Harper Lee on the Joy of Reading Real Books: “Some Things Should Happen On Soft Pages, Not Cold Metal”

News of the new, long-await­ed but hard­ly expect­ed Harp­er Lee nov­el, Go Set a Watch­mana sequel to the 1960’s To Kill a Mock­ing­birdhas been met with vary­ing degrees of skep­ti­cism, sure­ly war­rant­ed giv­en her late sis­ter Alice and oth­ers’ char­ac­ter­i­za­tion of Lee’s phys­i­cal and men­tal decline. On the oth­er hand, the nov­el­ist, it’s been report­ed, is “extreme­ly hurt” by alle­ga­tions that she has been pres­sured to pub­lish. It would be a shame if the con­tro­ver­sy over the pub­li­ca­tion of the nov­el eclipsed the nov­el itself. While it had become some­thing of a tru­ism that Harp­er Lee would only pub­lish the one, great nov­el and nev­er anoth­er, I for one greet this lat­est news with joy.

For one thing, cir­cum­stances aside, the new Harp­er Lee nov­el has the mass media doing some­thing it rarely does anymore—talking about lit­er­ary fic­tion. And for the thou­sands of school kids required to read To Kill a Mock­ing­bird and won­der­ing why they should both­er, the con­ver­sa­tion hope­ful­ly com­mu­ni­cates that books still mat­ter, and not just dystopi­an YA sci-fi and mass-mar­ket trade books about BDSM fan­tasies, but books about ordi­nary peo­ple in ordi­nary times and places. It’s a les­son Lee learned ear­ly. In a 2006 let­ter to Oprah Win­frey, pub­lished in O mag­a­zine, Lee wrote about her child­hood expe­ri­ences with read­ing, and being read to. She recalls arriv­ing “in the first grade, lit­er­ate,” because of her upbring­ing. She also acknowl­edges that “books were scarce”; her and her sib­lings ear­ly lit­er­a­cy meant they were “priv­i­leged” com­pared to oth­er chil­dren, “most­ly from rur­al areas,” and the “chil­dren of our African-Amer­i­can ser­vants.”

While we may dis­miss Lee’s con­tention that in “an abun­dant soci­ety where peo­ple have lap­tops, cell phones” and “iPods” they also have “minds like emp­ty rooms” as the kvetch­ing of a senior cit­i­zen, I doubt most peo­ple who respect Lee’s wis­dom and good humor would do so light­ly. Her poet­ic evo­ca­tion of the tac­tile dif­fer­ences between books and gad­gets alone should give us pause: “some things should only hap­pen on soft pages, not cold met­al.”

Read the full let­ter below.

May 7, 2006

Dear Oprah,

Do you remem­ber when you learned to read, or like me, can you not even remem­ber a time when you did­n’t know how? I must have learned from hav­ing been read to by my fam­i­ly. My sis­ters and broth­er, much old­er, read aloud to keep me from pes­ter­ing them; my moth­er read me a sto­ry every day, usu­al­ly a chil­dren’s clas­sic, and my father read from the four news­pa­pers he got through every evening. Then, of course, it was Uncle Wig­gi­ly at bed­time.

So I arrived in the first grade, lit­er­ate, with a curi­ous cul­tur­al assim­i­la­tion of Amer­i­can his­to­ry, romance, the Rover Boys, Rapun­zel, and The Mobile Press. Ear­ly signs of genius? Far from it. Read­ing was an accom­plish­ment I shared with sev­er­al local con­tem­po­raries. Why this endem­ic pre­coc­i­ty? Because in my home­town, a remote vil­lage in the ear­ly 1930s, young­sters had lit­tle to do but read. A movie? Not often — movies weren’t for small chil­dren. A park for games? Not a hope. We’re talk­ing unpaved streets here, and the Depres­sion.

Books were scarce. There was noth­ing you could call a pub­lic library, we were a hun­dred miles away from a depart­ment store’s books sec­tion, so we chil­dren began to cir­cu­late read­ing mate­r­i­al among our­selves until each child had read anoth­er’s entire stock. There were long dry spells bro­ken by the new Christ­mas books, which start­ed the rounds again.

As we grew old­er, we began to real­ize what our books were worth: Anne of Green Gables was worth two Bobb­sey Twins; two Rover Boys were an even swap for two Tom Swifts. Aes­thet­ic fris­sons ran a poor sec­ond to the thrills of acqui­si­tion. The goal, a full set of a series, was attained only once by an indi­vid­ual of excep­tion­al greed — he swapped his sis­ter’s doll bug­gy.

We were priv­i­leged. There were chil­dren, most­ly from rur­al areas, who had nev­er looked into a book until they went to school. They had to be taught to read in the first grade, and we were impa­tient with them for hav­ing to catch up. We ignored them.

And it was­n’t until we were grown, some of us, that we dis­cov­ered what had befall­en the chil­dren of our African-Amer­i­can ser­vants. In some of their schools, pupils learned to read three-to-one — three chil­dren to one book, which was more than like­ly a cast-off primer from a white gram­mar school. We sel­dom saw them until, old­er, they came to work for us.

Now, 75 years lat­er in an abun­dant soci­ety where peo­ple have lap­tops, cell phones, iPods, and minds like emp­ty rooms, I still plod along with books. Instant infor­ma­tion is not for me. I pre­fer to search library stacks because when I work to learn some­thing, I remem­ber it. 

And, Oprah, can you imag­ine curl­ing up in bed to read a com­put­er? Weep­ing for Anna Karen­i­na and being ter­ri­fied by Han­ni­bal Lecter, enter­ing the heart of dark­ness with Mis­tah Kurtz, hav­ing Hold­en Caulfield ring you up — some things should hap­pen on soft pages, not cold met­al.

The vil­lage of my child­hood is gone, with it most of the book col­lec­tors, includ­ing the dodgy one who swapped his com­plete set of Seck­atary Hawkins­es for a shot­gun and kept it until it was retrieved by an irate par­ent.

Now we are three in num­ber and live hun­dreds of miles away from each oth­er. We still keep in touch by tele­phone con­ver­sa­tions of recur­rent theme: “What is your name again?” fol­lowed by “What are you read­ing?” We don’t always remem­ber. 

Much love, 

Harp­er

via Let­ters of Note

Relat­ed Con­tent:

William Faulkn­er Reads His Nobel Prize Speech

Down­load 20 Pop­u­lar High School Books Avail­able as Free eBooks & Audio Books

The Books You Think Every Intel­li­gent Per­son Should Read: Crime and Pun­ish­ment, Moby-Dick & Beyond (Many Free Online)

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

Watch Agnès Varda’s Les Fiancés Du Pont Macdonald: A Silent Comic Short Starring Jean-Luc Godard & Anna Karina

Agnès Var­da claimed to have seen few­er than ten movies before she made her first film at age 25. At the time, she had some pret­ty naïve ideas about film. “I thought if I added sound to pho­tographs, that would be cin­e­ma,” she recalled. She learned the essence of film­mak­ing and, by all accounts, learned it well. The result­ing film, La Pointe-Courte (1954), a self-financed doc­u­men­tary-fic­tion hybrid, is con­sid­ered one of the fore­run­ners of the French New Wave.

Fast for­ward a few years. Var­da is shoot­ing her fol­low up fea­ture Cleo from 5 to 7. The film would prove to be her break­out hit and a clas­sic of the New Wave along­side the likes of 400 Blows and Breath­less.

The film, which unspools almost in real time, is about a beau­ti­ful young singer who waits anx­ious­ly for the results of a med­ical test. We watch her as she talks with well-mean­ing friends, finds com­fort with a stranger, and even takes some time to watch a movie. In the wrong hands, the sto­ry has the poten­tial for being an unleav­ened exer­cise in exis­ten­tial angst. But, as she lat­er proved in sub­se­quent movies, she was nev­er one to let things get too dark. The movie that the hero­ine watch­es is a silent com­e­dy – one that Var­da shot her­self.

fiances-du-pont-mac-donald

Les Fiancés Du Pont Mac­don­ald cen­ters on a Buster Keaton­sque dandy in a flat straw hat who waves good-bye to his doll-like girl­friend. Yet when he dons a pair of sun­glass­es, every­thing goes wrong. He wit­ness­es his beloved get­ting injured in an acci­dent only to be hauled off by a hearse. When he takes off the glass­es to wipe away the tears, he real­izes that he saw it all wrong. The glass­es make every­thing seem metaphor­i­cal­ly dark. No won­der the movie’s sub­ti­tle is “Beware of Dark Glass­es.” You can watch it above.

Les Fiancés is inter­est­ing not just because of Varda’s spot on pas­tiche of silent movies but also because of its cast. None oth­er than Jean-Luc Godard plays the dandy. His wife Anna Kari­na plays the girl, of course. Gen­er­al­ly, Godard’s onscreen appear­ances run the gamut from being sober and aloof to being hec­tor­ing and indig­nant. It’s fun to watch him ham it up.

Relat­ed Con­tent:

An Ambi­tious List of 1400 Films Made by Female Film­mak­ers

A Young Jean-Luc Godard Picks the 10 Best Amer­i­can Films Ever Made (1963)

Jean-Luc Godard Gives a Dra­mat­ic Read­ing of Han­nah Arendt’s “On the Nature of Total­i­tar­i­an­ism”

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 bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

How Martin Luther King, Jr. Used Nietzsche, Hegel & Kant to Overturn Segregation in America

577px-Martin_Luther_King_Jr_NYWTS_6

Image by Dick DeMar­si­co, via Wiki­me­dia Com­mons

The influ­ence of Georg Wil­helm Friedrich Hegel on the rev­o­lu­tion­ary phi­los­o­phy of Karl Marx and Fred­erich Engels is well known. Marx wrote a cri­tique of Hegel’s Phi­los­o­phy of Right and claimed to have turned the Ger­man ide­al­ist philoso­pher on his head, and the devel­op­ment of Marx­ist the­o­ry among a school of neo-Hegelians, wrote Rebec­ca Coop­er in 1925, occurred in a peri­od “pecu­liar­ly aus­pi­cious for the birth of a rev­o­lu­tion­ary social phi­los­o­phy.”

A cen­tu­ry lat­er, on anoth­er con­ti­nent, Hegel’s thought influ­enced the course of a very dif­fer­ent strug­gle. And while the his­tor­i­cal con­di­tions of mid-nine­teenth cen­tu­ry Europe and mid-twen­ti­eth cen­tu­ry Amer­i­ca present entire­ly dif­fer­ent sets of spe­cif­ic con­cerns, the same gen­er­al obser­va­tion applies: the time and place of such rad­i­cal thinkers as Mal­colm X, Angela Davis, Huey New­ton and a host of oth­er activists pre­sent­ed “pecu­liar­ly aus­pi­cious” cir­cum­stances for rev­o­lu­tion­ary social phi­los­o­phy.

But while these fig­ures appear today as the van­guard of rad­i­cal black thought, Mar­tin Luther King, Jr., the most wide­ly cel­e­brat­ed of Civ­il Rights lead­ers, “is often con­flat­ed with neolib­er­al mul­ti­cul­tur­al­ism,” writes Crit­i­cal The­o­ry, his pro­gram asso­ci­at­ed with “the fail­ure of the civ­il rights move­ment to dis­man­tle the ongo­ing sys­temic white suprema­cy of the sta­tus quo.” And yet, King’s move­ment not only suc­ceed­ed in end­ing legal seg­re­ga­tion and has­ten­ing the pass­ing of the Civ­il Rights Act; it also pro­vid­ed direc­tion for near­ly every non­vi­o­lent social move­ment from his day to ours. King’s lega­cy is not only that of an inspir­ing orga­niz­er and ora­tor, but also of a rad­i­cal thinker who engaged crit­i­cal­ly with phi­los­o­phy and social the­o­ry and brought it to bear on his activism.

We are gen­er­al­ly well aware of King’s debt to Gand­hi and the Satya­gra­ha move­ment that won Indi­an inde­pen­dence in 1947, yet we know lit­tle of his debt to the same thinker who inspired Marx and his contemporaries—G.W.F. Hegel. As philoso­pher and “Ethi­cist for Hire” Nolen Gertz has recent­ly demon­strat­ed on his blog, King was high­ly influ­enced by Hegelian­ism, as much as, or per­haps even more so, than he was by Gand­hi’s move­ment. Marx may have turned Hegel’s sys­tem on its head, but King, writes Gertz, “fought White Amer­i­ca… by turn­ing the ideas of dead white men against the oppres­sive prac­tices of liv­ing white men.”

King Hegel Notes

King read and wrote on Hegel as a grad­u­ate stu­dent at Boston Uni­ver­si­ty and Har­vard in the mid-50s, where he stud­ied the­ol­o­gy and the his­to­ry of phi­los­o­phy and reli­gion. He took a year­long sem­i­nar on Hegel with his advi­sor at BU, Edgar Bright­man (see King’s dia­gram notes of Hegel’s sys­tem above), and found a great deal to admire in the “dead white” philosopher’s log­i­cal sys­tem, as well as a good deal to cri­tique. The two-semes­ter class, King wrote in his auto­bi­og­ra­phy, was “both reward­ing and stim­u­lat­ing”:

Although the course was main­ly a study of Hegel’s mon­u­men­tal work, Phe­nom­e­nol­o­gy of Mind, I spent my spare time read­ing his Phi­los­o­phy of His­to­ry and Phi­los­o­phy of Right. There were points in Hegel’s phi­los­o­phy that I strong­ly dis­agreed with. For instance, his absolute ide­al­ism was ratio­nal­ly unsound to me because it tend­ed to swal­low up the many in the one. But there were oth­er aspects of his think­ing that I found stim­u­lat­ing. His con­tention that “truth is the whole” led me to a philo­soph­i­cal method of ratio­nal coher­ence. His analy­sis of the dialec­ti­cal process, in spite of its short­com­ings, helped me to see that growth comes through strug­gle.

While King may have dis­agreed with Hegel’s ide­al­ism, he found sup­port for his own phi­los­o­phy of non­vi­o­lence in Hegel’s dialec­ti­cal method, a mode of analy­sis that seems par­tic­u­lar­ly well suit­ed to social­ly rev­o­lu­tion­ary thought. In Stride Toward Free­dom, King wrote,

The third way open to oppressed peo­ple in their quest for free­dom is the way of non­vi­o­lent resis­tance. Like the syn­the­sis in Hegelian phi­los­o­phy, the prin­ci­ple of non­vi­o­lent resis­tance seeks to rec­on­cile the truths of two opposites—acquiescence and violence—while avoid­ing the extremes and immoral­i­ties of both.

King’s crit­i­cal appraisal of Hegel extend­ed to oth­er rad­i­cal philo­soph­i­cal thinkers as well, includ­ing Kant, Spin­oza, Kierkegaard, Marx, and Niet­zsche. Gertz offers many sam­ples of the bud­ding civ­il rights leader’s notes on var­i­ous thinkers and philoso­phies, includ­ing the first para­graph of an essay enti­tled “Pil­grim­age to Non­vi­o­lence” (below), in which King con­fess­es that his encounter with Exis­ten­tial­ism often “shocked” him, espe­cial­ly since he had “been raised in a rather strict fun­da­men­tal­ist tra­di­tion.” And yet, he writes—in an allu­sion to Kant’s reac­tion to David Hume—he acquired “a new appre­ci­a­tion for objec­tive appraisal and crit­i­cal analy­sis” that “knocked me out of my dog­mat­ic slum­ber.”

Pilgrimmage to nonviolence

In the essay, King writes, “I became con­vinced that exis­ten­tial­ism, in spite of the fact that it had become all too fash­ion­able, had grasped cer­tain basic truths about man.” He seems par­tic­u­lar­ly drawn to Kierkegaard (see his notes on the philoso­pher below). Yet it is Hegel who seems most respon­si­ble for awak­en­ing his philo­soph­i­cal curios­i­ty. As King schol­ar John Ans­bro dis­cov­ered, King “stat­ed in a Jan­u­ary 19, 1956 inter­view with The Mont­gomery Advis­er that Hegel was his favorite philoso­pher.” Lat­er that year, King gave an address to the First Annu­al Insti­tute on Non­vi­o­lence and Social Change in which he used Hegelian terms to char­ac­ter­ize the Civ­il Rights strug­gle: “Long ago, the Greek philoso­pher Her­a­cli­tus argued that jus­tice emerges from the strife of oppo­sites, and Hegel, in mod­ern phi­los­o­phy, preached a doc­trine of growth through strug­gle.”

King Kierkegaard

Inde­pen­dent schol­ar Ralph Dumain has fur­ther cat­a­logued King’s many approv­ing ref­er­ences to Hegel, includ­ing a paper he wrote enti­tled “An Expo­si­tion of the First Tri­ad of Cat­e­gories of the Hegelian Logic—Being, Non-Being, Becom­ing,” the “last of six essays that King wrote” for his two-semes­ter course on the philoso­pher. King also approached Hegel by way of an ear­li­er Civ­il Rights leader—W.E.B. Dubois, who read the Ger­man philoso­pher while study­ing with promi­nent social sci­en­tists in Berlin, and who applied Hegelian log­ic to his own analy­sis of racial con­scious­ness and strug­gle in Amer­i­ca.

Inter­est­ing­ly, what nei­ther King nor Dubois remarked on is the fact that Hegel was like­ly him­self inspired by black rev­o­lu­tion­ar­ies. The Hait­ian Rev­o­lu­tion, argues schol­ar Susan Buck-Morss, gave Hegel the impe­tus for his analy­sis of pow­er and his “metaphor of the ‘strug­gle to death’ between the mas­ter and slave, which for Hegel pro­vid­ed the key to the unfold­ing of free­dom in world his­to­ry.” While Hegel’s thought is a philo­soph­i­cal thread that winds through the work of rad­i­cal thinkers through­out the nine­teenth and twen­ti­eth cen­turies, his own phi­los­o­phy may not have tak­en the direc­tion it did with­out the rev­o­lu­tion­ary strug­gles against oppres­sion waged by for­mer slaves in the New World cen­turies before King led his non­vi­o­lent war on the oppres­sive sys­tem of seg­re­ga­tion in the Unit­ed States.

H/T Nolen Gertz

Relat­ed Con­tent:

‘You Are Done’: The Chill­ing “Sui­cide Let­ter” Sent to Mar­tin Luther King by the F.B.I.

200,000 Mar­tin Luther King Papers Go Online

Down­load 130 Free Phi­los­o­phy Cours­es: Tools for Think­ing About Life, Death & Every­thing Between

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

Bertrand Russell’s Message to People Living in the Year 2959: “Love is Wise, Hatred is Foolish”

Bertrand Rus­sell, the great British philoso­pher and social crit­ic, appeared on the BBC pro­gram Face-to-Face in 1959 and was asked a clos­ing ques­tion: What would you tell a gen­er­a­tion liv­ing 1,000 years from now about the life you’ve lived and the lessons you’ve learned. His answer is short, but pithy. You can read a tran­script below:

I should like to say two things, one intel­lec­tu­al and one moral:

The intel­lec­tu­al thing I should want to say to them is this: When you are study­ing any mat­ter or con­sid­er­ing any phi­los­o­phy, ask your­self only what are the facts and what is the truth that the facts bear out. Nev­er let your­self be divert­ed either by what you wish to believe or by what you think would have benef­i­cent social effects if it were believed, but look only and sole­ly at what are the facts. That is the intel­lec­tu­al thing that I should wish to say.

The moral thing I should wish to say to them is very sim­ple. I should say: Love is wise, hatred is fool­ish. In this world, which is get­ting more and more close­ly inter­con­nect­ed, we have to learn to tol­er­ate each oth­er. We have to learn to put up with the fact that some peo­ple say things that we don’t like. We can only live togeth­er in that way, and if we are to live togeth­er and not die togeth­er we must learn a kind of char­i­ty and a kind of tol­er­ance which is absolute­ly vital to the con­tin­u­a­tion of human life on this plan­et.

No truer words have been spo­ken.

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If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Bertrand Rus­sell & Oth­er Big Thinkers in BBC Lec­ture Series (Free)

Down­load Free Cours­es from Famous Philoso­phers: From Bertrand Rus­sell to Michel Fou­cault

Bertrand Russell’s Improb­a­ble Appear­ance in a Bol­ly­wood Film (1967)

Lis­ten to ‘Why I Am Not a Chris­t­ian,’ Bertrand Russell’s Pow­er­ful Cri­tique of Reli­gion (1927)

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Haruki Murakami Reads in English from The Wind-Up Bird Chronicle in a Rare Public Reading (1998)

Murakami 92Y

Note: It looks like the 92nd St Y took the read­ing off of its Youtube chan­nel for unknown rea­sons. How­ev­er you can stream it here.

Haru­ki Muraka­mi does­n’t make many pub­lic appear­ances, but when he does, his fans savor them. This record­ing of a read­ing he gave at New York’s 92nd Street Y back in 1998 (stream it here) counts as a trea­sured piece of mate­r­i­al among Eng­lish-speak­ing Murakamists, espe­cial­ly those who love his eighth nov­el, The Wind-Up Bird Chron­i­cle. When asked to read from that book, the author explains here, he usu­al­ly reads from chap­ter one, “but I’m tired of read­ing the same thing over and over, so I’m going to read chap­ter three today.” And that’s what he does after giv­ing some back­ground on the book, its 29-year-old pro­tag­o­nist Toru Oka­da, and his own thoughts on how it feels to be 29.

The Wind-Up Bird Chron­i­cle, pub­lished in three parts in Japan in 1994 and 1995 and in its entire­ty in Eng­lish in 1997, began a new chap­ter in the writer’s career. You could tell by its size alone: the page count rose to 600 in the Eng­lish-lan­guage edi­tion, where­as none of his pre­vi­ous nov­els had clocked in above 400. The­mat­i­cal­ly, too, Murakami’s mis­sion had clear­ly broad­ened: where its pre­de­ces­sors con­cern them­selves pri­mar­i­ly with West­ern pop cul­ture, dis­ap­pear­ing girls, twen­tysome­thing lan­guor, and mys­te­ri­ous ani­mal-men, The Wind-Up Bird Chron­i­cle takes on Japan­ese his­to­ry, espe­cial­ly the coun­try’s ill-advised wartime colo­nial ven­ture in Manchuria.

As a result, the book final­ly earned Muraka­mi some respect — albeit respect he’d nev­er direct­ly sought — from his home­land’s long-dis­dain­ful lit­er­ary estab­lish­ment. Despite hav­ing held its place since the time of this read­ing as Murakami’s “impor­tant” book, and one many read­ers name as their favorite, it might not offer the eas­i­est point of entry into his work. When I asked Wang Chung lead singer Jack Hues about a Muraka­mi ref­er­ence in the band’s song “City of Light,” he told me he put it there after read­ing The Wind-Up Bird Chron­i­cle on his daugh­ter’s rec­om­men­da­tion and not lik­ing it very much. I sug­gest­ed he try Nor­we­gian Wood instead.

Note: You can down­load a com­plete audio ver­sion of The Wind-Up Bird Chron­i­cle if you take part in one of the free tri­als offered by our part­ners Audible.com and/or Audiobooks.com. Click on the respec­tive links to get more infor­ma­tion.

Relat­ed Con­tent:

Haru­ki Muraka­mi Lists the Three Essen­tial Qual­i­ties For All Seri­ous Nov­el­ists (And Run­ners)

Pat­ti Smith Reviews Haru­ki Murakami’s New Nov­el, Col­or­less Tsuku­ru Taza­ki and His Years of Pil­grim­age

Haru­ki Murakami’s Pas­sion for Jazz: Dis­cov­er the Novelist’s Jazz Playlist, Jazz Essay & Jazz Bar

A Pho­to­graph­ic Tour of Haru­ki Murakami’s Tokyo, Where Dream, Mem­o­ry, and Real­i­ty Meet

In Search of Haru­ki Muraka­mi: A Doc­u­men­tary Intro­duc­tion to Japan’s Great Post­mod­ernist Nov­el­ist

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture as well as the video series The City in Cin­e­ma 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.

Hear the World’s Oldest Instrument, the “Neanderthal Flute,” Dating Back Over 43,000 Years

Back in July of last year, we brought you a tran­scrip­tion and a cou­ple of audio inter­pre­ta­tions of the old­est known song in the world, dis­cov­ered in the ancient Syr­i­an city of Ugar­it and dat­ing back to the 14th cen­tu­ry B.C.E.. Like­ly per­formed on an instru­ment resem­bling an ancient lyre, the so-called “Hur­ri­an Cult Song” or “Hur­ri­an Hymn No. 6” sounds oth­er­world­ly to our ears, although mod­ern-day musi­col­o­gists can only guess at the song’s tem­po and rhythm.

When we reach even fur­ther back in time, long before the advent of sys­tems of writ­ing, we are com­plete­ly at a loss as to the forms of music pre­his­toric humans might have pre­ferred. But we do know that music was like­ly a part of their every­day lives, as it is ours, and we have some sound evi­dence for the kinds of instru­ments they played. In 2008, arche­ol­o­gists dis­cov­ered frag­ments of flutes carved from vul­ture and mam­moth bones at a Stone Age cave site in south­ern Ger­many called Hohle Fels. These instru­ments date back 42,000 to 43,000 years and may sup­plant ear­li­er find­ings of flutes at a near­by site dat­ing back 35,000 years.

bone flute

Image via the The Archae­ol­o­gy News Net­work

The flutes are metic­u­lous­ly craft­ed, reports Nation­al Geo­graph­ic, par­tic­u­lar­ly the mam­moth bone flute, which would have been “espe­cial­ly chal­leng­ing to make.” At the time of their dis­cov­ery, researchers spec­u­lat­ed that the flutes “may have been one of the cul­tur­al accom­plish­ments that gave the first Euro­pean mod­ern-human (Homo sapi­ens) set­tlers an advan­tage over their now extinct Nean­derthal-human (Homo nean­derthalis) cousins.” But as with so much of our knowl­edge about Nean­derthals, includ­ing new evi­dence of inter­breed­ing with Homo Sapi­ens, these con­clu­sions may have to be revised.

It is per­haps pos­si­ble that the much-under­es­ti­mat­ed Nean­derthals made their own flutes. Or so a 1995 dis­cov­ery of a flute made from a cave bear femur might sug­gest. Found by arche­ol­o­gist Ivan Turk in a Nean­derthal camp­site at Div­je Babe in north­west­ern Slove­nia, this instru­ment (above) is esti­mat­ed to be over 43,000 years old and per­haps as much as 80,000 years old. Accord­ing to musi­col­o­gist Bob Fink, the flute’s four fin­ger holes match four notes of a dia­ton­ic (Do, Re, Mi…) scale. “Unless we deny it is a flute at all,” Fink argues, the notes of the flute “are inescapably dia­ton­ic and will sound like a near-per­fect fit with­in ANY kind of stan­dard dia­ton­ic scale, mod­ern or antique.” To demon­strate the point, the cura­tor of the Sloven­ian Nation­al Muse­um had a clay repli­ca of the flute made. You can hear it played at the top of the post by Sloven­ian musi­cian Ljuben Dimkaros­ki.

The pre­his­toric instru­ment does indeed pro­duce the whole and half tones of the dia­ton­ic scale, so com­plete­ly, in fact, that Dimkaros­ki is able to play frag­ments of sev­er­al com­po­si­tions by Beethoven, Ver­di, Rav­el, Dvořák, and oth­ers, as well as some free impro­vi­sa­tions “mock­ing ani­mal voic­es.” The video’s Youtube page explains his choice of music as “a pot­pour­ri of frag­ments from com­po­si­tions of var­i­ous authors,” select­ed “to show the capa­bil­i­ties of the instru­ment, tonal range, stac­ca­to, lega­to, glis­san­do….” (Dimkaros­ki claims to have fig­ured out how to play the instru­ment in a dream.) Although arche­ol­o­gists have hot­ly dis­put­ed whether or not the flute is actu­al­ly the work of Nean­derthals, as Turk sug­gest­ed, should it be so, the find­ing would con­tra­dict claims that the close human rel­a­tives “left no firm evi­dence of hav­ing been musi­cal.” But what­ev­er its ori­gin, it seems cer­tain­ly to be a hominid arti­fact—not the work of preda­tors—and a key to unlock­ing the pre­his­to­ry of musi­cal expres­sion.

Relat­ed Con­tent:

Lis­ten to the Old­est Song in the World: A Sumer­ian Hymn Writ­ten 3,400 Years Ago

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

Hear The Epic of Gil­gamesh Read in the Orig­i­nal Akka­di­an and Enjoy the Sounds of Mesopotamia

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

Designer Reimagines Iconic Movie Posters With Minimalist Designs: Reservoir Dogs, The Matrix & More

reservoir dogs poster

While watch­ing Inter­stel­lar and hat­ing it, design­er Nick Bar­clay came up with a project for him­self — tak­ing the posters of famous films and reimag­in­ing them with a min­i­mal­ist design that uses only cir­cles. Above, you can see his clever take on Taran­ti­no’s Reser­voir Dogs. It’s a far cry, to be sure, from the orig­i­nal movie poster found below.

Over at My Mod­ern Met, you’ll find oth­er min­i­mal­ist designs for The Matrix, The Lord of the Rings, Bram Stok­er’s Drac­u­la, For­rest Gump, Har­ry Pot­ter, Pulp Fic­tion, Trainspot­ting, 101 Dal­ma­tions, Léon: The Pro­fes­sion­al, The Deer Hunter, Total Recall, Mon­sters Inc., and, of course, 2001: A Space Odyssey.

Prints can be pur­chased on Bar­clay’s web­site.

2.-Reservoir-Dogs-Original

Relat­ed Con­tent:

Gaze at Glob­al Movie Posters for Hitchcock’s Ver­ti­go: U.S., Japan, Italy, Poland & Beyond

Down­load Vin­tage Film Posters in High-Res: From The Philadel­phia Sto­ry to Attack of the Crab Mon­sters

50 Film Posters From Poland: From The Empire Strikes Back to Raiders of the Lost Ark

Watch the Coen Brothers’ TV Commercials: Swiss Cigarettes, Gap Jeans, Taxes & Clean Coal

Rais­ing Ari­zona; The Big Lebows­ki; O Broth­er, Where Art Thou? — Joel and Ethan Coen have made more than a few movies not just wide­ly beloved, but also wide­ly thought of as eccen­tric. One thus would­n’t imag­ine their sen­si­bil­i­ty trans­lat­ing well to adver­tis­ing, that means of occa­sion­al sup­port for many an uncom­pro­mis­ing auteur. But just as the Coen broth­ers have brought Hol­ly­wood at least par­tial­ly over to their way of cre­at­ing, they’ve also, on sev­er­al occa­sions, bent the form of the com­mer­cial to their advan­tage.

Take the Coen broth­ers’ Parisi­enne cig­a­rette com­mer­cial at the top, pre­vi­ous­ly fea­tured here on Open Cul­ture (along­side David LynchEmir Kus­turi­caRoman Polan­s­ki and, Jean-Luc Godard’s work for the same appar­ent­ly auteur-lov­ing brand). But if they felt guilty about thus encour­ag­ing the befoul­ing of the air, they sure­ly cleared their own con­sciences with the satir­i­cal spot about “clean coal” just above. And in the slight­ly more straight­for­ward Gap ad below, they used the main­stream-yet-alter­na­tive icons Christi­na Ric­ci and Den­nis Hop­per:

And even if you keep up with the Coen broth­ers’ short film work, you may nev­er have seen the spot below, which orig­i­nal­ly aired dur­ing the 2002 Super Bowl. Work­ing for H&R Block, they use per­haps the least promis­ing set­ting imag­in­able, a slow-mov­ing tax law lec­ture, to cre­ate a dystopi­an vision not a mil­lion miles from the one Rid­ley Scott used to intro­duce the Apple Mac­in­tosh eigh­teen Super Bowls before.

Relat­ed Con­tent:

Cig­a­rette Com­mer­cials from David Lynch, the Coen Broth­ers and Jean Luc Godard

Tui­leries: A Short, Slight­ly Twist­ed Film by Joel and Ethan Coen

World Cin­e­ma: Joel and Ethan Coen’s Play­ful Homage to Cin­e­ma His­to­ry

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture as well as the video series The City in Cin­e­ma 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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