Hayao Miyazaki Picks His 50 Favorite Children’s Books

in Animation, Books, K-12, Life, Literature | May 29th, 2017

Once upon a time, books served as the de facto refuge of the “physically weak” child. For animation legend, Hayao Miyazaki, above, they offered an escape from the grimmer realities of post-World War II Japan.

Many of the 50 favorites he selected for a 2010 exhibition honoring publisher Iwanami Shoten’s “Boy’s Books” series are time-tested Western classics.

Loners and orphans–The Little Prince, The Secret Garden–figure prominently, as do talking animals (The Wind in the Willows, Winnie-the-Pooh, The Voyages of Doctor Dolittle).

And while it may be a commonly-held publishing belief that boys won’t read stories about girls, the young Miyazaki seemed to have no such bias, ranking Heidi and Laura Ingalls Wilder right alongside Tom Sawyer and Treasure Island’s pirates.

Several of the titles that made the cut were ones he could only have encountered as a grown up, including 1967’s From the Mixed-Up Files of Mrs. Basil E. Frankweiler and When Marnie Was There, the latter eventually serving as source material for a Studio Ghibli movie, as did Miyazaki’s top pick, Mary Norton’s The Borrowers.

We invite you to take a nostalgic stroll through Miyazaki’s best-loved children’s books. Readers, how many have you read?

Hayao Miyazaki’s Top 50 Children’s Books

The Borrowers — Mary Norton
The Little Prince — Antoine de Saint-Exupéry
Children of Noisy Village — Astrid Lindgren
When Marnie Was There — Joan G. Robinson
Swallows and Amazons — Arthur Ransome
The Flying Classroom — Erich Kästner
There Were Five of Us — Karel Poláček
What the Neighbours Did, and Other Stories — Ann Philippa Pearce
Hans Brinker, or The Silver Skates — Mary Mapes Dodge
The Secret Garden — Frances Hodgson Burnett
Eagle of The Ninth — Rosemary Sutcliff
The Treasure of the Nibelungs — Gustav Schalk
The Three Musketeers — Alexandre Dumas, père
A Wizard of Earthsea — Ursula K. Le Guin
Les Princes du Vent — Michel-Aime Baudouy
The Flambards Series — K. M. Peyton
Souvenirs entomologiques — Jean Henri Fabre
The Long Winter — Laura Ingalls Wilder
A Norwegian Farm — Marie Hamsun
Heidi — Johanna Spyri
The Adventures of Tom Sawyer — Mark Twain
Little Lord Fauntleroy — Frances Hodgson Burnett
Tistou of the Green Thumbs — Maurice Druon
The Adventures of Sherlock Holmes — Arthur Conan Doyle
From the Mixed-Up Files of Mrs. Basil E. Frankweiler — E. L. Konigsburg
The Otterbury Incident — Cecil Day-Lewis
Alice’s Adventures in Wonderland — Lewis Carroll
The Little Bookroom — Eleanor Farjeon
The Forest is Alive or Twelve Months — Samuil Yakovlevich Marshak
The Restaurant of Many Orders — Kenji Miyazawa
Winnie-the-Pooh — A. A. Milne
Nihon Ryōiki – Kyokai
Strange Stories from a Chinese Studio — Pu Songling
Nine Fairy Tales: And One More Thrown in For Good Measure — Karel Čapek
The Man Who Has Planted Welsh Onions — Kim So-un
Robinson Crusoe — Daniel Defoe
The Hobbit — J. R. R. Tolkien
Journey to the West — Wu Cheng’en
Twenty Thousand Leagues Under the Sea — Jules Verne
The Adventures of the Little Onion — Gianni Rodari
Treasure Island — Robert Louis Stevenson
The Ship that Flew — Hilda Winifred Lewis
The Wind in the Willows — Kenneth Grahame
The Little Humpbacked Horse — Pyotr Pavlovich Yershov (Ershoff)
The Little White Horse — Elizabeth Goudge
The Rose and the Ring — William Makepeace Thackeray
The Radium Woman — Eleanor Doorly
City Neighbor, The Story of Jane Addams — Clara Ingram Judson
Ivan the Fool — Leo Tolstoy
The Voyages of Doctor Dolittle — Hugh Lofting

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. She’ll be appearing onstage in New York City this June as one of the clowns in Paul David Young’s Faust 3. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 12 ) |

Kurt Vonnegut Ponders Why “Poor Americans Are Taught to Hate Themselves” in a Timely Passage from Slaughterhouse-Five

in Literature, Politics | May 25th, 2017

Image by Daniele Prati, via Flickr Commons

Amidst what is now an ordinary day’s chaos and turmoil in the news, you may have noticed some outrage circulating over comments made by erstwhile brain surgeon, former presidential candidate, and current Secretary of HUD Ben Carson. Poverty, he said, is a “state of mind.” The idea fits squarely in the wheelhouse of Carson’s brand of magical thinking, as well as into what has always been a self-help tradition in the U.S. since Poor Richard’s Almanac.

Consider, for example, the immense popularity of a book written during the Great Depression, Napoleon Hill’s 1937 Think and Grow Rich, which has increased every year since its publication. By 2015, the book had sold around 100 million copies worldwide. Hill’s prolific self-help cottage industry occupies a prominent place in a distinctly American genre, and an economy unto itself. Books, videos, seminars, and megachurches promise the faithful that they need only to change themselves to change their economic outcomes, in order not only thrive but to “grow rich.”

The notion has had purchase among wealthy opponents of a welfare state, who find it a convenient way to blame the poor for circumstances outside their control. But it also, as robust sales indicate, has wide appeal among the not-so-wealthy. Why? One reason—the presciently, acerbically insightful observer of American culture, Kurt Vonnegut might argue—has to do with the fact that Americans think of poverty as a personal failing rather than a social condition, and conversely conflate wealth with intelligence and capability.

Vonnegut articulates these observations in his 1969 classic Slaughterhouse-Five, through a character named Howard W. Campbell, Jr., an American playwright who becomes a Nazi propagandist (and who stands trial in Israel in an earlier novel, Mother Night). Ostensibly quoting from a monograph of Campbell’s, Vonnegut writes, “America is the wealthiest nation on Earth, but its people are mainly poor, and poor Americans are urged to hate themselves.” Campbell’s monograph continues:

To quote the American humorist Kin Hubbard, ‘It ain’t no disgrace to be poor, but might as well be.’ It is in fact a crime for an American to be poor, even though America is a nation of poor. Every other nation has folk traditions of men who were poor but extremely wise and virtuous, and therefore more estimable than anyone with power and gold. No such tales are told by the American poor. They mock themselves and glorify their betters. The meanest eating or drinking establishment, owned by a man who is himself poor, is very likely to have a sign on its wall asking this cruel question: ‘if you’re so smart why ain’t you rich?’ There will also be an American flag no larger than a child’s hand glued to a lollipop stick and flying from the cash register.

The Kin Hubbard quoted here may now be largely forgotten, but in the first three decades of the 20th century, he was a humorist as widely admired as Mark Twain or Will Rogers. Hubbard drew a popular comic strip based on a character called Abe Martin, and his humor was once described as a “comical mixture of hoss sense and no sense at all.” The quote above comes from one of Martin’s many pithy political ruminations, which include lines like “It’s all right t’ aspire to office, but when a feller begins t’ perspire fer one it’s time t’ watch out.”

The Hubbard-quoting Campbell, writes Vonnegut with wry humor, was “said by some to have had the highest I.Q., of all the war criminals who were made to face a death by hanging.” He also pitches his appeals to the common man, and ties together the “think and grow rich” phenomenon and the tendency of so many of the country’s less-well-off to support candidates and policies that routinely endanger access to public services, quality education, and healthcare.

Americans, like human beings everywhere, believe many things that are obviously untrue. Their most destructive untruth is that it is very easy for any American to make money. They will not acknowledge how in fact hard money is to come by, and therefore, those who have no money blame and blame and blame themselves. This inward blame has been a treasure for the rich and powerful, who have had to do less for their poor, publicly and privately, than any other ruling class since, say, Napoleonic times.

Campbell appears elsewhere in the novel in an attempt to recruit American POWs into “a German military unit called ‘The Free American Corps,” of which he is “the inventor and commander.” Near the top of the post, see the character in the 1972 Slaughterhouse-Five film defend his alliance with the Nazis and explain his bizarre uniform in terms one commentator sees as distinctly resonant with today’s far-right rhetoric. For all his outlandish presentation, he is a complicated figure—something of an amalgam of the far right’s showmen and hucksters and its cynical intellectuals, who often understand very well how the stark divisions of race and class are maintained in the U.S., and exploit that knowledge for political gain.

Hear Kurt Vonnegut Read Slaughterhouse-Five, Cat’s Cradle & Other Novels

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

by Josh Jones | Permalink | Make a Comment ( 7 ) |

“A Brief History of Goths”: From the Goths, to Gothic Literature, to Goth Music

in Architecture, Art, History, Literature, Music | May 24th, 2017

The history of the word ‘Gothic,’” argues Dan Adams in the short, animated TED-Ed video above,” is embedded in thousands of years’ worth of countercultural movements.” It’s a provocative, if not entirely accurate, idea. We would hardly call an invading army of Germanic tribes a “counterculture.” In fact, when the Goths sacked Rome and deposed the Western Emperor, they did, at first, retain the dominant culture. But the Gothic has always referred to an oppositional force, a Dionysian counterweight to a rational, classical order.

We know the various versions: the Germanic instigators of the “Dark Ages,” early Christian architectural marvels, Romantic tales of terror and the supernatural, horror films, and gloomy, black-clad post punks and their moody teenage fans. Aside from obvious references like Bauhaus’ tongue-in-cheek ode, “Bela Lugosi’s Dead,” the connective tissue between all the uses of Gothic isn’t especially evident. “What do fans of atmospheric post-punk music,” asks Adams, “have in common with ancient barbarians?” The answer: not much. But the story that joins them involves some strange convergences, all of them having to do with the idea of “darkness.”

Two significant figures in the evolution of the Gothic as a consciously-defined aesthetic were both art historians. The first, Giorgio Vasari—considered the first art historian—wrote biographies of great Renaissance artists, and first used the term Gothic to refer to medieval cathedrals, which he saw as barbarous next to the neoclassical revival of the 14th-16th centuries. (Vasari was also the first to use the term “Renaissance” to describe his own period.) Two hundred years after Vasari’s Lives, art historian, antiquarian, and Whig politician Horace Walpole appropriated the term Gothic to describe The Castle of Otranto, his 1765 novel that started a literary trend.

Walpole also used the term to refer to art of the distant past, particularly the ruins of castles and cathedrals, with an eye toward the supposedly exotic, menacing aspects (for Protestant English readers at least) of the Catholic church and Continental European nobility. But for him, the associations were positive, and constituted a kitschy escape from Enlightenment rationalism. We have Walpole to thank, in some sense, for ersatz celebrations like Renaissance Fairs and Medieval Times restaurants, and for later Gothic novels like Bram Stoker’s Dracula, Mary Shelley’s Frankenstein, and the weird tales of Edgar Allan Poe.

We can see that it’s a rather short leap from classic horror stories and films to the dark makeup, teased hair, fog machines, and swirling atmospherics of The Cure and Siouxsie Sioux. In the history of the Gothic, especially between Vasari and Walpole, the word moves from a term of abuse—describing art thought to be “crude and inferior”—to one that describes art forms considered mysterious, and darkly Romantic. For another take on the subject, see Pitchfork’s music-focused, animated, and “surprisingly light-hearted” short, “A Brief History of Goth,” above, a presentation on the subculture’s rise, fall, and undead rise again.

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

by Josh Jones | Permalink | Make a Comment ( 2 ) |

An Animated Introduction to Samuel Beckett, Absurdist Playwright, Novelist & Poet

in Literature | May 17th, 2017

Though he’s best known for his spare, absurdist tragicomedy, Waiting for Godot, playwright, poet, and novelist Samuel Beckett wrote what might be his most-quoted line at the end of The Unnamable, the third book in a hypnotic trilogy that begins with Molloy and continues with Malone Dies: “I can’t go on, I’ll go on.”

These novels, and the original Godot, were all written in French, then translated into English by Beckett himself. But Beckett was an Irish writer, who—like his contemporary, hero, countryman, and almost-father-in-law James Joyce—lived most of his life in voluntary exile. Like Joyce, Beckett wrote about Irish characters, and his “theme,” noted a 1958 New York Times reviewer of The Unnamable, “is the very Irish one in this century: the identity of opposites.”

Nothing in Beckett encapsulates this idea more concisely than the seven-word concluding line of The Unnamable. It’s a sentence that sums up so much of Beckett—his elliptical aphorisms; his dry, acerbic wit; and his unwavering stare into the abyss. As one contemporary of his suggested, Beckett will remain relevant “as long as people still die.” His primary subject is indeed one of the few truly universal themes.

But to only think of Beckett as morbid is not to read Beckett or see his work performed. While he can be unrelentingly grim, he is also never not in control of the dry humor of his voice. In his animated School of Life introduction to Beckett above, Alain de Botton begins with an anecdote about Beckett at a much-anticipated cricket match. Observing the perfect weather, a companion of his remarked, “This is the sort of day that would make you glad to be alive.” To which Beckett replied, “I wouldn’t go as far as that.”

The story, de Botton, says, “nicely encompasses two aspects of Samuel Beckett: his famously bleak view of life, and his mordant sense of humor.” They are qualities that for Beckett have the status of philosophical principles—though the author himself had a very fraught, almost allergic, relationship to philosophy. He gave up teaching early in his career, as we learn in the video, because “he felt he could not teach to others what he did not know himself.” When a version of Waiting for Godot debuted in 1952, Beckett sent a note to be read in his place. He wrote, in part:

All I knew I showed. It’s not much, but it’s enough for me, by a wide margin. I’ll even say that I would have been satisfied with less. As for wanting to find in all that a broader, loftier meaning to carry away from the performance, along with the program and the Eskimo pie, I cannot see the point of it. But it must be possible …

The necessity of the pointless exercise; the richness in the poverty of existence—stripped of its pretense and grand, self-important narratives.… These ideas arise from “the themes of failure that so dominate his work,” says de Botton. Though Beckett resisted interpretation in his own writing, he wrote an early study of Marcel Proust that interpreted the French author’s work as a philosophy of life which rests “on the making and appreciation of art.” Given that this is a School of Life video, this interpretation becomes the favored way to read Beckett. There are many others. But as the title of a 1994 Samuel Beckett reader—I Can’t Go On, I’ll Go On—suggests, every approach to Beckett must somehow try to account for the stubborn intensity of his contradictions.

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

by Josh Jones | Permalink | Make a Comment ( None ) |

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

in Art, Literature, Sci Fi | May 16th, 2017

The story of malicious space aliens invading Earth has a resonance that knows no national boundaries. In fact, many modern versions make explicit the moral that only fighting off an existential threat from another planet could unify the inherently fractious human species. H.G. Wells’ 1898 novel The War of the Worlds, in many ways the archetypal telling of the space-invaders tale, certainly proved compelling on both sides of the pond: though set in Wells’ homeland of England, it made a lasting impact on American culture when Orson Welles produced a thoroughly localized version for radio, his infamous War of the Worlds Halloween 1938 broadcast. (Listen to it here.)

And so who better to illustrate a mid-2oth-century edition of the novel than Edward Gorey? He was born in and spent nearly all his life in America, but developed an artistic sensibility that struck its many appreciators as uncannily mid-Atlantic. His work continues to draw descriptions like “Victorian” and “gothic,” surely underscored by his association with the British literature-adapting television show Mystery!, for whose title sequences he drew characters and settings, and the young-adult gothic mystery novels of Anglophile author John Bellairs. The Gorey-illustrated War of the Worlds came out in 1960 from Looking Glass Library, featuring his drawings not just at the top of each chapter but on its wraparound cover as well. Though out of print, you can find old copies for sale online.

Gorey had begun his career in the early 1950s at the art department of publisher Doubleday Anchor, creating book covers and occasionally interior illustrations. In addition to Bellairs’ novels, he would also go on to put his artistic stamp on such literary classics as Bram Stoker’s Dracula and T.S. Eliot’s Old Possum’s Book of Practical Cats, bringing to each his signature combination of whimsy and dread in just the right proportions. Given the inherent ominousness and threat of The War of the Worlds, Gorey’s dark side comes to the fore as the story’s long-legged terrors arrive and wreak havoc on Earth, only to fall victim to common disease.

Gorey’s War of the Worlds illustrations also seem to draw some inspiration from the very first ones that accompanied the novel upon its initial publication as a Pearson’s Magazine serial in 1897. You can compare and contrast them by browsing the high-resolution scans of the out-of-print 1960 Looking Glass Library War of the Worlds at this online exhibition at Loyola University Chicago Digital Special Collections, in partnership with the Edward Gorey Charitable Trust.

Though conceptually similar to the illustrations in Pearson’s, drawn by an artist (usually of children’s books) named Warwick Goble, they don’t get into quite as much detail — but then, they don’t have to. To evoke a complex mixture of fascinated anticipation and creeping fear, Gorey never needed more than an old house, a huddle of silhouettes, or a pair of eyes glowing in the darkness.

via Heavy Metal

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

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

Franz Kafka’s Unfinished Novel, The Castle, Gets Turned Into an Album by Czech Musicians: Watch a Music Video for the Song, “The Grave”

in Animation, Comics/Cartoons, Literature, Music, Theatre | May 15th, 2017

If, for some unfathomable reason, author Franz Kafka should emerge from his grave to direct a music video, the result would most certainly resemble the one for “The Grave” by The Kafka Band, above.

The air of futility and social foreboding…

The chilly broken landscape, rendered in black and white…

Bikinis and bling…

(Kidding! Overcoats and haggard expressions.)

“The Grave” was directed by animator, Noro Holder, but the lyrics are credited to Kafka, drawn directly from his unfinished novel, The Castle. As the band’s name might imply, this is no fickle flirtation with the author’s sensibilities.

“The Grave” is actually part of a ten-song album inspired by The Castle. (Stream it on Spotify below.) As bandmate, author Jaroslav Rudiš, observed:

Kafka is often deemed as a dark author, yet we strive to challenge this cliché. The novel possesses plenty of black and absurd humour, which we reflected in some of our compositions.

The album led to a collaboration with Germany’s Theater Bremen on a theatrical adaptation that featured the music played live.

The moody woodcut-inspired visuals seen above come from a graphic novel adaptation of The Castle illustrated by Rudiš’ bandmate, Jaromír 99, in collaboration with David Zane Mairowitz, an American playwright who previously tackled Kafka’s The Trial.

At the point where another group might decide to take a detour into sunnier territory—a pop romp through the oeuvre of Milan Kundera perhaps—the Kafka Band is doubling down on another coproduction with Theater Bremen, an adaptation of Kafka’s novel Amerika (or The Man Who Disappeared), slated to open this fall.

The Grave

I’m dreaming of

Being with you

Without interruption

On earth

There is no space

For our love

Not in the village

Not anywhere else.

Deep in the earth / around us only death / the living won’t find us.

I’m imagining a grave

Deep and tight

We hold each other

My face next to yours

Yours next to mine

Nobody will ever see us

On earth there is no space

For our love.

Deep in the earth / around us only death / the living won’t find us.

Watch the video for “Arrival,” another track inspired by The Castle, with drawings by Jaromír 99 here.

Four Franz Kafka Animations: Enjoy Creative Animated Shorts from Poland, Japan, Russia & Canada

Franz Kafka’s Existential Parable “Before the Law” Gets Brought to Life in a Striking, Modern Animation

Ayun Halliday is an author, illustrator, and theater maker, soon to be appearing in a clown adaptation of Faust, inspired by the current administration and opening in New York City this June. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( None ) |

Discover “The Ghost Club,” the Historic Paranormal Society Whose Members Included Charles Dickens, Arthur Conan Doyle & W.B. Yeats

in History, Literature | May 15th, 2017

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by Josh Jones | Permalink | Make a Comment ( 1 ) |

Every Poem in Baudelaire’s “Les Fleurs du Mal” Set to Music, Illustrated and Performed Live

in Literature, Music, Poetry, Theatre | May 8th, 2017

Charles Baudelaire must be a joyful corpse indeed. His work has succeeded as few others’ have, to be so passionately alive 150 years after his death.

Theater Oobleck, a Chicago artistic collective dedicated to creating original affordable theatrical works, has spent the last eleven years assembling Baudelaire in a Box, a cantastoria cycle based on Les Fleurs du Mal.

Why?

Because he would be so irritated. Because he might be charmed

There is a touch of vaudeville and cabaret in Baudelaire. He tended to go big or go home. Home to his mother.

Because he invented the term “modernity” and even now no one quite knows what it means. Because he wrote a poetry of immersion perfectly suited to the transience and Now-ness of song and of the Ever-Moving scroll. Because we never had a proper goth phase. Sex and death! For all these reasons, and for the true one that remains just out of our grasp.

Each new installment features a line-up of musicians performing live adaptations of another 10 to 15 poems, as artist Dave Buchen’s painted illustrations slowly spool past on hand-turned “crankies.”

The resulting “proto music videos” are voluptuously intimate affairs, with plenty of time to reflect upon the original texts’ explicit sexuality, the gorgeous urban decay that so preoccupied one of Romantic poetry’s naughtiest boys.

The instruments and musical palate—klezmer, alt-country, antifolk—are befitting of the interpreters’ well honed downtown sensibilities. The lyrics are drunk on their dark imagery.

The entire project makes for the sort of extravagantly eccentric night out that might lead a young poet to lean close to his blind date, mid-show, to whisper “Wouldn’t it be agreeable to take a bath with me?” No word on whether that line worked for the poéte maudit, who reportedly issued such an invitation to a friend mid-sentence.

This August, Theater Oobleck intends to observe the sesquicentennial of Baudelaire’s death in grand style with a marathon performance of the complete Baudelaire in a Box, a three-day effort involving 50 artists and over 130 poems.

Allow a few past examples to set the mood:

The Offended Moon From Episode 9 of Baudelaire In A Box, “Unquenched.” Composed and translated by David Costanza. Emmy Bean: vocal, Ronnie Kuller: accordion, T‑Roy Martin trombone, David E. Smith: clarinet, Chris Schoen: vocal, Joey Spilberg: bass.

The Denial of St. Peter Composed, translated and performed by Sad Brad Smith, with Emmy Bean (hand percussion), Ronnie Kuller (accordion), T‑Roy Martin (trombone), Chris Schoen (mandolin), and Joey Spilberg (bass).

The Drag Music composed by Ronnie Kuller, to Mickle Maher’s translation of “L’Avertisseur” by Charles Baudelaire. Performed by: Emmy Bean (vocal, percussion), Angela James (vocal), Ronnie Kuller (piano, percussion), T‑Roy Martin (vocal), Chris Schoen (vocal), David E. Smith (saxophone), and Joey Spilberg (bass).

The Hard(-est) Working Skeleton Music by Amy Warren, Performed by Nora O’Connor, with Addie Horan, Amalea Tshilds, Kate Douglas, James Becker and Ted Day.

The Possessed Written and performed by Jeff Dorchen.

You can listen to and purchase songs from Episodes 7 (the King of Rain) and 9 (Unquenched) on Bandcamp.

Some of the participating musicians have released their own albums featuring tracks of their Baudelaire-based tunes.

Theater Oobleck is raising funds for the upcoming Closed Casket: The Complete, Final, and Absolutely Last Baudelaire in a Box on Kickstarter, with music and prints and originals of Buchen’s work among the premiums at various pledge levels.

All images used with permission of artist Dave Buchen.

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Henri Matisse Illustrates Baudelaire’s Censored Poetry Collection, Les Fleurs du Mal

Ayun Halliday is an author, illustrator, theater maker and the Chief Primatologist of the East Village Inky zine. She will be appearing in a live excerpt from CB Goodman’s How to Kill an Elephant this Friday at Dixon Place in New York City. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 1 ) |

Hayao Miyazaki Picks His 50 Favorite Children’s Books

Kurt Vonnegut Ponders Why “Poor Americans Are Taught to Hate Themselves” in a Timely Passage from Slaughterhouse-Five

“A Brief History of Goths”: From the Goths, to Gothic Literature, to Goth Music

An Animated Introduction to Samuel Beckett, Absurdist Playwright, Novelist & Poet

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

Franz Kafka’s Unfinished Novel, The Castle, Gets Turned Into an Album by Czech Musicians: Watch a Music Video for the Song, “The Grave”

Discover “The Ghost Club,” the Historic Paranormal Society Whose Members Included Charles Dickens, Arthur Conan Doyle & W.B. Yeats

Every Poem in Baudelaire’s “Les Fleurs du Mal” Set to Music, Illustrated and Performed Live

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