Reading Mary Shelley’s Frankenstein on Its 200th Anniversary: An Animated Primer to the Great Monster Story & Technology Cautionary Tale

200 years ago, 18-year-old Mary Shel­ley did an extra­or­di­nary thing. After a drea­ry win­ter evening spent indoors telling ghost sto­ries dur­ing the sto­ried “year with­out a sum­mer,” she took her idea and turned it into a nov­el. In Jan­u­ary of 1818, Franken­stein; or, The Mod­ern Prometheus appeared, first pub­lished anony­mous­ly in an edi­tion of 500 copies, with a pref­ace by her hus­band, poet Per­cy Bysshe Shel­ley. Grant­ed, Mary Shel­ley wasn’t an ordi­nary 18-year-old. In addi­tion to her romance with Shel­ley and friend­ship with Lord Byron, she was also the daugh­ter of philoso­phers William God­win and Mary Woll­stonecraft. Which is to say that she was steeped in Roman­tic poet­ry and Vic­to­ri­an thought from a very ear­ly age, and con­ver­sant with the intel­lec­tu­al con­tro­ver­sies of the day.

Nonethe­less, the young novelist’s achievement—her syn­the­sis of so many 19th-cen­tu­ry anx­i­eties into a mon­ster sto­ry rivaled only, per­haps, by Bram Stoker’s Drac­u­la—remains as impres­sive now as it was then. Shel­ley tells the leg­endary tale of the novel’s com­po­si­tion her­self in an intro­duc­tion to the heav­i­ly revised 1831 edi­tion. In the ani­mat­ed video above, schol­ar Iseult Gille­spie sketch­es out the book’s basics (as we know, Franken­stein is the name of the monster’s cre­ator; the mon­ster him­self remains name­less), then briefly explains some of its “mul­ti­ple mean­ings.”

We may be con­di­tioned by the genius of James Whale and Mel Brooks to think of the novel’s cen­ter as the doctor’s elec­tri­fied lab­o­ra­to­ry, but “the plot turns on a chill­ing chase” between mon­ster and doc­tor, and what a chase it is. The book’s grip­ping action scenes get bad­ly under­sold in con­cep­tions of Franken­stein (or the mon­ster, rather) as a sad, stu­pid, lum­ber­ing beast. In fact, Franken­stein, says Gille­spie, “is one of the first cau­tion­ary tales about arti­fi­cial intel­li­gence.” The novel’s Roman­tic inter­est in mythol­o­gy (spelled out more direct­ly by Per­cy two years lat­er in his Prometheus Unbound) and its use of Goth­ic devices to evoke dread mark it as a com­pli­cat­ed work, and its crea­ture as a very com­pli­cat­ed monster—a per­pet­u­al­ly rel­e­vant sym­bol of the hor­rors unchecked sci­en­tif­ic exper­i­men­ta­tion might unleash.

Shel­ley also inscribed her per­son­al trau­ma in the text; though well-known as the daugh­ter of the famed Wollstonecraft—author of the “key fem­i­nist text” A Vin­di­ca­tion of the Rights of WomenShel­ley nev­er actu­al­ly got to know her moth­er. Woll­stonecraft died of com­pli­ca­tions in child­birth, and Shel­ley, haunt­ed by guilt, and her grief over sev­er­al mis­car­riages she suf­fered, the first at age 16, uses what seems like a sto­ry sole­ly about male cre­ative agency to intro­duce themes of child­birth “as both cre­ative and destruc­tive.”

But most­ly Franken­stein comes to us as a nov­el about the “pow­er of rad­i­cal ideas to expose dark­er areas of life.” Though it may do the nov­el a crit­i­cal injus­tice to call it the Black Mir­ror (or Prometheus) of its time, the anx­ious con­tem­po­rary anthol­o­gy show is insep­a­ra­ble from a lin­eage of cre­ative texts in hor­ror and sci­ence fic­tion that owe a tremen­dous debt to the bril­liance of the young Mary Shel­ley. For more info on the ori­gins of this famous book, read Jill Lep­ore’s 200th-anniver­sary essay at The New York­er, and see all of the known man­u­scripts dig­i­tized at the Shel­ley-God­win archive.

Relat­ed Con­tent:

Mary Shelley’s Hand­writ­ten Man­u­scripts of Franken­stein Now Online for the First Time

The Very First Film Adap­ta­tion of Mary Shelley’s Franken­stein, a Thomas Edi­son Pro­duc­tion (1910)

Franken­wee­nie: Tim Bur­ton Turns Franken­stein Tale into Dis­ney Kids Film (1984)

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

Artist Re-Envisions National Parks in the Style of Tolkien’s Middle Earth Maps

J.R.R. Tolkien imag­ined Mid­dle-Earth by draw­ing not just from far-flung lands and old myths but the Eng­lish land­scape all around him. Of course, every­one who reads The Lord of the Rings tril­o­gy, let alone the relat­ed books writ­ten by Tolkien as well as his fol­low­ers, has their own way of envi­sion­ing the place, and those who go espe­cial­ly deep may even start see­ing their own, real envi­ron­ments as ver­sions of Mid­dle-Earth. That seems to have hap­pened in the case of Dan Bell, an Eng­lish artist who maps his home­land’s nation­al parks in an artis­tic style sim­i­lar to the one in which Tolkien ren­dered Mid­dle-Earth.

Bell “began read­ing Tolkien’s books when he was 11 or 12 years old, and fell in love with them,” writes The Verge’s Andrew Lip­tak. “In par­tic­u­lar, he was struck by Tolkien’s maps.” To start, he “works from an open source Ord­nance Sur­vey map, and begins draw­ing by hand,” adding in such addi­tion­al details, not always found in most nation­al parks, as “forests, Hob­bit holes, tow­ers, and cas­tles.” Hav­ing so adapt­ed the nation­al parks of the Unit­ed Kind­gom “as well as places like Oxford, Lon­don, Yel­low­stone Nation­al Park, and George R.R. Martin’s Wes­t­eros,” he’s made them avail­able for pur­chase on his site.

Most of us who first encounter The Lord of the Rings at the age Bell did have sure­ly wished, if only for a moment or two, that we could live in Mid­dle-Earth our­selves. Bel­l’s maps remind us that places like Mid­dle-Earth always come in some way from, and res­onate on some lev­el with, the real Earth on which we have no choice but to live. Much like how the set­tings of sci­ence fic­tion sto­ries, no mat­ter how tech­no­log­i­cal­ly ampli­fied or cul­tur­al­ly twist­ed and turned, always reflect the time of the sto­ry’s com­po­si­tion, thor­ough­ly real­ized fan­ta­sy realms, no mat­ter how fan­tas­ti­cal — how many hob­bit-holes, cas­tles, or Eyes of Sauron with which they may be dot­ted — are nev­er 100 per­cent made up. Just ask the tourist indus­try of New Zealand.

Enter Bel­l’s map col­lec­tion here.

via The Verge

Relat­ed Con­tent:

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

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

The Only Draw­ing from Mau­rice Sendak’s Short-Lived Attempt to Illus­trate The Hob­bit

Sovi­et-Era Illus­tra­tions Of J. R. R. Tolkien’s The Hob­bit (1976)

226 Ansel Adams Pho­tographs of Great Amer­i­can Nation­al Parks Are Now Online

Down­load 100,000 Pho­tos of 20 Great U.S. Nation­al Parks, Cour­tesy of the U.S. Nation­al Park Ser­vice

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities 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.

1,600 Occult Books Now Digitized & Put Online, Thanks to the Ritman Library and Da Vinci Code Author Dan Brown

Back in Decem­ber we brought you some excit­ing news. Thanks to a gen­er­ous dona­tion from Da Vin­ci Code author Dan Brown, Amsterdam’s Rit­man Library—a siz­able col­lec­tion of pre-1900 books on alche­my, astrol­o­gy, mag­ic, and oth­er occult subjects—has been dig­i­tiz­ing thou­sands of its rare texts under a dig­i­tal edu­ca­tion project cheek­i­ly called “Her­met­i­cal­ly Open.” We are now pleased to report, less than two months lat­er, that the first 1,617 books from the Rit­man project have come avail­able in their online read­ing room. The site is still in beta, so to speak; in their Face­book announce­ment, the Rit­man admits they are “still improv­ing the whole pre­sen­ta­tion,” which is a bit clunky at the moment. But for fans and stu­dents of this lit­er­a­ture, a lit­tle incon­ve­nience is a small price to pay for full access to hun­dreds of rare occult texts.

Vis­i­tors should be aware that these books are writ­ten in sev­er­al dif­fer­ent Euro­pean lan­guages. Latin, the schol­ar­ly lan­guage of Europe through­out the Medieval and Ear­ly Mod­ern peri­ods, pre­dom­i­nates, and it’s a pecu­liar Latin at that, laden with jar­gon and alchem­i­cal ter­mi­nol­o­gy. Oth­er books appear in Ger­man, Dutch, and French. Read­ers of some or all of these lan­guages will of course have an eas­i­er time than mono­lin­gual Eng­lish speak­ers, but there is still much to offer those vis­i­tors as well.

In addi­tion to the plea­sure of pag­ing through an old rare book, even vir­tu­al­ly, Eng­lish speak­ers can quick­ly find a col­lec­tion of read­able books by click­ing on the “Place of Pub­li­ca­tion” search fil­ter and select­ing Cam­bridge or Lon­don, from which come such notable works as The Man-Mouse Takin in a Trap, and tortur’d to death for gnaw­ing the Mar­gins of Euge­nius Phi­lalethes, by Thomas Vaughn, pub­lished in 1650.

The lan­guage is archaic—full of quirky spellings and uses of the “long s”—and the con­tent is bizarre. Those famil­iar with this type of writ­ing, whether through his­tor­i­cal study or the work of more recent inter­preters like Aleis­ter Crow­ley or Madame Blavatsky, will rec­og­nize the many for­mu­las: The trac­ing of mag­i­cal cor­re­spon­dences between flo­ra, fau­na, and astro­nom­i­cal phe­nom­e­na; the care­ful pars­ing of names; astrol­o­gy and lengthy lin­guis­tic ety­molo­gies; numero­log­i­cal dis­cours­es and philo­soph­i­cal poet­ry; ear­ly psy­chol­o­gy and per­son­al­i­ty typ­ing; cryp­tic, cod­ed mythol­o­gy and med­ical pro­ce­dures. Although we’ve grown accus­tomed through pop­u­lar media to think­ing of mag­i­cal books as cook­books, full of recipes and incan­ta­tions, the real­i­ty is far dif­fer­ent.

Encoun­ter­ing the vast and strange trea­sures in the online library, one thinks of the type of the magi­cian rep­re­sent­ed in Goethe’s Faust, holed up in his study,

Where even the wel­come day­light strains
But duski­ly through the paint­ed panes.
Hemmed in by many a top­pling heap
Of books worm-eat­en, gray with dust,
Which to the vault­ed ceil­ing creep

The library doesn’t only con­tain occult books. Like the weary schol­ar Faust, alchemists of old “stud­ied now Phi­los­o­phy / And Jurispru­dence, Med­i­cine,— / And even, alas! The­ol­o­gy.” Click on Cam­bridge as the place of pub­li­ca­tion and you’ll find the work above by Hen­ry More, “one of the cel­e­brat­ed ‘Cam­bridge Pla­ton­ists,’” the Lin­da Hall Library notes, “who flour­ished in mid-17th-cen­tu­ry and did their best to rec­on­cile Pla­to with Chris­tian­i­ty and the mechan­i­cal phi­los­o­phy that was begin­ning to make inroads into British nat­ur­al phi­los­o­phy.” Those who study Euro­pean intel­lec­tu­al his­to­ry know well that More’s pres­ence in this col­lec­tion is no anom­aly. For a few hun­dred years, it was dif­fi­cult, if not impos­si­ble, to sep­a­rate the pur­suits of the­ol­o­gy, phi­los­o­phy, med­i­cine, and sci­ence (or “nat­ur­al phi­los­o­phy”) from those of alche­my and astrol­o­gy. (Isaac New­ton is a famous exam­ple of a mathematician/scientist/alchemist/believer in strange apoc­a­lyp­tic pre­dic­tions.)

Giv­en the Ritman’s alacrity and eager­ness to pub­lish this first batch of texts, even as it works to smooth out its inter­face, we’ll like­ly see many hun­dreds more books become avail­able in the next month or so. For updates, fol­low the Rit­man Library and The Embassy of the Free Mind—Dan Brown’s own Dutch library of rare occult books—on Face­book.

Enter the Rit­man’s new dig­i­tal col­lec­tion of occult texts here.

Relat­ed Con­tent:

3,500 Occult Man­u­scripts Will Be Dig­i­tized & Made Freely Avail­able Online, Thanks to Da Vin­ci Code Author Dan Brown

Isaac Newton’s Recipe for the Myth­i­cal ‘Philosopher’s Stone’ Is Being Dig­i­tized & Put Online (Along with His Oth­er Alche­my Man­u­scripts)

Aleis­ter Crow­ley Reads Occult Poet­ry in the Only Known Record­ings of His Voice (1920)

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

Read the Poignant Letter Sent to Anne Frank by George Whitman, Owner of Paris’ Famed Shakespeare & Co Bookshop (1960): “If I Sent This Letter to the Post Office It Would No Longer Reach You”

Be not inhos­pitable to strangers, lest they be angels in dis­guise.

More than a few vis­i­tors to Paris’ fabled Shake­speare & Com­pa­ny book­shop assume that the quote they see paint­ed over an arch­way is attrib­ut­able to Yeats or Shake­speare.

In fact, its author was George Whit­man, the store’s late own­er, a grand “hobo adven­tur­er” in his 20s who made such an impres­sion that he spent the rest of his life wel­com­ing trav­el­ers and encour­ag­ing young writ­ers, who flocked to the shop. A great many became Tum­ble­weeds, the nick­name giv­en to those who trad­ed a few hours of vol­un­teer work and a pledge to read a book a day in return for spar­tan accom­mo­da­tion in the store itself.

In light of this gen­eros­i­ty, Whitman’s 1960 let­ter to Anne Frank (1929–1945) is all the more mov­ing.

One won­ders what inspired him to write it. It’s a not an uncom­mon impulse, but usu­al­ly the authors are stu­dents close to the same age as Anne was at the time of her death.

Per­haps it was an inter­ac­tion with a Tum­ble­weed.

Had she sur­vived the hor­rors of the Nazi con­cen­tra­tion camps that exter­mi­nat­ed all but one inhab­i­tant of the Secret Annex in which she penned her famous diary, she would have made a great one.

He refrained from men­tion­ing his own ser­vice in World War II, pos­si­bly because he was post­ed to a remote weath­er sta­tion in Green­land. Unlike oth­er Amer­i­can vet­er­ans, he had­n’t wit­nessed with his own eyes the sort of hell she endured. If he had, he might not have been able to address her with such ini­tial light­ness of tone.

One can’t help but think how delight­ed the ram­bunc­tious young teen would have been by his sense of humor, his descrip­tions of his bohemi­an booklovers’ paradise—then called Le Mistral—and ref­er­ences to his dog, François Vil­lon, and cat, Kit­ty, named in hon­or of Anne’s pet name for her diary.

His pro­found obser­va­tions on the imper­ma­nence of life and the pol­i­tics of war con­tin­ue to res­onate deeply with those who read the let­ter as its intend­ed recip­i­ents’ prox­ies:

Le Mis­tral

37 rue de la Bûcherie

Dear Anne Frank,

If I sent this let­ter to the post office it would no longer reach you because you have been blot­ted out from the uni­verse. So I am writ­ing an open let­ter to those who have read your diary and found a lit­tle sis­ter they have nev­er seen who will nev­er entire­ly dis­ap­pear from earth as long as we who are liv­ing remem­ber her.

You want­ed to come to Paris for a year to study the his­to­ry of art and if you had, per­haps you might have wan­dered down the quai Notre-Dame and dis­cov­ered a lit­tle book­store beside the gar­den of Saint-Julien-le-Pau­vre. You know enough French to read the notice on the door—Chien aimable, Priere d’en­tr­er. The dog is not real­ly a dog at all but a poet called Fran­cois Vil­lon who has returned to the city he loved after many years of exile. He is sit­ting by the fire next to a kit­ten with a very unusu­al name. You will be pleased to know she is called Kit­ty after the imag­i­nary friend to whom you wrote the let­ters in your jour­nal.

Here in our book­store it is like a fam­i­ly where your Chi­nese sis­ters and your broth­ers from all lands sit in the read­ing rooms and meet the Parisians or have tea with the writ­ers from abroad who are invit­ed to live in our Guest House.

Remem­ber how you wor­ried about your incon­sis­ten­cies, about your two selves—the gay flir­ta­tious super­fi­cial Anne that hid the qui­et serene Anne who tried to love and under­stand the world. We all of us have dual natures. We all wish for peace, yet in the name of self-defense we are work­ing toward self-oblit­er­a­tion. We have built arma­ments more pow­er­ful than the total of all those used in all the wars in his­to­ry. And if the mil­i­tarists who dis­like nego­ti­at­ing the minor dif­fer­ences that sep­a­rate nations are not under the wise civil­ian author­i­ty they have the pow­er to write man’s tes­ta­ment on a dead plan­et where radioac­tive cities are sur­round­ed by jun­gles of dying plants and poi­so­nous weeds.

Since a nuclear could destroy half the world’s pop­u­la­tion as well as the mate­r­i­al basis of civ­i­liza­tion, the Sovi­et Gen­er­al Niko­lai Tal­en­sky con­cludes that war is no longer con­ceiv­able for the solu­tion of polit­i­cal dif­fer­ences.

A young girl’s dreams record­ed in her diary from her thir­teenth to her fif­teenth birth­day means more to us today than the labors of mil­lions of sol­diers and thou­sands of fac­to­ries striv­ing for a thou­sand-year Reich that last­ed hard­ly more than ten years. The jour­nal you hid so that no one would read it was left on the floor when the Ger­man police took you to the con­cen­tra­tion camp and has now been read by mil­lions of peo­ple in 32 lan­guages. When most peo­ple die they dis­ap­pear with­out a trace, their thoughts for­got­ten, their aspi­ra­tions unknown, but you have sim­ply left your own fam­i­ly and become part of the fam­i­ly of man.

George Whit­man

via Let­ters of Note

Relat­ed Con­tent:

Watch the Only Known Footage of Anne Frank

Anne Frank’s Diary: From Reject Pile to Best­seller

8‑Year-Old Anne Frank Plays in a Sand­box on a Sum­mer Day, 1937

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City this Thurs­day for Necro­mancers  of the Pub­lic Domain, in which a long neglect­ed book is reframed as a low bud­get vari­ety show. Fol­low her @AyunHalliday.

Virginia Woolf’s Personal Photo Album Digitized & Put Online by Harvard: See Candid Snapshots of Woolf, Her Family, and Friends from the Bloomsbury Group

Some writ­ers are rest­less by nature, roam­ing like Ernest Hem­ing­way or Hen­ry Miller, set­tling nowhere and every­where. Oth­ers are home­bod­ies, like William Faulkn­er and Vir­ginia Woolf. Their fic­tion reflects their desire to nest in place. Strolling the grounds of Faulkner’s Rowan Oak one swel­ter­ing sum­mer, I swear I saw the author round a cor­ner of the house, lost in thought and wear­ing rid­ing clothes. Vis­i­tors to Vir­ginia Woolf’s home in the vil­lage of Rod­mell in East Sus­sex have sure­ly had sim­i­lar visions.

Woolf’s home con­tains her writ­ing life with­in the lush gar­den grounds and cot­tage walls of the 17th cen­tu­ry Monk’s House—Vir­ginia and Leonard’s retreat, then per­ma­nent home, from 1919 until her sui­cide by drown­ing in the near­by Riv­er Ouse in 1941.

Even in death she belonged to the house; Leonard buried her ash­es beneath an elm in the Monk’s House gar­den. Although Leonard was the gar­den­er, “there are very few entries” in Virginia’s diary “which do not men­tion the gar­den.”

But there are many oth­er ways to meet the author of Mrs. Dal­loway and Jacob’s Room than trav­el­ing to her writer’s lodge, a tidy, tiny house on the Monk’s House grounds that served as her office. Like an avid Instragrammer—or like my moth­er and prob­a­bly yours—Woolf kept care­ful record of her life in pho­to albums, which now reside at Harvard’s Houghton Library. The Monk’s House albums, num­bered 1–6, con­tain images of Woolf, her fam­i­ly, and her many friends, includ­ing such famous mem­bers of the Blooms­bury group as E.M. Forster (above, top), John May­nard Keynes, and Lyt­ton Stra­chey (below, with Woolf and W.B. Yeats, and play­ing chess with sis­ter Mar­jorie). Har­vard has dig­i­tized one album, Monk’s House 4, dat­ed 1939 on the cov­er. You can view its scanned pages at their library site.

There are vaca­tion pho­tos and fam­i­ly pho­tos; land­scapes and pho­tos of pets; clip­pings from news­pa­pers and mag­a­zines; and, of course, the gar­den. The albums span the peri­od 1890 to 1947 (includ­ing addi­tions by Leonard after Virginia’s death). Many of the pho­tos are labeled, many are not. Many of the albums’ pages are left blank. The pho­tographs are arranged in no par­tic­u­lar order. The net effect is that of a life rec­ol­lect­ed in preg­nant images laced with lacu­nae, a psy­cho­log­i­cal theme of so much of Woolf’s writ­ing. Woolf, writes Mag­gie Humm, “believed that pho­tographs could help her to sur­vive those iden­ti­ty-destroy­ing moments of her own life—her inco­her­ent ill­ness­es.”

But pho­tog­ra­phy was also a means for cul­ti­vat­ing rela­tion­ships. Woolf “skill­ful­ly trans­formed friends and moments into art­ful tableaux, and she was sur­round­ed by female friends and fam­i­ly who were also ener­getic pho­tog­ra­phers,” includ­ing her sis­ter, Lady Otto­line Mor­rell, her friend and lover Vita Sackville-West, and her great aunt Julia Mar­garet Cameron. She “fre­quent­ly invit­ed friends to share her reflec­tions. The let­ters and diaries describe a con­stant exchange of pho­tographs, in which the pho­tographs become a meet­ing-place, a con­ver­sa­tion, aide-mémoires, and some­times mech­a­nisms of sur­vival and entice­ment.”

Unlike Monk’s House, a world built and shared with her hus­band, Woolf’s albums rep­re­sent her own per­son­al net­work of rela­tion­ships. They serve as memo­ri­als and med­i­ta­tions after the deaths of those close to her. “Pho­tographs of friends were impor­tant memen­to mori,” such as the por­trait of poet Julian Bell, above, her nephew, who was killed in the Span­ish Civ­il War. The pho­tos doc­u­ment gath­er­ings and impor­tant life events among her social cir­cle. They per­form all the tasks of ordi­nary pho­to albums, and more—showing us the “chain of per­cep­tions” of which per­son­al iden­ti­ty is made in Woolf’s mod­ernist vision, with rep­e­ti­tions and sequences cen­tered around famil­iar objects like her favorite chair.

For fans, avid read­ers, crit­ics, and lit­er­ary his­to­ri­ans, the pho­tographs pro­vide a visu­al record of a life we come to know so well through the let­ters, diaries, and romans à clef. Writ­ing to her sis­ter, Woolf once described paint­ing a por­trait “using dozens of snap­shots in the paint.” Vis­it her pho­to album here at the Har­vard Library site, and flip through the pages of her life in snap­shots.

via @HarvardTheatre

Relat­ed Con­tent:

An Ani­mat­ed Intro­duc­tion to Vir­ginia Woolf

In the Only Sur­viv­ing Record­ing of Her Voice, Vir­ginia Woolf Explains Why Writ­ing Isn’t a “Craft” (1937)

The Steamy Love Let­ters of Vir­ginia Woolf and Vita Sackville-West (1925–1929)

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

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

Hear Ursula K. Le Guin’s Space Rock Opera Rigel 9: A Rare Recording from 1985

In her remem­brance of recent­ly depart­ed sci-fi great Ursu­la K. Le Guin, Mar­garet Atwood describes “an absurd vision” she drew from Le Guin’s fan­ta­sy nov­el A Wiz­ard of Earth­sea: “There was Ursu­la, mov­ing calm­ly down a hill of whis­per­ing sand under the unchang­ing stars; and there was me, dis­traught and run­ning after her and call­ing ‘No! Come Back! We need you here and now!’” Atwood longs for Le Guin’s respons­es to the crises of the present, the old hier­ar­chies of pow­er and priv­i­lege reassert­ing their cru­el dom­i­nance over men, women, chil­dren, and an already over­bur­dened envi­ron­ment.

The prob­lem of pow­er and its abus­es is one Le Guin returned to over and over in her work. “As an anar­chist,” writes Atwood,” she would have want­ed a self-gov­ern­ing soci­ety, with gen­der and racial equal­i­ty.” As a keen anthro­po­log­i­cal observ­er of human behav­ior, she saw how and why tech­no­log­i­cal­ly-advanced, yet psy­cho­log­i­cal­ly reac­tionary soci­eties stray from these ideals, desta­bi­liz­ing the eco­log­i­cal bal­ance they depend on to sur­vive and thrive. Le Guin fought back in her way. She was a pro­lif­ic builder of poet­ic new worlds. Through them, we will always have her wis­dom, and in a few rare instances, we have her music.

No, Le Guin didn’t com­pose, but she did write libret­tos for three dif­fer­ent col­lab­o­ra­tive projects. Above, we have her “most note­wor­thy melod­ic under­tak­ing,” accord­ing to Locus magazine’s Jeff Berk­wits, Rigel 9, a space opera with music by avant-garde com­pos­er David Bed­ford, record­ed and released in 1985. (It’s also stream­able on Spo­ti­fy. Lis­ten below or here.) Rigel 9 “tells a pret­ty clas­sic space sto­ry,” Cara Giaimo  writes at Atlas Obscu­ra. “Three astro­nauts, named Anders, Kap­per, and Lee, are sent to explore a strange world. After Anders goes off to col­lect plant sam­ples and is kid­napped by extrater­res­tri­als, Kap­per and Lee argue over whether to res­cue him or save them­selves.”

Amidst this dra­ma of tiny red aliens, a dou­ble sun, air that smells of cin­na­mon and yel­low and orange trees, we learn a few unset­tling facts about what has hap­pened back on Earth. “The Earth has no more forests,” sings Anders, “no wilder­ness, no still places.” Evok­ing a Sartre­an hor­ror on a plan­e­tary scale, he gives us an image of “only human faces, only human voic­es…. The Earth has no more silence.” The resources we need to replen­ish not only air and water, but also weary minds have dis­ap­peared. These rev­e­la­tions set up Anders’ seduc­tion by the lush­ness and qui­et of Rigel 9, and the gor­geous sopra­no voic­es of its inhab­i­tants.

Bedford’s music is trans­port­ing, with “Bowie-esque synth sweeps” and sax­o­phones, thrilling choral move­ments, and a pound­ing rhythm sec­tion that puts one in mind of Queen. Scot­tish New Wave duo Straw­ber­ry Switch­blade make an appear­ance, as the lead voic­es of an alien funer­al pro­ces­sion (top). The dia­logue and spo­ken per­for­mances can be a bit corny, but the space rock opera has nev­er been suit­ed for sub­tle­ty, and Le Guin and Bed­ford pur­pose­ful­ly cre­at­ed the dra­ma as a radio play of sorts. “We had talked about the com­po­si­tion as ‘opera for ear,” she explained, “That is, a ‘radio opera… We liked the idea of being able to imag­ine the scenery, and then putting that scenery into the words and the music.”

That same year, Le Guin released anoth­er musi­cal effort, team­ing with musi­cian Todd Bar­ton for a cas­sette-only pro­duc­tion called Music and Poet­ry of Kesh, released togeth­er with her nov­el Always Com­ing Home. And ten years lat­er, she worked with clas­si­cal com­pos­er Eli­nor Armer on Uses of Music in Utter­most Parts. This eight-move­ment work fea­tures Le Guin her­self, nar­rat­ing a text about “a fan­tas­ti­cal realm,” Berk­wits writes, “the Utter­most Arch­i­pel­ago in the fifth quar­ter of Island Earth—where sound lit­er­al­ly sus­tains life.” Just above, hear one move­ment, “The Sea­sons of Oling,” a fur­ther reminder that Le Guin, who nev­er shrank from the vio­lence of our world, could always imag­ine enthralling alter­na­tives.

via Atlas Obscu­ra

Relat­ed Con­tent:

Cel­e­brate the Life & Writ­ing of Ursu­la K. Le Guin (R.I.P.) with Clas­sic Radio Drama­ti­za­tions of Her Sto­ries

Ursu­la Le Guin Gives Insight­ful Writ­ing Advice in Her Free Online Work­shop

Ursu­la K. Le Guin Names the Books She Likes and Wants You to Read

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

Celebrate the Life & Writing of Ursula K. Le Guin (R.I.P.) with Classic Radio Dramatizations of Her Stories

Until yes­ter­day, had you asked me to name my favorite liv­ing writ­ers, Ursu­la K. Le Guin’s name would appear near the top of the list. As of yes­ter­day, I can no longer say this. Le Guin passed away at the age of 88, and left mil­lions of fans bereft—fans with whom she had shared some of the finest sci­ence fic­tion and fan­ta­sy writ­ten in the 20th cen­tu­ry, and with whom she hap­pi­ly shared her wis­dom and advice in the free online work­shops she held in her lat­er years, her way of con­nect­ing with read­ers when she retired from writ­ing.

Like many peo­ple, I first came to Le Guin’s work through her 1969 Neb­u­la and Hugo-win­ning nov­el The Left Hand of Dark­ness, a book that explod­ed ideas about what sci­ence fic­tion could be and do. That nov­el is part of a series of sto­ries called the “Hain­ish cycle,” which—like C.S. Lewis’ Space Tril­o­gy—are deeply philo­soph­i­cal and deeply sen­si­tive to the emo­tion­al and psy­cho­log­i­cal res­o­nances of the ques­tions they grap­ple with.

But unlike Lewis, Le Guin sought not to res­ur­rect old mytholo­gies, but to show how the bound­aries and divi­sions we take for grant­ed might eas­i­ly become arbi­trary and unfa­mil­iar; how we might become some­thing entire­ly new and dif­fer­ent.

There are many oth­er writ­ers who come to mind when I think of Le Guin—Octavia But­ler, Frank Her­bert, Iain Banks, and, of course, Tolkien. Like many of the best writ­ers in her gen­res, Le Guin’s fic­tion is con­tem­pla­tive as well as spectacular—she could write space opera, sword and sor­cery, and adven­ture sto­ries just as well as any of her con­tem­po­raries, but her sus­tained focus on the nuanced inter­re­la­tions of char­ac­ter and theme—on the agony of choice, the pos­si­bil­i­ty of free­dom and con­nec­tion with­out coer­cion, the social and eco­log­i­cal con­se­quences of blind acqui­si­tion and thought­less action—gave her work a depth many of her con­tem­po­raries lacked.

Le Guin’s anar­chist envi­ron­men­tal­ism and “tough-mind­ed fem­i­nist sen­si­bil­i­ty” opened up paths for dozens of writ­ers who came after her and who also did not fit the typ­i­cal molds estab­lished by the pulpy mag­a­zine sto­ries of the ear­ly twen­ti­eth cen­tu­ry. She was a schol­ar, earn­ing an M.A. in French and Ital­ian lit­er­a­ture and doing doc­tor­al work in France on a Ful­bright in the mid-fifties. But unlike cer­tain, more inse­cure, writ­ers, Le Guin did not wear her learn­ing on her sleeve. She wove it into the tex­ture of her nar­ra­tives and the allu­sive lyri­cism of her prose.

Le Guin’s high­ly dis­tinc­tive qualities—her poet­ry and inquiry, tough­ness and sensitivity—are evi­dent in even minor, less­er-known sto­ries. Today, to cel­e­brate her life, we bring you a few of those sto­ries, as adapt­ed into radio dra­mas by the 70s pro­gram Mind Webs and the late 80s NPR show­case Sci-Fi Radio. At the top of the post, hear “Diary of a Rose,” below, “Field of Vision,” and, above, “The End.”

And, just above, hear part one of a CBC drama­ti­za­tion of Le Guin’s nov­el The Dis­pos­sessed, the fifth nov­el in the Hain­ish cycle, though chrono­log­i­cal­ly the cycle’s begin­ning. (Hear all six parts of the dra­ma­tized nov­el here.) Sub­ti­tled “an Ambigu­ous Utopia,” the nov­el, writes DePauw University’s Judah Bier­man, is “a prize­wor­thy con­tri­bu­tion to the debate about the respon­si­bil­i­ty of knowl­edge, of the vision­ary and of the sci­en­tist, in a planned soci­ety.” But like all of Le Guin’s fic­tion, it is so much more than that, a work that bears repeat­ed read­ing, and lis­ten­ing, and that nev­er exhausts its pos­si­bil­i­ties.

Note: If you’re inter­est­ed in get­ting pro­fes­sion­al­ly read ver­sions of Le Guin’s nov­els, con­sid­er sign­ing up for a 30-day free tri­al to Audible.com. When you sign up for a free tri­al, they let you down­load two audio­books for free, and keep the books, regard­less of whether you become a long-term sub­scriber or not. Get details here.

Relat­ed Con­tent:

1,000 Free Audio Books: Down­load Great Books for Free

Hear Inven­tive Sto­ries from Ursu­la LeGuin & J.G. Bal­lard Turned Into CBC Radio Dra­mas

Sci-Fi Radio: Hear Radio Dra­mas of Sci-Fi Sto­ries by Ray Brad­bury, Philip K. Dick, Ursu­la K. LeGuin & More (1989)

Ursu­la Le Guin Gives Insight­ful Writ­ing Advice in Her Free Online Work­shop

Dimen­sion X: The 1950s Sci­Fi Radio Show That Dra­ma­tized Sto­ries by Asi­mov, Brad­bury, Von­negut & More

Lis­ten to 188 Dra­ma­tized Sci­ence Fic­tion Sto­ries by Ursu­la K. Le Guin, Isaac Asi­mov, Philip K. Dick, J.G. Bal­lard & More

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

Watch “Bells of Atlantis,” an Experimental Film with Early Electronic Music Featuring Anaïs Nin (1952)

For decades, out­side of fem­i­nist schol­ar­ship and read­er­ships, French-Cuban-Amer­i­can diarist, nov­el­ist, and essay­ist Anaïs Nin was pri­mar­i­ly known through her famous friends—most notably the exper­i­men­tal nov­el­ist Hen­ry Miller, but also psy­cho­an­a­lyst Otto Rank. She had affairs with both men, and inspired some of their work, but Nin has always deserved much wider appre­ci­a­tion as an artist in her own right, whose sur­re­al­ist explo­rations of sex­u­al­i­ty, and sex­u­al abuse, and posthu­mous col­lec­tions of erot­i­ca rival Miller’s body of work—and for many read­ers far sur­pass his tal­ents.

Now Nin’s expres­sive face and orac­u­lar quo­ta­tions have tak­en over the Tum­blr-sphere, such that she has been called the “patron saint of social media” and com­pared to Lena Dun­ham. Whether one finds these terms flat­ter­ing or not comes down to mat­ters of taste and, prob­a­bly even more so, of age. But those who wish for a short intro­duc­tion to Nin out­side of the world of memes and macros will sure­ly take an inter­est in the 1952 film above, “Bells of Atlantis,” shot and edit­ed by her then-hus­band Ian Hugo (also known as banker High Guil­er), with Nin in the star­ring role as the queen of Atlantis. Coil­house offers this suc­cinct descrip­tion:

Over cas­cad­ing exper­i­men­tal footage, Nin reads aloud from her novel­la House of Incest. We catch glimpses of her nude form swing­ing in a ham­mock, and we see her shad­ow undu­lat­ing over sheer fab­ric blow­ing in the wind, but for the most part, the imagery, cap­tured by Nin’s hus­band Ian Hugo, remains very abstract.

But it is not only the rare, hazy glimpses of Nin and the snip­pets of her read­ing that should draw our atten­tion, but also the bur­bling, whistling, hyp­not­ic elec­tron­ic score, com­posed and cre­at­ed by the hus­band-and-wife-hob­by­ist team of Louis and Bebe Bar­ron. Over a decade before Delia Der­byshire wowed audi­ences with her Dr. Who theme, the Bar­rons were mak­ing unheard-of exper­i­men­tal sounds using the tech­nol­o­gy avail­able at the time—tape machines, oscil­la­tors, micro­phones, and oth­er such low-tech ana­log devices.

“The Bar­rons were true pio­neers of elec­tron­ic music,” writes Messy Nessy, “and one of the crown jew­els of their audi­to­ry col­lec­tion is the sound­track for the 1956 thriller sci-fi film, For­bid­den Plan­et,” the first major motion pic­ture with an all-elec­tron­ic score. “Bells of Atlantis” breaks ground as an even ear­li­er exam­ple of the form, and its hal­lu­ci­na­to­ry visu­al jour­ney recalls the sur­re­al­ist film­mak­ing of decades past and looks for­ward to the psy­che­del­ic 60s.

Both the sounds the Bar­rons pro­duced and the visions of Hugo turn out to be, in my hum­ble opin­ion, the per­fect set­ting for a brief intro­duc­tion to Nin’s voice. After watch­ing “Bells of Atlantis,” put on some more ear­ly elec­tron­i­ca, and read Nin’s 1947 House of Incest for your­self, a hal­lu­ci­na­to­ry prose-poem about, in Nin’s descrip­tion, the “escape from a woman’s sea­son in hell.”

via Messy Nessy/Coil­house

Relat­ed Con­tent:

Hear Anaïs Nin Read From Her Cel­e­brat­ed Diary: A 60-Minute Vin­tage Record­ing (1966)

Hen­ry Miller Makes a List of “The 100 Books That Influ­enced Me Most”

Meet Delia Der­byshire, the Dr. Who Com­pos­er Who Almost Turned The Bea­t­les’ “Yes­ter­day” Into Ear­ly Elec­tron­i­ca

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

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