Springsteen’s Favorite Books & Reading List

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Image by Michele Lucon, via Wiki­me­dia Com­mons

Bruce Spring­steen will make his debut as a chil­dren’s author next Tues­day, with the release of Out­law Pete. In advance of that lit­er­ary event, The New York Times inter­viewed Spring­steen about the books on his read­ing list and his lit­er­ary tastes. They ask:

What books are cur­rent­ly on your night stand?

I just fin­ished “Moby-Dick,” which scared me off for a long time due to the hype of its dif­fi­cul­ty. I found it to be a beau­ti­ful boy’s adven­ture sto­ry and not that dif­fi­cult to read. Warn­ing: You will learn more about whales than you have ever wished to know. On the oth­er hand, I nev­er want­ed it to end. Also, “Love in the Time of Cholera,” by Gabriel Gar­cía Márquez. It sim­ply touched on so many aspects of human love.

Who is your favorite nov­el­ist of all time, and your favorite nov­el­ist writ­ing today?

I like the Rus­sians, the Chekhov short sto­ries, Tol­stoy and Dos­toyevsky. I nev­er read any of them until the past four years, and found them to be thor­ough­ly psy­cho­log­i­cal­ly mod­ern. Per­son­al favorites: “The Broth­ers Kara­ma­zov” and, of course, “Anna Karen­i­na.”

Cur­rent favorites: Philip Roth, Cor­mac McCarthy and Richard Ford. It’s hard to beat “Amer­i­can Pas­toral,” “I Mar­ried a Com­mu­nist” and “Sabbath’s The­ater.” Cor­mac McCarthy’s “Blood Merid­i­an” remains a water­mark in my read­ing. It’s the com­bi­na­tion of Faulkn­er and Ser­gio Leone’s spaghet­ti west­erns that gives the book its spark for me. I love the way Richard Ford writes about New Jer­sey. “The Sports­writer,” “Inde­pen­dence Day” and “The Lay of the Land” are all set on my stomp­ing grounds and, besides being poignant and hilar­i­ous, nail the Jer­sey Shore per­fect­ly.

The rest of the inter­view touch­es on his favorite New Jer­sey writer (had to ask that); the writ­ers who most inspired his song­writ­ing (spoil­er alert, Flan­nery O’Con­nor is one of them); his favorite book about music; the unex­pect­ed books on his shelves (hel­lo Bertrand Russell’s “The His­to­ry of West­ern Phi­los­o­phy”); and much more. Read the inter­view in its entire­ty here, and also see today’s Times piece on the new, open-access, aca­d­e­m­ic jour­nal about Spring­steen. It’s called Boss.

Note, you can find most of the clas­sic books he men­tions in our col­lec­tion, 800 Free eBooks for iPad, Kin­dle & Oth­er Devices.

Relat­ed Con­tent:

Bruce Spring­steen Plays East Berlin in 1988: I’m Not Here For Any Gov­ern­ment. I’ve Come to Play Rock

Bruce Spring­steen and Pink Floyd Get Their First Schol­ar­ly Jour­nals and Aca­d­e­m­ic Con­fer­ences

Heat Map­ping the Rise of Bruce Spring­steen: How the Boss Went Viral in a Pre-Inter­net Era

Vintage Photos of Veterans of the Napoleonic Wars, Taken Circa 1858

Monsieur Moret of the 2nd Regiment 1814/15

His­to­ri­ans have debat­ed for cen­turies how Napoleon Bona­parte man­aged to turn the same men who once over­threw a king in the name of lib­erté, égal­ité  and fra­ter­nité into a for­mi­da­ble fight­ing force devot­ed to an emper­or. But that’s pre­cise­ly what he did. As he swept through Italy, Spain and Egypt, his army grew rapid­ly and not just with French troops. Pol­ish, Ger­man, Dutch and Ital­ian sol­diers took up arms under Napoleon’s ban­ner. In 1805, in a French vil­lage fac­ing the Eng­lish Chan­nel, Napoleon chris­tened his mas­sive multi­na­tion­al army the Grande Armée.

Monsieur Ducel Mameluke de la Garde  1813-1815.

Orig­i­nal­ly, the diminu­tive despot from Cor­si­ca planned to use the force to invade Britain but that ulti­mate­ly nev­er hap­pened. Instead, he direct­ed his force to take out some of his con­ti­nen­tal rivals. The Grande Armée destroyed the Holy Roman Empire at Auster­litz. After it forced the Aus­tri­ans into sub­mis­sion fol­low­ing the Bat­tle of Wagram in 1809, the Grande Armée set out for Napoleon’s dis­as­trous cam­paign in Rus­sia. As it marched towards Moscow in 1812, its ranks swelled to over a half mil­lion troops. As it retreat­ed, it was reduced to less than 120,000.

Monsieur Vitry Departmental Guard

Napoleon and the Grande Armée were final­ly defeat­ed in 1815 dur­ing the Bat­tle of Water­loo. And though Napoleon was igno­min­ious­ly exiled to Elba, he, and his army, con­tin­ued to be revered by the French. On the anniver­sary of his death, May 5th, vet­er­ans of the Napoleon­ic wars would pay homage to the Emper­or by march­ing in full uni­form through Paris’ Place Vendôme.

Quartermaster Fabry 1st Hussars

In 1858, some­one took por­traits of the vet­er­ans using that new­fan­gled tech­nol­o­gy called pho­tog­ra­phy. The men were well into old age when the pic­tures were tak­en, and some were clear­ly strug­gling to stay still for the length of the camera’s expo­sure. But they all look impres­sive in their uni­forms com­plete with epaulettes, medals, sash­es and plumes. You can see some of the images above. Click on each to enlarge them.

The pho­tographs, high­light­ed this week on Mash­able, come from a web­site host­ed by Brown Uni­ver­si­ty. There you can see more images from the col­lec­tion.

via Mash­able

Relat­ed Con­tent:

14,000 Free Images from the French Rev­o­lu­tion Now Avail­able Online

The First Col­or Pho­tos From World War I: The Ger­man Front

Napoleon: The Great­est Movie Stan­ley Kubrick Nev­er Made

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

44 Essential Movies for the Student of Philosophy

What comes to mind when you hear the phrase “philo­soph­i­cal film”? The Matrix, most like­ly, an obvi­ous exam­ple of a movie—or franchise—that explores time­less ques­tions: Who are we? What is real­i­ty? Are our lives noth­ing more than elab­o­rate sim­u­la­tions pro­grammed by hyper­in­tel­li­gent super­com­put­ers? Okay, that last one may be of more recent vin­tage, but it’s close­ly relat­ed to that ancient cave alle­go­ry of Plato’s that asks us to con­sid­er whether our expe­ri­ences of the world are noth­ing more than illu­sions ema­nat­ing from a “real” world that lies hid­den from view. Anoth­er influ­ence on The Matrix is Rene Descartes, whose dual­is­tic sep­a­ra­tion of con­scious­ness and body receives the max­i­mum of dra­mat­ic treat­ment.

But The Matrix is only one film among a great many that con­cern them­selves with clas­sic prob­lems of phi­los­o­phy. In a 2010 post for Mubi, Matt Whit­lock com­piled a list of 44 “Essen­tial Movies for a Stu­dent of Phi­los­o­phy.” Along with The Matrix, oth­er films of the past cou­ple decades get men­tions—Richard Lin­klater’s Wak­ing Life, The Tru­man Show (“the true home of Plato’s Cave in mod­ern movies”), Eter­nal Sun­shine of the Spot­less Mind, I Heart Huck­abees, Being John Malkovich, Incep­tion. Also appear­ing on the list are clas­sics like Aki­ra Kurosawa’s Rashomon and Ing­mar Bergman’s The Sev­enth Seal—which illus­trates, Whit­lock writes, “The Angst of The Absurd.” All of these films appear under the sub­head­ing “Famous thought exper­i­ments or dis­cus­sion of a famous philo­soph­i­cal prob­lem.”

Anoth­er cat­e­go­ry on the list is “Movies fea­tur­ing a philoso­pher.” The media-savvy Slavoj Žižek gets two men­tions, for 2006’s The Pervert’s Guide to Cin­e­ma and 2005’s Žižek! (excerpt above). Since Whit­lock com­piled the list, Žižek has received yet anoth­er fea­ture-length treatment—2012’s The Pervert’s Guide to Ide­ol­o­gy. Astra Tay­lor, direc­tor of Žižek!, also includ­ed him in 2009’s The Exam­ined Life, along­side Peter Singer, Michael Hardt, Judith But­ler, Sunau­ra Tay­lor, and Cor­nel West. After the doc­u­men­taries, we have “Movies with philoso­pher as a char­ac­ter,” includ­ing Derek Jarman’s Wittgen­stein, with Clan­cy Chas­say as the iras­ci­ble logi­cian, Rober­to Rossellini’s 1958 Socrates, star­ring Jean Syl­vere in the title role, and, of course, Bill and Ted’s Excel­lent Adven­ture, with Tony Steed­man as “So-Crates.”

The final three sub­cat­e­gories in Whitlock’s list are “Movies fea­tur­ing the ideas of par­tic­u­lar philoso­phers,” “Movies based on Nov­els writ­ten by famous philoso­phers,” and “Oth­er.” In the last bas­ket, Whit­lock places the PBS string-the­o­ry doc­u­men­tary The Ele­gant Uni­verse and Finnish per­for­mance artist M.A. Numminen’s bizarre adap­ta­tion of Wittgenstein’s Trac­ta­tus. Whit­lock nar­rows the field by rul­ing out “movies that make you think deep crazy stuff” or those with “some new ‘exis­ten­tial twist’ on com­mon top­ics.” Instead, he sticks to those films “that (seem to be) incar­na­tions of clas­sic philo­soph­i­cal thought exper­i­ments or movies that have a major philo­soph­i­cal prob­lem as a main theme… that include top­ics that a seri­ous stu­dent of phi­los­o­phy needs to under­stand.”

Like most such lists, this one doesn’t claim to be defin­i­tive, and the four years since its com­pi­la­tion have pro­duced sev­er­al films that might war­rant inclu­sion. Yet anoth­er ref­er­ence from 2010—William G. Smith’s Socrates and Sub­ti­tles: A Philosopher’s Guide to 95 Thought-Pro­vok­ing Movies from Around the World—casts a wider net. But Whitlock’s list seems to me a very use­ful start­ing point for think­ing about the rela­tion­ship between phi­los­o­phy and film. Below, see the first ten films on the list:

Zizek! (2005)
Exam­ined Life (2008)
Der­ri­da (2002)
The Ister (2004)
The Pervert’s Guide To Cin­e­ma (2009)
Being In The World (2010)
Bill And Ted’s Excel­lent Adven­ture (2001)
When Niet­zsche Wept (2007)
The Last Days Of Immanuel Kant (1994)
The Alchemist Of Hap­pi­ness (2004)

Take a look at his full list here, and by all means, offer your own sug­ges­tions for films that fit the cri­te­ria in the com­ments sec­tion below.

Relat­ed Con­tent:

Wittgen­stein: Watch Derek Jarman’s Trib­ute to the Philoso­pher, Fea­tur­ing Til­da Swin­ton (1993)

Watch The Real­i­ty of the Vir­tu­al: 74 Min­utes of Pure Slavoj Žižek (2004)

Watch The Idea, the First Ani­mat­ed Film to Deal with Big, Philo­soph­i­cal Ideas (1932)

Daniel Den­nett and Cor­nel West Decode the Phi­los­o­phy of The Matrix in 2004 Film

Two Ani­ma­tions of Plato’s Alle­go­ry of the Cave: One Nar­rat­ed by Orson Welles, Anoth­er Made with Clay

The Drink­ing Par­ty, 1965 Film Adapts Plato’s Sym­po­sium to Mod­ern Times

Down­load 100 Free Phi­los­o­phy Cours­es and Start Liv­ing the Exam­ined Life

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

 

Did Bach’s Wife Compose Some of “His” Masterpieces? A New Documentary Says Yes

You may have heard of, or indeed read, Aus­tralian con­duc­tor Mar­tin Jarvis’ 2011 book Writ­ten By Mrs. Bach, which inves­ti­gates the ques­tion of whether Johann Sebas­t­ian Bach’s “cel­lo suites were com­posed by the Ger­man musi­cian’s sec­ond wife, Anna Mag­dale­na Bach.” Now, the book has become a doc­u­men­tary — adding the no doubt enrich­ing ele­ment of sound to the pro­ceed­ings — whose trail­er you can watch above. In it, accord­ing to the Wash­ing­ton Post, “a pro­fes­sor of music, a com­pos­er and an Amer­i­can expert in doc­u­ment foren­sics advance the case.”

“Prof Jarvis said he aims to over­turn the ‘sex­ist’ con­ven­tion that recog­nised com­posers were always a ‘sole male cre­ator,’ to final­ly rein­state Mrs Bach into the his­to­ry books,” writes the Tele­graph’s Han­nah Fur­ness. “While Anna is known to have tran­scribed for Bach in his lat­er years, researchers found the hand­writ­ing did not have the ‘slow­ness or heav­i­ness’ usu­al­ly attrib­uted to some­one who is mere­ly copy­ing, but was like­ly to have flowed from her own mind,” bol­stered by “numer­ous cor­rec­tions to scores writ­ten in her hand, sig­nalling she is like­ly to have been com­pos­ing it as she went along.” A ter­ri­bly intrigu­ing ques­tion, but as with the ques­tion of Shake­speare­an author­ship, who held the pen now mat­ters less than what came out of it.

The works under scruti­ny here include “Bach’s unac­com­pa­nied cel­lo suites, of which there are six — the first of them pop­u­lar­ized as the theme of the film Mas­ter and Com­man­der: The Far Side of the World”; “the aria that begins and ends per­haps the most famous key­board work of all time, The Gold­berg Vari­a­tions”; and “a por­tion of the two-book mas­ter­work orig­i­nal­ly com­posed for the harp­si­chord known as the The Well-Tem­pered Clavier.” That infor­ma­tion comes from the Post, who also offer clips of these pieces. We’ve embed­ded them here for you to enjoy — and, no mat­ter who wrote them, you cer­tain­ly will. How often in his­to­ry, after all, do you encounter both man and wife who can com­pose for the ages?

via The Wash­ing­ton Post

Relat­ed Con­tent:

All of Bach for Free! New Site Will Put Per­for­mances of 1080 Bach Com­po­si­tions Online

A Big Bach Down­load: All of Bach’s Organ Works for Free

The Genius of J.S. Bach’s “Crab Canon” Visu­al­ized on a Möbius Strip

Video: Glenn Gould Plays the Gold­berg Vari­a­tions by J.S. Bach

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Man Hauls a Piano Up a Mountain in Thailand and Plays Beethoven for Injured Elephants

If we’ve fea­tured Jazz for Cows on Open Cul­ture, then why not Clas­si­cal Music for Ele­phants? Actu­al­ly, they’re not just any ele­phants fea­tured above. They’re old, injured, hand­i­capped, some­times blind ele­phants who live in the moun­tains of Thai­land. And the gen­tle­man play­ing a slow move­ment from Beethoven’s “Pathé­tique Sonata” is Paul Bar­ton. On his Youtube chan­nel, Bar­ton men­tions that he hauled his piano into the moun­tains, to Ele­phantstay — a refuge for the ani­mals. And, emphat­i­cal­ly, he tells us that the piano’s keys are made of plas­tic, not of ivory, see­ing that the trade of ivory has caused ele­phants so much mis­ery.


Bar­ton has a playlist of 23 videos of ele­phants and his piano play­ing, the most viral of which was anoth­er clip where Bar­ton plays a 12 bar blues on the piano with Peter the Ele­phant. Peter’s par­tic­i­pa­tion was entire­ly impromp­tu and com­plete­ly of his own accord. You can see a pho­to gallery of Paul and the ele­phants here, and catch a radio inter­view with him here.

via Twist­ed Sifter

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Charlie Chaplin Does Cocaine and Saves the Day in Modern Times (1936)

When you think of drug movies, flicks like Easy Rid­er, Drug­store Cow­boy and pret­ty much every­thing by Cheech and Chong might spring to mind. Add to this list Char­lie Chap­lin’s mas­ter­piece Mod­ern Times. In the movie, Chaplin’s icon­ic Lit­tle Tramp char­ac­ter does a whole lot of blow and ends up a bet­ter man for it. You can see a clip above.

After get­ting mis­tak­en for a Com­mu­nist demon­stra­tor, the Tramp is thrown in the clink. In the prison mess hall, a hulk­ing pris­on­er sit­ting next to him refus­es to let him have any of the com­mu­nal bread. Mean­while, the shifty look­ing guy on the oth­er side of him dumps a bunch of “nose pow­der” into a salt­shak­er before get­ting hauled away by the prison guards. Chap­lin sprin­kles lib­er­al amounts of this “salt” on his meal and soon he starts show­ing all of the tell­tale symp­toms of cocaine use – bugged out eyes, exces­sive ener­gy and unshake­able self-con­fi­dence. He also shows some less com­mon side effects like com­pul­sive twirling and a propen­si­ty to jam food in his ear.

With his new­found chem­i­cal courage, Chap­lin not only faces down this thug­gish neigh­bor but he also sin­gle-hand­ed­ly thwarts a prison break. The author­i­ties are so pleased with Chaplin’s coke-addled hero­ics that they release him. So remem­ber, kids, drugs can get you out of (and more like­ly back into) jail.

Of course, this wasn’t the first time that Chap­lin depict­ed drug use in his movies. In his clas­sic short Easy Street, Chaplin’s love inter­est, a vir­ginal pastor’s daugh­ter, gets locked in a base­ment with a remark­ably ener­getic hero­in addict. You can watch it below. And if you’re jonesing for some more Chap­lin, there are 65 Free Chap­lin Movies you can watch right here.

Modern Art Was Used As a Torture Technique in Prison Cells During the Spanish Civil War

We’ve all got those friends or fam­i­ly mem­bers who con­sid­er “mod­ern art” a form of tor­ture. Next time they com­plain about an exhi­bi­tion you bring them to, just tell them how relieved they should feel that they did­n’t fight in the Span­ish Civ­il War — not just for the obvi­ous rea­sons; they could have found them­selves sub­ject not just to actu­al tor­ture, but tor­ture direct­ly inspired by mod­ernist aes­thet­ic prin­ci­ples. “A Span­ish art his­to­ri­an has found evi­dence that sug­gests some Civ­il War jail cells were built like 3‑D mod­ern art paint­ings in order to tor­ture pris­on­ers,” reports BBC News. “The cells were built in 1938 for the repub­li­can forces fight­ing Gen­er­al Fran­co’s Fas­cist Nation­al­ist army, who even­tu­al­ly won pow­er.” The find­ing comes from his­to­ri­an Jose Milicua, who dis­cov­ered ref­er­ences to these mod­ern-art cells among court papers from “the 1939 tri­al of French anar­chist Alphonse Lau­ren­cic, a repub­li­can, by a Fran­co-ist mil­i­tary court.”

“Dur­ing the tri­al,” the BBC arti­cle con­tin­ues, “Lau­ren­cic revealed he was inspired by mod­ern artists, such as sur­re­al­ist Sal­vador Dali and Bauhaus artist Wass­i­ly Kandin­sky” to cre­ate the six-foot-by-four-foot cells placed secret­ly in Barcelona (see a re-cre­ation above), which fea­tured “slop­ing beds at a 20-degree angle that were almost impos­si­ble to sleep on,” “irreg­u­lar­ly shaped bricks on the floor that pre­vent­ed pris­on­ers from walk­ing back­wards or for­wards,” walls “cov­ered in sur­re­al­ist pat­terns designed to make pris­on­ers dis­tressed and con­fused,” and light­ing effects “to make the art­work even more dizzy­ing.” Evi­dence also indi­cates that, else­where in Spain, Nation­al­ist pris­on­ers “were forced to watch Sal­vador Dali and Luis Bunuel’s film Un Chien Andalou,” espe­cial­ly an end­less loop of its “graph­ic sequence of an eye­ball being cut open” (at the top of the post).

modernartastorture

Iron­i­cal­ly, those impris­oned in such cells would have wound up there in the name of their fas­cist cause, which like the Fran­co-back­ing Nazi regime in Ger­many, con­sid­ered mod­ernism “degen­er­a­tive.” Pre­sum­ably, they did­n’t leave their impris­on­ment with any more sym­pa­thet­ic idea of mod­ern art than the one they’d gone in with. “A sub­cur­rent of shock and provo­ca­tion has always lurked with­in avant-garde art, which delib­er­ate­ly sets out to chal­lenge bour­geois con­ven­tion and to elic­it a strong response” writes the New York Times’ John Rock­well. “My own expe­ri­ence has been that oppo­nents of new art are much too quick to pre­sume provo­ca­tion, let alone provo­ca­tion intend­ed lit­er­al­ly to tor­ture. Still, there can be no doubt that out­rage was and is a goal of some artists, even if they rarely pushed it to the log­i­cal extreme that Lau­ren­cic took it.” You can learn more about this unusu­al­ly artis­tic form of war­fare in this All Things Con­sid­ered inter­view with art his­to­ri­an Vic­to­ria Com­balia. (Lis­ten below.) And do try to sup­press those fan­tasies of throw­ing your more Philis­tine acquain­tances in there for an hour or two.

Relat­ed Con­tent:

Restored Ver­sion of Un Chien Andalou: Luis Buñuel & Sal­vador Dalí’s Sur­re­al Film (1929)

The Nazi’s Philis­tine Grudge Against Abstract Art and The “Degen­er­ate Art Exhi­bi­tion” of 1937

How the CIA Secret­ly Fund­ed Abstract Expres­sion­ism Dur­ing the Cold War

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

H.P. Lovecraft Gives Five Tips for Writing a Horror Story, or Any Piece of “Weird Fiction”

lovecraft hp

Image by Lucius B. Trues­dell, via Wiki­me­dia Com­mons

Though the term “weird fic­tion” came into being in the 19th century—originally used by Irish goth­ic writer Sheri­dan Le Fanu—it was picked up by H.P. Love­craft in the 20th cen­tu­ry as a way, pri­mar­i­ly, of describ­ing his own work. Love­craft pro­duced copi­ous amounts of the stuff, as you can see from our post high­light­ing online col­lec­tions of near­ly his entire cor­pus. He also wrote in depth about writ­ing itself. He did so in gen­er­al­ly pre­scrip­tive ways, as in his 1920 essay “Lit­er­ary Com­po­si­tion,” and in ways spe­cif­ic to his cho­sen mode—as in the 1927 “Super­nat­ur­al Hor­ror in Lit­er­a­ture,” in which he defined weird fic­tion very dif­fer­ent­ly than Le Fanu or mod­ern authors like Chi­na Miéville. For Love­craft,

The true weird tale has some­thing more than secret mur­der, bloody bones, or a sheet­ed form clank­ing chains accord­ing to rule. A cer­tain atmos­phere of breath­less and unex­plain­able dread of out­er, unknown forces must be present; and there must be a hint, expressed with a seri­ous­ness and por­ten­tous­ness becom­ing its sub­ject, of that most ter­ri­ble con­cep­tion of the human brain–a malign and par­tic­u­lar sus­pen­sion or defeat of those fixed laws of Nature which are our only safe­guard against the assaults of chaos and the dae­mons of unplumbed space.

Here we have, broad­ly, the tem­plate for a very Love­craft­ian tale indeed. Ten years lat­er, in a 1937 essay titled “Notes on Writ­ing Weird Fic­tion,” Love­craft would return to the theme and elab­o­rate more ful­ly on how to pro­duce such an arti­fact.

Weird Fic­tion, wrote Love­craft in that lat­er essay, is “obvi­ous­ly a spe­cial and per­haps a nar­row” kind of “sto­ry-writ­ing,” a form in which “hor­ror and the unknown or the strange are always close­ly con­nect­ed,” and one that “fre­quent­ly emphasize[s] the ele­ment of hor­ror because fear is our deep­est and strongest emo­tion.” Although Love­craft self-dep­re­cat­ing­ly calls him­self an “insignif­i­cant ama­teur,” he nonethe­less sit­u­ates him­self in the com­pa­ny of “great authors” who mas­tered hor­ror writ­ing of one kind or anoth­er: “[Lord] Dun­sany, Poe, Arthur Machen, M.R. James, Alger­non Black­wood, and Wal­ter de la Mare.” Even if you only know the name of Poe, it’s weighty com­pa­ny indeed.

But be not intimidated—Lovecraft wasn’t. As our tra­di­tion­al hol­i­day cel­e­bra­tion of fear approach­es, per­haps you’d be so inclined to try your hand at a lit­tle weird fic­tion of your own. You should cer­tain­ly, Love­craft would stress, spend some time read­ing these writ­ers’ works. But he goes fur­ther, and offers us a very con­cise, five point “set of rules” for writ­ing a weird fic­tion sto­ry that he says might be “deduced… if the his­to­ry of all my tales were ana­lyzed.” See an abridged ver­sion below:

  1. Pre­pare a syn­op­sis or sce­nario of events in the order of their absolute occur­rence—not the order of their nar­ra­tions.

This is a prac­tice adhered to by writ­ers from J.K. Rowl­ing and William Faulkn­er to Nor­man Mail­er. It seems an excel­lent gen­er­al piece of advice for any kind of fic­tion.

  1. Pre­pare a sec­ond syn­op­sis or sce­nario of events—this one in order of nar­ra­tion (not actu­al occur­rence), with ample full­ness and detail, and with notes as to chang­ing per­spec­tive, stress­es, and cli­max.
  1. Write out the story—rapidly, flu­ent­ly, and not too critically—following the sec­ond or nar­ra­tive-order syn­op­sis. Change inci­dents and plot when­ev­er the devel­op­ing process seems to sug­gest such change, nev­er being bound by any pre­vi­ous design.

It may be that the sec­ond rule is made just to be bro­ken, but it pro­vides the weird fic­tion prac­ti­tion­er with a begin­ning. The third stage here brings us back to a process every writer on writ­ing, such as Stephen King, will high­light as key—free, unfet­tered draft­ing, fol­lowed by…

  1. Revise the entire text, pay­ing atten­tion to vocab­u­lary, syn­tax, rhythm of prose, pro­por­tion­ing of parts, niceties of tone, grace and con­vinc­ing­ness of tran­si­tions…

And final­ly….

  1. Pre­pare a neat­ly typed copy—not hes­i­tat­ing to add final revi­so­ry touch­es where they seem in order.

You will notice right away that these five “rules” tell us noth­ing about what to put in our weird fic­tion, and could apply to any sort of fic­tion at all, real­ly. This is part of the admirably com­pre­hen­sive qual­i­ty of the oth­er­wise suc­cinct essay. Love­craft tells us why he writes, why he writes what he writes, and how he goes about it. The con­tent of his fic­tion­al uni­verse is entire­ly his own, a method of visu­al­iz­ing “vague, elu­sive, frag­men­tary impres­sions.” Your mileage, and your method, will indeed vary.

Love­craft goes on to describe “four dis­tinct types of weird sto­ry” that fit “into two rough categories—those in which the mar­vel or hor­ror con­cerns some con­di­tion or phe­nom­e­non, and those in which it con­cerns some action of per­sons in con­nec­tion with a bizarre con­di­tion or phe­non­menon.” If this doesn’t clear things up for you, then per­haps a care­ful read­ing of Lovecraft’s com­plete “Notes on Writ­ing Weird Fic­tion” will. Ulti­mate­ly, how­ev­er, “there is no one way” to write a sto­ry. But with some practice—and no small amount of imagination—you may find your­self join­ing the com­pa­ny of Poe, Love­craft, and a host of con­tem­po­rary writ­ers who con­tin­ue to push the bound­aries of weird fic­tion past the some­times parochial, often pro­found­ly big­ot­ed, lim­its that Love­craft  set out.

Relat­ed Con­tent:

H.P. Lovecraft’s Clas­sic Hor­ror Sto­ries Free Online: Down­load Audio Books, eBooks & More

Love­craft: Fear of the Unknown (Free Doc­u­men­tary)

Stephen King’s Top 20 Rules for Writ­ers

Writ­ing Tips by Hen­ry Miller, Elmore Leonard, Mar­garet Atwood, Neil Gaiman & George Orwell

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

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