Isaac Asimov Explains the Origins of Good Ideas & Creativity in Never-Before-Published Essay

Isaac_Asimov_on_Throne

“Isaac Asi­mov on Throne” by Rowe­na Mor­rill via Wiki­me­dia Com­mons

Where do ideas come from? The ques­tion has always had the poten­tial to plague any­one try­ing to do any­thing worth­while at any time in human his­to­ry. But Isaac Asi­mov, the mas­sive­ly pro­lif­ic and even more mas­sive­ly influ­en­tial writer of sci­ence fic­tion and sci­ence fact, had an answer. He even, in one 1959 essay, laid out a method, though we, the gen­er­al pub­lic, haven’t had the chance to read it until now. The MIT Tech­nol­o­gy Review has just pub­lished his essay on cre­ativ­i­ty in full, while pro­vid­ing a few con­tex­tu­al­iz­ing remarks from the author’s friend Arthur Ober­may­er, a sci­en­tist who invit­ed Asi­mov on board an “out of the box” mis­sile-defense research project at an MIT spin­off called Allied Research Asso­ciates.

“He expressed his will­ing­ness and came to a few meet­ings,” remem­bers Ober­may­er, but “he even­tu­al­ly decid­ed not to con­tin­ue, because he did not want to have access to any secret clas­si­fied infor­ma­tion; it would lim­it his free­dom of expres­sion. Before he left, how­ev­er, he wrote this essay on cre­ativ­i­ty as his sin­gle for­mal input.” When Ober­may­er found it among his old files, he “rec­og­nized that its con­tents are as broad­ly rel­e­vant today as when [Asi­mov] wrote it” in 1959, describ­ing as they do “not only the cre­ative process and the nature of cre­ative peo­ple but also the kind of envi­ron­ment that pro­motes cre­ativ­i­ty.” Whether you write sci-fi nov­els or do mil­i­tary research, make a web series, or work on cur­ing Ebo­la, you can put Asi­mov’s meth­ods to use.

Asi­mov first inves­ti­gates the ori­gin of ideas by look­ing to The Ori­gin of Species. Or rather, he looks to what you find with­in it, “the the­o­ry of evo­lu­tion by nat­ur­al selec­tion, inde­pen­dent­ly cre­at­ed by Charles Dar­win and Alfred Wal­lace,” two men who “both trav­eled to far places, observ­ing strange species of plants and ani­mals and the man­ner in which they var­ied from place to place,” both “keen­ly inter­est­ed in find­ing an expla­na­tion for this,” and both of whom “failed until each hap­pened to read Malthus’s ‘Essay on Pop­u­la­tion.’ ” He finds that “what is need­ed is not only peo­ple with a good back­ground in a par­tic­u­lar field, but also peo­ple capa­ble of mak­ing a con­nec­tion between item 1 and item 2 which might not ordi­nar­i­ly seem con­nect­ed.” Evo­lu­tion­ary the­o­ry seems obvi­ous only in ret­ro­spect, he con­tin­ues, as

The his­to­ry of human thought would make it seem that there is dif­fi­cul­ty in think­ing of an idea even when all the facts are on the table. Mak­ing the cross-con­nec­tion requires a cer­tain dar­ing. It must, for any cross-con­nec­tion that does not require dar­ing is per­formed at once by many and devel­ops not as a “new idea,” but as a mere “corol­lary of an old idea.”

It is only after­ward that a new idea seems rea­son­able. To begin with, it usu­al­ly seems unrea­son­able. It seems the height of unrea­son to sup­pose the earth was round instead of flat, or that it moved instead of the sun, or that objects required a force to stop them when in motion, instead of a force to keep them mov­ing, and so on.

A per­son will­ing to fly in the face of rea­son, author­i­ty, and com­mon sense must be a per­son of con­sid­er­able self-assur­ance. Since he occurs only rarely, he must seem eccen­tric (in at least that respect) to the rest of us. A per­son eccen­tric in one respect is often eccen­tric in oth­ers.

Con­se­quent­ly, the per­son who is most like­ly to get new ideas is a per­son of good back­ground in the field of inter­est and one who is uncon­ven­tion­al in his habits. (To be a crack­pot is not, how­ev­er, enough in itself.)

Once you have the peo­ple you want, the next ques­tion is: Do you want to bring them togeth­er so that they may dis­cuss the prob­lem mutu­al­ly, or should you inform each of the prob­lem and allow them to work in iso­la­tion?

The essay puts forth an argu­ment for iso­la­tion (“Cre­ation is embar­rass­ing. For every new good idea you have, there are a hun­dred, ten thou­sand fool­ish ones, which you nat­u­ral­ly do not care to dis­play”) and a set of best prac­tices for group idea gen­er­a­tion, as imple­mentable in the Allied Research Asso­ciates of the 1950s as in any orga­ni­za­tion today. If you can’t trust Asi­mov on this sub­ject, I don’t know who you can trust, but con­sid­er sup­ple­ment­ing this new­found essay with Ze Frank’s the­mat­i­cal­ly relat­ed video “Brain Crack” (lin­guis­ti­cal­ly NSFW, though you can watch the PG ver­sion instead), which deals, in an entire­ly dif­fer­ent sen­si­bil­i­ty, with the ques­tion of where ideas come from:

via io9

Relat­ed Con­tent:

David Lynch Explains How Med­i­ta­tion Enhances Our Cre­ativ­i­ty

Mal­colm McLaren: The Quest for Authen­tic Cre­ativ­i­ty

Isaac Asi­mov Pre­dicts in 1964 What the World Will Look Like Today — in 2014

John Cleese’s Phi­los­o­phy of Cre­ativ­i­ty: Cre­at­ing Oases for Child­like Play

Free: Isaac Asimov’s Epic Foun­da­tion Tril­o­gy Dra­ma­tized in Clas­sic Audio

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.

Louis CK Crashes Zach Galifianakis & Brad Pitt’s Very Awkward Interview

Appar­ent­ly, the bad part about scor­ing an inter­view with the Pres­i­dent is it kind of makes you blasé for sit­ting down with any­body else. Not that Zach Gal­i­fi­anakis of Between Two Ferns deserved his tete-a-tete with Oba­ma, or for that mat­ter Bart Pit … Bradley Pitts … Brad Pitt, star of 2013’s 12 Years a Salve (sic).

(The Onion’s fic­tion­al “Out­side Scoop” enter­tain­ment colum­nist, Jack­ie Har­vey, has noth­ing on the almost-as-fic­tion­al Gal­i­fi­anakis when it comes to mur­der­ing names)

Yes, this inter­view­er is pet­ty, com­bat­ive, and utter­ly lack­ing in grace, but his inter­vie­wee, the celebri­ty who turns stone-faced and sullen almost imme­di­ate­ly is no prize either.

Everyone’s mis­er­able, even come­di­an Louis CK, whom Gal­i­fi­anakis sum­mons with a few bars of his pop­u­lar sitcom’s theme song. Moods seem on the verge of lift­ing when Gal­i­fi­anakis brings up Pitts’ star­ring role in “Ben­jamin But­tons,” but it doesn’t last. Inevitably, there are ref­er­ences to Pitt’s famous wife, as well as his ex, an ear­li­er Between Two Ferns guest. (She’s no Tila Tequi­la…)

This is a dif­fer­ent dynam­ic than the one Borat shared with cer­tain incred­u­lous, intel­li­gent sub­jects. It’s a giv­en that Pitt’s in on the joke. And it would seem that both gen­tle­men have some­thing they’d like to get across regard­ing the dirty busi­ness of celebri­ty inter­views.

Jour­nal­ist Jan­ice Turn­er, took a sim­i­lar posi­tion when she wrote of her night­mar­ish 2013 inter­view with actor Rhys Ifans for the Lon­don Times:

The game is you lis­ten polite­ly while they plug their film, bang on about their ‘method’, the bril­liance of their co-stars and direc­tors etc. Then in return you hope they will offer up — with­out you hav­ing to prod and pester like some celebri­ty stalk­er — the tini­est nugget of anec­dote, a shard of light upon their real selves.

Because they hate the game too, and par­tic­u­lar­ly since it is main­ly con­duct­ed in hotel suites, you feel as if you’re engaged in an odd form of pros­ti­tu­tion, one where it remains unclear who is the hook­er and who the john.

Her per­spec­tive brings a cer­tain puri­ty to the Gal­i­fi­anakis-Pitt Ferns stand-off. Cer­tain­ly, nei­ther of them is play­ing the game.

If you want to learn how to con­duct a hor­ri­ble inter­view, watch Gal­i­fi­anakis.

If you want tips on how to make it worse, watch Pitt.

And if you want to be a movie star, seek ways to laugh at your­self with­out break­ing char­ac­ter.

Relat­ed Con­tent:

An Awkward/NSFW Inter­view with Nir­vana Pro­duc­er Steve Albi­ni (Plus B‑52 Front­man Fred Schnei­der)

Hear Bob Dylan’s Unedit­ed & Bewil­der­ing Inter­view With Nat Hentoff for Play­boy Mag­a­zine (1965)

The Sur­re­al Short Films of Louis C.K., 1993–1999

Watch Frank Zap­pa Play Michael Nesmith on The Mon­kees (1967)

Ayun Hal­l­i­day is the cre­ator of The Mermaid’s Legs, a trau­ma-filled Hans Chris­t­ian Ander­sen reboot play­ing this week in NYC. See it! And fol­low her @AyunHalliday

New Animated Web Series Makes the Theory of Evolution Easy to Understand

When it comes to mat­ters of broad sci­en­tif­ic con­sen­sus, I’m gen­er­al­ly inclined to offer pro­vi­sion­al assent. Like every­one else, I have to rely on the exper­tise of oth­ers in mat­ters out­side my ken, and in many cas­es, this ratio­nal appeal to author­i­ty is the best one can do with­out acquir­ing the rel­e­vant qual­i­fi­ca­tions and years of expe­ri­ence in high­ly spe­cial­ized sci­en­tif­ic fields. In the case of evo­lu­tion, I hap­pen to find the evi­dence and expla­na­tions near­ly all biol­o­gists prof­fer much more per­sua­sive than the claims—and accusations—of their most­ly unsci­en­tif­ic crit­ics. But as we know from recent sur­vey data, a very large per­cent­age of Amer­i­cans reject the the­o­ry of evo­lu­tion, at least when it comes to humans, though it’s like­ly a great many of them—like myself—do not know very much about it.

But as a layper­son with an admit­ted­ly rudi­men­ta­ry sci­ence edu­ca­tion, I’m always grate­ful for clear, sim­ple expla­na­tions of com­plex ideas. This is pre­cise­ly what we get in the video series Stat­ed Clear­ly, which har­ness­es the pow­er of web ani­ma­tion as an instruc­tion­al tool to define what the the­o­ry of evo­lu­tion is, and why it explains the observ­able facts bet­ter than any­thing else. Stat­ed Clear­ly’s tagline is “sci­ence is for every­one,” and indeed, their mis­sion “is sim­ple”: “to pro­mote the art of crit­i­cal think­ing by expos­ing peo­ple from all walks of life, to the sim­ple beau­ty of sci­ence.” The video at the top gives us a broad overview of the the­o­ry of evo­lu­tion. The ani­ma­tion just above presents the evi­dence for evo­lu­tion, or some of it any­way, in clear, com­pelling terms, draw­ing from at least two of the many inde­pen­dent lines of evi­dence. And below, we have a Stat­ed Clear­ly take on nat­ur­al selec­tion, an absolute­ly key con­cept of evo­lu­tion­ary biol­o­gy, and one reg­u­lar­ly mis­un­der­stood.

After watch­ing these three shorts, you might agree that what is “often con­sid­ered a com­plex and con­tro­ver­sial top­ic” is “actu­al­ly a very sim­ple con­cept to under­stand.” In layman’s terms, at least. In fact, artist, nar­ra­tor, and cre­ator of the series, Jon Per­ry, admits that he him­self has no for­mal sci­en­tif­ic train­ing. “He believed,” his bio states, “that if he could cre­ate just one good ani­ma­tion on his own, sci­en­tists and edu­ca­tors would real­ize the poten­tial of this project and help him cre­ate more.” And indeed they have. Stat­ed Clear­ly has a dis­tin­guished pan­el of sci­ence advis­ers and part­ners that include the Cen­ter for Chem­i­cal Evo­lu­tion, Emory Uni­ver­si­ty, Geor­gia Tech, NASA, and the Nation­al Sci­ence Foun­da­tion. Learn much more about Stat­ed Clearly’s goals and affil­i­a­tions, or lack there­of, at their web­site. And below, see the fourth video of the series, “Does the The­o­ry of Evo­lu­tion Real­ly Mat­ter?,” which address­es the prac­ti­cal, real world impli­ca­tions of evo­lu­tion­ary the­o­ry, and sci­en­tif­ic lit­er­a­cy.

Relat­ed Con­tent:

Carl Sagan Explains Evo­lu­tion in an Eight-Minute Ani­ma­tion

Watch Episode #2 of Neil deGrasse Tyson’s Cos­mos: Explains the Real­i­ty of Evo­lu­tion (US View­ers)

Richard Dawkins Makes the Case for Evo­lu­tion in the 1987 Doc­u­men­tary, The Blind Watch­mak­er

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

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

We can­not prop­er­ly speak of hor­ror fic­tion with­out men­tion­ing the name H.P. Love­craft, any more than we could do so with­out speak­ing of Edgar Allan Poe, whose com­plete works we fea­tured in a post yes­ter­day. Even now, as some of Lovecraft’s real­ly vicious atti­tudes have come in for much crit­i­cal reap­praisal, the Love­craft­ian is still a dom­i­nant form. Win­ners of the World Fan­ta­sy Award receive a bust of the author, and dark mod­ern mas­ters like Stephen King and Joyce Car­ol Oates admit that Love­craft was “the twen­ti­eth century’s great­est prac­ti­tion­er of the clas­sic hor­ror tale” and “an incal­cu­la­ble influ­ence on suc­ceed­ing gen­er­a­tions of writ­ers of hor­ror fic­tion.” His work, writes Salon, has influ­enced “every­one from the Argen­tin­ian metafic­tion­ist Jorge Luis Borges to the film direc­tor Guiller­mo del Toro, as well as untold num­ber of rock bands and game design­ers.”

The ear­ly twen­ti­eth cen­tu­ry author spent almost his entire life in the New Eng­land of his birth, draw­ing on its many odd­i­ties in obscure sto­ries pub­lished in pulp magazines—notably the influ­en­tial Weird Tales. Hypochon­dri­ac, hyper-sen­si­tive, and reclu­sive in lat­er life, Love­craft sur­vived on a dwin­dling inher­i­tance and nev­er achieved much recog­ni­tion. But in death, he has spawned a for­mi­da­ble cult who immerse them­selves in a uni­verse cre­at­ed from ref­er­ences to the occult, demonolo­gy, and var­i­ous mytho­log­i­cal arche­types. How­ev­er over­wrought his prose, Lovecraft’s work can be sit­u­at­ed in a long lit­er­ary tra­di­tion of influ­ence, and a Love­craft cir­cle con­tin­ued to expand his vision of sci­en­tif­ic and super­nat­ur­al hor­ror after his death.

Cen­tral to the Love­craft cos­mos are “The Old Ones,” a col­lec­tion of pow­er­ful pri­mor­dial beings, and their cult wor­shipers, first intro­duced in “The Call of Cthul­hu” in 1926. At the top of the post, you can hear a dra­mat­ic read­ing of the sto­ry by Gar­rick Hagon. Just above hear a radio drama­ti­za­tion of “The Colour Out of Space,” which was col­lect­ed in The Best Amer­i­can Short Sto­ries in 1928, one of the few of Lovecraft’s works to receive such an hon­or in his life­time. You’ll find much more Love­craft read aloud on YouTube, includ­ing clas­sic sto­ries like “The Dun­wich Hor­ror,” “At The Moun­tains of Mad­ness,” and “The Hor­ror at Red Hook.”

Lis­ten­ing to Love­craft is an excel­lent, as well as con­ve­nient, way to expe­ri­ence his work. His florid, often archa­ic, and melo­dra­mat­ic descrip­tions lend them­selves per­fect­ly to aur­al inter­pre­ta­tions. Luck­i­ly for us, we have not one, but two audio book col­lec­tions of near­ly every­thing Love­craft ever wrote. Just above, stream his com­plete pub­lic domain works, and see the Inter­net Archive for anoth­er audio­book set of his col­lect­ed works. One of the rea­sons audio of Love­craft is so plen­ti­ful is that most of his work is in the com­mons. SFF Audio has yet anoth­er huge col­lec­tion of Love­craft sto­ries read aloud, down­load­able as MP3s. Final­ly, if you some­how can’t find what you’re look­ing for at any of those links, you’re bound to at The World’s Largest H.P. Love­craft Audio Links Gate­way.

Should lis­ten­ing to Love­craft whet your appetite for more, you may just be ready to start read­ing. Although Lovecraft’s fic­tion fea­tures what may be some of mod­ern literature’s most dread­ful mon­sters, the hor­ror in his work is most­ly exis­ten­tial, as char­ac­ters con­front a vast, malev­o­lent and thor­ough­ly alien uni­verse that has no regard for human life what­so­ev­er. But the per­sis­tent bleak­ness and doom of his vision is coun­tered by an inex­haustibly rich imag­i­na­tion. In one of the open­ing sen­tences of “The Call of Cthu­lu,” Love­craft writes, “the most mer­ci­ful thing in the world, I think, is the inabil­i­ty of the human mind to cor­re­late all its con­tents,” per­haps the truest descrip­tion of his own fic­tion­al cos­mos. Love­craft schol­ars and fans spend life­times sift­ing through his mas­sive store­house of weird­ness. Whether you’re inclined to join them in the deep end, or just dip in a toe, you can find all of Lovecraft’s pub­lished work in var­i­ous forms at the loca­tions below.

Giv­en these resources, you should have no trou­ble becom­ing a Love­craft expert by Hal­loween. Or, at the very least, pick­ing out a few of his scari­est sto­ries to lis­ten to and read aloud around a flick­er­ing jack o’ lantern or your col­lec­tion of Cthul­hu fig­urines.

Love­craft’s works per­ma­nent­ly reside in our twin col­lec­tions: 1,000 Free Audio Books: Down­load Great Books for Free and 800 Free eBooks for iPad, Kin­dle & Oth­er Devices

Relat­ed Con­tent:

Love­craft: Fear of the Unknown (Free Doc­u­men­tary)

Read Hun­dreds of Free Sci-Fi Sto­ries from Asi­mov, Love­craft, Brad­bury, Dick, Clarke & More

Down­load The Com­plete Works of Edgar Allan Poe: Macabre Sto­ries as Free eBooks & Audio Books

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

Werner Herzog, Morgan Spurlock & Other Stars Explain Economic Theory in 20 Short Films

Mor­gan Spur­lock is a film­mak­er who has long found catchy ways of get­ting his point across. For his break­out movie, Super Size Me (avail­able on Hulu), he sought to illus­trate just how tru­ly awful fast food is for you by sub­sist­ing sole­ly on McDonald’s for a month. His diet lit­er­al­ly almost killed him. Not long after the movie came out, McDonald’s start­ed adding more healthy options to its menu. In POM Won­der­ful Presents: The Great­est Movie Ever Sold, Spur­lock looked to make a doc­u­men­tary about prod­uct place­ment in movies by financ­ing the doc entire­ly through prod­uct place­ment. (That movie gets pret­ty meta fast.)

And most recent­ly, Spur­lock has launched We The Econ­o­my: 20 Short Films You Can’t Afford To Miss. As you might sur­mise, the series tries to explain eco­nom­ics to the mass­es by releas­ing 20 short films made by a host of dif­fer­ent stars and film­mak­ers, includ­ing Amy Poehler, Tony Hale, Sarah Sil­ver­man and Maya. The whole project will be released in the­aters and on VOD but the shorts have also been released in advance on Youtube. You can watch Spurlock’s seg­ment, called “Cave-o-nomics,” above. Seek­ing to answer the ques­tion “What is an econ­o­my?” Spur­lock dress­es up as a cave­man strug­gling to increase his mate­r­i­al wealth by swap­ping spears for meat.

The clear stand out of the bunch, how­ev­er, is Ramin Bahrani’s “Lemon­ade War.” Baha­mi tack­les the poten­tial­ly drea­ry issue of busi­ness reg­u­la­tion by telling a tale of two rival lemon­ade stands. One is run by a cor­rupt slob – played by Pat­ton Oswalt — and the oth­er is run by a whip smart ten-year-old girl. Though the girl doesn’t have the mon­ey or con­nec­tions that her rival has, she more than makes up for it with mox­ie and busi­ness acu­men. This, sad­ly, proves to be not enough. When she calls the gov­ern­ment reg­u­la­tor about some of her rival’s tru­ly unhy­gien­ic prac­tices, she dis­cov­ers the reg­u­la­tor is in her competition’s pock­et and soon she’s dri­ven out of busi­ness. Things look hope­less for her until a neigh­bor­hood hero, played by none oth­er than Wern­er Her­zog (!), comes to her res­cue. With the lit­tle girl in tow, he con­fronts the slob and reg­u­la­tor with his trade­mark malev­o­lent Teu­ton­ic lilt. “If Mr. Smith could go to Wash­ing­ton today,” he declares, “he would fil­i­buster you back into your big bang worm­hole you have slith­ered out of.” The two sim­ply cow­er in the face of Herzog’s Old Tes­ta­ment wrath. If only Her­zog could deliv­er sim­i­lar fusil­lades against the board of Gold­man Sachs.

You can watch more seg­ments of We The Econ­o­my here — or find them in our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Watch Mor­gan Spurlock’s Doc­u­men­tary on the 15-Year-Old Who Invent­ed a New Way to Detect Ear­ly Stage Pan­cre­at­ic Can­cer

Mor­gan Spur­lock: The Great­est TED Talk Ever Sold

Free Online Eco­nom­ics Cours­es

The His­to­ry of Eco­nom­ics & Eco­nom­ic The­o­ry Explained with Comics, Start­ing with Adam Smith

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.

H.G. Wells, Arthur Conan Doyle & Other British Authors Sign Manifesto Backing England’s Role in WWI

Authors.jpg.CROP.original-original

Thinkers have said a great deal about the rel­a­tive might of the pen and the sword—often one well-known phrase in particular—but still, the sub­ject of intel­lect ver­sus might remains a mat­ter of active inquiry. But what if might har­ness­es intel­lect? What if those who live by the pen pick up their writ­ing tool of choice to endorse the nation­al use of weapon­ry infi­nite­ly more pow­er­ful than all the swords ever forged? This very thing hap­pened in the Britain of 1914: “FAMOUS AUTHORS DEFEND ENGLAND’S WAR,” read the head­lines, and Uni­ver­si­ty of Ottawa Eng­lish pro­fes­sor Nick Milne has more his­tor­i­cal analy­sis of the event in the first post of “Pen and Sword,” a series focus­ing on British Pro­pa­gan­da at the open edu­ca­tion­al resource World War I Cen­te­nary: Con­tin­u­a­tions and Begin­nings.

“In Sep­tem­ber of 1914,” writes Milne in a ver­sion of the post up at Slate, “as the armies of Europe were engaged in the Race to the Sea and the stale­mate of the trench­es loomed, Rud­yard Kipling, Sir Arthur Conan Doyle, and oth­er British authors col­lab­o­rat­ed on a remark­able piece of war pro­pa­gan­da. Fifty-three of the lead­ing authors in Britain — a num­ber that includ­ed Thomas Hardy and H.G. Wells — append­ed their names to the ‘Authors’ Dec­la­ra­tion.’ This man­i­festo declared that the Ger­man inva­sion of Bel­gium had been a bru­tal crime, and that Britain ‘could not with­out dis­hon­our have refused to take part in the present war.’ ” Oth­er men of let­ters the War Pro­pa­gan­da Bureau could con­vince to sign on, in addi­tion to Kipling, a fel­low rarely called insuf­fi­cient­ly patri­ot­ic, includ­ed “defend­er of unortho­dox thought by unortho­dox meth­ods” G.K. Chester­ton.

You can take a close-up look at the com­plete list of sig­na­to­ries with their brief bios, as well as the sig­na­tures them­selves, by click­ing at the image of the New York Times page up above. (Then click again to zoom in.) Eng­land may not, in the event, have lost the First World War, but the buoy­an­cy its writ­ers pro­vid­ed its fight­ing spir­it had lit­tle to do with it. Ger­many “respond­ed to the dec­la­ra­tion by bring­ing togeth­er an even larg­er assort­ment of artists, authors, and sci­en­tists to sign the Man­i­festo of the Nine­ty-Three, an astound­ing doc­u­ment which denied any Ger­man wrong­do­ing in Bel­gium and bewil­der­ing­ly accused the Allies of ‘incit­ing Mon­go­lians and negroes against the white race.’ ”

Sev­er­al of the British writ­ers involved, most notably H.G. Wells, even­tu­al­ly devel­oped a pub­lic cyn­i­cism toward the war. “The uni­ty of vision and pur­pose the dec­la­ra­tion so strong­ly implied,” as Milne mild­ly puts it, “did not endure.”

via Slate

Relat­ed Con­tent:

The First Col­or Pho­tos From World War I, on the Ger­man Front

Watch World War I Unfold in a 6 Minute Time-Lapse Film: Every Day From 1914 to 1918

British Actors Read Poignant Poet­ry from World War I

Frank W. Buck­les, The Last U.S. Vet­er­an of World War I

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.

Kubrick’s 2001: A Space Odyssey Gets a Brand New Trailer to Celebrate Its Digital Re-Release

If you’re in the UK, get ready for Kubrick­’s 2001: A Space Odyssey. 46 years after its orig­i­nal release, it’s return­ing to the­atres near you in a dig­i­tal­ly-restored for­mat, start­ing on Novem­ber 18. (Find dates and loca­tions here.) To cel­e­brate the re-release of this “philo­soph­i­cal­ly ambi­tious, tech­ni­cal­ly inno­v­a­tive and visu­al­ly stun­ning cin­e­mat­ic mile­stone,” the British Film Insti­tute has cre­at­ed a new trail­er (above). Down below, we have the orig­i­nal 1968 trail­er (which I pre­fer) and some good back­ground items on the film itself.

Relat­ed Con­tent:

1966 Film Explores the Mak­ing of Kubrick’s 2001: A Space Odyssey (and Our High-Tech Future)

James Cameron Revis­its the Mak­ing of Kubrick’s 2001: A Space Odyssey

Stan­ley Kubrick’s List of Top 10 Films (The First and Only List He Ever Cre­at­ed)

Stan­ley Kubrick’s Very First Films: Three Short Doc­u­men­taries

Rare 1960s Audio: Stan­ley Kubrick’s Big Inter­view with The New York­er

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Download The Complete Works of Edgar Allan Poe: Macabre Stories as Free eBooks & Audio Books

With Hal­loween fast approach­ing, let us remind you that few Amer­i­can writ­ers can get you into the exis­ten­tial­ly chill­ing spir­it of this cli­mat­i­cal­ly chill­ing sea­son than Edgar Allan Poe (1809–1849). And giv­en that he lived and wrote entire­ly in the first half of the 19th cen­tu­ry, few Amer­i­can writ­ers can do it at so lit­tle finan­cial cost to you, the read­er. Today we’ve col­lect­ed Poe’s freely avail­able, pub­lic domain works of pure psy­cho­log­i­cal unset­tle­ment into five vol­umes of eBooks:

And five vol­umes of audio­books as well (all the bet­ter to work their way into your sub­con­scious):

And if, beyond per­haps read­ing here and there about pits, pen­du­lums, ravens, and casks in Italy, you’ve nev­er plunged into the canon pro­duced by this trou­bled mas­ter of let­ters — Amer­i­can Roman­tic, acknowl­edged adept of the macabre, inven­tor of detec­tive fic­tion, and con­trib­u­tor to the even­tu­al emer­gence of sci­ence fic­tion — your chance has come. If you feel the under­stand­able need for a lighter pre­lim­i­nary intro­duc­tion to Poe’s work, hear Christo­pher Walken (speak­ing of Amer­i­can icons) deliv­er a sur­pris­ing­ly non-exces­sive­ly Walkeni­fied inter­pre­ta­tion of “The Raven” at the top of the post. Below, we have a 1953 ani­ma­tion of “The Tell-Tale Heart” nar­rat­ed by James Mason:

After watch­ing these videos, you’ll sure­ly want to spend Hal­loween time catch­ing up on every­thing else Poe wrote, after which you’ll under­stand that true scari­ness aris­es not from slash­er movies, malev­o­lent pump­kins, or tales of hooks embed­ded in car doors, but from the sort of thing the closed-eyed nar­ra­tor of “The Pit and the Pen­du­lum” means when he says, “It was not that I feared to look upon things hor­ri­ble, but that I grew aghast lest there should be noth­ing to see.”

The Com­plete Works of Edgar Allan Poe per­ma­nent­ly reside in our twin col­lec­tions: 1,000 Free Audio Books: Down­load Great Books for Free and 800 Free eBooks for iPad, Kin­dle & Oth­er Devices

Relat­ed Con­tent:

Watch the 1953 Ani­ma­tion of Edgar Allan Poe’s “The Tell-Tale Heart,” Nar­rat­ed by James Mason

Down­load a Free, New Hal­loween Sto­ry by Neil Gaiman (and Help Char­i­ties Along the Way)

Watch Goethe’s Haunt­ing Poem, “Der Erlkönig,” Pre­sent­ed in an Art­ful Sand Ani­ma­tion

“A Haunt­ed House” by Vir­ginia Woolf

Watch Nos­fer­atu, the Sem­i­nal Vam­pire Film, Free Online (1922)

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.

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