French Vending Machines Fill Your Mind with Nourishing Short Stories, Not Your Body with Junk Food

If you’re thirsty, a vend­ing machine is usu­al­ly close by. (Espe­cial­ly if you’re in Japan. You’re prob­a­bly stand­ing right next to one right now!) But what if you have time to kill and you’re thirsty for lit­er­a­ture? Then the Short Édi­tion vend­ing machine might be for you. Choose one of three buttons—one min­utes, three min­utes, or five minutes—and the cylin­dri­cal machine, cur­rent­ly avail­able in France, will print out an appro­pri­ate­ly-long short sto­ry to read on a receipt-like piece of paper.short story vending machine

Short Édi­tion co-founder Quentin Ple­ple says the idea came to him, where else, at a vend­ing machine, while on break with co-work­ers.“We thought it would be cool to have it for short sto­ries. Then, a cou­ple of days lat­er we decid­ed to hack a pro­to­type.”

Though peo­ple spend a lot of their free time on their pock­et devices, the Short Édi­tion is anoth­er attempt–like the short sto­ries Chipo­tle print­ed on the side of its drink­ing cups–to free us from a life of star­ing at glow­ing rec­tan­gles. It’s tan­gi­ble yet dis­pos­able at the same time.

At the turn of the 20th cen­tu­ry automa­tion and vend­ing machines looked to be the wave of the future, where every­thing would be done for us on com­mand. And that has hap­pened in a total­ly dif­fer­ent way, through the micro­proces­sor. It just did­n’t hap­pen through the vend­ing machine, at least not in Amer­i­ca, where they most­ly dis­pense food, drink, and cig­a­rettes. Like high speed rail, Japan has picked up the slack and made the world rethink the machine’s pos­si­bil­i­ties all over again. It now looks like France and Poland (where you can find Haru­ki Muraka­mi nov­els being sold in vend­ing machines) are catch­ing on.

The Short Édi­tion vend­ing machines, cur­rent­ly only avail­able in eight loca­tions in Greno­ble, France, draw from a data­base of 600 sto­ries cho­sen by the com­mu­ni­ty at Short Édition’s web­site, which counts 1,100 authors as mem­bers. Pre­sum­ably, all these sto­ries are in French.

While new, the machines have gath­ered enough media atten­tion to attract inquiries from Italy and the Unit­ed States. So look out, you might find one in your area soon.

via Huff Po

Relat­ed Con­tent:

Sup­port “Green Reads,” a Pro­gram That Finances Libraries by Dis­trib­ut­ing Used Books in Eco-Friend­ly Vend­ing Machines

Haru­ki Muraka­mi Nov­els Sold in Pol­ish Vend­ing Machines

Isaac Asi­mov Pre­dicts in 1964 What the World Will Look Like Today

Kurt Vonnegut’s 8 Tips on How to Write a Good Short Sto­ry

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Mark Twain’s Patented Inventions for Bra Straps and Other Everyday Items

Twain Brastrap

Much has been made of Mark Twain’s finan­cial problems—the impru­dent invest­ments and poor man­age­ment skills that forced him to shut­ter his large Hart­ford estate and move his fam­i­ly to Europe in 1891. An ear­ly adopter of the type­writer and long an enthu­si­ast of new sci­ence and tech­nol­o­gy, Twain lost the bulk of his for­tune by invest­ing huge sums—roughly eight mil­lion dol­lars total in today’s money—on a type­set­ting machine, buy­ing the rights to the appa­ra­tus out­right in 1889. The ven­ture bank­rupt­ed him. The machine was over­com­pli­cat­ed and fre­quent­ly broke down, and “before it could be made to work con­sis­tent­ly,” writes the Uni­ver­si­ty of Virginia’s Mark Twain library, “the Lino­type machine swept the mar­ket [Twain] had hoped to cor­ner.”

Twain’s seem­ing­ly blind enthu­si­asm for the ill-fat­ed machine makes him seem like a bun­gler in prac­ti­cal mat­ters. But that impres­sion should be tem­pered by the acknowl­edge­ment that Twain was not only an enthu­si­ast of tech­nol­o­gy, but also a can­ny inven­tor who patent­ed a few tech­nolo­gies, one of which is still high­ly in use today and, indeed, shows no signs of going any­where. I refer to the ubiq­ui­tous elas­tic hook clasp at the back of near­ly every bra, an inven­tion Twain patent­ed in 1871 under his giv­en name Samuel L. Clemens. (View the orig­i­nal patent here.) You can see the dia­gram for his inven­tion above. Call­ing it an “Improve­ment in Adjustable and Detach­able Straps for Gar­ments,” Twain made no men­tion of ladies’ under­gar­ments in his patent appli­ca­tion, refer­ring instead to “the vest, pan­taloons, or oth­er gar­ment upon which my strap is to be used.”

Twain Scrapbook

The device, writes the US Patent and Trade­mark Office, “was not only used for shirts, but under­pants and women’s corsets as well. His pur­pose was to do away with sus­penders, which he con­sid­ered uncom­fort­able.” (At the time, belts served a most­ly dec­o­ra­tive func­tion.) Twain’s inven­tions tend­ed to solve prob­lems he encoun­tered in his dai­ly life, and his next patent was for a hob­by­ist set of which he him­self was a mem­ber. After the soon-to-be bra strap, Twain devised a method of improve­ment in scrap­book­ing, an avid pur­suit of his, in 1873.

Pre­vi­ous­ly, scrap­books were assem­bled by hand-glu­ing each item, which Twain seemed to con­sid­er an over­ly labo­ri­ous and messy process. His inven­tion—writes The Atlantic in part of a series they call “Patents of the Rich and Famous”—involved “two pos­si­ble self-adhe­sive sys­tems,” sim­i­lar to self-seal­ing envelopes, in which, as his patent states, “the sur­faces of the leaves where­of are coat­ed with a suit­able adhe­sive sub­stance cov­er­ing the whole or parts of the entire sur­face.” (See the less-than-clear dia­gram for the inven­tion above.) The scrap­book­ing device proved “very pop­u­lar,” writes the US Patent Office, “and sold over 25,000 copies.”

twain-game

Twain obtained his final patent in 1885 for a “Game Appa­ra­tus” that he called the “Mem­o­ry-Builder” (see it above). The object of the game was pri­mar­i­ly edu­ca­tion­al, help­ing, as he wrote, to “fill the children’s heads with dates with­out study.” As we report­ed in a pre­vi­ous post, “Twain worked out a way to play it on a crib­bage board con­vert­ed into a his­tor­i­cal time­line.” Unlike his first two inven­tions, the game met with no com­mer­cial suc­cess. “Twain sent a few pro­to­types to toy stores in 1891,” writes Rebec­ca Onion at Slate, “but there wasn’t very much inter­est, so the game nev­er went into pro­duc­tion.” Nonethe­less, we still have Twain to thank, or to damn, for the bra strap, an inven­tion of no small impor­tance.

Twain him­self seems to have had some con­tra­dic­to­ry atti­tudes about his role as an inven­tor, and of the sin­gu­lar recog­ni­tion grant­ed to indi­vid­u­als through patent law. Per­haps unsur­pris­ing­ly, the US Patent Office claims that Twain “believed strong­ly in the val­ue of the patent sys­tem” and cites a pas­sage from A Con­necti­cut Yan­kee in King Arthur’s Court in sup­port. But in a let­ter Twain wrote to Helen Keller in 1903, he expressed a very dif­fer­ent view. “It takes a thou­sand men to invent a tele­graph, or a steam engine, or a phono­graph, or a tele­phone or any oth­er impor­tant thing,” Twain wrote, “and the last man gets the cred­it and we for­get the oth­ers. He added his lit­tle mite—that is all he did. These object lessons should teach us that nine­ty-nine parts of all things that pro­ceed from the intel­lect are pla­gia­risms, pure and sim­ple.”

Relat­ed Con­tent:

Mark Twain Wrote the First Book Ever Writ­ten With a Type­writer

Play Mark Twain’s “Mem­o­ry-Builder,” His Game for Remem­ber­ing His­tor­i­cal Facts & Dates

Mark Twain & Helen Keller’s Spe­cial Friend­ship: He Treat­ed Me Not as a Freak, But as a Per­son Deal­ing with Great Dif­fi­cul­ties

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

Hear Ray Bradbury’s Classic Sci-Fi Story Fahrenheit 451 as a Radio Drama

fahrenheit 451

Last week we fea­tured a list of 100 nov­els all kids should read before grad­u­at­ing from high school. Cho­sen by 500 Eng­lish teach­ers from all over Britain, the list hap­pens to have a lot of over­lap with many oth­ers like it. Invari­ably, these kinds of young adult read­ing lists include Ray Bradbury’s nov­el of dystopi­an cen­sor­ship and anti-intel­lec­tu­al­ism, Fahren­heit 451.  Why, I’ve always won­dered, should this nov­el be pitched almost exclu­sive­ly at teenagers, so much so that it seems like one of those books many of us read in high school, then nev­er read again, even if we are fans of Bradbury’s work?

A strange dis­con­nect emerges when we look at the his­to­ry of Bradbury’s nov­el as a teach­ing tool. Although most high school stu­dents are pre­sent­ed with free­think­ing as an ide­al, and giv­en cau­tion­ary tales of its sup­pres­sion, their own edu­ca­tions are just as often high­ly cir­cum­scribed by adults who fret about the effects of var­i­ous bad influ­ences.

Whether, as a stu­dent, you read the bowd­ler­ized or the “adult” ver­sion of Bradbury’s nov­el, per­haps it’s time to revis­it Fahren­heit 451, par­tic­u­lar­ly now that free­doms of thought, belief, and expres­sion have again come under intense scruti­ny. And in addi­tion to re-read­ing Bradbury’s nov­el, you can lis­ten to the 1971 radio play above. Pro­duced in Van­cou­ver by the CBC (and re-broad­cast in recent years by the Radio Enthu­si­asts of Puget Sound pod­cast), the abridged, one-hour adap­ta­tion by neces­si­ty changes the source mate­r­i­al, though for dra­mat­ic pur­pos­es, not to express­ly soft­en the mes­sage. Ray Brad­bury’s rep­u­ta­tion may have been tamed over the decades. He became late in life an avun­cu­lar sci-fi mas­ter, pri­mar­i­ly known as a writer of books for high school stu­dents. But at one time, his work—and sci­ence fic­tion in general—were so sub­ver­sive that the FBI kept close tabs on them.

If you like the Fahren­heit 451 adap­ta­tion, you can hear many more Brad­bury sto­ries adapt­ed into clas­sic radio plays at our pre­vi­ous post.

Also note: Tim Rob­bins has nar­rat­ed a new, unabridged audio ver­sion of Fahren­heit 451. It’s avail­able via Audible.com. You can get it for free with Audi­ble’s 30-day free tri­al. Get more details on that here.

via SFF

Relat­ed Con­tent:

Who Was Afraid of Ray Brad­bury & Sci­ence Fic­tion? The FBI, It Turns Out (1959)

Sci-Fi Leg­end Ray Brad­bury Cre­ates a Vision­ary Plan to Redesign Los Ange­les

Ray Brad­bury: “The Things That You Love Should Be Things That You Do.” “Books Teach Us That”

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

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

A Comic Book Adaptation of Edgar Allan Poe’s Poignant Poem, Annabel Lee

annabellee1

We’ve high­light­ed the com­ic art of Mon­tre­al-based Julian Peters before on Open Cul­ture. He’s the man who under­took a 24-page illus­trat­ed adap­ta­tion of T.S. Eliot’s “The Love Song of J. Alfred Prufrock” and then also deliv­ered a man­ga ver­sion of W. B. Yeats’ “When You Are Old,” recre­at­ing the style of Japan­ese romance comics to a T.

While study­ing in a Mas­ters pro­gram ear­ly exam­ples of lit­er­ary graph­ic nov­els, Peters is also turn­ing into a fine illus­tra­tor of poet­ry whether clas­sic (Rim­baud, Keats) or con­tem­po­rary (team­ing up with John Philip John­son on an upcom­ing book of illus­trat­ed poems, one of which you can find here.)

annabel lee 2

This adap­ta­tion (above) of Edgar Allan Poe’s “Annabel Lee” dates from 2011. Poe’s work gives illus­tra­tors nar­ra­tive aplen­ty, but it also gives them rep­e­ti­tion and ellipses. In his ren­di­tion, Peters gives us two pre-teen sweet­hearts sim­i­lar to Tom Sawyer and Becky Thatch­er, and when Annabel Lee dies from “the wind that came out of the cloud by night,” we get a full pan­el of Annabel’s final healthy moments. Wind is every­where to be found in the com­ic, form­ing white caps on the ocean, and blow­ing Annabel’s pig­tails when we first see her.

annabel lee 3

Schol­ars tend to agree that “Annabel Lee” was based on Poe’s first cousin and teen bride Vir­ginia Clemm, whom he mar­ried when she was 13 (and Poe was 27), but who passed away from tuber­cu­lo­sis at 24 years of age. The image of the beau­ti­ful corpse con­tin­ues through his work from “The Raven” to “Ligeia”.

You can find the first few pan­els of Peters’ adap­ta­tion above. Read the rest here.

Relat­ed con­tent:

Clas­sics Sto­ries by Edgar Allan Poe Nar­rat­ed by James Mason in a 1953 Oscar-Nom­i­nat­ed Ani­ma­tion & 1958 Dec­ca Album

Bob Dylan Reads From T.S. Eliot’s Great Mod­ernist Poem The Waste Land

Watch the 1953 Ani­ma­tion of Edgar Allan Poe’s “The Tell-Tale Heart,” Nar­rat­ed by James Mason

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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

As a lover of fan­ta­sy and sci­ence fic­tion, but by no means a know-it-all fan­boy, I know what it’s like to come to a fic­tion­al uni­verse late. It can seem like every­one else has already read the canon, seen the movies, and mem­o­rized the genealo­gies, ori­gin sto­ries, mag­i­cal arcana, num­ber of ancient blood feuds, etc. For exam­ple, I grew up steeped in Star Trek but nev­er watched Dr. Who. Now that British sci-fi show is seem­ing­ly every­where, and I find myself intrigued. But who has the time to catch up on sev­er­al decades of missed episodes? Some peo­ple may have felt sim­i­lar­ly in the last few years about The Lord of the Rings, what with the num­ber of J.R.R. Tolkien adap­ta­tions besieg­ing the­aters. If you haven’t read any of those books, Mid­dle Earth—for all its air of medieval leg­end and Norse myth—can be a very con­fus­ing place.

Thanks to Peter Jackson’s films, for bet­ter or worse, Tolkien’s books have even more cul­tur­al cur­ren­cy than they did in the 70s, when Led Zep­pelin mined them for lyri­cal inspi­ra­tion, and “Fro­do lives” graf­fi­ti appeared on over­pass­es every­where.

This brings us to the videos we fea­ture here. Pre­sent­ed in a rapid fire style like that of motor­mouth YA nov­el­ist and video edu­ca­tor John Green, “The Lord of the Rings Mythol­o­gy Explained” is exact­ly that–two very quick tours, with illus­tra­tions, through the com­plex mytho­log­i­cal world of Mid­dle Earth, the set­ting of The Lord of the Rings tril­o­gy, The Hob­bit, and oth­er books you’ve maybe nev­er heard of. These videos were made before the final install­ment of Jack­son’s inter­minable Hob­bit tril­o­gy, but they cov­er most major devel­op­ments before and after the events in short book on which he based those films.

I’ll say this for the effort—Tolkien’s world is one I thought I knew, but I didn’t know it near­ly as well as I thought. Like most peo­ple, frankly, I haven’t read the source­book of so much of that world’s gen­e­sis, The Sil­mar­il­lion, which gets a sur­vey in the first video at the top of the post. I’m much more famil­iar, and you may be as well—through books or films—with the mytholo­gies of The Lord of the Rings tril­o­gy prop­er, cov­ered in the video above. If these two thor­ough explain­ers don’t sat­is­fy your curios­i­ty, you can like­ly have fur­ther ques­tions answered at one of the videos’ sources, Ask Mid­dle Earth, a site that solic­its “any ques­tion about Mid­dle Earth.” Anoth­er source, the work of com­par­a­tive mythol­o­gist Ver­lyn Flieger, who spe­cial­izes in Tolkien, also promis­es to be high­ly illu­mi­nat­ing.

Relat­ed Con­tent:

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

“The Tolkien Pro­fes­sor” Presents Three Free Cours­es on The Lord of the Rings

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

J.R.R. Tolkien Snubs a Ger­man Pub­lish­er Ask­ing for Proof of His “Aryan Descent” (1938)

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

Charles Dickens (Channeling Jorge Luis Borges) Created a Fake Library, with 37 Witty Invented Book Titles

dickensshelf

I don’t know about you, but I’ve sort of always asso­ci­at­ed Charles Dick­ens with the kind of humor­less moral­ism and didac­tic sen­ti­men­tal­i­ty that are hall­marks of so much Vic­to­ri­an lit­er­a­ture. That’s prob­a­bly because the work of Dick­ens con­tains no small amount of humor­less moral­ism and didac­tic sen­ti­men­tal­i­ty. But it also con­tains much wit and absur­di­ty, inven­tive char­ac­ter­i­za­tion and rich descrip­tion. While nov­els like the short Hard Times, pub­lished in 1854, can seem more like thin­ly veiled tracts of moral phi­los­o­phy than ful­ly real­ized fic­tions, oth­ers, like the strange and whim­si­cal Pick­wick Papers—Dick­ens’ first—work as fan­ci­ful, light­heart­ed satires. The big, bag­gy nov­els like Great Expec­ta­tions, Bleak House, and A Tale of Two Cities (find in our col­lec­tion of Free eBooks) man­age to skill­ful­ly com­bine these two impuls­es with his own twist on the goth­ic, such that Dick­ens’ work is not over­whelmed, as it might be, by ser­mo­niz­ing.

For all of this tidy sum­ma­tion of that giant of Vic­to­ri­an let­ters, one adjec­tive now comes to mind that I would nev­er have pre­vi­ous­ly thought to apply at any time to the writer of A Christ­mas Car­ol: Bor­ge­sian, as in pos­sessed of the scholas­tic wit of 20th cen­tu­ry Argen­tine writer Jorge Luis Borges. I’m not the first to note a resem­blance, but I must say it nev­er would have occurred to me to think of the two names in the same sen­tence were it not for an extra-cur­ric­u­lar activ­i­ty Dick­ens engaged in while out­fit­ting his Lon­don home, Tavi­s­tock House, in 1851. Let­ters of Note’s sis­ter site Lists of Note brings us the fol­low­ing anec­dote:

[Dick­ens] decid­ed to fill two spaces in his new study with book­cas­es con­tain­ing fake books, the wit­ty titles of which he had invent­ed. And so, on Octo­ber 22nd, he wrote to a book­binder named Thomas Robert Eeles and sup­plied him with the fol­low­ing “list of imi­ta­tion book-backs” to be pro­duced.

You can see the complete—completely Borgesian—list below. Borges is of course well known for invent­ing titles of books that have nev­er exist­ed, but seem like they should, in anoth­er dimen­sion some­where. His inven­tion of alter­nate real­i­ties, and pub­li­ca­tions, man­i­fests in most all of his sto­ries, as well as in odd­i­ties like the Book of Imag­i­nary Beings. Like Borges’ made-up books, Dick­ens’ con­tain just the right mix of the self-seri­ous and the ridicu­lous, so as to make them at once plau­si­ble, cryp­tic, exot­ic, and hilarious—both Pick­wick­ian and, indeed, pro­to-Bor­ge­sian.

His­to­ry of a Short Chancery Suit
Cat­a­logue of Stat­ues of the Duke of Welling­ton
Five Min­utes in Chi­na. 3 vols.
Forty Winks at the Pyra­mids. 2 vols.
Aber­nethy on the Con­sti­tu­tion. 2 vols.
Mr. Green’s Over­land Mail. 2 vols.
Cap­tain Cook’s Life of Sav­age. 2 vols.
A Car­pen­ter’s Bench of Bish­ops. 2 vols.
Toot’s Uni­ver­sal Let­ter-Writer. 2 vols.
Orson­’s Art of Eti­quette.
Downeast­er’s Com­plete Cal­cu­la­tor.
His­to­ry of the Mid­dling Ages. 6 vols.
Jon­ah’s Account of the Whale.
Cap­tain Par­ry’s Virtues of Cold Tar.
Kan­t’s Ancient Hum­bugs. 10 vols.
Bow­wow­dom. A Poem.
The Quar­rel­ly Review. 4 vols.
The Gun­pow­der Mag­a­zine. 4 vols.
Steele. By the Author of “Ion.”
The Art of Cut­ting the Teeth.
Matthew’s Nurs­ery Songs. 2 vols.
Pax­ton’s Bloomers. 5 vols.
On the Use of Mer­cury by the Ancient Poets.
Drowsy’s Rec­ol­lec­tions of Noth­ing. 3 vols.
Heavyside’s Con­ver­sa­tions with Nobody. 3 vols.
Com­mon­place Book of the Old­est Inhab­i­tant. 2 vols.
Growler’s Gruffi­ol­o­gy, with Appen­dix. 4 vols.
The Books of Moses and Sons. 2 vols.
Burke (of Edin­burgh) on the Sub­lime and Beau­ti­ful. 2 vols.
Teaz­er’s Com­men­taries.
King Hen­ry the Eighth’s Evi­dences of Chris­tian­i­ty. 5 vols.
Miss Bif­fin on Deport­ment.
Mor­rison’s Pills Progress. 2 vols.
Lady Godi­va on the Horse.
Mun­chausen’s Mod­ern Mir­a­cles. 4 vols.
Richard­son’s Show of Dra­mat­ic Lit­er­a­ture. 12 vols.
Hansard’s Guide to Refresh­ing Sleep. As many vol­umes as pos­si­ble.

As Fla­vor­wire reports, design­er Ann Sap­pen­field cre­at­ed her own fake book­bind­ings with Dick­ens’ titles (see some at the top of the page, cour­tesy of the NYPL). These are part of a New York Pub­lic Library exhib­it called Charles Dick­ens: The Key to Char­ac­ter that ran in 2012–13. You can read Dick­ens orig­i­nal let­ter to Thomas Robert Eeles in The Let­ters of Charles Dick­ens here.

via Lists of Note/Fla­vor­wire

Relat­ed Con­tent:

Charles Dick­ens Gave His Cat “Bob” a Sec­ond Life as a Let­ter Open­er

Charles Dick­ens’ Hand-Edit­ed Copy of His Clas­sic Hol­i­day Tale, A Christ­mas Car­ol

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

100 Novels All Kids Should Read Before Leaving High School

to-kill-a-mockingbird-book-cover1

Last year, a Slate essay called “Against YA” by Ruth Gra­ham irked thou­sands of read­ers who took offense at her argu­ment that although grown-ups “bran­dish their copies of teen nov­els with pride…. [a]dults should feel embar­rassed about read­ing lit­er­a­ture writ­ten for chil­dren.” Whether we label her arti­cle an instance of sham­ing, trolling, or just the expres­sion of a not-espe­cial­ly con­se­quen­tial, “fud­dy-dud­dy opin­ion,” what it also served to highlight—as so many oth­er thought­ful and not-so-thought­ful online essays have done—is the huge sales num­bers of so-called YA, a lit­er­ary boom that shows no signs of slow­ing. Young adult fic­tion, along with children’s books in gen­er­al, saw dou­ble dig­it growth in 2014, a phe­nom­e­non in part dri­ven by those sup­pos­ed­ly self-infan­tiliz­ing adults Gra­ham faults.

The grown-ups read­ing teen books do so, Gra­ham writes, because “today’s YA, we are con­stant­ly remind­ed, is world­ly and adult-wor­thy.” Maybe, maybe not, but there is anoth­er ques­tion to ask here as well, whol­ly apart from whether the age 30–44 cohort who account for 28 per­cent of YA sales “should” be buy­ing and read­ing YA books. And that ques­tion is: should young adults read Young Adult fic­tion? And what counts as Young Adult fic­tion any­way? A 2012 NPR list of the “100 Best-Ever Teen Nov­els” includes the expect­ed Har­ry Pot­ter and Hunger Games series (at num­bers one and two, respec­tive­ly), as well as more “lit­er­ary,” but still obvi­ous, choic­es like John Green’s The Fault in Our Stars and S.E. Hinton’s clas­sic The Out­siders.

It also includes Dou­glas Adams’ The Hitchhiker’s Guide to the Galaxy series, William Golding’s Lord of the Flies, Frank Herbert’s Dune, Ursu­la K. Le Guin’s Earth­sea series, and Ray Bradbury’s Fahren­heit 451. It what sense do all of these very dif­fer­ent kinds of books—some very com­plex and chal­leng­ing, some very much less so—qualify as “teen nov­els”? Per­haps some of the fuzzi­ness about qual­i­ty and appro­pri­ate­ness comes from the fact that many “Top-what­ev­er” lists like NPR’s are com­piled by read­ers, of all ages. And enjoy­ment, not edi­fi­ca­tion, usu­al­ly tops a gen­er­al read­er­ship’s list of cri­te­ri­on for “top”-ness. How­ev­er, what would such a list look like if strict­ly com­piled by edu­ca­tors?

You can find out in anoth­er top 100 list: the 100 Fic­tion Books All Chil­dren Should Read Before Leav­ing Sec­ondary School – Accord­ing to 500 Eng­lish Teach­ers (cre­at­ed at the request of Britain’s Nation­al Asso­ci­a­tion for the Teach­ing of Eng­lish and TES mag­a­zine). There’s a good bit of crossover with the read­er-cho­sen NPR list; the Har­ry Pot­ter books come in at sixth place. Both lists fea­ture clas­sics like Harp­er Lee’s To Kill a Mock­ing­bird. But the teacher-cho­sen list also includes more “adult” writ­ers like Jane Austen, Thomas Hardy, and Toni Mor­ri­son. One teacher quot­ed in an Express arti­cle describes his own cri­te­ria: “It’s always a bal­anc­ing act in the books that teach­ers select. Do you go for some­thing that stu­dents will enjoy and lap up and read, or do you go for some­thing that will help them cut their teeth?”

There seems to be a good bal­ance of both here. You can see the first ten titles below, with links to free online ver­sions where avail­able. The com­plete list of 100 books for teenagers is here.

1 Nine­teen Eighty-Four, by George Orwell (Ama­zon)

2 To Kill A Mock­ing­bird, by Harp­er Lee (free eBook)

3 Ani­mal Farm, by George Orwell (free eBook)

4 Lord Of The Flies, by William Gold­ing (Ama­zon)

5 Of Mice And Men, by John Stein­beck (Ama­zon)

6 The Har­ry Pot­ter series, by J K Rowl­ing (Ama­zon)

7 A Christ­mas Car­ol, by Charles Dick­ens (free eBook)

8 The Catch­er In The Rye, by J D Salinger (Ama­zon)

9 Great Expec­ta­tions, by Charles Dick­ens (free eBook)

10 Pride And Prej­u­dice, by Jane Austen (free eBook)

Relat­ed Con­tent:

Down­load 20 Pop­u­lar High School Books Avail­able as Free eBooks & Audio Books

The Best Books of 2012: Lists by The New York Times, NPR, The Guardian and More

74 Essen­tial Books for Your Per­son­al Library: A List Curat­ed by Female Cre­atives

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

Dostoevsky Draws Doodles of Raskolnikov and Other Characters in the Manuscript of Crime and Punishment

Raskolnikov Svidrigailov

Like many of us, Russ­ian lit­er­ary great Fyo­dor Dos­to­evsky liked to doo­dle when he was dis­tract­ed. He left his hand­i­work in sev­er­al manuscripts—finely shad­ed draw­ings of expres­sive faces and elab­o­rate archi­tec­tur­al fea­tures. But Dostoevsky’s doo­dles were more than just a way to occu­py his mind and hands; they were an inte­gral part of his lit­er­ary method. His nov­el­is­tic imag­i­na­tion, with all of its grand excess­es, was pro­found­ly visu­al, and archi­tec­tur­al.

“Indeed,” writes Dos­to­evsky schol­ar Kon­stan­tin Barsht, “Dos­to­evsky was not con­tent to ‘write’ and ‘take notes’ in the process of cre­ative think­ing.” Instead, in his work “the mean­ing and sig­nif­i­cance of words inter­act rec­i­p­ro­cal­ly with oth­er mean­ings expressed through visu­al images.” Barsht calls it “a method of work spe­cif­ic to the writer.” We’ve shared a few of those man­u­script pages before, includ­ing one with a doo­dle of Shake­speare.

Crime and Punish Doodles

Now we bring you a few more pages of doo­dles from the author of Crime and Pun­ish­ment, a nov­el that, per­haps more so than any of his oth­ers, offers such vivid descrip­tions of its char­ac­ters that I can still clear­ly remem­ber the pic­tures I had of them in my mind the first time I read it in high school.

My visu­al­iza­tions of the angry, des­per­ate stu­dent Raskol­nikov and the sleazy socio­path­ic Svidri­gailov do not exact­ly resem­ble the faces doo­dled at the the top of the post, but that is how their author saw them, at least in this ear­ly, man­u­script stage of the nov­el.

The oth­er faces here may be those of Sonya, police inves­ti­ga­tor Por­firy Petro­vich, recidi­vist alco­holic father Semy­on Marmelodov, and oth­er char­ac­ters in the nov­el, though it’s not clear exact­ly who’s who.

Crime and Punish Doodles 2

Dos­to­evsky had much in com­mon with his nov­el­’s pro­tag­o­nist when he began the nov­el in 1865. Reduced to near-des­ti­tu­tion after gam­bling away his for­tune, the writer was also in des­per­ate straits. The sto­ry, writes lit­er­ary crit­ic Joseph Franks, was “orig­i­nal­ly con­ceived as a long short sto­ry or novel­la to be writ­ten in the first per­son,” like the fever­ish novel­la Notes From the Under­ground. In Dos­to­evsky’s man­u­script note­books, “exten­sive frag­ments of this orig­i­nal work are to be found here intact.”

Franks quotes schol­ar Edward Wasi­olek, who pub­lished a trans­la­tion of the note­books in 1967: “They con­tain draw­ings, jot­tings about prac­ti­cal mat­ters, doo­dling of var­i­ous sorts, cal­cu­la­tions about press­ing expens­es, sketch­es, and ran­dom remarks.” In short, “Dos­to­evsky sim­ply flipped his note­books open any time he wished to write,” or to prac­tice his cal­lig­ra­phy, as he does on many pages.

Crime and Punish Doodles 3

The pages of the Crime and Pun­ish­ment note­books resem­ble all of the man­u­script pages of his nov­els in their orna­men­tal hap­haz­ard­ness. You can see many more exam­ples from nov­els like The Idiot, The Pos­sessed, and A Raw Youth at the Russ­ian site Cul­ture, includ­ing the sketchy self por­trait below, next to a few sums that indi­cate the author’s per­pet­u­al pre­oc­cu­pa­tion with his trou­bled eco­nom­ic affairs.

Dostoevsky Self Portrait

Relat­ed Con­tent:

Fyo­dor Dos­to­evsky Draws Elab­o­rate Doo­dles In His Man­u­scripts

Dos­to­evsky Draws a Pic­ture of Shake­speare: A New Dis­cov­ery in an Old Man­u­script

The Dig­i­tal Dos­to­evsky: Down­load Free eBooks & Audio Books of the Russ­ian Novelist’s Major Works

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

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