Patti Smith Sings Bob Dylan’s “A Hard Rains Gonna Fall” at Nobel Prize Ceremony & Gets a Case of the Nerves

Bob Dylan did­n’t make the trip to Stock­holm to accept his Nobel Prize in Lit­er­a­ture. Instead, Pat­ti Smith went on his behalf and per­formed a cov­er of his 1963 clas­sic, “A Hard Rain’s A‑Gonna Fall.” And mid­way through a beau­ti­ful per­for­mance, she sim­ply for­got the words, paused, and said, “I apol­o­gize. I’m sor­ry, I’m so ner­vous,” and asked to start the sec­tion of the song again. Which she did.

The lyrics for “A Hard Rain’s A‑Gonna Fall” are dif­fi­cult, by no means easy to remem­ber. Add a case of nerves (which can beset even the most expe­ri­enced musi­cian) and you have the mak­ings for a very human moment. Watch the video the whole way through. It’s touch­ing on many lev­els.

You can read the text of Bob Dylan’s accep­tance speech, pre­sent­ed by the US Ambas­sador to Swe­den, here. And if you’re won­der­ing why Dylan won the Nobel Prize in Lit­er­a­ture in the first place, you can pick up his hand­some, new book, The Lyrics: 1961–2012.

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Relat­ed Con­tent:

Pat­ti Smith’s List of Favorite Books: Camus, Shake­speare, Woolf, Wilde & More

Pat­ti Smith’s Cov­er of Nirvana’s “Smells Like Teen Spir­it” Strips the Song Down to its Heart

Watch Pat­ti Smith Read from Vir­ginia Woolf, and Hear the Only Sur­viv­ing Record­ing of Woolf’s Voice

Pat­ti Smith Reads Her Final Words to Robert Map­plethor­pe

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200,000 Years of Staggering Human Population Growth Shown in an Animated Map

Last night, dur­ing a talk on his new book Rais­ing the Floor, long­time labor leader and cur­rent senior fel­low at Colum­bia Uni­ver­si­ty Andy Stern told the sto­ry of a king and a chess­mas­ter engaged in pitched bat­tle. “If you win,” said the over­con­fi­dent king, “you may have any­thing you desire.” Lo, the chess­mas­ter wins the game, but being a hum­ble man asks the king only to pro­vide him with some rice. The king smug­ly agrees to his eccen­tric con­di­tions: he must place a grain of rice on the first square of the chess­board, then dou­ble the amount of each suc­ces­sive square. Once he reach­es the mid­dle, the king stops and has the chess­mas­ter exe­cut­ed. The request would have cost him his entire king­dom and more.

Stern used the sto­ry to illus­trate the expo­nen­tial growth of tech­nol­o­gy, which now advances at a rate we can nei­ther con­fi­dent­ly pre­dict nor con­trol. Some­thing very sim­i­lar has hap­pened to the human pop­u­la­tion in the past two-hun­dred years, as you can see illus­trat­ed in the video above from the Amer­i­can Muse­um of Nat­ur­al His­to­ry.

Evolv­ing some 200,000 years ago in Sub-Saha­ran Africa, and migrat­ing across the globe some 100,000 years ago, mod­ern humans remained rel­a­tive­ly few in num­ber for sev­er­al thou­sand years. That is, until the tech­no­log­i­cal break­through of agri­cul­ture. “By AD 1,” the video text tells us, “world pop­u­la­tion reached approx­i­mate­ly 170 mil­lion peo­ple.”

After a very rapid expan­sion, the num­bers rose and fell slow­ly in the ensu­ing cen­turies as wars, dis­ease, and famines dec­i­mat­ed pop­u­la­tions. World pop­u­la­tion reached only 180 mil­lion by the year 200 AD, then dwin­dled through the Mid­dle Ages, only pick­ing up again slow­ly around 700. Through­out this his­to­ri­o­graph­ic mod­el of pop­u­la­tion growth, the video info­graph­ic pro­vides help­ful sym­bols and leg­ends that chart his­toric cen­ters like the Roman Empire and Han Dynasty, and show major world events like the Bubon­ic plague.

Then we reach the world-shak­ing dis­rup­tions that were the birth of Cap­i­tal­ism, the Atlantic slave trade, and the Sci­en­tif­ic and Indus­tri­al Rev­o­lu­tions, when “mod­ern tech­nol­o­gy and med­i­cine bring faster growth.”

That’s quite the under­state­ment. The growth, like the grains of rice on the chess­board, pro­ceed­ed expo­nen­tial­ly, reach­ing 1 bil­lion peo­ple around 1800, then explod­ing to over 7 bil­lion today. As the yel­low dots—each rep­re­sent­ing a node of 1 mil­lion people—take over the map, the video quick­ly becomes an alarm­ing call to action. While the num­bers are lev­el­ing off, and fer­til­i­ty has dropped, “if cur­rent trends con­tin­ue,” we’re told, “glob­al pop­u­la­tion will peak at 11 bil­lion around 2100.” Peak num­bers could be low­er, or sub­stan­tial­ly high­er, depend­ing on the pre­dic­tive val­ue of the mod­els and any num­ber of unknow­able vari­ables.

Andy Stern’s research has focused on how we build economies that sup­port our mas­sive glob­al population—as machines stand poised in the next decade or so to edge mil­lions of blue and white col­lar work­ers out of an already pre­car­i­ous labor mar­ket. The Amer­i­can Muse­um of Nat­ur­al His­to­ry asks some dif­fer­ent, but no less urgent ques­tions that take us even far­ther into the future. How can the planet’s finite, and dwin­dling, resources, with our cur­rent abuse and mis­use of them, sup­port such large and grow­ing num­bers of peo­ple?

It may take anoth­er tech­no­log­i­cal break­through to mit­i­gate the dam­age caused by pre­vi­ous tech­no­log­i­cal break­throughs. Or it may take an enor­mous, rev­o­lu­tion­ary polit­i­cal shift. In either case, the “choic­es we make today” about fam­i­ly plan­ning, con­sump­tion, envi­ron­men­tal reg­u­la­tion, and con­ser­va­tion “affect the future of our species—and all life on Earth.”

Relat­ed Con­tent:

Crowd­ed House: How the World’s Pop­u­la­tion Grew to 7 Bil­lion Peo­ple

Hans Rosling Uses Ikea Props to Explain World of 7 Bil­lion Peo­ple

The Birth Con­trol Hand­book: The Under­ground Stu­dent Pub­li­ca­tion That Let Women Take Con­trol of Their Bod­ies (1968)

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

Organization Guru Marie Kondo’s Tips for Dealing with Your Massive Piles of Unread Books (or What They Call in Japan “Tsundoku”)

Eats, Shoots, and Leaves is Britain’s num­ber-one best sell­er at the moment, and it’s about punc­tu­a­tion, and no, I don’t get it either,” writes Nick Horn­by in his Feb­ru­ary 2004 “Stuff I’ve Been Read­ing” col­umn for the Believ­er. What explains how Lynne Truss’ guide to the prop­er use of com­mas, semi­colons, and dash­es became such a pub­lish­ing phe­nom­e­non those thir­teen hol­i­day sea­sons ago? Horn­by the­o­rizes that every­one had some­one in mind to give a copy, whether a punc­tu­a­tion pedant them­selves or some­one whose skills in the area could use a sharp­en­ing, ulti­mate­ly pre­dict­ing that “in the end the book will sell a quar­ter-mil­lion copies, but only two hun­dred peo­ple will own them.”

Some­thing sim­i­lar may have hap­pened with Marie Kon­do’s book The Life-Chang­ing Mag­ic of Tidy­ing Up, first pub­lished in Japan in 2011 and in Eng­lish in 2014. Now peo­ple all over the world have read it to learn the sim­ple secrets of Kon­do’s “Kon­Mari method” of declut­ter­ing — or have giv­en it to friends and rel­a­tives they see as bad­ly in need of such a method. Still, all but the most ascetic of us occa­sion­al­ly bend to the hoard­er’s instinct in cer­tain areas of life, and it would sure­ly sur­prise none of us to find out that Open Cul­ture read­ers have, on occa­sion, been known to let their book­shelves run over.

Hence the pop­u­lar­i­ty of Jonathan Crow’s post on tsun­doku, the Japan­ese word for the unread books that pile up unread in our homes. Japan, a land of small domes­tic spaces but a great deal of stuff, has paid spe­cial atten­tion to the prob­lem of hoard­ers and the gomi yashi­ki (or “trash man­sions”) in which they some­times end up. Some observers, like pho­tog­ra­ph­er Kyoichi Tsuzu­ki, cel­e­brate the ever-present threat of total dis­or­der; oth­ers, like Kon­do, go on not just to attain guru sta­tus by sell­ing books, but then to show fans how to tidy up all those books they’ve accu­mu­lat­ed.

“Many peo­ple say that books are one thing they just can’t part with regard­less of whether they are avid read­ers or not,” Kon­do writes, “but the real prob­lem is actu­al­ly the way in which they part with them.” The way she offers requires adher­ence to cer­tain prac­tices and beliefs, includ­ing the fol­low­ing:

Take your books off the shelves. Kon­do recommends–often against the objec­tions of her clients–first de-shelv­ing all their books and pil­ing them on the floor (that is, the books that haven’t spent their entire lives in such a state). “Like clothes or any oth­er belong­ings, books that have been left untouched on the shelf for a long time are dor­mant. Or per­haps I should say that they’re ‘invis­i­ble.’ ” Pos­si­bly draw­ing on what she learned from five years spent as an atten­dant maid­en at a Shin­to shrine, she ren­ders them vis­i­ble again, as you can see in the video above, “by phys­i­cal­ly mov­ing them, expos­ing them to air and mak­ing them ‘con­scious.’ ”

Make sure to touch each one. Only with your books con­scious can you “take them in your hand one by one and decide whether you want to keep or dis­card each one. The cri­te­ri­on is, of course, whether or not it gives you a thrill of plea­sure when you touch it.” Not when you read it (start­ing to read or even open­ing any of them can, she warns, derail the entire project) but when you touch it.

“Some­time” means “nev­er.” We all own books we tell our­selves we’ll get around to one day (a habit which must have led Horn­by to rig­or­ous­ly sep­a­rate “Books Read” from mere “Books Bought” in his col­umn), but Kon­do sug­gests that the accu­mu­la­tion of books with only an intent to read them in the non-imme­di­ate future lessens the impact of the books you do read. “Tim­ing is every­thing,” she writes. “The moment you first encounter a book is the right time to read it. To avoid miss­ing that moment, I rec­om­mend you keep your col­lec­tion small.”

Lithub’s Sum­mer Bren­nan recent­ly wrote up her own expe­ri­ence of weed­ing out her per­son­al library the Kon­Mari way. Bren­nan breaks the do-not-open rule and finds let­ters, lists, tick­ets (both flight and traf­fic), pho­tos, bills, receipts, and even a high-school hall pass stuffed between their pages. Con­tra Kon­do, she argues that our books “are not imper­son­al units of knowl­edge, inter­change­able and replace­able, but rather recep­ta­cles for the moments of our lives, whose pages have sopped up morn­ing hopes and late-night sor­rows, car­ried in hon­ey­moon suit­cas­es or clutched to bro­ken hearts. They are memen­tos, which [Kon­do] cau­tions read­ers not to even attempt to con­tem­plate get­ting rid of until the very last.”

Some of the books we own may spark joy, in oth­er words, but almost all of them spark a range of oth­er feel­ings besides. Even so, the hol­i­day sea­son hav­ing come upon us again, we’ve got no choice but to make at least a lit­tle room on our shelves — or our floors — to accom­mo­date the new books we’ll no doubt receive as gifts. Farewell, then, to all those extra copies of best­selling punc­tu­a­tion guides. Only after they’ve gone will we see about breath­ing some life into the vol­umes to which we’ve grown more deeply attached. After all, a year’s end, as many a writer knows, pro­vides the ide­al time for reflec­tion.

Relat­ed Con­tent:

“Tsun­doku,” the Japan­ese Word for the New Books That Pile Up on Our Shelves, Should Enter the Eng­lish Lan­guage

Change Your Life! Learn the Japan­ese Art of Declut­ter­ing, Orga­niz­ing & Tidy­ing Things Up

7 Tips for Read­ing More Books in a Year

What’s the Fastest Way to Alpha­bet­ize Your Book­shelf?

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Truman Capote Narrates “A Christmas Memory,” a 1966 TV Adaptation of His Autobiographical Story

It’s fruit­cake weath­er, so bust out your han­kies.

You’ll need them by the end of this 1966 tele­vi­sion adap­ta­tion of Tru­man Capote’s auto­bi­o­graph­i­cal 1956 sto­ry, “A Christ­mas Mem­o­ry,” above.

As hol­i­day spe­cials go, it’s bless­ed­ly free of raz­zle daz­zle. Capote’s Depres­sion-era Christ­mases in rur­al Alaba­ma were short on tin­sel and long on wind­fall pecans.

Com­bined with flour, sug­ar, dried fruit, and some hard-pur­chased whiskey, these gifts of nature yield­ed deli­cious cakes the main char­ac­ters send to a long list of recip­i­ents rang­ing from FDR to a young man whose car broke down in front of their house, who snapped the only pho­to­graph of the two of them togeth­er.

The nos­tal­gia may feel a bit thick at times. Both the sto­ry and the hour-long adap­ta­tion are a love let­ter to an eccen­tric, much old­er cousin, Nan­ny Rum­b­ley Faulk, known as Sook. She was part of the house­hold of dis­tant rela­tions where Capote’s moth­er, Lil­lie Mae, spent a por­tion of her child­hood, and on whom she lat­er dumped the 3‑year-old Tru­man.

Sook was “the only sta­ble per­son” in his life, Capote told Peo­ple mag­a­zine thir­ty years after her death.

And accord­ing to Capote’s aunt, Marie Rud­is­ill, “the only per­son that Sook ever cared any­thing about was Tru­man.”

Her inter­ests, while not in keep­ing with those of a lady of her time, place, race, and class, held enor­mous appeal for a lone­ly lit­tle boy with few play­mates his own age. Believ­ing in ghosts, tam­ing hum­ming­birds and cur­ing warts with an “old-time Indi­an cure” are just a few of Sook’s hob­bies he men­tions in the sto­ry, where­in her only name is “my friend.” She is:

small and spright­ly, like a ban­tam hen; but due to a long youth­ful ill­ness, her shoul­ders are piti­ful­ly hunched. Her face is remarkable–not unlike Lin­col­n’s, crag­gy like that, and tint­ed by sun and wind; but it is del­i­cate too, fine­ly boned, and her eyes are sher­ry-col­ored and timid.

Actress Geral­dine Page, then 43 and a favorite of Capote’s con­tem­po­rary, play­wright Ten­nessee Williams, imbued the “six­ty-some­thing” Sook with wide eyes and wild hair.

But the real star of the show is Capote him­self as nar­ra­tor. That famous nasal whine sets his “Christ­mas Mem­o­ry” apart from more gold­en-throat­ed hol­i­day voiceover work by Burl Ives, Greer Gar­son, and Fred Astaire. It also cuts through the trea­cle, as Bart Simp­son would say.

You can find “A Christ­mas Mem­o­ry” in this col­lec­tion.

Relat­ed Con­tent:

John Waters Makes Hand­made Christ­mas Cards, Says the “Whole Pur­pose of Life is Christ­mas”

Bob Dylan Reads “‘Twas the Night Before Christ­mas” On His Hol­i­day Radio Show (2006)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

Noam Chomsky & Harry Belafonte Speak on Stage for the First Time Together: Talk Trump, Klan & Having a Rebellious Heart

Noam Chom­sky, now 88 years old, made his career study­ing lin­guis­tics at MITHar­ry Bela­fonte, 89, became the “King of Calyp­so,” pop­u­lar­iz­ing Caribbean music in the 1950s. Yes, the two men come from dif­fer­ent worlds, but they share some­thing impor­tant in common–a long com­mit­ment to social jus­tice and activism. Bela­fonte used his fame to cham­pi­on the Civ­il Rights move­ment and Mar­tin Luther King Jr., and also helped orga­nize the March on Wash­ing­ton in 1963. Chom­sky protest­ed against the Viet­nam War, putting his career on the line, and has since become one of Amer­i­ca’s lead­ing voic­es of polit­i­cal dis­sent.

On Mon­day, these two fig­ures appeared onstage for the first time togeth­er. Speak­ing at River­side Church in NYC, before a crowd of 2,000 peo­ple, Chom­sky and Bela­fonte took stock of where Amer­i­ca stands after the elec­tion of Don­ald Trump. Nat­u­ral­ly, nei­ther man looks for­ward to what Trump has to bring. But they’re not as glum about the future as many oth­er vot­ers on the left. Chom­sky espe­cial­ly reminds us that Amer­i­ca has made great strides since 1960. The Unit­ed States is a far more civ­i­lized coun­try over­all. And it’s much easier–not to men­tion less dangerous–to effect change today than a half cen­tu­ry ago. It’s just a mat­ter of get­ting out there and putting in the hard work. Mean­while, Bela­fonte urges us to have a “rebel­lious heart” and leaves with this spir­it­ed reminder, “there’s still some ass kick­ing to be done!”

via @JohnCusack

Relat­ed Con­tent:

Great Cul­tur­al Icons Talk Civ­il Rights: James Bald­win, Mar­lon Bran­do, Har­ry Bela­fonte & Sid­ney Poiti­er (1963)

Noam Chom­sky vs. William F. Buck­ley, 1969

Noam Chomsky’s Wide-Rang­ing Inter­view on a Don­ald Trump Pres­i­den­cy: “The Most Pre­dictable Aspect of Trump Is Unpre­dictabil­i­ty”

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A Complete Reading of George Orwell’s 1984: Aired on Pacifica Radio, 1975

“It was a bright cold day in April, and the clocks were strik­ing thir­teen.” Thus, with one of the best-known open­ing sen­tences in all Eng­lish lit­er­a­ture, begins George Orwell’s 1984, the nov­el that even 67 years after its pub­li­ca­tion remains per­haps the most oft-ref­er­enced vision of total­i­tar­i­an­is­m’s takeover of the mod­ern West­ern world. Its fable-like pow­er has, in fact, only inten­si­fied over the decades, which have seen it adapt­ed into var­i­ous forms for film, tele­vi­sion, the stage (David Bowie even dreamed of putting on a 1984 musi­cal), and, most often, the radio.

In recent years we’ve fea­tured radio pro­duc­tions of 1984 from 1949, 1953, and 1965. On their pro­gram From the Vault, the Paci­fi­ca Radio net­work has just fin­ished bring­ing out of the archives their own 1975 broad­cast of the nov­el as read by morn­ing-show host Charles Mor­gan.

Nei­ther an all-out radio dra­ma nor a straight-ahead audio­book-style read­ing, Paci­fi­ca’s 1984 uses sound effects and voice act­ing (some con­tributed by June For­ay, of Rocky and Bull­win­kle fame) to tell the sto­ry of Win­ston Smith and his inner and out­er strug­gle with the repres­sive, all-see­ing, lan­guage-dis­tort­ing gov­ern­ment of the super­state of Ocea­nia (and the city of Airstrip One, for­mer­ly known as Eng­land) that sur­rounds him.

It makes sense that Paci­fi­ca would put the whole of Orwell’s dire nov­el­is­tic warn­ing on the air­waves. Found­ed just after World War II by a group of for­mer con­sci­en­tious objec­tors, its first sta­tion, KPFA in Berke­ley, Cal­i­for­nia, began broad­cast­ing in the year of 1984’s pub­li­ca­tion. As it grew over sub­se­quent decades, the lis­ten­er-fund­ed Paci­fi­ca radio net­work gained a rep­u­ta­tion for both its polit­i­cal engage­ment and its uncon­ven­tion­al uses of the medi­um. (The Fire­sign The­ater, the troupe that arguably per­fect­ed the art of the dense, mul­ti-lay­ered stu­dio com­e­dy album, got their start at Paci­fi­ca’s Los Ange­les sta­tion KPFK.) Every era, it seems, pro­duces its own 1984, and this one sounds as res­o­nant in the 21st cen­tu­ry — a time even Orwell dared not imag­ine — as it must have in the 1970s.

You can hear Part 1 of Paci­fi­ca’s 1984 at the top of the post, then fol­low these links to all ten parts on their Sound­cloud page: Part 1Part 2Part 3Part 4Part 5Part 6Part 7, Part 8Part 9Part 10, Part 11, Part 12, Part 13.

Relat­ed Con­tent:

Hear the Very First Adap­ta­tion of George Orwell’s 1984 in a Radio Play Star­ring David Niv­en (1949)

Hear George Orwell’s 1984 Adapt­ed as a Radio Play at the Height of McCarthy­ism & The Red Scare (1953)

Hear a Radio Dra­ma of George Orwell’s 1984, Star­ring Patrick Troughton, of Doc­tor Who Fame (1965)

George Orwell’s 1984 Staged as an Opera: Watch Scenes from the 2005 Pro­duc­tion in Lon­don

David Bowie Dreamed of Turn­ing George Orwell’s 1984 Into a Musi­cal: Hear the Songs That Sur­vived the Aban­doned Project

George Orwell Explains in a Reveal­ing 1944 Let­ter Why He’d Write 1984

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Horror Legend Boris Karloff Reads Dr. Seuss’ How The Grinch Stole Christmas (1966)

Pre­mier­ing in 1966, the How the Grinch Stole Christ­mas TV spe­cial is a per­fect (snow?) storm of cre­ative folks work­ing at the top of their game, with Theodor Geisel aka Dr. Seuss pro­vid­ing the orig­i­nal 1956 book on which it’s based, Chuck Jones bril­liant­ly inter­pret­ing Geisel’s own draw­ings in his own ani­mat­ed style, and mak­ing the Grinch’s long-suf­fer­ing dog com­pan­ion Max much more of a moral side­kick. It also gave us sev­er­al musi­cal num­bers writ­ten by Albert Hague using Geisel’s lyrics.

And then there’s Boris Karloff, who nar­rates the spe­cial from begin­ning to end and sup­plies the Grinch’s voice. The Eng­lish actor was best known in his ear­ly career for por­tray­ing Frankenstein’s mon­ster and The Mum­my in the orig­i­nal Uni­ver­sal hor­ror movies of the same names (and numer­ous sequels), and was a go-to char­ac­ter actor to play all sorts of nefar­i­ous crim­i­nals.

Lat­er he would have a sec­ond career cap­i­tal­iz­ing on his hor­ror pedi­gree, host­ing anthol­o­gy shows on tele­vi­sion, and read­ing not just tales of Edgar Allan Poe on vinyl, but oth­er not-so-scary children’s lit, like Rud­yard Kipling’s Just So Sto­ries and the fairy tales of Hans Chris­t­ian Ander­sen. Unlike Bela Lugosi, who suf­fered from being type­cast his entire career post-Drac­u­la, Karloff was able to make a good career from that break­through per­for­mance with good humor.

Karlof­f’s read­ing of How the Grinch Stole Christ­mas is pret­ty much tak­en straight from the ani­mat­ed TV spe­cial with some judi­cious edit­ing and no com­mer­cials to get in the way. Side note: It is not Karloff but Thurl Raven­scroft singing “You’re a Mean One, Mr. Grinch.” He was not cred­it­ed in the orig­i­nal car­toon and Dr. Seuss pro­found­ly apol­o­gized after the fact. The record would go on to earn Karloff a Spo­ken Word Gram­my Award, the only such enter­tain­ment award he ever won. You can also lis­ten to it on Spo­ti­fy below:

If you have been feel­ing Grinchy in any way as we approach the hol­i­day sea­son, pre­pare to get your heart melt­ed. This read­ing will be added to our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent:

The Epis­te­mol­o­gy of Dr. Seuss & More Phi­los­o­phy Lessons from Great Children’s Sto­ries

Neil Gaiman Reads Dr. Seuss’ Green Eggs and Ham

New Archive Show­cas­es Dr. Seuss’s Ear­ly Work as an Adver­tis­ing Illus­tra­tor and Polit­i­cal Car­toon­ist

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

The Birth Control Handbook: The Underground Student Publication That Let Women Take Control of Their Bodies (1968)

birth-control-handbook

Cen­tral to Michel Foucault’s the­o­ry of “gov­ern­men­tal­i­ty” is what he calls “biopow­er,” an “explo­sion of numer­ous and diverse tech­niques for achiev­ing the sub­ju­ga­tions of bod­ies and the con­trol of pop­u­la­tions.” Where debates over abor­tion and con­tra­cep­tion gen­er­al­ly coa­lesce around ques­tions of reli­gion and rights, the French the­o­rist of pow­er saw these issues as part of the bio-polit­i­cal strug­gle between “gov­ern­ing the self” and “gov­ern­ing oth­ers.”

Those who resist repres­sive biopow­er seize on the for­mer def­i­n­i­tion of gov­ern­ment. Take a very point­ed exam­ple of both restric­tive gov­ern­ment biopow­er and cre­ative resis­tance to the same: the 1968 Birth Con­trol Hand­book you see here, print­ed ille­gal­ly by under­grad­u­ate stu­dents at Montreal’s McGill Uni­ver­si­ty. At the time of this text’s cre­ation, notes Atlas Obscu­ra, “under Canada’s Crim­i­nal Code, the dis­sem­i­na­tion, sale, and adver­tise­ment of birth con­trol meth­ods were all ille­gal, and abor­tion was pun­ish­able by life impris­on­ment.”

Despite fac­ing the pos­si­ble con­se­quences of up to two years in prison, the McGill Stu­dent Soci­ety “sold mil­lions of copies” of The Birth Con­trol Hand­book, writes Aman­da Edg­ley, “in Cana­da and inter­na­tion­al­ly.” Maya Koropat­nit­sky describes the tremen­dous social impact of the hand­book:

Stu­dents at McGill as well as oth­er Que­bec cam­pus­es snapped up the first run of 17,000 copies. Due to its major suc­cess, the com­mit­tee came out with a sec­ond issue of the hand­book in 1969. This hand­book is seen to be a major play­er in women’s lib­er­a­tion because it gave young women the knowl­edge and the abil­i­ty to con­trol repro­duc­tive func­tions.  

The hand­book fur­ther­more “mobi­lized women into form­ing meet­ings and groups to talk about con­scious­ness-rais­ing issues.” This infor­mal edu­ca­tion was invalu­able for mil­lions of women, who were “des­per­ate for this infor­ma­tion,” writes author Lau­ra Kaplan, “so starved for infor­ma­tion. You want­ed it, in as much detail as you could get it, as graph­ic as it could be made.”

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What the Cana­di­an, and U.S., gov­ern­ments saw as sex­u­al­ly explic­it will look to us like stan­dard biol­o­gy text­book illus­tra­tions, mun­dane charts and graphs, ordi­nary pic­tures of the birth expe­ri­ence, and taste­ful, rather tame nude pho­tos. Orig­i­nal authors Allan Fein­gold and Don­na Cher­ni­ak “pored through books in the med­ical library,” Atlas Obscu­ra writes, “and con­sult­ed med­ical advi­sors, com­pil­ing detailed infor­ma­tion on top­ics like sex­u­al inter­course, men­stru­al cycles, sur­gi­cal abor­tion tech­niques (accom­pa­nied by prices and sta­tis­tics), and how, exact­ly, to con­tact abor­tion providers.”

Illus­trat­ing anoth­er Fou­cauldian insight into the rela­tion­ship between knowl­edge and pow­er, not only were birth con­trol meth­ods under the strict con­trol of most­ly male doc­tors (and only avail­able with per­mis­sion from a hus­band), but even basic infor­ma­tion on repro­duc­tion and birth con­trol was dif­fi­cult for most women to access. “To have all the infor­ma­tion on the var­i­ous meth­ods of birth con­trol in one place,” says Kaplan, “with pros and cons and what you need­ed to know about them, was a rev­e­la­tion.” Cher­ni­ak lat­er remem­bered, “We joked that after the Bible, we were prob­a­bly one of the most wide­ly dis­trib­uted pub­li­ca­tions in Cana­da.”

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Both edi­tions of the hand­book addressed the con­tro­ver­sial top­ic of abor­tion, cit­ing the Cana­di­an crim­i­nal code along the way. “Con­cerned with the prob­lem of ille­gal abor­tion,” writes Uni­ver­si­ty of Ottowa pro­fes­sor Christa­belle Seth­na, “the coun­cil man­dat­ed the pub­li­ca­tion” of the hand­book, which also “con­tained edi­to­r­i­al com­men­tary that took West­ern pop­u­la­tion-con­trol experts to task for their racism and that sup­port­ed women’s repro­duc­tive rights as a func­tion of women’s lib­er­a­tion.” Seth­na sit­u­ates The Birth Con­trol Hand­book with­in a much larg­er Cana­di­an move­ment, just “one of the ways,” writes Edge­ley, “Cana­di­ans took con­trol over their own bod­ies.” Its cre­ators saw it as a means of chang­ing the world. “Those were the years,” Cher­ni­ak says, “in which you thought you could do any­thing.”

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Two years after the first print run of The Birth Con­trol Hand­book, the ur-text of fem­i­nist bio-pol­i­tics, Our Bod­ies, Our­selves, was pub­lished by the Boston Women’s Health Book Col­lec­tive. This book “became its own wide­ly cir­cu­lat­ed women’s health text,” Atlas Obscu­ra writes, “trans­lat­ed into 29 lan­guages.” But while Our Bod­ies, Our­selves remains famous for its key role in spread­ing much-need­ed infor­ma­tion about repro­duc­tive health, “its Cana­di­an coun­ter­part has been most­ly for­got­ten.” The Birth Con­trol Hand­book gave mil­lions of women the infor­ma­tion they need­ed to gov­ern their own lives. Redis­cov­er the com­plete text of the first, 1968 edi­tion and sec­ond, 1969 edi­tion at the Inter­net Archive, where you can see a scan, read tran­scribed full text, and down­load PDF, Kin­dle, and oth­er for­mats.

via Atlas Obscu­ra

Relat­ed Con­tent:

Down­load All 239 Issues of Land­mark UK Fem­i­nist Mag­a­zine Spare Rib Free Online

Simone de Beau­voir Explains “Why I’m a Fem­i­nist” in a Rare TV Inter­view (1975)

The Sto­ry Of Men­stru­a­tion: Watch Walt Disney’s Sex Ed Film from 1946

Watch Fam­i­ly Plan­ning, Walt Disney’s 1967 Sex Ed Pro­duc­tion, Star­ring Don­ald Duck

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

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