How 99% of Ancient Literature Was Lost

Ancient Greece and Rome had plen­ty of lit­er­a­ture, but prac­ti­cal­ly none of it sur­vives today. What exact­ly became of almost every­thing writ­ten down in West­ern antiq­ui­ty is the sub­ject of the video above by ancient-his­to­ry Youtube chan­nel Told in Stone, pre­vi­ous­ly fea­tured here on Open Cul­ture for its inves­ti­ga­tions into every­thing from the Colos­se­um and the Pan­theon to Roman nightlife and the explo­sion of Mount Vesu­vius. But none of its past videos has quite as much rel­e­vance to this par­tic­u­lar sto­ry as the one on the burn­ing of the Library of Alexan­dria.

Described by nar­ra­tor Gar­ret Ryan as “the great­est of all ancient libraries,” the Library of Alexan­dria could have con­tained between 532,800 and 700,000 vol­umes in scroll form, all of them lost by the time Julius Cae­sar burned it down in 48 B.C..

Even so, “the loss of all but a tiny frac­tion of ancient lit­er­a­ture was not brought about by the dis­ap­pear­ance of a sin­gle library. It was, instead, the con­se­quence of the basic fragili­ty of texts before the advent of print­ing.” Papyrus, the pre-paper writ­ing mate­r­i­al first devel­oped in ancient Egypt, cer­tain­ly could­n’t stand the test of time: in rel­a­tive­ly humid west­ern Europe, “most papyri had to be recopied every cen­tu­ry or so.”

Plus ça change: even, and per­haps espe­cial­ly, in our dig­i­tal era, long-term data archival has turned out to neces­si­tate reg­u­lar move­ment from one stor­age medi­um to the next. But per­haps our civ­i­liza­tion will prove luck­i­er with the process than the Roman Empire, whose col­lapse meant that “the elites who had tra­di­tion­al­ly com­mis­sioned new copies all but van­ished. Far few­er man­u­scripts were pro­duced, and those that were tend­ed to serve the par­tic­u­lar pur­pos­es of reli­gion, edu­ca­tion, and the tech­ni­cal dis­ci­plines.” For these and oth­er rea­sons, very few clas­sics made it to the Mid­dle Ages, and thus to the Renais­sance. But even if you don’t have much to study, so the lat­ter era glo­ri­ous­ly demon­strat­ed, you can more than com­pen­sate by study­ing it hard.

Relat­ed con­tent:

What Was Actu­al­ly Lost When the Library of Alexan­dria Burned?

How Egypt­ian Papyrus Is Made: Watch Arti­sans Keep a 5,000-Year-Old Art Alive

The Rise and Fall of the Great Library of Alexan­dria: An Ani­mat­ed Intro­duc­tion

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

How Ancient Scrolls, Charred by the Erup­tion of Mount Vesu­vius in 79 AD, Are Now Being Read by Par­ti­cle Accel­er­a­tors, 3D Mod­el­ing & Arti­fi­cial Intel­li­gence

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Kurt Vonnegut Diagrams the Shape of All Stories: From Kafka’s “Metamorphosis” to “Cinderella”

Few Amer­i­can nov­el­ists of the twen­ti­eth cen­tu­ry looked as pro­fes­so­r­i­al as Kurt Von­negut, at least in a rum­pled-fix­ture-of-the-Eng­lish-depart­ment way. But though he did rack up some teach­ing expe­ri­ence, not least at the Iowa Writ­ers’ Work­shop, he could hard­ly have been a con­ven­tion­al lec­tur­er. This is evi­denced by the 2004 clip above, in which he explains his ideas about the “shapes” tak­en by all sto­ries — an idea he first for­mal­ly pre­sent­ed as his master’s the­sis in anthro­pol­o­gy at the Uni­ver­si­ty of Chica­go. Though the the­sis itself was reject­ed (a quar­ter-cen­tu­ry lat­er, the uni­ver­si­ty accept­ed Cat’s Cra­dle in its stead), its ideas proved pow­er­ful enough to enter­tain Von­negut’s audi­ences up until the end of his life.

On his chalk­board, Von­negut draws a ver­ti­cal and a hor­i­zon­tal axis: the for­mer charts the pro­tag­o­nist’s for­tune, good or ill, and the lat­ter rep­re­sents time (from B to E: “begin­ning, entropy”). He then plots the curve of an espe­cial­ly sim­ple and reli­able sto­ry form, “man in a hole,” which involves some­one get­ting into trou­ble — down­ward turns the slope — then get­ting back out again.

But the pro­tag­o­nist should end up a bit high­er on the scale of for­tune than he began, because “the read­er thinks, ‘Well, by God, I’m a human being too. I must have that much in reserve if I get into trou­ble.” Then come the sto­ries of oth­er shapes, includ­ing such pop­u­lar favorites as “Cin­derel­la” and Kafka’s Meta­mor­pho­sis.

“This rise and fall,” Von­negut warns us, “is, in fact, arti­fi­cial. It pre­tends that we know more about life than we real­ly do.” When he attempts to describe the shape of Ham­let, he ends up com­ing across one rea­son the play is regard­ed as a work of genius: “we are so sel­dom told the truth,” but Shake­speare tells us the truth that “we don’t know enough about life to know what the good news is and what the bad news is.” Rather, “all we do is echo the feel­ings of peo­ple around us.” As Von­negut’s read­ers know, a dim­mer view of human nature than his would be hard to come by. But if he did­n’t have faith the abil­i­ty of sto­ries to teach us good from bad, he did have faith in their abil­i­ty to teach us that we aren’t about to fig­ure it out for our­selves.

Relat­ed con­tent:

Kurt Von­negut Offers 8 Tips on How to Write Good Short Sto­ries (and Amus­ing­ly Graphs the Shapes Those Sto­ries Can Take)

Kurt Von­negut Dia­grams the Shape of All Sto­ries in a Master’s The­sis Reject­ed by U. Chica­go

Why the Uni­ver­si­ty of Chica­go Reject­ed Kurt Vonnegut’s Master’s The­sis (and How a Nov­el Got Him His Degree 27 Years Lat­er)

Why Should We Read Kurt Von­negut? An Ani­mat­ed Video Makes the Case

Arti­fi­cial Intel­li­gence Iden­ti­fies the Six Main Arcs in Sto­ry­telling: Wel­come to the Brave New World of Lit­er­ary Crit­i­cism

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Why Maya Angelou’s Memoir I Know Why The Caged Bird Sings Became One of the Most Banned Books of All Time

Some good news: Maya Angelou’s 1969 mem­oir I Know Why The Caged Bird Sings, a recount­ing of her first 17 years, includ­ing a rape at the age of 7 or 8 by her mother’s boyfriend, and her sub­se­quent emo­tion­al trau­ma, no longer leads the Amer­i­can Library Asso­ci­a­tion’s Office for Intel­lec­tu­al Freedom’s list of banned and chal­lenged books.

The bad news: there will always be titles assigned to high school­ers that vivid­ly depict young people’s actu­al expe­ri­ence, that par­ents and com­mu­ni­ty groups will tar­get on sim­i­lar grounds.

New African list­ed some of the ver­ba­tim objec­tions that have been lev­eled against I Know Why the Caged Bird Sings - that it encour­aged “pro­fan­i­ty”, was filled with “descrip­tions of drug abuse, sex­u­al­ly explic­it con­duct and tor­ture”, preached “bit­ter­ness and hatred against whites”, was “like­ly to cor­rupt minors” and con­tained “inap­pro­pri­ate­ly explic­it sex­u­al scenes.”

Angelou, who accused the book’s detrac­tors of not read­ing more than two words of it, bri­dled that any­one would “act as if their chil­dren are not faced with the same threats.”

Mol­lie Godfrey’s TED-Ed les­son, ani­mat­ed by Lau­ra White. above, points out how rad­i­cal Angelou’s I Know Why The Caged Bird Sings was for a work of its time:

Her auto­bi­og­ra­phy was one of the first to speak open­ly about child sex­u­al abuse and espe­cial­ly ground­break­ing to do so from the per­spec­tive of the abused child. For cen­turies Black women writ­ers have been lim­it­ed by stereo­types char­ac­ter­iz­ing them as hyper­sex­u­al. Afraid of rein­forc­ing these stereo­types, few were will­ing to write about their sex­u­al­i­ty at all but Angelou refused to be con­strained. She pub­licly explored her most per­son­al expe­ri­ence with­out apol­o­gy or shame.

Robert P. Doyle, vice-pres­i­dent of the Free­dom to Read Foun­da­tion, revealed that the ALA was inspired to launch Banned Books Week in 1982, when the Amer­i­can Book­sellers Asso­ci­a­tion dis­played I Know Why the Caged Bird Sings and oth­er works in a cage out­side the entrance to their annu­al con­fer­ence:

The dis­play gen­er­at­ed a lot of press atten­tion. And the book com­mu­ni­ty real­ized that we have not only an oppor­tu­ni­ty, but a respon­si­bil­i­ty to engage the Amer­i­can pub­lic in a con­ver­sa­tion about the First Amend­ment as it relates to books and lit­er­a­ture. A coali­tion was formed imme­di­ate­ly with the authors, pub­lish­ers, and major dis­tri­b­u­tion cen­ters (book­stores and libraries) in the U.S. to draw atten­tion to the impor­tance of the free­dom to read, to pub­li­cize threats to that free­dom, and to pro­vide infor­ma­tion to com­bat the lack of aware­ness.

Many of the book’s high pro­file defend­ers dis­cov­ered it at a for­ma­tive age, includ­ing rap­per Com­mon, who decid­ed to become a writer after encoun­ter­ing it as a 5th grad­er, and Oprah Win­frey, who was blown away to learn that anoth­er young Black girl had also endured sex­u­al abuse:

I read those words and thought, “Some­body knows who I am.”

No less mov­ing is a com­ment on Godfrey’s TED-Ed les­son left by a teacher in Texas:

Caged Bird helped saved my life. Thank­ful for the day my 11th grade Eng­lish teacher at a con­ser­v­a­tive Chris­t­ian school hand­ed it to me and said, “read this, sweet pea”…I still encour­age my stu­dents at a con­ser­v­a­tive Chris­t­ian school in TX to read it.”

“I am glad you got the help you need­ed,” anoth­er view­er respond­ed. “I live in Flori­da, and that teacher who helped you would be charged with a felony here. I’m dead seri­ous.”

Lis­ten to Maya Angelou dis­cuss I Know Why the Caged Bird Sings in this 1970  inter­view with Studs Terkel. 

Relat­ed Con­tent 

The Brook­lyn Pub­lic Library Gives Every Teenag­er in the U.S. Free Access to Cen­sored Books

Texas School Board Bans Illus­trat­ed Edi­tion of The Diary of Anne Frank

Ten­nessee School Board Bans Maus, the Pulitzer-Prize Win­ning Graph­ic Nov­el on the Holo­caust; the Book Becomes #1 Best­seller on Ama­zon

The 850 Books a Texas Law­mak­er Wants to Ban Because They Could Make Stu­dents Feel Uncom­fort­able

Umber­to Eco Makes a List of the 14 Com­mon Fea­tures of Fas­cism

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHalliday.

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LEGO Releases the Most Elaborate Lord of the Rings Set: A 6,167-Piece Rivendell

Many of us built our first LEGO mod­els in child­hood and, a few years there­after in ado­les­cence, read our first Lord of the Rings nov­el. We con­tin­ue to look fond­ly back on such for­ma­tive cul­tur­al expe­ri­ences in adult­hood, and indeed, some of us retain a gen­uine appre­ci­a­tion for the arti­facts them­selves well into mid­dle age.

It is toward that very inter­sec­tion of enthu­si­asm and means that LEGO has tar­get­ed its lat­est and largest Lord of the Rings-themed set: a 6,167-piece mod­el of the Riven­dell, the sanc­tu­ary locat­ed in the epony­mous Elvish val­ley, which is set to retail for $500 USD.

This new LEGO Riven­dell has room “for the entire Fel­low­ship to debate The One Ring, and the shards of a par­tic­u­lar­ly note­wor­thy sword,” writes The Verge’s Sean Hol­lis­ter, and it includes “tiled rooftops, imag­i­na­tive arch­es, and enough dis­tinct spaces to recre­ate mul­ti­ple scenes from the movies.”

This marks a con­sid­er­able improve­ment on the sets that came out at the time of Peter Jack­son’s Lord of the Rings movies in the ear­ly 2000s: Andrew Liszews­ki at Giz­mo­do notes that “the largest one was a 1,300+-piece recre­ation of the Bat­tle of Helm’s Deep that, by today’s LEGO stan­dards, was rel­a­tive­ly small. The col­lec­tion also includ­ed a tiny 243-piece recre­ation of the Coun­cil of Elrond, which, under­stand­ably, left LOTR fans dis­ap­point­ed.”

You can see an in-depth review of the new Riven­dell set in the video just above from LEGO Youtu­ber Brick­sie. He has a great deal of praise for the details of its com­po­nents, yet what­ev­er resources LEGO can put toward an offi­cial con­sumer prod­uct, they can hard­ly match the pow­er of sheer fan obses­sion.

If you want to expe­ri­ence a tru­ly faith­ful re-cre­ation of Riven­dell in the medi­um of LEGO, you’ll have to attend a con­ven­tion with Alice Finch and David Frank, builders of an elab­o­rate mod­el that includes no few­er than 200,000 bricks: a sprawl­ing mon­u­ment to the kind of qua­si-reli­gious (and some­times life­long) devo­tion inspired by both the imag­i­na­tion of Tolkien and the pos­si­bil­i­ties of LEGO.

Relat­ed con­tent:

The Lord of the Rings Mythol­o­gy Explained in 10 Min­utes, in Two Illus­trat­ed Videos

Hokusai’s Icon­ic Print The Great Wave off Kana­gawa Recre­at­ed with 50,000 LEGO Bricks

The Vin­cent van Gogh Star­ry Night LEGO Set Is Now Avail­able: It’s Cre­at­ed in Col­lab­o­ra­tion with MoMA

Cam­bridge Uni­ver­si­ty to Cre­ate a LEGO Pro­fes­sor­ship

Why Did LEGO Become a Media Empire? Pret­ty Much Pop: A Cul­ture Pod­cast #37

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

When Leonard Bernstein Turned Voltaire’s Candide into an Opera (with Help from Lillian Hellman, Dorothy Parker & Stephen Sondheim)

The sev­en­teen-fifties found West­ern civ­i­liza­tion in the mid­dle of its Age of Enlight­en­ment. That long era intro­duced on a large scale the notion that, through the use of ratio­nal­i­ty and sci­en­tif­ic knowl­edge, human­i­ty could make progress. For the Enlight­en­men­t’s true believ­ers, it would have even­tu­al­ly become quite easy indeed to assume that we had nowhere to go but up, and would soon­er or lat­er attain a state of per­fec­tion. No such fan­tasies, of course, for Jean-Marie Arou­et, bet­ter known as Voltaire. Despite being an Enlight­en­ment icon, he pulled no punch­es in attack­ing what he saw as its delu­sions, most last­ing­ly in his 1759 satir­i­cal nov­el Can­dide, ou l’Op­ti­misme.

Two cen­turies lat­er, West­ern civ­i­liza­tion, and espe­cial­ly the fresh­ly formed civ­i­liza­tion of the Unit­ed States of Amer­i­ca, had entered a new age of rea­son. Or rather, it had entered an age of tech­ni­cal, indus­tri­al, and orga­ni­za­tion­al “know-how.”

The con­vic­tion that Amer­i­ca could be per­fect­ed through engi­neered sys­tems played its part in gen­er­at­ing a degree of pros­per­i­ty the world had nev­er known (and would have scarce­ly been imag­in­able in Voltaire’s day). But it also had grim­mer man­i­fes­ta­tions, such as McCarthy­ism and the House Un-Amer­i­can Activ­i­ties Com­mit­tee, whose pro­ce­dures ground away at the core of the anti-Com­mu­nist “red scare.”

In Can­dide, Voltaire takes to task a vari­ety of not just beliefs but insti­tu­tions, includ­ing the Por­tuguese Inqui­si­tion. The play­wright Lil­lian Hell­man, who’d been black­list­ed after appear­ing before the HUAC in 1947, “observed a sin­is­ter par­al­lel between the Inqui­si­tion’s church-spon­sored purges and the ‘Wash­ing­ton Witch Tri­als,’ fueled by anti-Com­mu­nist hys­te­ria.” So says the web site of Leonard Bern­stein, Hell­man’s col­lab­o­ra­tor on what would become a com­ic-operetta adap­ta­tion of Can­dide. With con­tri­bu­tions from lyri­cist John LaTouche, poet Richard Wilbur, and Algo­nquin Round Table wit Dorothy Park­er, their pro­duc­tion was ready to open in the fall of 1956.

Stripped in the eleventh hour of Hell­man’s most direct top­i­cal attacks, and even then crit­i­cized for over-seri­ous­ness, the orig­i­nal Broad­way pro­duc­tion of Can­dide end­ed after 73 per­for­mances. (Record­ings of the orig­i­nal pro­duc­tion can be pur­chased online.) Nev­er­the­less, there was cause for opti­mism about its future: the show would be revived in Lon­don with a revised book two years lat­er, with fur­ther new ver­sions to fol­low in the nine­teen-sev­en­ties and eight­ies, its lyrics sup­ple­ment­ed by no less a Broad­way mas­ter than Stephen Sond­heim. The two-and-a-half hour video above com­bines high­lights of two con­sec­u­tive per­for­mances in 1989, con­duct­ed by Bern­stein him­self in the year before his death. “Like its hero, Can­dide is per­haps des­tined nev­er to find its per­fect form and func­tion,” notes Bern­stein’s site. “In the final analy­sis, how­ev­er, that may prove philo­soph­i­cal­ly appro­pri­ate.”

Relat­ed con­tent:

An Ani­mat­ed Intro­duc­tion to Voltaire: Enlight­en­ment Philoso­pher of Plu­ral­ism & Tol­er­ance

What Voltaire Meant When He Said That “We Must Cul­ti­vate Our Gar­den”: An Ani­mat­ed Intro­duc­tion

Leonard Bernstein’s Mas­ter­ful Lec­tures on Music (11+ Hours of Video Record­ed at Har­vard in 1973)

Hear the Famous­ly Con­tro­ver­sial Con­cert Where Leonard Bern­stein Intro­duces Glenn Gould & His Idio­syn­crat­ic Per­for­mance of Brahms’ First Piano Con­cer­to (1962)

Leonard Bern­stein Awk­ward­ly Turns the Screws on Tenor Jose Car­reras While Record­ing West Side Sto­ry (1984)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Liam Neeson Stars as Raymond Chandler’s Legendary Detective Philip Marlowe: Watch the Trailer for the New Film

Behold the new trail­er for Mar­lowe, a new film direct­ed by Neil Jor­dan. As the title sug­gests, the film cen­ters around Philip Mar­lowe, the gumshoe detec­tive that Ray­mond Chan­dler first unveiled in The Big Sleep in 1939. Between then and now, Mar­lowe has been por­trayed in films by Humphrey Bog­a­rt, Robert Mitchum, Elliott Gould, and James Gar­ner. Now, Liam Nee­son takes his turn. Here’s how the pro­duc­ers pitch the film:

MARLOWE, a grip­ping noir crime thriller set in late 1930’s Los Ange­les, cen­ters around a street-wise, down on his luck detec­tive; Philip Mar­lowe, played by Liam Nee­son, who is hired to find the ex-lover of a glam­orous heiress (Diane Kruger), daugh­ter of a well-known movie star (Jes­si­ca Lange). The dis­ap­pear­ance unearths a web of lies, and soon Mar­lowe is involved in a dan­ger­ous, dead­ly inves­ti­ga­tion where every­one involved has some­thing to hide.

Mar­lowe arrives in the­aters on Feb­ru­ary 15.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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 

Ray­mond Chandler’s Ten Com­mand­ments for Writ­ing a Detec­tive Nov­el

Hear Ray­mond Chan­dler & Ian Fleming–Two Mas­ters of Suspense–Talk with One Anoth­er in Rare 1958 Audio

Ray­mond Chandler’s 36 Great Unused Titles: From “The Man With the Shred­ded Ear,” to “Quick, Hide the Body”

Watch Ray­mond Chandler’s Long-Unno­ticed Cameo in Dou­ble Indem­ni­ty

via Boing­Bo­ing

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The Only Footage of Mark Twain: The Original & Digitally Restored Films Shot by Thomas Edison

We know what Mark Twain looked like, and we think we know what he sound­ed like. Just above see what he looked like in motion, strolling around Storm­field, his house in Red­ding, Connecticut—signature white suit draped loose­ly around his frame, sig­na­ture cig­ar puff­ing white smoke between his fin­gers. After Twain’s leisure­ly walk along the house’s façade, we see him with his daugh­ters, Clara and Jean, seat­ed indoors. Below you can see the orig­i­nal murky ver­sion, fea­tured on our site way back in 2010. A dig­i­tal restora­tion (top) does won­ders for the watch­a­bil­i­ty of this price­less silent arti­fact, so vivid­ly cap­tur­ing the writer/contrarian/raconteur’s essence that you’ll find your­self reach­ing to turn the vol­ume up, expect­ing to hear that famil­iar cur­mud­geon­ly drawl.

Shot by Thomas Edi­son in 1909, the short film is most like­ly the only mov­ing image of Twain in exis­tence. We might assume that Edi­son also record­ed Twain’s voice, since we seem to know it so well, from por­tray­als of the great Amer­i­can humorist in pop cul­tur­al touch­stones like Star Trek: The Next Gen­er­a­tion and par­o­dies by Alec Bald­win and Val Kilmer.

Kilmer’s sur­pris­ing­ly fun­ny in the role, but he doesn’t come near the pitch per­fect imper­son­ation Hal Hol­brook had giv­en us for the bet­ter part of six­ty years in his mas­ter­ful Mark Twain Tonight. Holbrook’s vocal man­ner­isms have become a defin­i­tive mod­el for actors play­ing Twain on stage and screen.

Giv­en the num­ber of Twain vocal imper­son­ations out there, and Edis­on’s inter­est in doc­u­ment­ing the author, we might be sur­prised to learn that no orig­i­nal record­ings of his voice exist. Twain, we find out in the short film below, exper­i­ment­ed with audio record­ing tech­nol­o­gy, but aban­doned his efforts. It seems that none of the wax cylin­ders he worked with have survived—perhaps he destroyed them him­self.

As nar­ra­tor Rod Rawlings—himself a Twain imper­son­ator and afi­ciona­do—informs us, what we do have is a record­ing made in 1934 by actor and play­wright William Gillette,  an able mim­ic of Twain, his patron and long­time neigh­bor. Like Hol­brook, Gillette spent a good part of his career trav­el­ing from town to town play­ing Mark Twain. Below, you’ll hear Gillette address a class of stu­dents at Har­vard, first in his own voice, then in the voice of the author, read­ing from “The Cel­e­brat­ed Jump­ing Frog of Calav­eras Coun­ty.” Gillet­te’s per­for­mance is like­ly the clos­est we’ll ever come to hear­ing the voice of the real Twain, whose major works appear in our col­lec­tion of Free Audio Books and Free eBooks.

Relat­ed Con­tent:

Mark Twain Pre­dicts the Inter­net in 1898: Read His Sci-Fi Crime Sto­ry, “From The ‘Lon­don Times’ in 1904”

Mark Twain Wrote the First Book Ever Writ­ten With a Type­writer

Mark Twain’s Vicious­ly Fun­ny Mar­gin­a­lia Took Aim at Some Lit­er­ary Greats

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

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Contribute a Song to WNYC’s Public Song Project & Use Your Creativity to Explore the Public Domain

We rec­og­nize that Open Cul­ture read­ers are a cre­ative bunch.

As proof, we point to your Get­ty Muse­um Chal­lenge entries and the fact that one of your num­ber won Yale Uni­ver­si­ty Press’s Kaf­ka Cap­tion Con­test.

We’ve iden­ti­fied anoth­er oppor­tu­ni­ty to show off your cre­ative streak, com­pli­ments of All Of It with Ali­son Stew­art, a dai­ly live cul­ture pro­gram on WNYC, New York City’s pub­lic radio sta­tion.

You have until Feb­ru­ary 13 to write and record an orig­i­nal song inspired by a work in the pub­lic domain, and sub­mit it to The All Of It Pub­lic Song Project.

Ama­teurs are wel­come to take a crack at it and any genre is crick­et, includ­ing rap, spo­ken word, and instru­men­tals.

Even if you lim­it your­self to the works that entered the pub­lic domain on Jan­u­ary 1 of this year, the pos­si­bil­i­ties are almost end­less.

Should you be inclined toward a faith­ful cov­er, we encour­age you to con­sid­er one of 1927’s deep cuts, like Fats Waller’s “Sooth­in’ Syrup Stomp” or Jel­ly Roll Mor­ton’s “Hye­na Stomp,” though we under­stand the attrac­tion of Irv­ing Berlin’s endur­ing­ly pop­u­lar “Puttin’ on the Ritz”.

Apolo­gies to Emi­ly Joy, the accom­plished young clas­si­cal pianist, above — par­tic­i­pa­tion is lim­it­ed to entrants aged 18 or old­er.

The rest of us are free to invent new lyrics for an exist­ing com­po­si­tion, or a brand new tune for exist­ing lyrics.

You might musi­cal­ize a poem or speech, some dia­logue from a film, or a page from a book.

A blue­grass spin on Fritz Lang’s Metrop­o­lis, per­haps?

A death met­al re-envi­sion­ing of But­ter­cup Days from A.A. Milne’s Now We Are Six?

How about a sis­sy bounce take on these lines from “The Adven­ture of the Mazarin Stone,” the first short sto­ry in Arthur Conan Doyle’s col­lec­tion, The Case-Book of Sher­lock Holmes:

“Bil­ly, you will see a large and ugly gen­tle­man out­side the front door. Ask him to come up.”

“If he won’t come, sir?”

“No vio­lence, Bil­ly. Don’t be rough with him. If you tell him that Count Sylvius wants him he will cer­tain­ly come.”

“What are you going to do now?” asked the Count as Bil­ly dis­ap­peared.

“My friend Wat­son was with me just now. I told him that I had a shark and a gud­geon in my net; now I am draw­ing the net and up they come togeth­er.”

The Count had risen from his chair, and his hand was behind his back. Holmes held some­thing half pro­trud­ing from the pock­et of his dress­ing-gown.

“You won’t die in your bed, Holmes.”

Okay, we’re being sil­ly, but only because we don’t want to put ideas in your head!

You could even con­coct some­thing entire­ly new — per­haps a bal­lad from the POV of To the Light­house’s young James Ram­say, or a dit­ty apol­o­giz­ing to Vir­ginia Woolf for read­ing the Cliffs Notes instead of the actu­al nov­el when it was assigned in your col­lege Women’s Lit­er­a­ture class.

…we’re doing it again, aren’t we?

All right, we’ll leave you to it, with a reminder that any­thing out­side of your pub­lic domain source mate­r­i­al must be whol­ly orig­i­nal — no bor­row­ing a catchy tune from Lennon and McCart­ney, capis­ci?

Win­ners will get a chance to dis­cuss their works on WNYC and all qual­i­fy­ing entries will be post­ed at contest’s end for the public’s lis­ten­ing plea­sure.

Con­test rules and infor­ma­tion on how to sub­mit to The All Of It Pub­lic Song Project can be found here.

Good luck! We can’t wait to hear what you come up with.

Relat­ed Con­tent

What’s Enter­ing the Pub­lic Domain in 2023: Fritz Lang’s Metrop­o­lis, Vir­ginia Woolf’s To the Light­house, Franz Kafka’s Ameri­ka & More

A Search Engine for Find­ing Free, Pub­lic Domain Images from World-Class Muse­ums

400,000+ Sound Record­ings Made Before 1923 Have Entered the Pub­lic Domain

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHalliday.

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Open Culture was founded by Dan Colman.