Posts tagged literature

A working habit he has had from the beginning, Hemingway stands when he writes. He stands in a pair of his oversized loafers on the worn skin of a lesser kudu—the typewriter and the reading board chest-high opposite him.

When Hemingway starts on a project he always begins with a pencil, using the reading board to write on onionskin typewriter paper. He keeps a sheaf of the blank paper on a clipboard to the left of the typewriter, extracting the paper a sheet at a time from under a metal clip that reads “These Must Be Paid.” He places the paper slantwise on the reading board, leans against the board with his left arm, steadying the paper with his hand, and fills the paper with handwriting which through the years has become larger, more boyish, with a paucity of punctuation, very few capitals, and often the period marked with an X. The page completed, he clips it facedown on another clipboard that he places off to the right of the typewriter.

Hemingway shifts to the typewriter, lifting off the reading board, only when the writing is going fast and well, or when the writing is, for him at least, simple: dialogue, for instance.

He keeps track of his daily progress—“so as not to kid myself”—on a large chart made out of the side of a cardboard packing case and set up against the wall under the nose of a mounted gazelle head. The numbers on the chart showing the daily output of words differ from 450, 575, 462, 1250, back to 512, the higher figures on days Hemingway puts in extra work so he won’t feel guilty spending the following day fishing on the Gulf Stream.

George Plimpton, The Paris Review. Ernest Hemingway, The Art of Fiction No. 21.

In a 9,000 word interview from 1954, Plimpton and Hemingway discuss writing and craft, and gossip about their contemporaries.

I’m deeply honored that President Obama will be celebrating the 50th anniversary of ‘To Kill A Mockingbird’ by introducing it to a national audience. I believe it remains the best translation of a book to film ever made, and I’m proud to know that Gregory Peck’s portrayal of Atticus Finch lives on — in a world that needs him now more than ever.

Harper Lee, author, To Kill a Mockingbird.

Background: This Saturday President Obama will provide an introduction to USA Network’s 50th anniversary screening of To Kill a Mockingbird. The film is an adaptation of Lee’s only published book but one that won her a Pulitzer Prize and a Presidential Medal of Freedom in 2007 for her contributions to American literature.

Via Hollywood Reporter:

The film stars [Gregory] Peck as a lawyer in a small Alabama town who takes the tough case of a black man accused of raping a white woman. Told from the point of view of the attorney’s daughter, the novel is heralded as one of the first to portray America’s race issues frankly and remains on many schools’ mandatory reading lists.

The film was nominated for eight Oscars and went on to win three of the awards including Best Actor for Gregory Peck, Best Adapted Screenplay and Best Art Direction.

The Life and Death of Words

Words, like plants and animals, fight for survival and an international group of scientists studying English, Spanish and Hebrew believe that many — in general — are dying off.

Their killer? Editors.

Via Statistical Laws Governing Fluctuations in Word Use from Word Birth to Word Death (PDF):

The modern era of publishing, which is characterized by more strict editing procedures at publishing houses, computerized word editing and automatic spell-checking technology, shows a drastic increase in the death rate of words. Using visual inspection we verify most changes to the vocabulary in the last 10–20 years are due to the extinction of misspelled words and nonsensical print errors, and to the decreased birth rate of new misspelled variations and genuinely new words.

The Guardian clarifies this a bit by killing off some difficult words of their own and getting straight to the point about how words live and how words die:

But it is not only “defective” words that die: sometimes words are driven to extinction by aggressive competitors. The word “Roentgenogram”, for example, deriving from the discoverer of the x-ray, William Röntgen, was widely used for several decades in the 20th century, but, challenged by “x-ray” and “radiogram”, has now fallen out of use entirely. X-ray had beaten off its synonyms by 1980, speculate the academics, owing to its “efficient short word length” and since the English language is generally used for scientific publication. “Each of the words is competing to be a monopoly on who gets to be the name,” [Joel] Tenenbaum told the American Physical Society.

The phrase “the great war”, meanwhile, used for a period to describe the first world war, fell out of use around 1939 when another war of equal proportions hit the world.

Takeaway: Language is a giant Darwinian battle for linguistic supremacy. Choose yours selectively. 

Video: MIT’s Erez Lieberman Aiden and Jean-Baptiste Michel illustrate what we can learn from analyzing 500 billion words via Google Books and its related Ngram Viewer which gives us the ability to enter words and phrases into a search engine in order to view their frequency over time.

Good Books Metamorphasis

An incredible animation channeling Hunter S. Thompson to promote Good Books, an online bookseller that donates its profits to Oxfam.

Created by String Theory.

Visualizing Books
The Book Genome Project explores the internal “DNA” of books much in the same way Pandora launched the Music Genome Project to explore the internal workings of a song.
Shown here is a visualization A Year and a Day by Virginia Henley, a novel that takes place in medieval Scotland (think Braveheart) and tells the story of a romance between a conquering warrior and a woman whose castle he invades.
Via Booklamp:

A book isn’t a flat, two-dimensional thing, so book summary statistics – such as that a book is 17% about Vampires – only partially represents what a book is about. Any reader will tell you that a book has ebbs and flows, like currents in a river. Like a Thematic Current. And visualizing it can be interesting…
…As you can see, the thematic currents [in A Year and a Day] deal heavily with ancient or medieval setting, strong romance, family (much of the story deals with having heirs), and warfare. More specifically, you can see where major battles occur, where major romantic engagements occur, and where pain and suffering occurs during and after combat.

Image: Detail from Visualizing the Thematic Flow of a Book. Via Booklamp.org.
H/T: Chart Porn.

Visualizing Books

The Book Genome Project explores the internal “DNA” of books much in the same way Pandora launched the Music Genome Project to explore the internal workings of a song.

Shown here is a visualization A Year and a Day by Virginia Henley, a novel that takes place in medieval Scotland (think Braveheart) and tells the story of a romance between a conquering warrior and a woman whose castle he invades.

Via Booklamp:

A book isn’t a flat, two-dimensional thing, so book summary statistics – such as that a book is 17% about Vampires – only partially represents what a book is about. Any reader will tell you that a book has ebbs and flows, like currents in a river. Like a Thematic Current. And visualizing it can be interesting…

…As you can see, the thematic currents [in A Year and a Day] deal heavily with ancient or medieval setting, strong romance, family (much of the story deals with having heirs), and warfare. More specifically, you can see where major battles occur, where major romantic engagements occur, and where pain and suffering occurs during and after combat.

Image: Detail from Visualizing the Thematic Flow of a Book. Via Booklamp.org.

H/T: Chart Porn.

Happy 200th Birthday, Charles Dickens!
As part of the celebration, England’s Royal Mail is releasing stamps to commemorate the author.
Says Philip Parker, a Royal Mail spokesperson, “Charles Dickens was one of the truly great British novelists, a man born into poor circumstances who went on to change the world in which he lived thanks not just to his novels, but his campaigning journalism and philanthropy.”
Image: A Nicholas Nickleby stamp with an illustration by Hablot Knight Browne. Nickleby was Dickens’ third novel, appearing as a serial from 1838 through 1839.

Happy 200th Birthday, Charles Dickens!

As part of the celebration, England’s Royal Mail is releasing stamps to commemorate the author.

Says Philip Parker, a Royal Mail spokesperson, “Charles Dickens was one of the truly great British novelists, a man born into poor circumstances who went on to change the world in which he lived thanks not just to his novels, but his campaigning journalism and philanthropy.”

Image: A Nicholas Nickleby stamp with an illustration by Hablot Knight Browne. Nickleby was Dickens’ third novel, appearing as a serial from 1838 through 1839.

Happy 50th, Phantom Tollbooth

A Kickstarter campaign to create a documentary with the book’s author, Norton Juster, and illustrator, Jules Feiffer, is here.

Via Adam Gopnik in the New Yorker:

Milo is also one of the few protagonists in children’s literature—Dorothy is another—who have a wiser best friend throughout their journey, in this case Tock, the watchdog. Just as Dorothy learns from the smart Scarecrow, Milo learns from Tock’s timekeeper’s knowledge. Milo doesn’t educate himself; he gets educated. His epiphany is that math and reading and even spelling are themselves subjects of adventure, if seen from the right angle. The point of “The Phantom Tollbooth” is not that there’s more to life than school; it’s that normal school subjects can be wonderful if you don’t have to experience them as normal schooling…

…For “The Phantom Tollbooth” is not just a manifesto for learning; it is a manifesto for the liberal arts, for a liberal education, and even for the liberal-arts college. (Juster, who, knowing that he had started out with a classic, went on to publish sparingly, if beautifully—his visual romance “The Dot and the Line” is his best-known later work—spent most of his career as an architect and as a teacher at Hampshire College.) What Milo discovers is that math and literature, Dictionopolis and Digitopolis, should assume their places not under the pentagon of Purpose and Power but under the presidency of Rhyme and Reason. Learning isn’t a set of things that we know but a world that we enter.

Spike Jonze’s Stop Motion Short for Book Lovers

Via Open Culture:

It all started when filmmaker Spike Jonze (Being John Malkovich, Where the Wild Things Are) met handbag designer Olympia Le-Tan and asked her to create a Catcher in the Rye embroidery for his wall. She asked him to collaborate on a film in return. And so Jonze and Le-Tan, together with French director Simon Cahn, spent six months writing a script, then animating 3,000 pieces of felt cut by Le-Tan herself. The result is Mourir Auprès de Toi (To Die By Your Side), a short stop motion film set inside the famous Parisian bookstore, Shakespeare and Company, and it features a skeleton, his lover, and some famous book covers that spring to life.

A Q&A with Jonze about the film can be found on Nowness. A video of the making is available on Vimeo.

Hello, we were wondering whether you might like to put together a little collection of your all-time favourite magazine length journalism - maybe 5 articles - for us to feature on The Electric Typewriter? In return we would, of course, be happy to include a little description of the project along with all the relevant linkages. If you're interested, of there's anything we can do for you, hit us up via the ask page! — Asked by tetw

I’m crashing past your recommended five with the following:

What: David Foster Wallace: Consider the Lobster. Gourmet Magazine, 2004.
Why: I could pick any number of DFW articles as my favorite but am going with this one. See too his magnificent tennis reportage such as Federer as a Religious Experience from 2006  or The String Theory from 1996. 

What: Charles Bowden: While You Were Sleeping. Harper’s Magazine, 1996.
Why: Back in the mid-90s, Bowden published a harrowing account of life in Juarez, Mexico along the US border. At the time, a number of femicides where being committed. Very much a precursor to what’s happening in the drug wars today.

What: Lawrence Lessig, For the Love of Culture. The New Republic, 2010.
Why: This one’s less about storytelling and more about the legal, cultural and creative importance of open culture and the creative commons. A must primer for anyone interested in independent creativity and production in any field.  

What: Hunter S. Thompson, The Kentucky Derby is Decadent and Depraved. Scanlan’s Monthly, 1970.
Why: Thompson meets Steadman meets the madness of the Kentucky derby. 

What: George Plimpton, The Curious Case of Sidd Finch. Sports Illustrated, 1985.
Why: For the April 1985 issue of Sports Illustrated, Plimpton “discovers” a pitching prospect who will change baseball history. To start, Sidd has a 168 mile per hour fastball that he developed through years spent in a Tibetan monastery perfecting mind-body balance. Even knowing it’s an elaborate April Fools doesn’t diminish the fun.

What: Richard Hofstadter, The Paranoid Style in American Politics. Harper’s Magazine, 1964. 
Why: Because the more things change the more things stay the same. Great articles are timeless, right?

What: Gay Talese, Frank Sinatra Has a Cold. Esquire, 1966. 
Why: A J-School classic on how to report a story on a subject that never appears.

What: Jim Hogshire: The Electric Cough-Syrup Acid Test. Harper’s 1993.
Why: Ever wonder what it feels like to be a reptile. Take two bottles of Robitussin DM and call us in the morning.

So, that’s what I got. What about you? — Michael

MetaMaus

Twenty-five years ago Art Spiegelman brought the graphic novel to the general public and radicalized the type of stories the medium could tell.

In his Pulitzer Prize winning Maus, he tells the story of both Holocaust survivors and second generation survivors that then survived them, all in a world where Jews were mice, Germans were cats and Poles were pigs.

For the 25th anniversary, Spiegelman is releasing MetaMaus, a collection of interviews, scrapbooks and even a DVD about the original work’s creation.

Via the New York Times:

…The success of “Maus” — the first of its two volumes appeared in 1986 — was far from preordained. The book was turned down by many publishers, and Mr. Spiegelman prints his rejection letters here, from nearly all of America’s major publishing houses, including Alfred A. Knopf and Farrar, Straus & Giroux.

The idea of a comic book about the Holocaust was inconceivable to most. The idea made people snort. One editor wrote: “You can imagine the response I’ve gotten from the sales department.” “Maus” was finally published by Pantheon Books, which gave its author only a small advance.

And if you haven’t read Maus, we recommend stopping just about everything you might be doing and go and give it a read.

A Million Monkeys Just Might Write Shakespeare

Jesse Anderson created an application that mimics monkeys tapping away at keyboards. The result, as he writes, is Shakespeare:

Today (2011-09-23) at 2:30 PST the monkeys successfully randomly recreated A Lover’s Complaint. This is the first time a work of Shakespeare has actually been randomly reproduced.  Furthermore, this is the largest work ever randomly reproduced. It is one small step for a monkey, one giant leap for virtual primates everywhere.

Anderson’s non-technical explanation runs like so:

Instead of having real monkeys typing on keyboards, I have virtual, computerized monkeys that output random gibberish. This is supposed to mimic a monkey randomly mashing the keys on a keyboard. The computer program I wrote compares that monkey’s gibberish to every work of Shakespeare to see if it actually matches a small portion of what Shakespeare wrote. 

Click through for a more technical explanation, including his use of Hadoop and Amazon EC2.

H/T: Slashdot.

Happy Birthday Roald Dahl!
When I was young a good portion of my bookshelf was taken up by Roald Dahl. 
Yes, there were his classics, his Charlie and the Chocolate Factory and James and Giant Peach, but also Danny, Champion of the World, The Big Friendly Giant and a take-your-seven-year-old-breath-away collection of short stories called The Wonderful Story of Henry Sugar and Six More.
As much as he created magical worlds, he created a language that matched those fantastical places. Like Dr. Seuss and Shel Silverstein at that time, and Vladimir Nabokov when I was older, Dahl introduced me to the continued joys of language.
Over at the Oxford Dictionaries blog Robert Hughes explores Dahl’s language:

The words Dahl invented are not in our dictionaries, although some of the fragments which make them up are, and searching for them is an endlessly fascinating game. Take Oompa-Loompa for example. Was Dahl thinking of oompah-pah, the rhythmical sound of deep-toned brass instruments? Lump? maybe Karl Marx’s lumpenproletariat. There are resonances with loom, and so with workers in the vast factories of the Industrial Revolution. And of course there is also Dahl’s delight in rhyme which extends beyond Revolting Rhymes into his prose…
…This genius for taking syllables and word-fragments finds its fullest expression in gobblefunk. You can see in the photo above how many words Dahl tried out—writing as always on the yellow American legal pads he became addicted to when he worked in New York— before he could invent such words as chiddler (for child).

Image: Dahl’s Word List filed with the first draft of The BFG

Happy Birthday Roald Dahl!

When I was young a good portion of my bookshelf was taken up by Roald Dahl. 

Yes, there were his classics, his Charlie and the Chocolate Factory and James and Giant Peach, but also Danny, Champion of the World, The Big Friendly Giant and a take-your-seven-year-old-breath-away collection of short stories called The Wonderful Story of Henry Sugar and Six More.

As much as he created magical worlds, he created a language that matched those fantastical places. Like Dr. Seuss and Shel Silverstein at that time, and Vladimir Nabokov when I was older, Dahl introduced me to the continued joys of language.

Over at the Oxford Dictionaries blog Robert Hughes explores Dahl’s language:

The words Dahl invented are not in our dictionaries, although some of the fragments which make them up are, and searching for them is an endlessly fascinating game. Take Oompa-Loompa for example. Was Dahl thinking of oompah-pah, the rhythmical sound of deep-toned brass instruments? Lump? maybe Karl Marx’s lumpenproletariat. There are resonances with loom, and so with workers in the vast factories of the Industrial Revolution. And of course there is also Dahl’s delight in rhyme which extends beyond Revolting Rhymes into his prose…

…This genius for taking syllables and word-fragments finds its fullest expression in gobblefunk. You can see in the photo above how many words Dahl tried out—writing as always on the yellow American legal pads he became addicted to when he worked in New York— before he could invent such words as chiddler (for child).

Image: Dahl’s Word List filed with the first draft of The BFG

Daniel Clowes, Winner, Outstanding Body of Work in Graphic Literature, PEN Center USA Literary Award.
I grew up on Eightball/Like a Velvet Glove Cast in Iron. Nice to see this award — Michael

Daniel Clowes, Winner, Outstanding Body of Work in Graphic Literature, PEN Center USA Literary Award.

I grew up on Eightball/Like a Velvet Glove Cast in Iron. Nice to see this award — Michael

For Fish a great sentence is like a great athletic performance. It is an example of something done supremely well, so well that it cannot be bettered. Other similar feats will come along, but only to stand alongside it. What exactly is done in such a performance? There is no single answer, indeed no finite answer since there is no limit to the things that can be done with words.
Simon Blackburn, The New Republic. The Mighty Pen, a review of Stanley Fish’s How to Write a Sentence: And How to Read One.