Discover Thomas Jefferson’s Cut-and-Paste Version of the Bible, and Read the Curious Edition Online

TJ Bible 2

Had he lived dur­ing the Inqui­si­tionThomas Jef­fer­son would have been burned at the stake. His ideas about Jesus and Chris­tian­i­ty were far from ortho­dox. A prod­uct of the Enlight­en­ment, Jef­fer­son believed that every­thing, includ­ing reli­gion, should be exam­ined in the light of rea­son.

When Jef­fer­son exam­ined the Gospels he came away with a strong­ly divid­ed opin­ion. “I find many pas­sages of fine imag­i­na­tion, cor­rect moral­i­ty, and of the most love­ly benev­o­lence,” he wrote in an 1820 let­ter to William Short, “and oth­ers again of so much igno­rance, so much absur­di­ty, so much untruth, char­la­tanism, and impos­ture, as to pro­nounce it impos­si­ble that such con­tra­dic­tions should have pro­ceed­ed from the same being.”

As ear­ly as 1804, when he was still pres­i­dent, Jef­fer­son began sep­a­rat­ing “the dia­mond from the dunghill,” as he lat­er put it, to assem­ble his own ver­sion of the Bible. He con­tin­ued the project in earnest dur­ing his lat­er years at Mon­ti­cel­lo, por­ing over var­i­ous edi­tions in Greek, Latin, French and King James Eng­lish. He clipped the pas­sages he thought were gen­uine teach­ings of Jesus and past­ed them, in the four lan­guages side by side, onto pages.

In 1820 — six years before his death at the age of 83 — Jef­fer­son pro­duced a leather-bound, 84-page vol­ume titled The Life and Morals of Jesus of Nazareth, Extract­ed Tex­tu­al­ly From the Gospels in Greek, Latin, French & Eng­lish. Jef­fer­son elim­i­nat­ed every­thing in the Bible con­cern­ing mir­a­cles. He end­ed the Gospel sto­ry with the exe­cu­tion and bur­ial of Jesus, omit­ting the res­ur­rec­tion. The retained pas­sages, Jef­fer­son explained in an 1813 let­ter to John Adams, con­tain “the most sub­lime and benev­o­lent code of morals which has ever been offered to man.”

You can exam­ine and read Jef­fer­son­’s com­plete 1820 Bible online by vis­it­ing the Smith­son­ian Insti­tu­tion’s inter­ac­tive Web dis­play.

Repro­duc­tions of Jef­fer­son­’s Bible can be pur­chased online.

The images above come cour­tesy of The Smith­son­ian.

Robert Crumb Illustrates Philip K. Dick’s Infamous, Hallucinatory Meeting with God (1974)

CrumbExperienceofPKD

“I saw God,” Fat states, and Kevin and I and Sher­ri state, “No, you just saw some­thing like God, exact­ly like God.” And hav­ing spoke, we do not stay to hear the answer, like jest­ing Pilate, upon his ask­ing, “What is truth?”

–Philip K. Dick, VALIS

In the months of Feb­ru­ary and March, 1974, Philip K. Dick met God, or some­thing like God, or what he thought was God, at least, in a hal­lu­ci­na­to­ry expe­ri­ence he chron­i­cled in sev­er­al obses­sive­ly dense diaries that recent­ly saw pub­li­ca­tion as The Exe­ge­sis of Philip K. Dick, a work of deeply per­son­al theo-philo­soph­i­cal reflec­tion akin to Carl Jung’s The Red Book. What­ev­er it was he encountered—Dick was nev­er too dog­mat­ic about it—he end­ed up refer­ring to it as Zebra, or by the acronym VALIS, Vast Active Liv­ing Intel­li­gence Sys­tem, also the title of a nov­el detail­ing the expe­ri­ences of one very PKD-like char­ac­ter with the improb­a­ble name of “Horselover Fat.”

LSD-trig­gered psy­chot­ic break, gen­uine reli­gious expe­ri­ence, or some­thing else entire­ly, what­ev­er Dick’s encounter meant, he didn’t let the oppor­tu­ni­ty to turn it into art slip by him, and nei­ther did out­sider car­toon­ist and PKD fan Robert Crumb. In issue #17 of the under­ground comix mag­a­zine Weirdo, Crumb nar­rat­ed and illus­trat­ed Dick’s meet­ing with a divine intel­li­gence in the appro­pri­ate­ly titled “The Reli­gious Expe­ri­ence of Philip K. Dick.” It was even­tu­al­ly col­lect­ed in the edi­tion, The Weirdo Years by R. Crumb: 1981-’93. (See the com­ic in motion in the awk­ward, ama­teur video above.) The com­ic quotes direct­ly from Dick’s telling of the event, which began with a wis­dom tooth extrac­tion and was ulti­mate­ly trig­gered by a gold­en Chris­t­ian fish sym­bol worn around the neck of a phar­ma­ceu­ti­cal deliv­ery girl. Most PKD fans will be famil­iar with the sto­ry, whether they treat it as gospel or not, but to see it illus­trat­ed with such empa­thet­ic inten­si­ty by Crumb is tru­ly a treat.

If you only know Crumb as the cre­ator of las­civ­i­ous Rube­nesque women and schlub­by, drug­gy horn­dog hip­sters (like Fritz the Cat), you may be sur­prised by these emo­tion­al­ly real­ist illus­tra­tions. If you know Crumb’s more seri­ous work, like his take on the book of Gen­e­sis, you won’t. In either case, fans of Dick, Crumb, or—most likely—both, won’t want to miss this.

Relat­ed Con­tent:

Down­load 14 Great Sci-Fi Sto­ries by Philip K. Dick as Free Audio Books and Free eBooks

Philip K. Dick Pre­views Blade Run­ner: “The Impact of the Film is Going to be Over­whelm­ing” (1981)

The Con­fes­sions of Robert Crumb: A Por­trait Script­ed by the Under­ground Comics Leg­end Him­self (1987)

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

When William S. Burroughs Joined Scientology (and His 1971 Book Denouncing It)

BurroughsScientology

Crash direc­tor Paul Hag­gis impressed us all when his defec­tion from the Church of Sci­en­tol­ogy became the sub­ject of “The Apos­tate,” a 2011 New York­er pro­file by Lawrence Wright. But Hag­gis’ high-pro­file depar­ture from the lav­ish if shad­owy house that L. Ron Hub­bard built had a notable prece­dent in William S. Bur­roughs’ Naked Sci­en­tol­ogy. The Naked Lunch author and Beat Lumi­nary pub­lished it after his own dis­il­lu­sion­ment with the orga­ni­za­tion of Sci­en­tol­ogy, though he retained his esteem for what he con­sid­ered their mind-improv­ing tech­niques. Book­tryst offers a brief sum­ma­ry of Bur­roughs’ intense flir­ta­tion with the Church and its teach­ings: his ini­tial attrac­tion “because of its promise to lib­er­ate the mind by clear­ing it of trau­mat­ic mem­o­ries that imped­ed per­son­al growth, and, by exten­sion, social progress and free­dom from social con­trol,” and his ulti­mate dis­ap­point­ment that, as biog­ra­ph­er Ted Mor­gan puts it, he “had hoped to find a method of per­son­al eman­ci­pa­tion and found instead anoth­er con­trol sys­tem.”

For a more in-depth look at what brought Bur­roughs into Sci­en­tol­ogy and what put him off of it, read Lee Kon­stan­ti­nou’s i09 post on the sub­ject. “Bur­roughs took Sci­en­tol­ogy quite seri­ous­ly indeed for the bet­ter part of a decade — dur­ing what was arguably his most artis­ti­cal­ly fer­tile peri­od,” Kon­stan­ti­nou writes. “Today, where so much atten­tion focus­es on the sci­ence fic­tion­al ori­gins of Sci­en­tol­ogy, it is easy to for­get how seem­ing­ly in har­mo­ny the Church was with a whole range of coun­ter­cul­tur­al, ‘New Age,’ and anti-psy­chi­atric prac­tices in the Six­ties.” He files Sci­en­tol­ogy with Bur­roughs’ oth­er “mind-expand­ing and mind-free­ing prac­tice,” includ­ing hal­lu­cino­gens, “Mayan cal­en­dri­cal mind con­trol sys­tems,” apo­mor­phine,  and his sig­na­ture “cut-up” texts. To hear all about it straight from Bur­roughs, read his 1970 Los Ange­les Free Press j’ac­cuse against Hub­bard and his “fas­cist” ten­den­cies, and the whole of Naked Sci­en­tol­ogy in PDF form.

via @SteveSilberman

Relat­ed Con­tent:

Com­mis­sion­er of Sew­ers: A 1991 Pro­file of Beat Writer William S. Bur­roughs

William S. Bur­roughs on the Art of Cut-up Writ­ing

William S. Bur­roughs’ Short Class on Cre­ative Read­ing

William S. Bur­roughs Reads His First Nov­el, Junky

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­lesA Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

The Atheism Tapes Presents Lengthy Interviews with Arthur Miller, Daniel Dennett & Richard Dawkins About Religion and Unbelief

The his­to­ry of religion(s) is a fas­ci­nat­ing sub­ject, one that should be cov­ered, in my hum­ble opin­ion, as an inte­gral part of every lib­er­al arts edu­ca­tion. But the his­to­ry of atheism—of disbelief—is a sub­ject that only emerges piece­meal, in oppo­si­tion­al con­texts, espe­cial­ly in the wake of recent fun­da­men­tal­ist upris­ings in the past decade or so. We cov­ered one such his­to­ry recent­ly, the 2004 BBC series Athe­ism: A Rough His­to­ry of Dis­be­lief, made by direc­tor Jonathan Miller and fea­tur­ing such high-pro­file thinkers as Richard Dawkins, Daniel Den­nett, Arthur Miller, and physi­cist Steven Wein­berg.

Miller’s series orig­i­nal­ly includ­ed much more mate­r­i­al than he could air, and so the BBC agreed to let him pro­duce the out­take inter­views as a sep­a­rate pro­gram called The Athe­ism Tapes. It’s a series in six parts, fea­tur­ing inter­views with Eng­lish philoso­pher Col­in McGinn, Wein­berg, Miller, Dawkins, Den­nett, and British the­olo­gian Denys Turn­er. At the top, watch Miller’s intro to The Athe­ism Tapes and his inter­view with Col­in McGinn. It’s an inter­est­ing angle—Miller gets to quiz McGinn on “what it means to be a skep­ti­cal Eng­lish philoso­pher in such a seem­ing­ly reli­gious coun­try as the Unit­ed States.” Many read­ers may sym­pa­thize with McGinn’s dif­fi­cul­ty in com­mu­ni­cat­ing his unbe­lief to those who find the con­cept total­ly alien.

Direct­ly above, watch Daniel Den­nett (after the intro) dis­cuss the rela­tion­ship between athe­ism and Darwin’s rev­o­lu­tion­ary the­o­ry. Miller is a won­der­ful interviewer—sympathetic, prob­ing, informed, humor­ous, human­ist. He is the per­fect per­son to bring all these fig­ures togeth­er and get their var­i­ous takes on mod­ern unbe­lief, because despite his own pro­fes­sions, Miller real­ly cares about these big meta­phys­i­cal ques­tions, and his pas­sion and curios­i­ty are shared by all of his inter­vie­wees. In the intro­duc­tion to his inter­view with play­wright Arthur Miller (below), Jonathan Miller makes the provoca­tive claim that Chris­tian­i­ty believes “there’s some­thing pecu­liar about the Jews that makes them pecu­liar­ly sus­cep­ti­ble to pro­fane dis­be­lief.” Watch Arthur Miller’s response below.

One would hope that all man­ner of people—believers, athe­ists, and the non-committal—would come away from The Athe­ism Tapes with at least a healthy respect for the integri­ty of philo­soph­i­cal and sci­en­tif­ic inquiry and doubt. See the full series on YouTube here. Or pur­chase your copy on Ama­zon here.

Relat­ed Con­tent:

Athe­ism: A Rough His­to­ry of Dis­be­lief, with Jonathan Miller

Richard Dawkins Makes the Case for Evo­lu­tion in the 1987 Doc­u­men­tary, The Blind Watch­mak­er

Philoso­pher Daniel Den­nett Presents Sev­en Tools For Crit­i­cal Think­ing

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

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

Few fig­ures were as influ­en­tial as Alan Watts and Aldous Hux­ley in pop­u­lar­iz­ing exper­i­ments with psy­che­del­ic drugs and East­ern reli­gion in the 20th cen­tu­ry. Watts did more to intro­duce West­ern­ers to Zen Bud­dhism than almost any­one before or since; Huxley’s exper­i­ments with mesca­line and LSD—as well as his lit­er­ary cri­tiques of West­ern tech­no­crat­ic rationalism—are well-known. But in a coun­ter­cul­tur­al move­ment large­ly dom­i­nat­ed by men—Watts and Hux­ley, Ken Kesey, Tim­o­thy Leary, Allen Gins­berg, etc—Huxley’s wid­ow Lau­ra came to play a sig­nif­i­cant role after her husband’s death.

In fact, as we’ve dis­cussed before, she played a sig­nif­i­cant role dur­ing his death, inject­ing him with LSD and read­ing to him from The Tibetan Book of the Dead as he passed away. In the inter­view above, Lau­ra speaks with Watts about that expe­ri­ence, one she learned from Aldous, who per­formed a sim­i­lar ser­vice for his first wife as she died in 1955. The occa­sion of the interview—conducted at Watts’ Sausal­i­to home in 1968—is the pub­li­ca­tion of Lau­ra Huxley’s mem­oir of life with her hus­band, This Time­less Moment. But talk of the book soon prompts dis­cus­sion of Huxley’s grace­ful exit, which Watts calls “a high­ly intel­li­gent form of dying.”

Watts relates an anec­dote about Goethe’s last hours, dur­ing which a vis­i­tor was told that he was “busy dying.” “Dying is an art,” says Watts, “and it’s also an adven­ture,” Lau­ra adds. Their dis­cus­sion then turns to Huxley’s final nov­el, Island (which you can read in PDF here). Island has rarely been favor­ably reviewed as a lit­er­ary endeav­or. And yet, as Watts points out, it wasn’t intend­ed as lit­er­a­ture, but as a “soci­o­log­i­cal blue­print in the form of a nov­el.” Lau­ra Hux­ley, upset at the book’s chilly recep­tion, wish­es her hus­band had “writ­ten it straight.” Nonethe­less, she points out that Island was much more than a Utopi­an fan­ta­sy or philo­soph­i­cal thought exper­i­ment. It was a doc­u­ment in which “every method, every recipe… is some­thing he exper­i­ment­ed with him­self in his own life.” As Lau­ra wrote in This Time­less Moment:

Every sin­gle thing that is writ­ten in Island has hap­pened and it’s pos­si­ble and actu­al … Island is real­ly vision­ary com­mon sense. Things that Aldous and many oth­er peo­ple said, that were seen as so auda­cious — they are com­mon sense, but they were vision­ary because they had not yet hap­pened.

Those things includ­ed not only rad­i­cal forms of liv­ing, but also, as Hux­ley him­self demon­strat­ed, rad­i­cal ways of dying.

Relat­ed Con­tent:

Aldous Huxley’s Most Beau­ti­ful, LSD-Assist­ed Death: A Let­ter from His Wid­ow

Aldous Hux­ley Reads Dra­ma­tized Ver­sion of Brave New World

Leonard Cohen Nar­rates Film on The Tibetan Book of the Dead, Fea­tur­ing the Dalai Lama (1994)

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

Atheist Ira Glass Believes Christians Get the Short End of the Media Stick

So, an athe­ist and a devout Chris­t­ian walk into a Taco­ma hotel restau­rant-bar…

Wait, though, it’s not what you think! The athe­ist in ques­tion is pub­lic radio star Ira Glass, ami­ably sit­ting for an inter­view with ama­teur spir­i­tu­al anthro­pol­o­gist and for­mer This Amer­i­can Life guest Jim Hen­der­son. The mutu­al respect is refresh­ing. Hen­der­son makes it his mis­sion to seek out influ­en­tial peo­ple who are “unusu­al­ly inter­est­ed in oth­ers,” and will­ing to “stay in the room with dif­fer­ence.” Glass’ relaxed and chat­ty demeanor trans­lates to mis­sion accom­plished.

The non-believ­ing child of sec­u­lar Jews does his tribe proud by vol­un­teer­ing the opin­ion that Chris­tians get a bum rap in the nation­al media. The por­tray­al of Chris­tians as “doc­tri­naire crazy hot­head peo­ple” does­n’t square with fond rec­ol­lec­tions of for­mer pub­lic radio col­leagues who kept Bibles on their desks and invit­ed him to screen­ings of Rap­ture movies (At WBEZ? Real­ly?).

The civil­i­ty of the dis­course could renew your faith in mankind, what­ev­er your beliefs.

You can watch oth­er parts of the longer inter­view on YouTube here.

Relat­ed Con­tent:

Ira Glass on the Art and Craft of Telling Great Radio Sto­ries

The Unbe­liev­ers, A New Film Star­ring Richard Dawkins, Lawrence Krauss, Wern­er Her­zog, Woody Allen, & Cor­mac McCarthy

Does God Exist? Christo­pher Hitchens Debates Chris­t­ian Philoso­pher William Lane Craig

Alain de Bot­ton Wants a Reli­gion for Athe­ists: Intro­duc­ing Athe­ism 2.0

Ayun Hal­l­i­day is in Ira’s camp. Fol­low her @AyunHalliday

The Religious Affiliation of Comic Book Heroes

Atheist comics

Spi­der-Man, he was appar­ent­ly a Protes­tant. The Hulk, a lapsed Catholic. Thor, a wor­ship­per of a Teu­ton­ic deity. The X‑Men, an assem­blage of Catholics and Epis­co­palians. And Stan­ley Lee, the cre­ator of these famous com­ic book fig­ures, he’s Jew­ish. If you’re a com­ic book fan with a thing for triv­ia, you can peruse this data­base of over 10,000 char­ac­ters and fig­ure out the reli­gious affil­i­a­tion of Bat­man and Won­der Woman, plus less­er-known char­ac­ters like Chameleon BoySwamp Thing, and Poi­son Ivy.

P.S. The crea­tures in the image above, they’re athe­ists, a cat­e­go­ry also tracked by this most thor­ough data­base.

via @wfmu

Relat­ed Con­tent:

Nine Clas­sic Super­man Car­toons Restored and Now on YouTube

Free Gold­en Age Comics

When Super Heroes Get Old and Retire to Mia­mi

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Take a 3D Virtual Tour of the Sistine Chapel, St. Peter’s Basilica and Other Art-Adorned Vatican Spaces

sistine chapel

For­get the air­ports, the tick­et lines, and the crowds. Now you can step right into the Vat­i­can’s most sacred spaces and inspect the won­ders of Renais­sance art and archi­tec­ture with just a click of a mouse. The Vat­i­can has post­ed a series of vir­tu­al tours cre­at­ed by stu­dents and fac­ul­ty in the com­mu­ni­ca­tion and com­put­ing sci­ence depart­ments at Penn­syl­va­ni­a’s Vil­lano­va Uni­ver­si­ty. The four Papal Basil­i­cas are includ­ed, along with the small­er Sis­tine and Pauline chapels. Here are six links to six amaz­ing vir­tu­al tours:

Basil­i­ca of St. Peter: Designed by Michelan­ge­lo and oth­ers, St. Peter’s is the focal point of the Vat­i­can, and per­haps the most famous exam­ple of Renais­sance archi­tec­ture. You can scroll up and down to inspect the walls and ceilings–including the famous dome–and zoom in for a close look at Michelan­gelo’s mas­ter­piece the Pietà or Bernini’s ornate canopy, or bal­dachin, over the Papal Altar.

The Sis­tine Chapel: The most famous build­ing in the Vat­i­can, after St. Peter’s, is the Sis­tine Chapel, a part of the Pope’s offi­cial res­i­dence, the Apos­tolic Palace. Fres­coes by Raphael, Berni­ni, Bot­ti­cel­li and oth­ers adorn the walls–and on the ceil­ing, one of the great mas­ter­pieces in the his­to­ry of art: Michelan­gelo’s ear­ly 16th cen­tu­ry depic­tion of scenes from the Book of Gen­e­sis, cov­er­ing some 12,000 square feet. On a walk­ing tour you would bare­ly have enough time to rec­og­nize some of the major scenes. With this vir­tu­al tour you can spend all the time you want scan­ning around and zoom­ing in to study the details.

Arch­basil­i­ca of St. John Lat­er­an: The Pope’s offi­cial eccle­si­as­ti­cal seat, St. John Lat­er­an is the old­est Papal Basil­i­ca. But many of its most famous fea­tures are rel­a­tive­ly recent.  The basil­i­ca is per­haps best known for its neo­clas­si­cal façade by Alessan­dro Galilei, com­plet­ed in 1735.

Basil­i­ca of Paul Out­side-the-Walls: Built out­side the old city walls, this basil­i­ca con­tains the tomb of St. Paul. You can see the tomb and oth­er fea­tures of the grace­ful church (which was rebuilt in the 19th cen­tu­ry after a dev­as­tat­ing fire) on the tour.

Basil­i­ca of St. Mary Major: This basil­i­ca is actu­al­ly locat­ed out­side the Vat­i­can City com­pound, in Rome, but has extrater­ri­to­r­i­al sta­tus sim­i­lar to that of a for­eign embassy. Built in the fifth cen­tu­ry, with some lat­er addi­tions, the basil­i­ca is a beau­ti­ful exam­ple of clas­si­cal Roman archi­tec­ture.

The Pauline Chapel: Anoth­er chapel in the Apos­tolic Palace, the Pauline Chapel is sep­a­rat­ed from the Sis­tine Chapel by the Sala Regia, or “Regal Room.” Although less well-known than the Sis­tine Chapel, the Pauline Chapel hous­es two great fres­coes by Michelan­ge­lo: “The Con­ver­sion of Saul” and “The Cru­ci­fix­ion of St. Peter.”

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