Patti Smith Talks with Malcolm Gladwell About Her Life as an Artist

Bro­ken Record–the pod­cast host­ed by Rick Rubin, Mal­colm Glad­well, and Bruce Headlam–has released its lat­est episode fea­tur­ing an in-depth inter­view with Pat­ti Smith. Here, Glad­well talks with Smith “about her writ­ing in the stu­dio Jimi Hen­drix built, Elec­tric Lady,” where “she met Hen­drix in 1970—just weeks before he passed away. Pat­ti also talks about hang­ing out with and writ­ing lyrics for Janis Joplin, and she recalls the fun she had dur­ing a failed attempt to cov­er Adele in con­cert.” The con­ver­sa­tion also nat­u­ral­ly cov­ers her time with Robert Map­plethor­pe in the Chelsea Hotel (see vin­tage footage here); her rela­tion­ship with William Bur­roughs and Allen Gins­berg; and the chal­lenges she faced writ­ing Just Kids.

Stream the inter­view above, or find their pod­cast on Apple, Spo­ti­fy and Stitch­er. Also be sure to check out Pat­ti Smith’s dai­ly mus­ings on Sub­stack.

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

Vin­tage Footage Shows a Young, Unknown Pat­ti Smith & Robert Map­plethor­pe Liv­ing at the Famed Chelsea Hotel (1970)

New York’s Famous Chelsea Hotel and Its Cre­ative Res­i­dents Revis­it­ed in a 1981 Doc­u­men­tary

Pat­ti Smith & Fred “Son­ic” Smith Per­form a Stripped-Down, Beau­ti­ful Ver­sion of “Peo­ple Have the Pow­er”

Pat­ti Smith and David Lynch Talk About the Source of Their Ideas & Cre­ative Inspi­ra­tion

Pat­ti Smith’s List of Favorite Books: From Rim­baud to Susan Son­tag

Pat­ti Smith Sings “Peo­ple Have the Pow­er” with a Choir of 250 Fel­low Singers

Hear Pat­ti Smith’s First Poet­ry Read­ing, Accom­pa­nied by Her Long­time Gui­tarist Lenny Kaye (St. Mark’s Church, 1971)

Hear Aldous Huxley Narrate His Dystopian Masterpiece, Brave New World

The CBS Radio Work­shop was an “exper­i­men­tal dra­mat­ic radio anthol­o­gy series” that aired between 1956 and 1957. And it start­ed with style–with a dra­ma­tized adap­ta­tion of Brave New World, nar­rat­ed by Aldous Hux­ley him­self. The broad­cast aired on Jan­u­ary 27 and Feb­ru­ary 3 1956.  The remain­ing 84 pro­grams in the CBS Radio Work­shop series drew on the work of Antoine de Saint-Exupéry, James Thurber, H.L. Menck­en, Mark Twain, Robert Hein­lein, Eugene O’Neil, Balzac, Carl Sand­burg, and so many more. You can hear many of those episodes online here.

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

Aldous Hux­ley Pre­dicts in 1950 What the World Will Look Like in the Year 2000

When Aldous Hux­ley, Dying of Can­cer, Left This World Trip­ping on LSD, Expe­ri­enc­ing “the Most Serene, the Most Beau­ti­ful Death” (1963)

Aldous Hux­ley Tells Mike Wal­lace What Will Destroy Democ­ra­cy: Over­pop­u­la­tion, Drugs & Insid­i­ous Tech­nol­o­gy (1958)

Aldous Hux­ley to George Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

 

Explore Rarely-Seen Art by J. R. R. Tolkien in a New Web Site Created by the Tolkien Estate

J. R. R. Tolkien man­aged to write the Lord of the Rings tril­o­gy, which ought to be accom­plish­ment enough for one mor­tal. But he also wrote the The Hob­bit, the gate­way for gen­er­a­tions of chil­dren into his major work, as well as a host of oth­er works of fic­tion, poet­ry, and schol­ar­ship, many of them not pub­lished until after his death in 1973. And those are only his writ­ings: a life­long artist, Tolkien also pro­duced a great many draw­ings and paint­ingsbook-cov­er designs, and pic­tures meant to delight his own chil­dren as well as the chil­dren of oth­ers.

Yet some­how more mate­r­i­al has remained in the vault, and only now brought out for prop­er pub­lic con­sid­er­a­tion. As report­ed ear­li­er this month by Art­net’s Sarah Cas­cone, Tolkien’s estate “has released a new web­site fea­tur­ing art­works, some pre­vi­ous­ly unseen,” all cre­at­ed by the man him­self.

“In addi­tion to a num­ber of detailed maps, the estate has released illus­tra­tions Tolkien cre­at­ed for The Hob­bitThe Lord of the Rings, and The Sil­mar­il­lion, as well as draw­ings he made for his chil­dren, land­scapes drawn from real life, and imag­ined abstrac­tions.”

Tolkie­nol­o­gists will also thrill to the new site’s “pre­vi­ous­ly unpub­lished pho­tographs of Tolkien and his fam­i­ly, includ­ing his son Christo­pher, who drew the final ver­sions of the Lord of the Rings maps for pub­li­ca­tion.” (Christo­pher died in 2020, and Tolkien’s last sur­viv­ing child Priscil­la died just last month.) Divid­ed into sec­tions ded­i­cat­ed to his writ­ing, his paint­ing, his schol­ar­ship, his let­ters, his life, and relat­ed audio-visu­al mate­r­i­al, this online exhi­bi­tion presents Tolkien as not just a world-builder but a man in full. In his life and work, he estab­lished the mod­el for the mod­ern fan­ta­sy nov­el­ist, but also — as under­scored by a jour­ney across his full nar­ra­tive, intel­lec­tu­al, and artis­tic range — an ide­al unlike­ly to be equaled any time soon. Vis­it the site here.

via Smith­son­ian Mag­a­zine

Relat­ed con­tent

110 Draw­ings and Paint­ings by J. R. R. Tolkien: Of Mid­dle-Earth and Beyond

Dis­cov­er J. R. R. Tolkien’s Per­son­al Book Cov­er Designs for The Lord of the Rings Tril­o­gy

Map of Mid­dle-Earth Anno­tat­ed by Tolkien Found in a Copy of Lord of the Rings

The Largest J. R. R. Tolkien Exhib­it in Gen­er­a­tions Is Com­ing to the U.S.: Orig­i­nal Draw­ings, Man­u­scripts, Maps & More

Dis­cov­er J. R. R. Tolkien’s Lit­tle-Known and Hand-Illus­trat­ed Children’s Book, Mr. Bliss

J. R. R. Tolkien Sent Illus­trat­ed Let­ters from Father Christ­mas to His Kids Every Year (1920–1943)

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.

Aldous Huxley Predicts in 1950 What the World Will Look Like in the Year 2000

I’ve been think­ing late­ly about how and why utopi­an fic­tion shades into dystopi­an. Though we some­times imag­ine the two modes as inver­sions of each oth­er, per­haps they lie instead on a con­tin­u­um, one along which all soci­eties slide, from func­tion­al to dys­func­tion­al. The cen­tral prob­lem seems to be this: Utopi­an thought relies on putting the com­pli­ca­tions of human behav­ior on the shelf to make a max­i­mal­ly effi­cient social order—or of find­ing some con­ve­nient way to dis­pense with those com­pli­ca­tions. But it is pre­cise­ly with this lat­ter move that the trou­ble begins. How to make the mass of peo­ple com­pli­ant and pacif­ic? Mass media and con­sumerism? Forced col­lec­tiviza­tion? Drugs?

Read­ers of dystopi­an fic­tion will rec­og­nize these as some of the design flaws in Aldous Huxley’s utopian/dystopian soci­ety of Brave New World, a nov­el that asks us to wres­tle with the philo­soph­i­cal prob­lem of whether we can cre­ate a ful­ly func­tion­al soci­ety with­out rob­bing peo­ple of their agency and inde­pen­dence. Doesn’t every utopia, after all, imag­ine a world of strict hier­ar­chies and con­trols? The original—Thomas More’s Utopia—gave us a patri­ar­chal slave soci­ety (as did Plato’s Repub­lic). Huxley’s Brave New World sim­i­lar­ly sit­u­ates human­i­ty in a caste sys­tem, sub­or­di­nat­ed to tech­nol­o­gy and sub­dued with med­ica­tion.

While Huxley’s utopia has erad­i­cat­ed the nuclear fam­i­ly and nat­ur­al human reproduction—thus solv­ing a pop­u­la­tion crisis—it is still a soci­ety ruled by the ideas of found­ing fathers: Hen­ry Ford, H.G. Wells, Freud, Pavlov, Shake­speare, Thomas Robert Malthus. If you want­ed to know, in the ear­ly 20th cen­tu­ry, what the future would be like, you’d typ­i­cal­ly ask a famous man of ideas. Red­book mag­a­zine did just that in 1950, writes Matt Novak at Pale­o­fu­ture; they “asked four experts—curiously all men, giv­en that Red­book was and is a mag­a­zine aimed at women—about what the world may look like fifty years hence.”

One of those men was Hux­ley, and in his answers, he draws on at least two of Brave New World’s intel­lec­tu­al founders, Ford and Malthus, in pre­dic­tions about pop­u­la­tion growth and the nature of work. In addi­tion to the ever-present threats of war, Hux­ley first turns to the Malthu­sian prob­lems of over­pop­u­la­tion and scarce resources.

Dur­ing the next fifty years mankind will face three great prob­lems: the prob­lem of avoid­ing war; the prob­lem of feed­ing and cloth­ing a pop­u­la­tion of two and a quar­ter bil­lions which, by 2000 A.D., will have grown to upward of three bil­lions, and the prob­lem of sup­ply­ing these bil­lions with­out ruin­ing the planet’s irre­place­able resources.

As Novak points out, Huxley’s esti­ma­tion is “less than half of the 6.1 bil­lion that would prove to be a real­i­ty by 2000.” In order to address the prob­lem of feed­ing, hous­ing, and cloth­ing all of those peo­ple, Hux­ley must make an “unhap­pi­ly… large assumption—that the nations can agree to live in peace. In this event mankind will be free to devote all its ener­gy and skill to the solu­tion of its oth­er major prob­lems.”

“Huxley’s pre­dic­tions for food pro­duc­tion in the year 2000,” writes Novak, “are large­ly a call for the con­ser­va­tion of resources. He cor­rect­ly points out that meat pro­duc­tion can be far less effi­cient than using agri­cul­tur­al lands for crops.” Hux­ley rec­om­mends sus­tain­able farm­ing meth­ods and the devel­op­ment of “new types of syn­thet­ic build­ing mate­ri­als and new sources for paper” in order to curb the destruc­tion of the world’s forests. What he doesn’t account for is the degree to which the over­whelm­ing greed of a pow­er­ful few would dri­ve the exploita­tion of finite resources and hold back efforts at sus­tain­able design, agri­cul­ture, and energy—a sit­u­a­tion that some might con­sid­er an act of war.

But Hux­ley’s utopi­an pre­dic­tions depend upon putting aside these com­pli­ca­tions. Like many mid-cen­tu­ry futur­ists, he imag­ined a world of increased leisure and greater human ful­fill­ment, but he “sees that poten­tial for bet­ter work­ing con­di­tions and increased stan­dards of liv­ing as obtain­able only through a sus­tained peace.” When it comes to work, Hux­ley’s fore­casts are part­ly Fordist: Advances in tech­nol­o­gy are one thing, but “work is work,” he writes, “and what mat­ters to the work­er is nei­ther the prod­uct nor the tech­ni­cal process, but the pay, the hours, the atti­tude of the boss, the phys­i­cal envi­ron­ment.”

To most office and fac­to­ry work­ers in 2000 the appli­ca­tion of nuclear fis­sion to indus­try will mean very lit­tle. What they will care about is what their fathers and moth­ers care about today—improvement in the con­di­tions of labor. Giv­en peace, it should be pos­si­ble, with­in the next fifty years, to improve work­ing con­di­tions very con­sid­er­ably. Bet­ter equipped, work­ers will pro­duce more and there­fore earn more.

Unfor­tu­nate­ly, Novak points out, “per­haps Huxley’s most inac­cu­rate pre­dic­tion is his assump­tion that an increase in pro­duc­tiv­i­ty will mean an increase in wages for the aver­age work­er.” Despite ris­ing prof­its and effi­cien­cy, this has proven untrue. In a Freudi­an turn, Hux­ley also pre­dicts the decen­tral­iza­tion of indus­try into “small coun­try com­mu­ni­ties, where life is cheap­er, pleas­an­ter and more gen­uine­ly human than in those breed­ing-grounds of mass neu­ro­sis…. Decen­tral­iza­tion may help to check that march toward the asy­lum, which is a threat to our civ­i­liza­tion hard­ly less grave than that of ero­sion and A‑bomb.”

While tech­no­log­i­cal improve­ments in mate­ri­als may not fun­da­men­tal­ly change the con­cerns of work­ers, improve­ments in robot­ics and com­put­er­i­za­tion may abol­ish many of their jobs, leav­ing increas­ing num­bers of peo­ple with­out any means of sub­sis­tence. So we’re told again and again. But this was not yet the press­ing con­cern in 2000 that it is for futur­ists just a few years lat­er. Per­haps one of Huxley’s most pre­scient state­ments takes head-on the issue fac­ing our cur­rent society—an aging pop­u­la­tion in which “there will be more elder­ly peo­ple in the world than at any pre­vi­ous time. In many coun­tries the cit­i­zens of six­ty-five and over will out­num­ber the boys and girls of fif­teen and under.”

Pen­sions and a point­less leisure offer no solu­tion to the prob­lems of an aging pop­u­la­tion. In 2000 the younger read­ers of this arti­cle, who will then be in their sev­en­ties, will prob­a­bly be inhab­it­ing a world in which the old are pro­vid­ed with oppor­tu­ni­ties for using their expe­ri­ence and remain­ing strength in ways sat­is­fac­to­ry to them­selves, and valu­able to the com­mu­ni­ty.

Giv­en the decrease in wages, ris­ing inequal­i­ty, and loss of home val­ues and retire­ment plans, more and more of the peo­ple Hux­ley imag­ined are instead work­ing well into their sev­en­ties. But while Hux­ley failed to fore­see the pro­found­ly destruc­tive force of unchecked greed—and had to assume a per­haps unob­tain­able world peace—he did accu­rate­ly iden­ti­fy many of the most press­ing prob­lems of the 21st cen­tu­ry. Eight years after the Red­book essay, Hux­ley was called on again to pre­dict the future in a tele­vi­sion inter­view with Mike Wal­lace. You can watch it in full at the top of the post.

Wal­lace begins in a McCarthyite vein, ask­ing Hux­ley to name “the ene­mies of free­dom in the Unit­ed States.” Hux­ley instead dis­cuss­es “imper­son­al forces,” return­ing to the prob­lem of over­pop­u­la­tion and oth­er con­cerns he addressed in Brave New World, such as the threat of an over­ly bureau­crat­ic, tech­no­crat­ic soci­ety too heav­i­ly depen­dent on tech­nol­o­gy. Four years after this inter­view, Hux­ley pub­lished his final book, the philo­soph­i­cal nov­el Island, in which, writes Vel­ma Lush, the evils he had warned us about, “over-pop­u­la­tion, coer­cive pol­i­tics, mil­i­tarism, mech­a­niza­tion, the destruc­tion of the envi­ron­ment and the wor­ship of sci­ence will find their oppo­sites in the gen­tle and doomed Utopia of Pala.”

The utopia of IslandHuxley’s wife Lau­ra told Alan Watts—is “pos­si­ble and actu­al… Island is real­ly vision­ary com­mon sense.” But it is also a soci­ety, Hux­ley trag­i­cal­ly rec­og­nized, made frag­ile by its unwill­ing­ness to con­trol human behav­ior and pre­pare for war.

Note: An ear­li­er ver­sion of this post appeared on our site in 2016.

via Pale­o­fu­ture

Relat­ed Con­tent:

Hux­ley to Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

Zen Mas­ter Alan Watts Dis­cov­ers the Secrets of Aldous Hux­ley and His Art of Dying

Hear Aldous Hux­ley Read Brave New World. Plus 84 Clas­sic Radio Dra­mas from CBS Radio Work­shop (1956–57)

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

 

Jack Kerouac Reads from On the Road: The Only Known Footage of the Beat Icon Reading His Work (1959)

The video above shows us Jack Ker­ouac giv­ing a read­ing, accom­pa­nied by the jazz piano stylings of evening tele­vi­sion vari­ety-show host Steve Allen. In oth­er words, if you’ve been look­ing for the most late-nine­teen-fifties clip in exis­tence, your jour­ney may have come to an end. Ear­li­er in that decade, Allen says (sprin­kling his mono­logue with a few notes here and there), “the nation rec­og­nized in its midst a social move­ment called the Beat Gen­er­a­tion. A nov­el titled On the Road became a best­seller, and its author, Jack Ker­ouac, became a celebri­ty: part­ly because he’d writ­ten a pow­er­ful and suc­cess­ful book, but part­ly because he seemed to be the embod­i­ment of this new gen­er­a­tion.”

As the nov­el­ists and poets of the Beat Gen­er­a­tion were grad­u­al­ly gain­ing renown, Allen was fast becom­ing a nation­al celebri­ty. In 1954, his co-cre­ation The Tonight Show made him the first late-night tele­vi­sion talk show host, and con­se­quent­ly applied pres­sure to stay atop the cul­tur­al cur­rents of the day. Not only did he know of the Beats, he joined them, at least for one col­lab­o­ra­tion: “Jack and I made an album togeth­er a few months back in which I played back­ground piano for his poet­ry read­ing.” That was Poet­ry for the Beat Gen­er­a­tion, the first of Ker­ouac’s tril­o­gy of spo­ken-word albums that we pre­vi­ous­ly fea­tured here on Open Cul­ture back in 2015.

“At that time I made a note to book him on this show,” Allen says, “because I thought you would enjoy meet­ing him.” After answer­ing a few “square ques­tions” by way of intro­duc­tion — it took him three weeks to write On the Road, he spent sev­en years on the road itself, he did indeed type on a con­tin­u­ous “scroll’ of paper, and he would define “Beat” as “sym­pa­thet­ic” — Ker­ouac reads from the nov­el that made his name, accom­pa­nied by Allen’s piano. “A lot of peo­ple have asked me, why did I write that book, or any book,” he begins. “All the sto­ries I wrote were true, because I believed in what I saw.” This is, of course, not poet­ry but prose, and prac­ti­cal­ly essay­is­tic prose at that, but here it sounds like a lit­er­ary form all its own.

If you’d like to hear the music of Ker­ouac’s prose with­out actu­al musi­cal accom­pa­ni­ment, have a lis­ten to his acetate record­ing of a half-hour selec­tion from On the Road that we post­ed last week­end. The occa­sion was the 100th anniver­sary of his birth, which else­where brought forth all man­ner of trib­utes and re-eval­u­a­tions of his work and lega­cy. 65 years after On the Road’s pub­li­ca­tion, how much resem­blance does today’s Amer­i­ca bear to the one criss­crossed by Sal Par­adise and Dean Mori­ar­ty? It’s worth con­sid­er­ing why the coun­try no longer inspires writ­ers quite like Jack Ker­ouac — or for that mat­ter, giv­en the pas­sage of his own lit­tle-not­ed cen­te­nary last Decem­ber, tele­vi­sion hosts like Steve Allen.

Relat­ed con­tent:

Jack Kerouac’s Hand-Drawn Map of the Hitch­hik­ing Trip Nar­rat­ed in On the Road

Hear All Three of Jack Kerouac’s Spo­ken-World Albums: A Sub­lime Union of Beat Lit­er­a­ture and 1950s Jazz

Jack Ker­ouac Reads Amer­i­can Haikus, Backed by Jazz Sax­o­phon­ists Al Cohn & Zoot Sims (1958)

Free: Hours of Jack Ker­ouac Read­ing Beat Poems & Verse

Jack Kerouac’s Poet­ry & Prose Read/Performed by 20 Icons: Hunter S. Thomp­son, Pat­ti Smith, William S. Bur­roughs, John­ny Depp & More

Young Frank Zap­pa Plays the Bicy­cle on The Steven Allen Show (1963)

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.

Franz Kafka Says the Insect in The Metamorphosis Should Never Be Drawn; and Vladimir Nabokov Draws It Anyway

Metamorphosis

If you’ve read Franz Kafka’s The Meta­mor­pho­sis in Eng­lish, it’s like­ly that your trans­la­tion referred to the trans­formed Gre­gor Sam­sa as a “cock­roach,” “bee­tle,” or, more gen­er­al­ly, a “gigan­tic insect.” These ren­der­ings of the author’s orig­i­nal Ger­man don’t nec­es­sar­i­ly miss the mark—Gregor scut­tles, waves mul­ti­ple legs about, and has some kind of an exoskele­ton. His char­woman calls him a “dung bee­tle”… the evi­dence abounds. But the Ger­man words used in the first sen­tence of the sto­ry to describe Gregor’s new incar­na­tion are much more mys­te­ri­ous, and per­haps strange­ly laden with meta­phys­i­cal sig­nif­i­cance.

Trans­la­tor Susan Bernof­sky writes, “both the adjec­tive unge­heuer (mean­ing “mon­strous” or “huge”) and the noun Ungeziefer are negations—virtual nonentities—prefixed by un.” Ungeziefer, a term from Mid­dle High Ger­man, describes some­thing like “an unclean ani­mal unfit for sac­ri­fice,” belong­ing to “the class of nasty creepy-crawly things.” It sug­gests many types of vermin—insects, yes, but also rodents. “Kaf­ka,” writes Bernof­sky, “want­ed us to see Gregor’s new body and con­di­tion with the same hazy focus with which Gre­gor him­self dis­cov­ers them.”

It’s like­ly for that very rea­son that Kaf­ka pro­hib­it­ed images of Gre­gor. In a 1915 let­ter to his pub­lish­er, he stip­u­lat­ed, “the insect is not to be drawn. It is not even to be seen from a dis­tance.” The slim book’s orig­i­nal cov­er, above, instead fea­tures a per­fect­ly nor­mal-look­ing man, dis­traught as though he might be imag­in­ing a ter­ri­ble trans­for­ma­tion, but not actu­al­ly phys­i­cal­ly expe­ri­enc­ing one.

Yet it seems obvi­ous that Kaf­ka meant Gre­gor to have become some kind of insect. Kafka’s let­ter uses the Ger­man Insekt, and when casu­al­ly refer­ring to the sto­ry-in-progress, Kaf­ka used the word Wanze, or “bug.” Mak­ing this too clear in the prose dilutes the grotesque body hor­ror Gre­gor suf­fers, and the sto­ry is told from his point of view—one that “mutates as the sto­ry pro­ceeds.” So writes Dutch read­er Fred­die Oomkins, who fur­ther observes, “at the phys­i­cal lev­el Gre­gor, at dif­fer­ent points in the sto­ry, starts to talk with a squeak­ing, ani­mal-like voice, los­es con­trol of his legs, hangs from the ceil­ing, starts to lose his eye­sight, and wants to bite his sister—not real­ly help­ful in deter­min­ing his tax­on­o­my.”

nabokov_on_kafka

Dif­fi­cul­ties of trans­la­tion and clas­si­fi­ca­tion aside, Russ­ian lit­er­ary mas­ter­mind and lep­i­dopter­ist Vladimir Nabokov decid­ed that he knew exact­ly what Gre­gor Sam­sa had turned into. And, against the author’s wish­es, Nabokov even drew a pic­ture in his teach­ing copy of the novel­la. Nabokov also heav­i­ly edit­ed his edi­tion, as you can see in the many cor­rec­tions and revi­sions above. In a lec­ture on The Meta­mor­pho­sis, he con­cludes that Gre­gor is “mere­ly a big bee­tle” (notice he strikes the word “gigan­tic” from the text above and writes at the top “just over 3 feet long”), and fur­ther­more one who is capa­ble of flight, which would explain how he ends up on the ceil­ing.

All of this may seem high­ly dis­re­spect­ful of The Meta­mor­pho­sis’ author. Cer­tain­ly Nabokov has nev­er been a respecter of lit­er­ary per­sons, refer­ring to Faulkner’s work, for exam­ple, as “corn­cob­by chron­i­cles,” and Joyce’s Finnegans Wake as a “pet­ri­fied super­pun.” Yet in his lec­ture Nabokov calls Kaf­ka “the great­est Ger­man writer of our time. Such poets as Rilke or such nov­el­ists as Thomas Mann are dwarfs or plas­tic saints in com­par­i­son with him.” Though a saint he may be, Kaf­ka is “first of all an artist,” and Nabokov does not believe that “any reli­gious impli­ca­tions can be read into Kafka’s genius.” (“I am inter­est­ed here in bugs, not hum­bugs,” he says dis­mis­sive­ly.)

Reject­ing Kafka’s ten­den­cies toward mys­ti­cism runs against most inter­pre­ta­tions of his fic­tion. One might sus­pect Nabokov of see­ing too much of him­self in the author when he com­pares Kaf­ka to Flaubert and asserts, “Kaf­ka liked to draw his terms from the lan­guage of law and sci­ence, giv­ing them a kind of iron­ic pre­ci­sion, with no intru­sion of the author’s pri­vate sen­ti­ments.” Unge­heueres Ungeziefer, how­ev­er, is not a sci­en­tif­ic term, and its Mid­dle Ger­man lit­er­ary origins—which Kaf­ka would have been famil­iar with from his stud­ies—clear­ly con­note reli­gious ideas of impu­ri­ty and sac­ri­fice.

With due respect to Nabokov’s for­mi­da­ble eru­di­tion, it seems in this instance at least that Kaf­ka ful­ly intend­ed impre­ci­sion, what Bernof­sky calls “blurred per­cep­tions of bewil­der­ment,” in lan­guage “care­ful­ly cho­sen to avoid speci­fici­ty.” Kafka’s art con­sists of this abil­i­ty to exploit the ancient strat­i­fi­ca­tions of lan­guage. His almost Kab­bal­is­tic treat­ment of signs and his aver­sion to graven images may con­ster­nate and bedev­il trans­la­tors and cer­tain nov­el­ists, but it is also the great source of his uncan­ny genius.

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

Relat­ed Con­tent:

Hear Bene­dict Cum­ber­batch Read Kafka’s The Meta­mor­pho­sis

The Art of Franz Kaf­ka: Draw­ings from 1907–1917

How Insom­nia Shaped Franz Kafka’s Cre­ative Process and the Writ­ing of The Meta­mor­pho­sis: A New Study Pub­lished in The Lancet

The Meta­mor­pho­sis of Mr. Sam­sa: A Won­der­ful Sand Ani­ma­tion of the Clas­sic Kaf­ka Sto­ry (1977)

Vladimir Nabokov (Chan­nelled by Christo­pher Plum­mer) Teach­es Kaf­ka at Cor­nell

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

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Hear Jack Kerouac Read from On The Road on the 100th Anniversary of His Birth

Jack Ker­ouac was born 100 years ago today (March 12, 1922). And to mark the occa­sion, you can hear him read from his 1957 Beat clas­sic, On the Road. This 28-minute recita­tion was appar­ent­ly record­ed on an acetate disc in the 1950s but thought lost for decades. It re-sur­faced dur­ing the late 1990s. Enjoy.

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.

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Relat­ed Con­tent

Jack Kerouac’s On the Road Turned Into an Illus­trat­ed Scroll: One Draw­ing for Every Page of the Nov­el

Jack Kerouac’s 30 Beliefs and Tech­niques For Writ­ing Mod­ern Prose

Four Inter­ac­tive Maps Immor­tal­ize the Road Trips That Inspired Jack Kerouac’s On the Road

The Amer­i­can Nov­el Since 1945: A Free Yale Course on Nov­els by Nabokov, Ker­ouac, Mor­ri­son, Pyn­chon & More

The First Work of Science Fiction: Read Lucian’s 2nd-Century Space Travelogue A True Story

Late in life, Kings­ley Amis declared that he would hence­forth read only nov­els open­ing with the sen­tence “A shot rang out.” On one lev­el, this would have sound­ed bizarre com­ing from one of Britain’s most promi­nent men of let­ters. But on anoth­er it aligned with his long-demon­strat­ed appre­ci­a­tion of genre fic­tion, includ­ing not just sto­ries of crime but also of high tech­nol­o­gy and space explo­ration. His life­long inter­est in the lat­ter inspired the Chris­t­ian Gauss Lec­tures he deliv­ered at Prince­ton in 1958, pub­lished soon there­after as New Maps of Hell: A Sur­vey of Sci­ence Fic­tion, a book that sees him trace the his­to­ry of the genre well back beyond his own boy­hood — about eigh­teen cen­turies beyond it.

“His­to­ries of sci­ence fic­tion, as opposed to ‘imag­i­na­tive lit­er­a­ture,’ usu­al­ly begin, not with Pla­to or The Birds of Aristo­phanes or the Odyssey, but with a work of the late Greek prose romancer Lucian of Samosa­ta,” Amis writes. He refers to what schol­ars now know as A True Sto­ry (Ἀληθῆ διηγήματα), a novel­la-length fic­tion of the sec­ond cen­tu­ry that has every­thing from space trav­el to inter­plan­e­tary war to tech­nol­o­gy so advanced — as no less a sci-fi lumi­nary than Arthur C. Clarke would put it much lat­er — as to be indis­tin­guish­able from mag­ic. At its core a work of fan­tas­ti­cal satire, A True Sto­ry “delib­er­ate­ly piles extrav­a­gance upon extrav­a­gance for com­ic effect” in a rather un-sci­ence-fic­tion-like man­ner.

“Leav­ing aside the ques­tion whether there was enough sci­ence around in the sec­ond cen­tu­ry to make sci­ence fic­tion fea­si­ble,” Amis writes, “I will mere­ly remark that the spright­li­ness and sophis­ti­ca­tion of the True His­to­ry” — as he knew the work — “make it read like a joke at the expense of near­ly all ear­ly-mod­ern sci­ence fic­tion, that writ­ten between, say, 1910 and 1940,” which he him­self would have grown up read­ing.

In the video by at the top of the post, film­mak­er Gre­go­ry Austin McConnell sum­ma­rizes Lucian’s entire trav­el­ogue, not neglect­ing to men­tion the riv­er of wine, the tree-shaped women, the cities on the moon, the army of the sun, the bat­tle­field-spin­ning space spi­ders, the dogs who ride on winged acorns, the float­ing sen­tient lamps, and the 187 and ½ mile-long whale.

This clear­ly isn’t what we’d now call “hard” sci­ence fic­tion. So how, exact­ly, to label it? Such argu­ments erupt over every major work of genre fic­tion, even from antiq­ui­ty. A True Sto­ry con­tains ele­ments of what would become com­e­dy sci-fi, mil­i­tary sci-fi, and even the fan­ta­sy-and-sci-fi-hybridiz­ing “space opera” most pop­u­lar­ly exem­pli­fied by Star Wars and its many sequels. Cat­e­go­riza­tion quib­bles aside, what mat­ters about any work in the broad­er tra­di­tion of “spec­u­la­tive fic­tion” is whether it fires up the read­er’s imag­i­na­tion, and Lucian’s work has done it for not just ancients but mod­erns like the 19th-cen­tu­ry artists William Strang and Aubrey Beard­s­ley, whose illus­tra­tions from 1894 edi­tions of A True Sto­ry appear above. Now that “sci­ence fic­tion rules the cin­e­mat­ic land­scape,” as McConnell puts it, who will adapt it for us post­mod­erns?

Relat­ed con­tent:

When Astronomer Johannes Kepler Wrote the First Work of Sci­ence Fic­tion, The Dream (1609)

Mythos: An Ani­ma­tion Retells Time­less Greek Myths with Abstract Mod­ern Designs

The Ency­clo­pe­dia of Sci­ence Fic­tion: 17,500 Entries on All Things Sci-Fi Are Now Free Online

Every Pos­si­ble Kind of Sci­ence Fic­tion Sto­ry: An Exhaus­tive List Cre­at­ed by Pio­neer­ing 1920s Sci­Fi Writer Clare Winger Har­ris (1931)

Isaac Asi­mov Recalls the Gold­en Age of Sci­ence Fic­tion (1937–1950)

Free Sci­ence Fic­tion Clas­sics Avail­able on the Web

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.

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