dialec­ti­cal process.” While “the pseu­do-rev­o­lu­tion­ary crit­ics of reli­gion” even­tu­al­ly sac­ri­fice their very free­dom for “the athe­ist rad­i­cal uni­verse, deprived of reli­gious ref­er­ence… the gray uni­verse of egal­i­tar­i­an ter­ror and tyran­ny,” the same para­dox holds for the fun­da­men­tal­ists. Those “fanat­i­cal defend­ers of reli­gion start­ed with fero­cious­ly attack­ing the con­tem­po­rary sec­u­lar cul­ture and end­ed up for­sak­ing reli­gion itself (los­ing any mean­ing­ful reli­gious expe­ri­ence).”

For Žižek, a mid­dle way between these two extremes emerges, but it is not Chester­ton’s way. Through his method of teas­ing para­dox and alle­go­ry from the cul­tur­al arti­facts pro­duced by West­ern reli­gious and sec­u­lar ideologies—supplementing dry Marx­ist analy­sis with the juicy voyeurism of psychoanalysis—Žižek finds that Chris­tian­i­ty sub­verts the very the­ol­o­gy its inter­preters espouse. He draws a con­clu­sion that is very Chester­ton­ian in its iron­i­cal rever­sal: “The only way to be an athe­ist is through Chris­tian­i­ty.” This is the argu­ment Žižek makes in his lat­est film, The Pervert’s Guide to Ide­ol­o­gy. In the clip above, over footage from Scorsese’s The Last Temp­ta­tion of Christ, Žižek claims:

Chris­tian­i­ty is much more athe­ist than the usu­al athe­ism, which can claim there is no God and so on, but nonethe­less it retains a cer­tain trust into the Big Oth­er. This Big Oth­er can be called nat­ur­al neces­si­ty, evo­lu­tion, or what­ev­er. We humans are nonethe­less reduced to a posi­tion with­in the har­mo­nious whole of evo­lu­tion, what­ev­er, but the dif­fi­cult thing to accept is again that there is no Big Oth­er, no point of ref­er­ence which guar­an­tees mean­ing.

The charge that Chris­tian­i­ty is a kind of athe­ism is not new, of course. It was levied against the ear­ly mem­bers of the sect by Romans, who also used the word as a term of abuse for Jews and oth­ers who did not believe their pagan pan­theon. But Žižek means some­thing entire­ly dif­fer­ent. Rather than using athe­ism as a term of abuse or mak­ing a delib­er­ate attempt to shock or inflame, Žižek attempts to show how Chris­tian­i­ty dif­fers from Judaism in its rejec­tion of “the big oth­er God” who hides his true desires and inten­tions, caus­ing immense anx­i­ety among his fol­low­ers (illus­trat­ed, says Žižek, by the book of Job). This is then resolved by Chris­tian­i­ty in an act of love, a “res­o­lu­tion of rad­i­cal anx­i­ety.”

And yet, says Žižek, this act—the crucifixion—does not rein­state the meta­phys­i­cal cer­tain­ties of eth­i­cal monothe­ism or pop­ulist pagan­ism. “The death of Christ,” says Žižek, “is not any kind of redemp­tion… it’s sim­ply the dis­in­te­gra­tion of the God which guar­an­tees the mean­ing of our lives.” It’s a provoca­tive, if not par­tic­u­lar­ly orig­i­nal, argu­ment that many post-Niet­zschean the­olo­gians have arrived at by oth­er means. Žižek’s read­ing of Chris­tian­i­ty in The Pervert’s Guide to Ide­ol­o­gy—along­side his copi­ous writ­ing and lec­tur­ing on the subject—constitutes a chal­lenge not only to tra­di­tion­al the­is­tic ortho­dox­ies but also to sec­u­lar human­ism, with its qua­si-reli­gious faith in progress and empir­i­cal sci­ence. Of course, his cri­tique of the vul­gar cer­tain­ties of ortho­doxy should also apply to ortho­dox Marx­ism, some­thing Žižek’s crit­ics are always quick to point out. Whether or not he’s suf­fi­cient­ly crit­i­cal of his com­mu­nist vision of real­i­ty, or has any­thing coher­ent to say at all, is a point I leave you to debate.

via Bib­liok­lept

Relat­ed Con­tent:

Slavoj Žižek’s Pervert’s Guide to Ide­ol­o­gy Decodes The Dark Knight and They Live

Noam Chom­sky Slams Žižek and Lacan: Emp­ty ‘Pos­tur­ing’

A Shirt­less Slavoj Žižek Explains the Pur­pose of Phi­los­o­phy from the Com­fort of His Bed

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

Prickly Ernest Hemingway Returns Letter to Critic: “Wipe Your Royal Irish Ass On It. You Are Stupid” (1931)

Despite being the paragon of imper­turbable mas­culin­i­ty of his time, Ernest Hem­ing­way had a high­ly sen­si­tive artis­tic tem­pera­ment. Nowhere did he exhib­it this more than when dis­cussing his writ­ing. Papa did not suf­fer fools glad­ly, and lit­er­ary crit­ics tend­ed to fare even worse. After Max East­man dared to write, “Come out from behind that false hair on your chest, Ernest. We all know you,” Hem­ing­way was report­ed to have slapped him with a book. When Orson Welles—a cin­e­mat­ic fire­brand in his own right—decid­ed to chide Hem­ing­way about his script, the author took a swing.

In this YouTube clip, the crit­ic seems to have got­ten away with mere­ly a ver­bal wal­lop. Although there is no video, the audio is clear, and we hear Hemingway’s mea­sured bari­tone read­ing, then com­ment­ing on, an Irish critic’s review that he had received in 1931:

‘Your book lies upon my table. I have fin­ished read­ing it, and I eye it dubi­ous­ly.’ You’ve got a nice eye, boy!

‘The pages are cut rather uneven­ly.’ Nice work, you’re in there.

‘The stiff cov­ers and the bind­ing are nor­mal, I think.’ Who are you, kid?

‘The sig­na­ture on the cov­er is stamped in gold, or what looks like gold. There is noth­ing print­ed on the back side of the jack­et.’ Your own back­side.

The review­er, one Wal­ter H. McK­ay, fails to probe beyond the book’s bind­ing, and Hem­ing­way, in his typ­i­cal style, terse­ly rips him a new one (bonus points if you noticed Hem’s Joycean turn of phrase).

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture writer. Fol­low him at @iliablinderman

Relat­ed Con­tent: 

Hem­ing­way to Fitzger­ald: “Kiss My Ass”

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

Ernest Hemingway’s Favorite Ham­burg­er Recipe

Watch The New America, a Stop Motion Animation Starring 800+ Laser Engraved Wood Blocks

A Pacif­ic North­west artist becomes infat­u­at­ed with the process of laser engrav­ing wood and hatch­es a plan for a stop motion ani­ma­tion fea­tur­ing hun­dreds of engraved maple blocks that can lat­er be mailed as rewards to his pro­jec­t’s Kick­starter donors.

Fans of the tele­vi­sion show Port­landia may find them­selves expe­ri­enc­ing a false sense of deja vu. Remark­ably, Nan­do Cos­ta is not the inven­tion of come­di­an Fred Armisen. He’s a real per­son, and two years ago, whilst liv­ing in Port­land, he glee­ful­ly embarked on what proved to be a very ambi­tious and time-con­sum­ing project.

The sort of project a guy with his skills and expe­ri­ence could have knocked out in a cou­ple of months had the cho­sen mate­ri­als been mag­ic mark­ers or clay.

Two years and some 800 wood blocks lat­er, The New Amer­i­ca is final­ly avail­able for view­ing, all two min­utes and 37 sec­onds of it. Cos­ta describes the abstract sto­ry­line as “a union between con­cepts and exper­i­ments born dur­ing the Sit­u­a­tion­ist move­ment and real life events expe­ri­enced dur­ing the last few years in Amer­i­can soci­ety. Par­tic­u­lar­ly the dual­i­ty between the eco­nom­ic down­turn and the shift in val­ues and beliefs of many cit­i­zens.”

In oth­er words, it’s unlike­ly to cap­ture the pub­lic’s imag­i­na­tion in the same way as Worst Twerk Fail EVER — Girl Catch­es Fire!

Respond­ing to well wishers—many of whom backed the project on Kickstarter—Costa is gracious…and exhaust­ed.

“It was a lot of hard work and stress,” he tells one admir­er in the com­ments sec­tion of his vimeo chan­nel, adding that more plan­ning would go into any future efforts. Despite his suc­cess­ful Kick­starter cam­paign the project went way over bud­get, and his wife was not thrilled to be shar­ing her home with all those 8 x 4.5 inch maple pan­els. (A few of them are avail­able for pur­chase on etsy, but it’s artist’s choice. Remem­ber what hap­pened when Bart Simp­son stole his dad’s cred­it card to order a gen­uine Itchy and Scratchy ani­ma­tion cel off the Impulse Buy­ing Net­work.)

For now, Cos­ta is con­tent to focus on a new job and set­tling into a new house after a recent move to Seat­tle. After that, per­haps an ani­ma­tion that would involve laser-cut paper, but that, he says, would require research.

Relat­ed Con­tent:

“The Peri­od­ic Table Table” — All The Ele­ments in Hand-Carved Wood

Vin­tage Footage of Picas­so and Jack­son Pol­lock Paint­ing … Through Glass

Watch Cab­bit: A Hand­made Ani­ma­tion by Cross­hatch Artist, Soo­gie

Ayun Hal­l­i­day dreams of ani­mat­ing some­thing or oth­er with dry erase mark­ers one of these days. Fol­low her @AyunHalliday

80s Pop Singer Jimmy Somerville Surprises German Street Musician as the Busker Sings Somerville’s Hit

The 80s saw a num­ber of hits by most­ly UK synth-pop and new wave bands with promi­nent gay mem­bers (whether their fans knew it or not) like Cul­ture Club, Soft Cell, Frankie Goes to Hol­ly­wood, and Wham!. One of the most impres­sive­ly tal­ent­ed singers on this bur­geon­ing 80s dance scene was Scot­tish musi­cian Jim­my Somerville who defined the tremu­lous falset­to dis­co sound of bands like Bron­s­ki Beat and the Com­mu­nards. Somerville’s first hit, 1984’s “Small­town Boy,” was some­thing of an ear­ly “It Gets Bet­ter” mes­sage cou­pled with a hard-edged dance-pop sound and a very auto­bi­o­graph­i­cal video (below). The song, writes All­mu­sic, dealt open­ly with Somerville’s sex­u­al­i­ty, “a recur­ring theme [in his work] that met with sur­pris­ing­ly lit­tle com­mer­cial resis­tance.”

Today, Somerville lives in Berlin with his dog, and he’s still got that tremen­dous set of pipes. A Berlin street musi­cian found this out recent­ly while busk­ing “Small­town Boy” on an acoustic gui­tar, and bystanders hap­pened to catch it on video (at top). As the young street per­former hits the cho­rus, up walks Somerville to casu­al­ly join in. The singer starts over and they fin­ish the song in har­mo­ny. The more cyn­i­cal cor­ners of the inter­net swear the whole thing’s staged, per­haps for a Somerville come­back, but I like to think it’s gen­uine serendip­i­ty, espe­cial­ly at the end as the Ger­man busker sud­den­ly has a flash of recog­ni­tion: “it’s you?” he asks. “It’s me,” says Somerville, “it’s a hit.”

via Gawk­er

Relat­ed Con­tent:

Lenny Kravitz Over­hears High School Kids Play­ing His Music and Sur­pris­es Them by Join­ing In

Street Artist Plays Leonard Cohen’s “Hal­lelu­jah” With Crys­tal Glass­es

Neil Young Busk­ing in Glas­gow, 1976: The Sto­ry Behind the Footage

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

James Brown Saves Boston After Martin Luther King’s Assassination, Calls for Peace Across America (1968)

Dr. Mar­tin Luther King, Jr.’s death could not have been more dev­as­tat­ing to African Amer­i­can com­mu­ni­ties across the coun­try hop­ing to see the civ­il rights leader live to build on the suc­cess­es of the move­ment. Despite King’s painful­ly prophet­ic “I’ve Been to the Moun­tain­top” speech the day before his assas­si­na­tion in Mem­phis Ten­nessee, most peo­ple hoped to see him fin­ish the work he’d begun. Those hopes were dashed on April, 4 1968. After King’s death, embit­tered and embat­tled minori­ties in cities North and South erupt­ed in riot­ing. Boston—a city of de fac­to seg­re­ga­tion to rival Birmingham’s—seemed poised to blow up as well  in the Spring of ’68, its “race rela­tions… already on a short fuse.” As pub­lic radio pro­gram Week­end Amer­i­ca describes the con­di­tions:

The ten­sion had been esca­lat­ing in the mid-60s as the city began to deseg­re­gate its pub­lic schools. The may­oral race in 1967 pit­ted a lib­er­al reformer, Kevin White, against Louise Day Hicks, an oppo­nent of deseg­re­ga­tion. Hicks ran under the eva­sive slo­gan “You know where I stand.” White won the race by less than 12,000 votes.

In this stark­ly divid­ed city, James Brown went onstage to per­form the day after King’s death, and it seems, whether that impres­sion is his­tor­i­cal­ly accu­rate or not, that Brown sin­gle-hand­ed­ly quelled Boston’s unrest before it spilled over into riot­ing.

The city’s politi­cians may have had some­thing to do with it as well. Before Brown took the micro­phone, the nar­row­ly-elect­ed May­or White addressed the rest­less crowd (top), ask­ing them to pledge that “no mat­ter what any oth­er com­mu­ni­ty might do, here in Boston, we will hon­or Dr. King’s lega­cy in peace.” After Coun­cilor Tom Atk­in’s lengthy intro­duc­tion and the may­or’s short speech, the audi­ence seems recep­tive, if eager to get the show on.

The archival footage was shot by Boston’s WGBH, who broad­cast Brown’s per­for­mance that night. (The clip comes from a VH1 “rock­u­men­tary” called, fit­ting­ly, “The Night James Brown Saved Boston.”) Not long after the band kicked in, the scene became chaot­ic after a Boston police offi­cer shoved a young man off the stage. Brown inter­vened, calm­ing the cops and the crowd. His drum­mer John Starks remem­bers it this way: “It was almost at a point where some­thing bad was going to hap­pen. And he said [to the police] ‘Let me talk to them.’ He had that pow­er.” In the clip above, watch con­cert­go­ers and oth­er band­mem­bers describe their impres­sions of Brown’s “pow­er” to reach the crowd.

Brown’s calm­ing effect went beyond this par­tic­u­lar gig. See him in the footage above address an audi­ence in Wash­ing­ton, D.C. two days after King’s death. “Edu­ca­tion is the answer,” he says, and sets up his own excep­tion­al boos­t­rap­ping rise from pover­ty as a mod­el to emu­late (“today, I own that radio sta­tion”). And WFMU’s Beware of the Blog brings us the audio below, from the year before King’s death—a time still fraught with spo­radic riots and nation­wide unrest against a sys­tem increas­ing­ly per­ceived as oppres­sive, cor­rupt, and beyond reform.

On the record, which was “prob­a­bly dis­trib­uted to radio sta­tions only,” Brown makes an impas­sioned plea for “black peo­ple, poor peo­ple” to “orga­nize” against their con­di­tions, rather than riot. While the mes­sage from “Soul Broth­er Num­ber One”—a title he accepts with humil­i­ty above—failed to douse the flames in cities like Wash­ing­ton, DC, Detroit, Chica­go, and Louisville, KY, and over 100 oth­ers after King’s mur­der, in Boston, the audi­ence at his con­cert and the peo­ple watch­ing at home on tele­vi­sion seemed to heed his calls for non­vi­o­lence. “Boston,” writes Week­end Amer­i­ca, “remained qui­et.”

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

Hear Homer’s Iliad Read in the Original Ancient Greek

Sure, you enjoyed hear­ing the way Ancient Greek music actu­al­ly sound­ed last week, but what about the way Ancient Greek poet­ry actu­al­ly sound­ed? We can find few­er fin­er or more rec­og­niz­able exam­ples of the stuff than Home­r’s Ili­ad, and above you can hear a read­ing of a sec­tion of the Ili­ad (Book 23, Lines 62–107 )  in the orig­i­nal Ancient Greek lan­guage.

It comes from what may strike you as an unlike­ly source: Stan­ley Lom­bar­do, a Uni­ver­si­ty of Kansas clas­si­cist (and also, as it hap­pens, a Zen Bud­dhist) best known for his trans­la­tions of the Ili­ad, the Odyssey, and Vir­gil’s Aeneid into con­tem­po­rary-sound­ing Eng­lish. “Sound­ing less like aris­to­crat­ic war­riors than like Amer­i­can G.I.‘s, per­haps,” writes clas­sics-steeped crit­ic Daniel Mendel­sohn in the New York Times review of Lom­bar­do’s Ili­ad, “his epic heroes ‘bad­mouth’ and ‘beat the day­lights out of one anoth­er and with­er­ing­ly call one anoth­er ‘trash’ and ‘pan­sy.’ ”

But Lom­bar­do knows thor­ough­ly the mate­r­i­al he adapts. Even those of us who nev­er learned Ancient Greek — if I may speak for this pre­sum­ably large group of read­ers — can get a feel for Home­r’s tale of the Tro­jan War and the sol­diers’ long return home by lis­ten­ing to the pro­fes­sor’s deliv­ery alone. Just above, you can see him give a read­ing from his Eng­lish trans­la­tion. It won’t sur­prise you to learn that he also reads the audio books. “We lis­tened spell­bound to the incan­ta­to­ry waves of Pro­fes­sor Stan­ley Lombardo’s voice telling the sto­ries of Odysseus and his Odyssey and then those of the Tro­jan heroes of The Illi­ad,” writes Andrei Codres­cu in an arti­cle on them for the Vil­lager. “Pro­fes­sor Lom­bar­do trans­lat­ed anew the immor­tal epics and immersed him­self so deeply in their world his voice sound­ed as believ­able as the hills and val­leys we crossed. His voice knows the tales and their endur­ing charms, and sounds for all the world like an ancient bard’s. Homer him­self couldn’t have done bet­ter. In Eng­lish no less, mil­len­nia lat­er.”

Relat­ed Con­tent:

What Ancient Greek Music Sound­ed Like: Hear a Recon­struc­tion That is ‘100% Accu­rate’

Hear The Epic of Gil­gamesh Read in the Orig­i­nal Akka­di­an, the Lan­guage of Mesopotamia

What Shake­speare Sound­ed Like to Shake­speare: Recon­struct­ing the Bard’s Orig­i­nal Pro­nun­ci­a­tion

Homer’s Ili­ad and Odyssey: Free Audio­Books & eBooks

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­lesA Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

Dissident Poet Joseph Brodsky Gives Six Life Tips to College Grads (1988)

Josef_Brodsky_Michigan

Image from the Uni­ver­si­ty of Michi­gan Year­book, via Wiki­me­dia Com­mons

Although Joseph Brod­sky was one of the most cel­e­brat­ed Sovi­et dis­si­dents of the 20th cen­tu­ry, the Nobel Prize-win­ning poet had been unerr­ing­ly hound­ed by the repres­sive Sovi­et gov­ern­ment, which had labeled his poet­ry as “porno­graph­ic and anti-Sovi­et.” Refus­ing to aban­don his writ­ing, Brod­sky was repeat­ed­ly brought to court, and once sen­tenced to 18 months of labor in the Arc­tic region of Arkhangel­sk. Dur­ing one of his court­room appear­ances, the young poet dis­played an admirable lev­el of tes­tic­u­lar for­ti­tude when the judge asked him, “Who has rec­og­nized you as a poet? Who has enrolled you in the ranks of poets?” Brod­sky, defi­ant, replied “No one. Who enrolled me in the ranks of the human race?”

In 1972, Brod­sky left the USSR for Amer­i­ca, where he was wide­ly sought as a lec­tur­er (his aca­d­e­m­ic bed­post includ­ed notch­es from Cam­bridge, Colum­bia, the Uni­ver­si­ty of Mass­a­chu­setts, and Mount Holyoke). On the heels of his win­ning the 1986 Nation­al Book Crit­ics’ award for crit­i­cism for Less Than One and receiv­ing the Nobel Prize for Lit­er­a­ture in 1987 (porno­graph­ic writ­ing, it seems, does quite well with the crit­ics), Brod­sky was invit­ed to give the 1988 com­mence­ment address at the Uni­ver­si­ty of Michi­gan.

Brod­sky’s remarks are far from the gal­va­niz­ing dose of inspi­ra­tion that many com­mence­ment address­es impart, and cer­tain­ly not what Michi­gan grad­u­ates were expect­ing. Rather than uplift, the poet­’s words sober­ly ground the audi­ence; instead of wrap­ping them in a warm self-assured­ness, the life tips are jar­ring, like an ice bath. Brod­sky’s address is a mix of wry humour, acknowl­edge­ment of our absur­dist exis­ten­tial dilem­ma, and bold, hon­est com­pas­sion. Read­ing Brodsky’s advice, one can’t help but feel that the poet val­ued his flawed human­i­ty even more than his art; like­ly, they were insep­a­ra­ble.

Here’s a boiled-down ver­sion of the poet’s remarks:

1) “Treat your vocab­u­lary the way you would your check­ing account.” Expres­sion often lags behind expe­ri­ence, and one should learn to artic­u­late what would oth­er­wise get pent up psy­cho­log­i­cal­ly. Learn to express your­self. Get a dic­tio­nary.

2) “Par­ents are too close a tar­get… The range is such that you can’t miss.” Be gen­er­ous with your fam­i­ly. Even if your con­vic­tions clash with theirs, don’t reject them—your skep­ti­cism of your infal­li­bil­i­ty can only ben­e­fit you. It will also save you a good deal of grief when they are gone.

3) “You ought to rely on your own home cook­ing.” Do not expect soci­ety to arrange itself to your benefit—there are too many peo­ple whose desires con­flict for that to hap­pen. Learn to rely on your­self, and help those who can­not.

4) “Try to not to stand out.” Do not cov­et mon­ey or fame for their own sake. It is best to be mod­est. There is com­fort join­ing the ranks of those who fol­low their own dis­creet paths.

5) “A par­a­lyzed will is no dain­ty for angels.” Do not indulge in vic­tim­hood. By blam­ing oth­ers, you under­mine your deter­mi­na­tion to change your cir­cum­stances. When life con­fronts you with hard­ships, remem­ber that they are no less an intrin­sic part of exis­tence. If you must strug­gle, do so with dig­ni­ty.

6) “To be social is to be for­giv­ing.” Do not let those who have hurt you live on in your com­plaints. For­get them.

The full text—irrevocably more pithy and eloquent—may be found here.

Relat­ed Con­tent:

‘This Is Water’: Com­plete Audio of David Fos­ter Wallace’s Keny­on Grad­u­a­tion Speech (2005)

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

Neil Gaiman Gives Grad­u­ates 10 Essen­tial Tips for Work­ing in the Arts

An Astronaut’s Guide to Life on Earth by Commander Chris Hadfield: The Viral Book Trailer

As Com­man­der of the Inter­na­tion­al Space Sta­tion, Chris Had­field “cap­ti­vat­ed the world with stun­ning pho­tos and com­men­tary from space.” Per­haps you remem­ber him singing David Bowie’s “Space Odd­i­ty” on board the Inter­na­tion­al Space Sta­tion, or, on a more prac­ti­cal lev­el, explain­ing what hap­pens when astro­nauts shed tears in space –an impor­tant ques­tion, no doubt, but maybe not as head­line grab­bing as this oth­er Had­field talk: Every­thing You Want­ed to Know About Going to the Bath­room in Space But Were Afraid to Ask.

Had­field returned from the ISS in May, and he has appar­ent­ly been busy writ­ing a book that came out just days ago, An Astro­naut’s Guide to Life on Earth: What Going to Space Taught Me About Inge­nu­ity, Deter­mi­na­tion, and Being Pre­pared for Any­thingTo pro­mote the book, Had­field “enlist­ed his son to make a video for his new book launch that would be as enter­tain­ing as his time in space,” accord­ing to Devour. Mis­sion accom­plished, we all agree. The video has logged near­ly 1,000,000 views and count­ing in a mat­ter of days.

If you want to get famil­iar with the mate­r­i­al cov­ered in Had­field­’s book, I’d encour­age you to lis­ten to his recent inter­view with Ter­ry Gross on Fresh Air.

Relat­ed Con­tent:

The Won­der, Thrill & Mean­ing of See­ing Earth from Space. Astro­nauts Reflect on The Big Blue Mar­ble

60 Sec­ond Adven­tures in Astron­o­my Explains the Big Bang, Rel­a­tiv­i­ty & More with Fun Ani­ma­tion

Star Gaz­ing from the Inter­na­tion­al Space Sta­tion (and Free Astron­o­my Cours­es Online)

The Wis­dom of Carl Sagan Ani­mat­ed

Experience Invisible Cities, an Innovative, Italo Calvino-Inspired Opera Staged in LA’s Union Station

The site spe­cif­ic opera Invis­i­ble Cities is up and run­ning at LA’s his­toric Union Sta­tion. Loca­tion aside, some­thing in this orig­i­nal work demands that I sub­ject it to the New York Mag­a­zine Approval Matrix I car­ry around in my mind. It’s a snarky, quad­fur­cat­ed rat­ing sys­tem for the lat­est trends and hap­pen­ings.

The phrase “based on an Ita­lo Calvi­no nov­el” should guar­an­tee it a spot in the High­brow range.

Opera purists might con­sid­er the fact that tick­et hold­ers must rely on wire­less head­phones to get the full sound mix as rea­son enough to send this inno­v­a­tive work to the Despi­ca­ble end of a “delib­er­ate­ly over­sim­pli­fied guide to who falls where on our taste hier­ar­chies.” A philis­tine myself, I think match­ing wan­der­ing singers to an invis­i­ble live orches­tra (they’re sequestered in a near­by room) sounds Bril­liant. It’s as if a  silent dis­co and a flash mob mat­ed, giv­ing birth to a baby with imper­vi­ous street cred and an incred­i­ble set of pipes. Here, have a lis­ten

Unlike the typ­i­cal Improv Every­where lark, the audi­ence here is in on this gag. Though inno­cent passers­by may won­der why var­i­ous indi­vid­u­als are moon­ing around the ter­mi­nal singing, Invis­i­ble Cities is a tick­et­ed per­for­mance. Indeed, its pop­u­lar­i­ty is such that the pro­duc­ers have need­ed to add extra free shows. Approval Matrix sug­gests it’s time to hop a train to LA.

H/T Kim L.

via GigaOm

Relat­ed Con­tent:

What Hap­pens When Every­day Peo­ple Get a Chance to Con­duct a World-Class Orches­tra

Watch a Whim­si­cal Ani­ma­tion of Ita­lo Calvino’s Short Sto­ry “The Dis­tance of the Moon”

Stephen Fry Hosts “The Sci­ence of Opera,” a Dis­cus­sion of How Music Moves Us Phys­i­cal­ly to Tears

Ayun Hal­l­i­day dreams that her opera-hat­ing 13-year-old son will one day con­sent to attend anoth­er free dress rehearsal at the Met, so that she can chap­er­one. Fol­low her @AyunHalliday

Lou Reed Rewrites Edgar Allan Poe’s “The Raven.” See Readings by Reed and Willem Dafoe

Yes, Hal­loween is behind us, and some peo­ple may desire a break from the Lou Reed trib­utes in order to mourn him silent­ly. Fair enough. But indulge us once more, because Reed’s best music and the dark imag­i­na­tive work of Edgar Allan Poe are always rel­e­vant, and when they come togeth­er, it’s rea­son to cel­e­brate. And come togeth­er they did ten years ago with the record­ing of Reed’s con­cept album The Raven, a selec­tion of musi­cal and dra­mat­ic pieces put togeth­er by Reed. The album notably fea­tures actors such as Willem Dafoe, Steve Busce­mi, Eliz­a­beth Ash­ley, and Aman­da Plum­mer and guest artists like David Bowie, Kate and Anna McGar­rigle, and Ornette Cole­man.

The col­lab­o­ra­tion, if you can call it such, between Reed and Poe makes per­fect sense. As Mark Dem­ing at All­mu­sic writes, “it’s no won­der why Lou Reed regards Poe as a kin­dred spir­it.” Reed said as much in the lin­er notes: “I have reread and rewrit­ten Poe to ask the same ques­tions again. Who am I? Why am I drawn to do what I should not? … Why do we love what we can­not have? Why do we have a pas­sion for exact­ly the wrong thing?” Despite its col­lec­tion of seem­ing­ly mis­matched parts, Reed’s The Raven worked, Dem­ing writes, and Reed hadn’t “sound­ed this com­mit­ted and engaged” in “over a decade” (Pitch­fork had a decid­ed­ly dif­fer­ent take on the album).

The Raven was orig­i­nal­ly a com­mis­sioned work for a stage pro­duc­tion called POEt­ry, an adap­ta­tion of Poe’s work by Robert Wil­son (who had pre­vi­ous­ly worked with Tom Waits on The Black Rid­er). The title record­ing of Reed’s adapt­ed “The Raven” (top) is actu­al­ly read by a creepy-voiced Willem Dafoe. Ten years lat­er, we have Reed him­self read­ing his ver­sion of “The Raven” (above) at Cannes just this past June. He looks and sounds rather frail, but he’s men­tal­ly in top form. He breaks into his own read­ing to point out the fact that his ver­sion of the poem uses Poe’s “exact rhythm.” “If you don’t believe me,” he says, “you can check it line-by-line.” And so you can. Read Reed’s “The Raven” against Poe’s orig­i­nal. Of his mod­ern­iza­tion, Reed said:

The lan­guage is dif­fi­cult, because there are a lot of arcane words that prob­a­bly no one knew that they meant, even at the time – archi­tec­tur­al terms and what­not. So I spent a lot of time with the dic­tio­nary, to make it more con­tem­po­rary, easy to read. Or eas­i­er, I should say.

The Reed/Poe/Robert Wil­son col­lab­o­ra­tion also pro­duced a 2011 book, also called The Raven and illus­trat­ed by artist Loren­zo Mat­tot­ti.

Relat­ed Con­tent:

Christo­pher Walken, Iggy Pop, Deb­bie Har­ry & Oth­er Celebs Read Tales by Edgar Allan Poe

Lou Reed — Vel­vet Under­ground Front­man, Influ­en­tial Solo Musi­cian — Dead at 71

Watch Red Shirley, Lou Reed’s Short Doc­u­men­tary on His Fas­ci­nat­ing 100-Year-Old Cousin (2010)

Nico, Lou Reed & John Cale Sing the Clas­sic Vel­vet Under­ground Song ‘Femme Fatale’ (Paris, 1972)

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

Mary Shelley’s Handwritten Manuscripts of Frankenstein Now Online for the First Time

Frankenstein_engraved

Thanks to the new­ly-opened Shel­ley-God­win Archive, you can read “for the first time in dig­i­tal form all the known man­u­scripts of Franken­stein,” Mary Shel­ley’s finest work and arguably the most famous work of British Roman­ti­cism.

The sto­ry behind the writ­ing of Franken­stein is famous. In 1816, Mary Shel­ley and Per­cy Bysshe Shel­ley, sum­mer­ing near Lake Gene­va in Switzer­land, were chal­lenged by Lord Byron to take part in a com­pe­ti­tion to write a fright­en­ing tale. Mary, only 18 years old, lat­er had a wak­ing dream of sorts where she imag­ined the premise of her book:

When I placed my head on my pil­low, I did not sleep, nor could I be said to think. My imag­i­na­tion, unbid­den, pos­sessed and guid­ed me, gift­ing the suc­ces­sive images that arose in my mind with a vivid­ness far beyond the usu­al bounds of rever­ie. I saw — with shut eyes, but acute men­tal vision, — I saw the pale stu­dent of unhal­lowed arts kneel­ing beside the thing he had put togeth­er. I saw the hideous phan­tasm of a man stretched out, and then, on the work­ing of some pow­er­ful engine, show signs of life, and stir with an uneasy, half vital motion.

This became the ker­nel of Franken­stein; or, The Mod­ern Prometheusthe nov­el first pub­lished in Lon­don in 1818, with only 500 copies put in cir­cu­la­tion. In writ­ing Franken­stein, Shel­ley used a series of note­books that “can now be viewed in high qual­i­ty, resiz­able page images.” Each hand-writ­ten page comes accom­pa­nied by a typed tran­script. Find them all here.

manuscript frankenstein

Fund­ed by The Nation­al Endow­ment for the Human­i­ties and The Gladys Krieble Del­mas Foun­da­tion, the new archive was assem­bled by the Uni­ver­si­ty of Maryland’s Insti­tute for Tech­nol­o­gy in the Human­i­ties, The New York Pub­lic Library, the Bodleian Library, The Hunt­ing­ton, and the Har­vard Uni­ver­si­ty Library.

Down the line, the Shel­ley-God­win Archive “will pro­vide the dig­i­tized man­u­scripts of Per­cy Bysshe Shel­ley, Mary Woll­stonecraft Shel­ley, William God­win, and Mary Woll­stonecraft, bring­ing togeth­er online for the first time ever the wide­ly dis­persed hand­writ­ten lega­cy of this unique­ly gift­ed fam­i­ly of writ­ers.” So stay tuned for more.

Note: The Archive rec­om­mends using recent ver­sions of Google’s Chrome brows­er or the lat­est ver­sion of Safari or Mozil­la Fire­fox when view­ing the man­u­scripts.

via The New York Times

Relat­ed Con­tent:

Lit­er­a­ture: Free Online Cours­es

See F. Scott Fitzgerald’s Hand­writ­ten Man­u­scripts for The Great Gats­by, This Side of Par­adise & More

The Online Emi­ly Dick­in­son Archive Makes Thou­sands of the Poet’s Man­u­scripts Freely Avail­able

James Joyce Man­u­scripts Online, Free Cour­tesy of The Nation­al Library of Ire­land

Franken­stein: The First Adap­ta­tion of Mary Shelley’s Nov­el to Film (1910)

Find Franken­stein in our Free eBooks and Free Audio Books col­lec­tions

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