Hear a Full-Cast Reading of Margaret Atwood’s The Testaments, the Sequel to The Handmaid’s Tale

A good heads up from Metafil­ter. They write:

Avail­able for a lim­it­ed time, BBC Radio 4 has a full-cast abridged read­ing of Mar­garet Atwood’s new nov­el, The Tes­ta­ments. This sequel to The Handmaid’s Tale picks up 15 years after the events in the pre­vi­ous book (very mild­ly reveal­ing review of The Tes­ta­ments by Anne Enright). All 14-minute episodes have now been released: The first episode is avail­able until Oct. 15, 2019; the fif­teenth and final episode is avail­able until Oct. 30.

Stream it all here. And find more audio books in our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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Relat­ed Con­tent:

Mar­garet Atwood Offers a New Online Class on Cre­ative Writ­ing

Pret­ty Much Pop #10 Exam­ines Mar­garet Atwood’s Night­mare Vision: The Handmaid’s Tale

Hear Mar­garet Atwood’s Sto­ry “Stone Mat­tress,” Read by Author A. M. Homes

Novelist Cormac McCarthy Gives Writing Advice to Scientists … and Anyone Who Wants to Write Clear, Compelling Prose

As we point­ed out back in 2017, Cor­mac McCarthy, author of such grit­ty, blood-drenched nov­els as Blood Merid­i­an, Child of God, The Road, and No Coun­try for Old Men, prefers the com­pa­ny of sci­en­tists to fel­low writ­ers. Since the mid-nineties, he has main­tained a desk at the San­ta Fe Insti­tute, an inter­dis­ci­pli­nary sci­en­tif­ic think tank, and has served as a vol­un­teer copy-edi­tor for sev­er­al sci­en­tists, includ­ing Lisa Ran­dall, Harvard’s first female tenured the­o­ret­i­cal physi­cist, and physi­cist Geof­frey West, author of the pop­u­lar sci­ence book Scale.

One of McCarthy’s first such aca­d­e­m­ic col­lab­o­ra­tions came after a friend, econ­o­mist W. Bri­an Arthur, mailed him an arti­cle in 1996. McCarthy helped Arthur com­plete­ly revise it, which sent the edi­tor of the Har­vard Busi­ness Review into a “slight pan­ic,” the econ­o­mist remem­bers. I can’t imag­ine why, but then I’d rather read any of McCarthy’s nov­els than most aca­d­e­m­ic papers. Not that I don’t love to be exposed to new ideas, but it’s all about the qual­i­ty of the writ­ing.

Schol­ar­ly writ­ing has, after all, a rep­u­ta­tion for obscu­ri­ty, and obfus­ca­tion for a rea­son, and not only in post­mod­ern phi­los­o­phy. Sci­en­tif­ic papers also rely heav­i­ly on jar­gon, over­ly long, incom­pre­hen­si­ble sen­tences, and dis­ci­pli­nary for­mal­i­ties that can feel cold and alien­at­ing to the non-spe­cial­ist. McCarthy iden­ti­fied these prob­lems in the work of asso­ciates like biol­o­gist and ecol­o­gist Van Sav­age, who has “received invalu­able edit­ing advice from McCarthy,” notes Nature, “on sev­er­al sci­ence papers pub­lished over the past 20 years.”

Dur­ing “live­ly week­ly lunch­es” with the author dur­ing the win­ter of 2018, Sav­age dis­cussed the fin­er points of McCarthy’s edit­ing advice. Then Sav­age and evo­lu­tion­ary biol­o­gist Pamela Yeh present­ed the con­densed ver­sion at Nature for a wider audi­ence. Below, we’ve excerpt­ed some of the most strik­ing of “McCarthy’s words of wis­dom.” Find the com­plete com­pi­la­tion of McCarthy’s advice over at Nature.

  • Use min­i­mal­ism to achieve clar­i­ty…. Remove extra words or com­mas when­ev­er you can.
  • Decide on your paper’s theme and two or three points you want every read­er to remem­ber…. If some­thing isn’t need­ed to help the read­er to under­stand the main theme, omit it.
  • Lim­it each para­graph to a sin­gle mes­sage.
  • Keep sen­tences short, sim­ply con­struct­ed and direct.
  • Try to avoid jar­gon, buzz­words or over­ly tech­ni­cal lan­guage. And don’t use the same word repeatedly—it’s bor­ing.
  • Don’t over-elab­o­rate. Only use an adjec­tive if it’s rel­e­vant…. Don’t say the same thing in three dif­fer­ent ways in any sin­gle sec­tion.
  • Choose con­crete lan­guage and exam­ples.
  • When you think you’re done, read your work aloud to your­self or a friend. Find a good edi­tor you can trust and who will spend real time and thought on your work.
  • Final­ly, try to write the best ver­sion of your paper—the one that you like. You can’t please an anony­mous read­er, but you should be able to please your­self.
  • When you make your writ­ing more live­ly and eas­i­er to under­stand, peo­ple will want to invest their time in read­ing your work.

As Kot­tke points out, “most of this is good advice for writ­ing in gen­er­al.” This is hard­ly a sur­prise giv­en the source, though, as McCarthy’s pri­ma­ry body of work demon­strates, lit­er­ary writ­ers are free to tread all over these guide­lines as long as they can get away with it. Still, his straight­for­ward advice is an invi­ta­tion for writ­ers of all kinds—academic, pop­u­lar, aspir­ing, and professional—to remind them­selves of the fun­da­men­tal prin­ci­ples of clear, com­pelling com­mu­nica­tive prose.

Relat­ed Con­tent:

How Cor­mac McCarthy Became a Copy-Edi­tor for Sci­en­tif­ic Books and One of the Most Influ­en­tial Arti­cles in Eco­nom­ics

Cor­mac McCarthy’s Three Punc­tu­a­tion Rules, and How They All Go Back to James Joyce

Cor­mac McCarthy Explains Why He Worked Hard at Not Work­ing: How 9‑to‑5 Jobs Lim­it Your Cre­ative Poten­tial

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

A New Kurt Vonnegut Museum Opens in Indianapolis … Right in Time for Banned Books Week

“All my jokes are Indi­anapo­lis,” Kurt Von­negut once said. “All my atti­tudes are Indi­anapo­lis. My ade­noids are Indi­anapo­lis. If I ever sev­ered myself from Indi­anapo­lis, I would be out of busi­ness. What peo­ple like about me is Indi­anapo­lis.” He deliv­ered those words to a high-school audi­ence in his home­town of Indi­anapo­lis in 1986, and a decade lat­er he made his feel­ings even clear­er in a com­mence­ment speech at But­ler Uni­ver­si­ty: “If I had to do it all over, I would choose to be born again in a hos­pi­tal in Indi­anapo­lis. I would choose to spend my child­hood again at 4365 North Illi­nois Street, about 10 blocks from here, and to again be a prod­uct of that city’s pub­lic schools.” Now, at 543 Indi­ana Avenue, we can expe­ri­ence the lega­cy of the man who wrote Slaugh­ter­house-FiveCat’s Cra­dle, and Break­fast of Cham­pi­ons at the new­ly per­ma­nent Kurt Von­negut Muse­um and Library.

The muse­um’s founder and CEO Julia White­head “con­ceived the idea for a Von­negut muse­um in Novem­ber of 2008, a year and a half after the author’s death, writes Atlas Obscu­ra’s Susan Salaz. “The phys­i­cal muse­um opened in a donat­ed store­front in 2011, dis­play­ing items donat­ed by friends or on loan from the Von­negut fam­i­ly” — his Pall Malls, his draw­ings, a repli­ca of his type­writer, his Pur­ple Heart.

But the col­lec­tion “has been home­less since Jan­u­ary 2019.” A fundrais­ing cam­paign this past spring raised $1.5 mil­lion in dona­tions, putting the muse­um in a posi­tion to pur­chase the Indi­ana Avenue build­ing, one capa­cious enough for vis­i­tors to, accord­ing to the muse­um’s about page, “view pho­tos from fam­i­ly, friends, and fans that reveal Von­negut as he lived; “pon­der rejec­tion let­ters Von­negut received from edi­tors”; and “rest a spell and lis­ten to what friends and col­leagues have to say about Von­negut and his work.”

The new­ly re-opened Kurt Von­negut Muse­um and Library will also pay trib­ute to the jazz-lov­ing, cen­sor­ship-loathing vet­er­an of the Sec­ond World War with an out­door tun­nel play­ing the music of Wes Mont­gomery and oth­er Indi­anapo­lis jazz greats, a “free­dom of expres­sion exhi­bi­tion” that Salaz describes as fea­tur­ing “the 100 books most fre­quent­ly banned in libraries and schools across the nation,” and vet­er­an-ori­ent­ed book clubs, writ­ing work­shops, and art exhi­bi­tions. In the muse­um’s peri­od of absence, Von­negut pil­grims in Indi­anapo­lis had no place to go (apart from the town land­marks designed by the writer’s archi­tect father and grand­fa­ther), but the 38-foot-tall mur­al on Mass­a­chu­setts Avenue by artist Pamela Bliss. Hav­ing known noth­ing of Von­negut’s work before, she fell in love with it after first vis­it­ing the muse­um her­self, she’ll soon use its Indi­ana Avenue build­ing as a can­vas on which to triple the city’s num­ber of Von­negut murals.

You can see more of the new Kurt Von­negut Muse­um and Library, which opened its doors for a sneak pre­view this past Banned Books Week, in the video at the top of the post, as well as in this four-part local news report. Though Von­negut expressed appre­ci­a­tion for Indi­anapo­lis all through­out his life, he also left the place for­ev­er when he head­ed east to Cor­nell. He also satir­i­cal­ly repur­posed it as Mid­land City, the sur­re­al­ly flat and pro­sa­ic Mid­west­ern set­ting of Break­fast of Cham­pi­ons whose cit­i­zens only speak seri­ous­ly of “mon­ey or struc­tures or trav­el or machin­ery,” their imag­i­na­tions “fly­wheels on the ram­shackle machin­ery of awful truth.” I hap­pen to be plan­ning a great Amer­i­can road trip that will take me through Indi­anapo­lis, and what with the pres­ence of an insti­tu­tion like the Kurt Von­negut Muse­um and Library — as well as all the cul­tur­al spots revealed by the Indi­anapo­lis-based The Art Assign­ment — it has become one of the cities I’m most excit­ed to vis­it. Von­negut, of all Indi­anapoli­tans, would sure­ly appre­ci­ate the irony.

via Smithsonian.com

Relat­ed Con­tent:

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

Kurt Von­negut Cre­ates a Report Card for His Nov­els, Rank­ing Them From A+ to D

Bene­dict Cum­ber­batch Reads Kurt Vonnegut’s Incensed Let­ter to the High School That Burned Slaugh­ter­house-Five

Kurt Von­negut: Where Do I Get My Ideas From? My Dis­gust with Civ­i­liza­tion

Behold Kurt Vonnegut’s Draw­ings: Writ­ing is Hard. Art is Pure Plea­sure

22-Year-Old P.O.W. Kurt Von­negut Writes Home from World War II: “I’ll Be Damned If It Was Worth It”

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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.

John Milton’s Hand Annotated Copy of Shakespeare’s First Folio: A New Discovery by a Cambridge Scholar

Per­haps the most well-read writer of his time, Eng­lish poet John Mil­ton “knew the bib­li­cal lan­guages, along with Homer’s Greek and Vergil’s Latin,” notes the NYPL. He like­ly had Dante’s Divine Com­e­dy in mind when he wrote Par­adise Lost. His own Protes­tant epic, if not a the­o­log­i­cal response to the Divine Com­e­dy, had as much lit­er­ary impact on the Eng­lish lan­guage as Dante’s poem did on Ital­ian. Mil­ton would also have as much influ­ence on Eng­lish as Shake­speare, his near con­tem­po­rary, who died eight years after the Par­adise Lost author was born.

In some sense, Mil­ton can be called a direct lit­er­ary heir of Shake­speare, though he wrote in a dif­fer­ent medi­um and idiom (almost a dif­fer­ent lan­guage), and with a very dif­fer­ent set of con­cerns.

Milton’s father was a trustee of the Blackfriar’s The­atre, where Shakespeare’s com­pa­ny of actors, the King’s Men, began per­form­ing in 1609, the year after Milton’s birth. And Milton’s first pub­lished poem appeared anony­mous­ly in the 1632 sec­ond folio of Shakespeare’s plays under the title “An Epi­taph on the admirable Dra­mat­icke Poet, W. Shake­speare.”

Now known as “On Shake­speare,” the poem laments the sor­ry state of Shakespeare’s legacy—his mon­u­ment a “weak wit­ness,” his work an “unval­ued book.” It may be dif­fi­cult to imag­ine a time when Shake­speare wasn’t revered, but his rep­u­ta­tion only began to spread beyond the the­ater in the ear­ly 17th cen­tu­ry. Milton’s poem was one of the first to pro­claim Shakespeare’s great­ness, as a poet who should lie “in such pomp” that “kings for such a tomb would wish to die.”

Now, it seems that sig­nif­i­cant fur­ther evi­dence of Milton’s admi­ra­tion, and crit­i­cal appre­ci­a­tion, of Shake­speare has emerged: in the form of Milton’s own, per­son­al copy of the 1623 First Folio edi­tion of Shake­speare’s plays, with anno­ta­tions in Milton’s own hand. More­over, it seems this evi­dence has been sit­ting under scholar’s noses for decades, housed in the pub­lic Free Library of Philadelphia’s Rare Book Depart­ment, one of over 230 extant copies of the First Folio.

In a blog post at the Cen­tre for Mate­r­i­al Texts, the Uni­ver­si­ty of Cambridge’s Jason Scott-War­ren makes his case that the anno­tat­ed First Folio is Milton’s own, pri­mar­i­ly, he writes, on the basis of pale­og­ra­phy, or hand­writ­ing analy­sis. “This just looks like Milton’s hand,” he says, then walks through sev­er­al com­par­isons with oth­er known Mil­ton man­u­scripts, such as his com­mon­place book and anno­tat­ed Bible.

There is also the copi­ous evi­dence for dat­ing the book to the time Mil­ton would have owned it, from the many mar­gin­al ref­er­ences to con­tem­po­rary works like Samuel Pur­chas’ 1625 Pil­grimes and John Fletcher’s The Bloody Broth­er. Mil­ton “added mar­gin­al mark­ings to all of the plays except for Hen­ry VI 1–3 and Titus Andron­i­cus,” notes Scott-War­ren. His corrections—from the Quarto—emendations, and “smart cross-ref­er­ences” are “intel­li­gent and assid­u­ous.”

Antic­i­pat­ing blow­back for his Mil­ton the­o­ry, Scott-War­ren asks, “wouldn’t his copy be bristling with cross-ref­er­ences, packed with smart obser­va­tions and angri­ly cen­so­ri­ous com­ments?” It would indeed, and “sev­er­al dis­tin­guished Mil­ton­ists” have agreed with Scott-Warren’s analy­sis, many con­tact­ing him, he writes in a post­script, to say they’re “con­fi­dent that this iden­ti­fi­ca­tion is cor­rect.” He adds that he has “been round­ly rebuked for under­stat­ing the sig­nif­i­cance of the dis­cov­ery.”

This kind of self-report­ed val­i­da­tion isn’t exact­ly peer review, but we don’t have to take his word for it. Said schol­ars have made their approval pub­licly, enthu­si­as­ti­cal­ly, known on Twit­ter. And Penn State Assis­tant Pro­fes­sor of Eng­lish Claire M.L. Bourne has writ­ten a con­grat­u­la­to­ry essay on her blog. It was Bourne who spurred on Scott-Warren’s inves­ti­ga­tion with her own essay “Vide Sup­ple­men­tum: Ear­ly Mod­ern Col­la­tion as Play-Read­ing in the First Folio,” pub­lished just months ear­li­er this year.

Bourne was one of the first few schol­ars to thor­ough­ly exam­ine the Free Library of Philadelphia’s copy of the First Folio. But, she admits, she com­plete­ly missed the Mil­ton con­nec­tion. “You can work for a decade,” she writes rue­ful­ly, “as I did, on a sin­gle book… and still be left with gap­ing holes in the nar­ra­tive.” This new schol­ar­ship may not only have filled in the mys­tery of the book’s first own­er and anno­ta­tor; it may also show the full degree to which Mil­ton engaged with Shake­speare, and give Mil­ton schol­ars “a new and sig­nif­i­cant field of ref­er­ence” for read­ing his work.

via MetaFil­ter

Relat­ed Con­tent:

William Blake’s Hal­lu­ci­na­to­ry Illus­tra­tions of John Milton’s Par­adise Lost

3,000 Illus­tra­tions of Shakespeare’s Com­plete Works from Vic­to­ri­an Eng­land, Neat­ly Pre­sent­ed in a New Dig­i­tal Archive

Spenser and Mil­ton (Free Course) 

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

Pretty Much Pop #10 Examines Margaret Atwood’s Nightmare Vision: The Handmaid’s Tale

Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt take on both Mar­garet Atwood’s 1985 nov­el plus the Bruce Miller/Hulu TV series through sea­son 3. There’s also a graph­ic nov­el and the 1990 film.

We get into what’s need­ed to move a nov­el to the screen like that: The char­ac­ter can’t just remain pas­sive as in the nov­el in order to keep us suf­fer­ing with her past the first sea­son as sto­ry­telling beyond the book begins. We talk about Atwood’s fun­ny neol­o­gisms (like “pray­va­gan­za”) that didn’t make it into the show.

How does race play into the sto­ry, and how should it? Is the sto­ry pri­mar­i­ly a polit­i­cal state­ment or a self-con­tained work of art? Giv­en the bleak­ness of the sit­u­a­tion depict­ed, can there be com­ic relief? How can we have a nom­i­nal­ly fun­ny pod­cast about this work?

Some of the arti­cles we drew on or bring up include:

Plus Eri­ca brings up this video of Bill Moy­ers inter­view­ing Atwood about reli­gion. We also touch on Shindler’s List, Jean-Paul Sartre’s Nau­seaDavid Brin diss­ing Star Wars as anti-demo­c­ra­t­ic sto­ry­telling, and the many con­ser­v­a­tive dis­missals of the show as hys­ter­i­cal pro­pa­gan­da.

Buy the bookthe graph­ic nov­el, or its new sequel The Tes­ta­ments.

You may be inter­est­ed in these relat­ed Par­tial­ly Exam­ined Life episodes (Mark’s long-run­ning phi­los­o­phy pod­cast): #181 on Han­nah Arendt and the banal­i­ty of evil, #139 on bell hooks  and her his­tor­i­cal account of con­di­tions for black women not ter­ri­bly dis­sim­i­lar to the ones described by Atwood, #90 inter­view­ing David Brin about the con­nec­tions between spec­u­la­tive fic­tion, phi­los­o­phy, and polit­i­cal speech. PEL has also record­ed sev­er­al episodes on Sartreand Mark ran a sup­port­er-only  ses­sion that you could lis­ten to on Nau­sea in par­tic­u­lar. Also check out Brian’s Con­tel­lary Tales pod­cast #2 talk­ing about anoth­er breed­ing-relat­ed sci-fi sto­ry by Octavia But­ler.

This episode includes bonus dis­cus­sion that you can only hear by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts or start with the first episode.

Lemony Snicket Reveals His Edward Gorey Obsession in an Upcoming Animated Documentary

Had the gloom-haunt­ed Edward Gorey found a way to have a love child with Dorothy Park­er, their issue might well have been Lemo­ny Snick­et, the pseu­do­ny­mous author of a mul­ti­vol­ume fam­i­ly chron­i­cle brought out under the gen­teel appel­la­tion A Series of Unfor­tu­nate Events

- Gre­go­ry Maguire, The New York Times

Author Daniel Han­dleraka Lemo­ny Snicket—was but a child when he for­tu­itous­ly stum­bled onto the curi­ous oeu­vre of Edward Gorey.

The lit­tle books were illus­trat­ed, hand-let­tered, and mys­te­ri­ous. They allud­ed to ter­ri­ble things befalling inno­cents in a way that made young Han­dler laugh and want more, though he shied from mak­ing such a request of his par­ents, lest the books con­sti­tute pornog­ra­phy.

(His fear strikes this writer as whol­ly reasonable—my father kept a copy of The Curi­ous Sofa: A Porno­graph­ic Work by Ogdred Wearyaka Edward Gorey—stashed in the bath­room of my child­hood home. Its per­ver­sions were many, though far from explic­it and utter­ly befud­dling to a third grade book­worm. The exceed­ing­ly eco­nom­i­cal text hint­ed at a mul­ti­tude of unfa­mil­iar taboos, and Gorey the illus­tra­tor under­stood the val­ue of a well-placed orna­men­tal urn.)

Inter­viewed above for Christo­pher Seufert’s upcom­ing fea­ture-length Gorey doc­u­men­tary, Han­dler is effu­sive about the depth of this ear­ly influ­ence:

The goth­ic set­ting. (Han­dler always fan­cied that an in-per­son meet­ing with Gorey would resem­ble the first 20 min­utes of a Ham­mer hor­ror movie.)

The dark, unwink­ing humor aris­ing from a plot as grim as that of The Hap­less Childor The Blue Aspicthe first title young Han­dler pur­chased with his own mon­ey.

An inten­tion­al­ly murky pseu­do­nym geared to ignite all man­ner of wild­ly read­er­ly spec­u­la­tion as to the author’s lifestyle and/or true iden­ti­ty. (Gorey attrib­uted var­i­ous of his works to Dogear Wryde, Ms. Regera Dowdy, Eduard Blutig, O. Müde and the afore­men­tioned Ogdred Weary, among oth­ers.)

Even Lemo­ny Snickett’s web­site car­ries a strong whiff of Gorey.

In acknowl­edg­ment of this debt, Han­dler sent copies of the first two Snick­ett books to the reclu­sive author, along with a fan let­ter that apol­o­gized for rip­ping him off. Gorey died in April 2000, a cou­ple of weeks after the pack­age was post­ed, leav­ing Han­dler doubt­ful that it was even opened.

Han­dler namechecks oth­er artists who oper­ate in Gorey’s thrall: film­mak­ers Tim Bur­ton and Michel Gondry, musi­cians Aman­da Palmer and Trent Reznor, and nov­el­ist Neil Gaiman.

Per­haps owing to the spec­tac­u­lar pop­u­lar­i­ty of Snickett’s Series of Unfor­tu­nate Events, Gorey has late­ly become a bit more of an above-ground dis­cov­ery for young read­ers. Scholas­tic has a free Edward Gorey les­son plan, geared to grades 6–12.

More infor­ma­tion about Christo­pher Seufert’s Gorey doc­u­men­tary, with ani­ma­tions by Ben Wick­ey and the active par­tic­i­pa­tion of its sub­ject dur­ing his final four years of life, can be found here.

Relat­ed Con­tent:

Edward Gorey Talks About His Love Cats & More in the Ani­mat­ed Series, “Goreytelling”

Edward Gorey Illus­trates H.G. Wells’ The War of the Worlds in His Inim­itable Goth­ic Style (1960)

The First Amer­i­can Pic­ture Book, Wan­da Gág’s Mil­lions of Cats (1928)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inkyzine.  Join her in NYC on Mon­day, Sep­tem­ber 9 for anoth­er sea­son of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

The Timeless Beauty of the Citroën DS, the Car Mythologized by Roland Barthes (1957)

In the post­war West­ern imag­i­na­tion, moder­ni­ty took three forms: the rock­et­ship, the jet­lin­er, and the auto­mo­bile. The first two may have more direct claim to defin­ing the “Space Age,” but only the third lay with­in reach of the aver­age (or slight­ly above aver­age) con­sumer. And at the 1955 Paris Auto Show the world first beheld a car that, aes­thet­i­cal­ly speak­ing, might as well have been a space­craft: the Cit­roën DS. Pro­nounced in French like déesse, that lan­guage’s word for “god­dess,” the car received 80,000 order deposits dur­ing the show, a record that stood for six decades until the debut of Tes­la’s Mod­el 3 — which, what­ev­er its respectabil­i­ty as a feat of design and engi­neer­ing, will nev­er have Roland Barthes to extol its beau­ty.

“Cars today are almost the exact equiv­a­lent of the great Goth­ic cathe­drals,” writes Barthes in an essay on the DS (which you can read in both Eng­lish trans­la­tion and the orig­i­nal French here) that appears in 1957’s Mytholo­gies, many of whose edi­tions bear the car’s image on the cov­er.

“I mean the supreme cre­ation of an era, con­ceived with pas­sion by unknown artists, and con­sumed in image if not in usage by a whole pop­u­la­tion which appro­pri­ates them as a pure­ly mag­i­cal object. It is obvi­ous that the new Cit­roen has fall­en from the sky inas­much as it appears at first sight as a superla­tive object.” Pos­sessed of all the fea­tures of “one of those objects from anoth­er uni­verse which have sup­plied fuel for the neo­ma­nia of the eigh­teenth cen­tu­ry and that of our own sci­ence-fic­tion: the Déesse is first and fore­most a new Nau­tilus.”

Smooth­ness, Barthes writes, “is always an attribute of per­fec­tion because its oppo­site reveals a tech­ni­cal and typ­i­cal­ly human oper­a­tion of assem­bling: Christ’s robe was seam­less, just as the air­ships of sci­ence-fic­tion are made of unbro­ken met­al.” Hence his detec­tion, in the unprece­dent­ed­ly smooth lines of the DS, of “the begin­nings of a new phe­nom­e­nol­o­gy of assem­bling, as if one pro­gressed from a world where ele­ments are weld­ed to a world where they are jux­ta­posed and hold togeth­er by sole virtue of their won­drous shape, which of course is meant to pre­pare one for the idea of a more benign Nature.” Here we have “a human­ized art, and it is pos­si­ble that the Déesse marks a change in the mythol­o­gy of cars,” rais­ing them from “the bes­tiary of pow­er” into the realm of the “spir­i­tu­al and more object-like.”

In the Influx video at the top of the post, British Cit­roën spe­cial­ist Matt Damper reads from Barthes’ essay to evoke the dis­tinc­tive joie de vivre of French car cul­ture in gen­er­al and clas­sic Cit­roëns in par­tic­u­lar. (It must be said, how­ev­er, that one of the main “unknown artists” to which the DS owes its unearth­ly beau­ty, sculp­tor turned indus­tri­al design­er Flaminio Bertoni, hailed from Italy.) “You have to dri­ve it in a com­plete­ly dif­fer­ent way than you dri­ve any oth­er car, real­ly,” says Damper. “It’s that French­ness: it’s like, ‘We’re right. This is the cor­rect way of build­ing a car. Just get used to it.’ ” Wired’s Jack Stew­art echoes the sen­ti­ment in the video just above, “The 1955 Cit­roën DS Still Feels Ahead of Its Time.”

Stew­art names the “strange semi-auto­mat­ic gear­box that you have to get used to,” among the inno­v­a­tive or at least uncon­ven­tion­al fea­tures with which the DS debuted, a list that also includ­ed hydraulic sus­pen­sion (suit­ed to France’s still-sham­bol­ic roads) and disc brakes. “That’s just the thing with Cit­roëns: they’re unfor­giv­ing if you don’t know what you’re doing, so you real­ly have to learn how to dri­ve these cars.” Or as Cit­roën­s’s Amer­i­can ad cam­paign put it, “It takes a spe­cial per­son to dri­ve a spe­cial car.” The DS did­n’t sell state­side, in part due to its low-pow­ered engine made to dodge French auto­mo­bile tax struc­tures, but now car-lovers around the world rec­og­nize it as one of the great achieve­ments in motor­ing. The Cit­roën DS and the prose of Roland Barthes have a deep com­mon­al­i­ty: only those who under­stand that they have to approach the object on its own terms will find them­selves in the pres­ence of supe­ri­or craft — albeit of a dis­tinc­tive­ly Gal­lic vari­ety.

Below Jay Leno gives you a close up view of his 1971 Cit­roën DS and its unique sus­pen­sion sys­tem.

Relat­ed Con­tent:

An Ani­mat­ed Intro­duc­tion to Roland Barthes’s Mytholo­gies and How He Used Semi­otics to Decode Pop­u­lar Cul­ture

Hear Roland Barthes Present His 40-Hour Course, La Pré­pa­ra­tion du roman, in French (1978–80)

178,000 Images Doc­u­ment­ing the His­to­ry of the Car Now Avail­able on a New Stan­ford Web Site

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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 Should You Read Haruki Murakami? An Animated Video on His “Epic Literary Puzzle” Kafka on the Shore Makes the Case

Haru­ki Murakami’s vast inter­na­tion­al fan base includes peo­ple ded­i­cat­ed to lit­er­a­ture. It also includes peo­ple who have bare­ly cracked any books in their lives — apart, that is, from Murakami’s nov­els with their dis­tinc­tive mix­ture of the light­heart­ed with the grim and the mun­dane with the uncan­ny. Since the pub­li­ca­tion of his first nov­el, Hear the Wind Sing, 40 years ago in his native Japan, Muraka­mi has become both a lit­er­ary phe­nom­e­non and an extra-lit­er­ary phe­nom­e­non, and dif­fer­ent read­ers endorse dif­fer­ent paths into his unique tex­tu­al realm.

The TED-Ed video above makes the case for one fan favorite in par­tic­u­lar: 2002’s Kaf­ka on the Shore, an “epic lit­er­ary puz­zle filled with time trav­el, hid­den his­to­ries, and mag­i­cal under­worlds. Read­ers delight in dis­cov­er­ing how the mind-bend­ing imagery, whim­si­cal char­ac­ters and eerie coin­ci­dences fit togeth­er.” So says the video’s nar­ra­tor, read­ing from a les­son writ­ten by lit­er­ary schol­ar Iseult Gille­spie (who has also made cas­es for Charles Dick­ens, Vir­ginia Woolf, and Ray Brad­bury).

Muraka­mi tells this sto­ry, and keeps it fresh through more than 500 pages, by alter­nat­ing between two point-of-view char­ac­ters: a teenag­er “des­per­ate to escape his tyran­ni­cal father and the fam­i­ly curse he feels doomed to repeat,” who “renames him­self Kaf­ka after his favorite author and runs away from home,” and an old man with “a mys­te­ri­ous knack for talk­ing to cats.”

When the lat­ter is com­mis­sioned to use his unusu­al skill to track down a lost pet, “he’s thrown onto a dan­ger­ous path that runs par­al­lel to Kafka’s.” Soon, “prophe­cies come true, por­tals to dif­fer­ent dimen­sions open up — and fish and leech­es begin rain­ing from the sky.” But it’s all of a piece with Murakami’s body of work, with its nov­els and sto­ries that “often forge fan­tas­tic con­nec­tions between per­son­al expe­ri­ence, super­nat­ur­al pos­si­bil­i­ties, and Japan­ese his­to­ry.” His “ref­er­ences to West­ern soci­ety and Japan­ese cus­toms tum­ble over each oth­er, from lit­er­a­ture and fash­ion to food and ghost sto­ries.”

All of it comes tied togeth­er with threads of music: “As the run­away Kaf­ka wan­ders the streets of a strange city, Led Zep­pelin and Prince keep him com­pa­ny,” and he lat­er befriends a librar­i­an who “intro­duces him to clas­si­cal music like Schu­bert.” Safe to say that such ref­er­ences put some dis­tance between Murakami’s work and that of his char­ac­ter Kafka’s favorite writer, to whom Muraka­mi him­self has been com­pared. Kaf­ka on the Shore show­cas­es Murakami’s sto­ry­telling sen­si­bil­i­ty, but is it in any sense Kafkaesque? You’ll have plen­ty more ques­tions after tak­ing the plunge into Murakami’s real­i­ty, but there’s anoth­er TED-Ed les­son that might at least help you answer that one.

Relat­ed Con­tent:

An Intro­duc­tion to the World of Haru­ki Muraka­mi Through Doc­u­men­taries, Sto­ries, Ani­ma­tion, Music Playlists & More

Read 6 Sto­ries By Haru­ki Muraka­mi Free Online

What Does “Kafkaesque” Real­ly Mean? A Short Ani­mat­ed Video Explains

Why Should We Read Charles Dick­ens? A TED-Ed Ani­ma­tion Makes the Case

Why Should We Read Ray Bradbury’s Fahren­heit 451? A New TED-Ed Ani­ma­tion Explains

Why Should We Read Vir­ginia Woolf? A TED-Ed Ani­ma­tion Makes the Case

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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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