Howard Zinn’s Recommended Reading List for Activists Who Want to Change the World

Image by via Wiki­me­dia Com­mons

Back in col­lege, I spot­ted A Peo­ple’s His­to­ry of the Unit­ed States in the bags and on the book­shelves of many a fel­low under­grad­u­ate. By that time, Howard Zin­n’s alter­na­tive telling of the Amer­i­can sto­ry had been pop­u­lar read­ing mate­r­i­al for a cou­ple of decades, just as it pre­sum­ably remains a cou­ple more decades on. Even now, a dozen years after Zin­n’s death, his ideas about how to approach U.S. his­to­ry through non-stan­dard points of view remain wide­ly influ­en­tial. Just last month, Rad­i­cal Reads fea­tured the read­ing list he orig­i­nal­ly drew up for the Social­ist Work­er, pitched at “activists inter­est­ed in mak­ing their own his­to­ry.”

Zin­n’s rec­om­men­da­tions nat­u­ral­ly include the work of oth­er his­to­ri­ans, from Gary Nash’s Red, White and Black: The Peo­ples of Ear­ly Amer­i­ca (“a pio­neer­ing work of ‘mul­ti­cul­tur­al­ism’ deal­ing with racial inter­ac­tions in the colo­nial peri­od”) to Vin­cent Hard­ing’s There Is a Riv­er: The Black Strug­gle for Free­dom in Amer­i­ca (an “excel­lent start on Black his­to­ry”) to Samuel Yel­len’s Amer­i­can Labor Strug­gles (which “brings to life the great labor con­flicts of Amer­i­can his­to­ry”).

His sug­gest­ed books cov­er not just the 20th cen­tu­ry but eras like the Civ­il War, and even, exten­sive­ly, the time of Christo­pher Colum­bus. For those who take their analy­ses of the past in com­i­cal­ly illus­trat­ed form, Zinn also high­lights Lar­ry Gonick­’s The Car­toon His­to­ry of the Unit­ed States as “fun­ny and remark­ably rich in its con­tent.”

Cer­tain Zinn picks stand out as being of spe­cial inter­est to Open Cul­ture read­ers. These include Noam Chom­sky’s Year 501, in which “the nation’s most dis­tin­guished intel­lec­tu­al rebel gives us huge amounts of infor­ma­tion about recent Amer­i­can for­eign pol­i­cy”; Richard Hof­s­tadter’s The Amer­i­can Polit­i­cal Tra­di­tion, with its “icon­o­clas­tic view of Amer­i­can polit­i­cal lead­ers, includ­ing Jef­fer­son, Jack­son, Lin­coln, Wil­son and the two Roo­sevelts, sug­gest­ing more con­sen­sus than dif­fer­ence at the top of the polit­i­cal hier­ar­chy”; and W.E.B. DuBois’ Black Recon­struc­tion, “a direct counter to the tra­di­tion­al racist accounts of Recon­struc­tion, pre­sent­ing the nar­ra­tive from the Black point of view.” Zinn also prais­es The Six­ties, “a vivid his­to­ry, well-writ­ten, thought­ful, by one of the activists of that era”: Todd Gitlin, who died ear­li­er this month.

Despite its under­stand­able incli­na­tion toward non­fic­tion, Zin­n’s list also has room for sev­er­al clas­sic Amer­i­can nov­els like John Stein­beck­’s The Grapes of Wrath, Richard Wright’s Black Boy, and Zora Neale Hurston’s Their Eyes Were Watch­ing God. You may remem­ber some of these books from your own high-school and uni­ver­si­ty days, but what­ev­er you got out of them back then, you’ll expe­ri­ence them more rich­ly by revis­it­ing them now, deep­er into your own intel­lec­tu­al jour­ney. As Zin­n’s own life and work demon­strat­ed, you can always find more angles from which to view the polit­i­cal, social, and cul­tur­al his­to­ry of your coun­ty — the far­ther removed from those you were shown in school, the bet­ter.

via Rad­i­cal Reads

Relat­ed con­tent:

Matt Damon Reads Howard Zinn’s “The Prob­lem is Civ­il Obe­di­ence,” a Call for Amer­i­cans to Take Action

African-Amer­i­can His­to­ry: Mod­ern Free­dom Strug­gle (A Free Course from Stan­ford)

Howard Zinn’s “What the Class­room Didn’t Teach Me About the Amer­i­can Empire”: An Illus­trat­ed Video Nar­rat­ed by Vig­go Mortensen

Amer­i­can Lit­er­a­ture, From the Begin­nings to the Civ­il War: A Free Online Course from NYU

Noam Chom­sky Defines What It Means to Be a Tru­ly Edu­cat­ed Per­son

Adorn Your Gar­den with Howard the Zinn Monk

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Google App Uses Machine Learning to Discover Your Pet’s Look Alike in 10,000 Classic Works of Art


Does your cat fan­cy her­self a 21st-cen­tu­ry incar­na­tion of Bastet, the Egypt­ian God­dess of the Ris­ing Sun, pro­tec­tor of the house­hold, aka The Lady of Slaugh­ter?

If so, you should def­i­nite­ly per­mit her to down­load the Google Arts & Cul­ture app on your phone to take a self­ie using the Pet Por­traits fea­ture.

Remem­ber all the fun you had back in 2018 when the Art Self­ie fea­ture mis­took you for William II, Prince of Orange or the woman in “Jacob Cor­nelisz. van Oost­sa­nen Paint­ing a Por­trait of His Wife”?

Sure­ly your pet will be just as excit­ed to let a machine-learn­ing algo­rithm trawl tens of thou­sands of art­works from Google Arts & Culture’s part­ner­ing muse­ums’ col­lec­tions, look­ing for dop­pel­gängers.

Or maybe it’ll just view it as one more exam­ple of human fol­ly, if a far less­er evil than our predilec­tion for pet cos­tumes.

Should your pet wish to know more about the art­works it resem­bles, you can tap the results to explore them in depth.

Dogs, fish, birds, rep­tiles, hors­es, and rab­bits can play along too, though any­one hail­ing from the rodent fam­i­ly will find them­selves shut out.

Mash­able reports that “upload­ing a stock image of a mouse returned draw­ings of wolves.”

We can’t blame your pet snake for fum­ing.

Dit­to your Viet­namese Pot-bel­lied pig.

Though your pet fer­ret prob­a­bly doesn’t need an app (or a crys­tal ball) to know what its result would be. Bet­ter than an ermine col­lar, any­way…


If your pet is game and falls with­in Pet Por­traits approved species para­me­ters, here are the steps to fol­low:

  1. Launch the Google Arts & Cul­ture app and select the Cam­era but­ton. Scroll to the Pet Por­traits option.
  2. Have your pet take a self­ie. (Or alter­na­tive­ly, upload a saved image.)
  3. Give the app a few sec­onds (or min­utes) to return mul­ti­ple results with sim­i­lar­i­ty per­cent­ages.

Down­load the Google Arts & Cul­ture app here.

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Relat­ed Con­tent:

Google’s Free App Ana­lyzes Your Self­ie and Then Finds Your Dop­pel­ganger in Muse­um Por­traits

Con­struct Your Own Bayeux Tapes­try with This Free Online App

A Gallery of 1,800 Gigapix­el Images of Clas­sic Paint­ings: See Vermeer’s Girl with the Pearl Ear­ring, Van Gogh’s Star­ry Night & Oth­er Mas­ter­pieces in Close Detail

Ivan Reitman’s First Film “Orientation” (1968)

Last night, we sad­ly learned of the pass­ing of Ivan Reit­man, direc­tor of many beloved come­dies–Meat­balls (1979), Stripes (1981), Ghost­busters (1984), and beyond.

Born in Czecho­slo­va­kia in 1946–his moth­er an Auschwitz sur­vivor and his father an under­ground resis­tance fighter–Reitman moved to Cana­da as a young child, where he even­tu­al­ly attend­ed McMas­ter Uni­ver­si­ty. And there he “pro­duced and direct­ed Ori­en­ta­tion [in 1968], the most suc­cess­ful stu­dent film ever made in Cana­da,” writes Macleans. “Pro­duced at a cost of $1,800 while Reit­man was pres­i­dent of the McMas­ter Uni­ver­si­ty Film Board, Ori­en­ta­tion — the sto­ry of a fresh­man dur­ing his first week at uni­ver­si­ty — was acquired by Twen­ti­eth Cen­tu­ry­Fox of Cana­da as a “fea­turette” to accom­pa­ny John And Mary in first-run engage­ments across the coun­try.” “It earned $15,000 in rentals and con­tin­ues to be in demand…” You can watch it above, or on McMas­ter’s web­site.

For any­one inter­est­ed in hear­ing Reit­man dis­cuss his devel­op­ment as a film­mak­er, we’d rec­om­mend lis­ten­ing to his 2014 inter­view with Marc Maron.

Relat­ed Con­tent 

Watch 3,000+ Films Free Online from the Nation­al Film Board of Cana­da

Lis­ten to Bill Mur­ray Lead a Guid­ed Med­i­ta­tion on How It Feels to Be Bill Mur­ray

Bill Mur­ray Explains How a 19th-Cen­tu­ry Paint­ing Saved His Life

 

The First Illustrated Edition of James Joyce’s Ulysses Gets Published, Featuring the Work of Spanish Artist Eduardo Arroyo

This year will see the long-delayed pub­li­ca­tion of a ver­sion of Ulysses that Joyce did­n’t want you to read — not James Joyce, mind you, but the author’s grand­son Stephen Joyce. Up until his death in 2020, Stephen Joyce opposed the pub­li­ca­tion of his grand­fa­ther’s best-known book in an illus­trat­ed edi­tion. But he only retained the pow­er actu­al­ly to pre­vent it until Ulysses’ 2012 entry into the pub­lic domain, which made the work freely usable to every­one who want­ed to. In this case, “every­one” includes such nota­bles as neo-fig­u­ra­tive artist Eduar­do Arroyo, described by the New York Times’ Raphael Min­der as “as one of the great­est Span­ish painters of his gen­er­a­tion.”

At the time of Ulysses’ copy­right expi­ra­tion, Arroyo had long since fin­ished his own set of more than 300 illus­tra­tions for Joyce’s cel­e­brat­ed and famous­ly intim­i­dat­ing nov­el. Arroyo not­ed in a 1991 essay, writes Min­der, that “imag­in­ing the illus­tra­tions kept him alive when he was hos­pi­tal­ized in the late 1980s for peri­toni­tis, an inflam­ma­tion of the abdom­i­nal lin­ing.”

The ini­tial hope was for an Arroyo-illus­trat­ed edi­tion to mark the 50th anniver­sary of Joyce’s death in 1991, but with­out the per­mis­sion of the author’s estate, the project had to be put on hold for a cou­ple of decades. When that time came, it was tak­en up again by two pub­lish­ers, Barcelon­a’s Galax­ia Guten­berg and New York’s Oth­er Press.

“Some of Arroyo’s black-and-white illus­tra­tions are print­ed in the mar­gins of the book’s pages, while oth­ers are dou­ble-page paint­ings whose vivid col­ors are rem­i­nis­cent of the Pop Art that inspired him.” His draw­ings, water­col­ors and col­lages include “eclec­tic images of shoes and hats, bulls and bats, as well as some sex­u­al­ly explic­it rep­re­sen­ta­tions of scenes that drew the wrath of cen­sors a cen­tu­ry ago.” For Ulysses’ “710 pages of inner mono­logue and dia­logue, stream of con­scious­ness, blank verse, Greek clas­sics, and the venues and byways of Dublin, 1904,” as the Los Ange­les Times’ Jor­dan Riefe puts it, are as well known for their for­mi­da­ble com­plex­i­ty as it is for the pow­er they once had to scan­dal­ize polite soci­ety.

Arroyo, who died in 2018, stayed faith­ful to Ulysses’ con­tent. (“Of course there are graph­ic nudes,” Riefe adds, “espe­cial­ly in lat­er chap­ters.”) He also suc­ceed­ed in com­plet­ing an ardu­ous project that the most notable artists of Joyce’s day refused even to attempt. “Joyce him­self had asked Picas­so and Matisse to illus­trate it,” writes Galax­ia Guten­berg’s Joan Tar­ri­da, “but nei­ther took on the task. Matisse pre­ferred to illus­trate The Odyssey,” Ulysses’ own struc­tur­al inspi­ra­tion, “which deeply offend­ed Joyce.” What Joyce would make of Arroy­o’s vital and mul­ti­far­i­ous illus­tra­tions, more of which you can sam­ple at Lit­er­ary Hub, is any schol­ar’s guess — but then, did­n’t he say some­thing about want­i­ng to keep the schol­ars guess­ing for cen­turies?

You can now pur­chase a copy of Ulysses: An Illus­trat­ed Edi­tion.

Relat­ed con­tent:

Hen­ri Matisse Illus­trates James Joyce’s Ulysses (1935)

Read Ulysses Seen, A Graph­ic Nov­el Adap­ta­tion of James Joyce’s Clas­sic

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

Read the Orig­i­nal Seri­al­ized Edi­tion of James Joyce’s Ulysses (1918)

Every Word of Joyce’s Ulysses Print­ed on a Sin­gle Poster

Why Should You Read James Joyce’s Ulysses?: A New TED-ED Ani­ma­tion Makes the Case

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

How the Riot Grrrl Movement Created a Revolution in Rock & Punk

The Riot Grrrl move­ment feels like one of the last real rev­o­lu­tions in rock and punk, and not just because of its fem­i­nist, anti-cap­i­tal­ist pol­i­tics. As Poly­phon­ic out­lines in his short music his­to­ry video, Riot Grrrl was one of the last times any­thing major hap­pened in rock music before the inter­net. And it’s espe­cial­ly thrilling because it all start­ed with *zines*.

Women in the punk scene had a right to com­plain. Bands and their fans were very male, and sex­u­al harass­ment was chron­ic at shows, leav­ing most women stand­ing at the back of the crowd. Some zines even spelled it out: “Punks Are Not Girls,” says one.

Alien­at­ed from the scene but still fans at heart, Tobi Vail and Kath­leen Han­na, already pro­duc­ing their own fem­i­nist zines, joined forces to release “Biki­ni Kill” a gath­er­ing of lyrics, essays, con­fes­sion­als, appro­pri­at­ed quotes, plugs for Vail’s oth­er zine “Jig­saw”, and a sense that some­thing was hap­pen­ing. Some­thing was chang­ing in rock cul­ture. Kim Deal of the Pix­ies and Kim Gor­don of Son­ic Youth were heroes, Poly Styrene of X‑Ray Spex was a leg­end, and Yoko Ono “paved the way in more ways than one for us angry grrl rock­ers.” Anoth­er zine, “Girl Germs,” was cre­at­ed by Alli­son Wolfe and Mol­ly Neu­man.

Biki­ni Kill the zine led to Biki­ni Kill the band in 1990, and their song “Rebel Girl” became an anthem of a new fem­i­nist rock move­ment focused main­ly in the Pacif­ic North­west, around the same time as grunge.

Wolfe and Neu­man, joined by Erin Smith, formed Brat­mo­bile in 1991. K Records founder Calvin John­son had asked them to play sup­port for Biki­ni Kill, and out of necessity—Wolfe first admit­ted they were a “fake band”—they grabbed rehearsal space and became a “real” band on the spot. “Some­thing in me clicked,” Wolfe said. “Like, okay, if most boy punk rock bands just lis­ten to the Ramones and that’s how they write their songs, then we’ll do the oppo­site and I won’t lis­ten to any Ramones and that way we’ll sound dif­fer­ent.”

The bur­geon­ing scene need­ed a man­i­festo, and it got one in “Biki­ni Kill” issue #2. The Riot Grrrl Man­i­festo staked out a space that was against “racism, able-bod­ieism, ageism, speciesism, clas­sism, thin­ism, sex­ism, anti-semi­tism and het­ero­sex­ism” as well as “cap­i­tal­ism in all its forms.” It ends with: “BECAUSE I believe with my whole­heart­mind­body that girls con­sti­tute a rev­o­lu­tion­ary soul force that can, and will change the world for real.”

The man­i­festo (and the very healthy Pacif­ic North­west live scene) spawned a move­ment, even bring­ing with it bands that had been around pre­vi­ous­ly, like L7. Riot Grrrl set out to ele­vate women’s voic­es and music, with­out capit­u­lat­ing to male stan­dards, and return to the DIY and col­lec­tive ener­gy of the ear­ly punk scene. It also brought fem­i­nist the­o­ry out of the col­leges and onto the stage, and with it queer the­o­ry and dia­log about trau­ma, rape, and abuse—everything main­stream cul­ture would rather not talk about. Like the orig­i­nal punk scene in the 1970s, it burned bright­ly and flamed out. But it inspired gen­er­a­tions of bands, from Sleater-Kin­ney to White Lung, as well as non-rock music like the Elec­tro­clash move­ment.

Read a zine from the time, or lis­ten to the lyrics of Riot Grrrl bands and you will hear the same dis­course, and rec­og­nize the same tac­tics, as today. In some ways it feels even more rad­i­cal now-—that hum­ble, pho­to­copied zines could affect a whole scene and not be atom­ized by social media.

To delve deep­er, check out the New York Times’ Riot Grrl Essen­tial Lis­ten­ing Guide.

Relat­ed Con­tent:

All 80 Issues of the Influ­en­tial Zine Punk Plan­et Are Now Online & Ready for Down­load at the Inter­net Archive

Down­load 834 Rad­i­cal Zines From a Rev­o­lu­tion­ary Online Archive: Glob­al­iza­tion, Punk Music, the Indus­tri­al Prison Com­plex & More

How Nirvana’s Icon­ic “Smells Like Teen Spir­it” Came to Be: An Ani­mat­ed Video Nar­rat­ed by T‑Bone Bur­nett Tells the True Sto­ry

33 Songs That Doc­u­ment the His­to­ry of Fem­i­nist Punk (1975–2015): A Playlist Curat­ed by Pitch­fork

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

The Great Courses Is Now Running a Big Spring Warehouse Clearance Sale

FYI: The Great Cours­es (for­mer­ly The Teach­ing Com­pa­ny) is run­ning its Spring Ware­house Clear­ance Sale, offer­ing a steep dis­count on a good num­ber of its cours­es. If you’re not famil­iar with it, the Great Cours­es pro­vides a very nice ser­vice. They trav­el across the U.S., record­ing great pro­fes­sors lec­tur­ing on great top­ics that will appeal to any life­long learn­er. They then make the cours­es avail­able to cus­tomers in dif­fer­ent for­mats (DVD, Video & Audio Down­loads, etc.). The cours­es are very pol­ished and com­plete, and they can be quite rea­son­ably priced, espe­cial­ly when they’re on sale, as they are today. Click here to explore the offer. The Spring Ware­house Clear­ance Sale ends on March 10.

Note: The Great Cours­es is a part­ner with Open Cul­ture. So if you pur­chase a course, it ben­e­fits not just you and Great Cours­es. It ben­e­fits Open Cul­ture too. So con­sid­er it win-win-win.

by | Permalink | Make a Comment ( 1 ) |

Nietzsche’s 10 Rules for Writing with Style

The life of Russ­ian-born poet, nov­el­ist, crit­ic, and first female psy­chol­o­gist Lou Andreas-Salomé has pro­vid­ed fod­der for both sala­cious spec­u­la­tion and intel­lec­tu­al dra­ma in film and on the page for the amount of roman­tic atten­tion she attract­ed from Euro­pean intel­lec­tu­als like philoso­pher Paul Rée, poet Ranier Maria Rilke, and Friedrich Niet­zsche. Emo­tion­al­ly intense Niet­zsche became infat­u­at­ed with Salomé, pro­posed mar­riage, and, when she declined, broke off their rela­tion­ship in abrupt Niet­zschean fash­ion.

For her part, Salomé so val­ued these friend­ships she made a pro­pos­al of her own: that she, Niet­zsche and Rée, writes D.A. Bar­ry at 3:AM Mag­a­zine, “live togeth­er in a celi­bate house­hold where they might dis­cuss phi­los­o­phy, lit­er­a­ture and art.” The idea scan­dal­ized Nietzsche’s sis­ter and his social cir­cle and may have con­tributed to the “pas­sion­ate crit­i­cism” Salomé’s 1894 bio­graph­i­cal study, Friedrich Niet­zsche: The Man and His Works, received. The “much maligned” work deserves a reap­praisal, Bar­ry argues, as “a psy­cho­log­i­cal por­trait.”

In Niet­zsche, Salomé wrote, we see “sor­row­ful ail­ing and tri­umphal recov­ery, incan­des­cent intox­i­ca­tion and cool con­scious­ness. One sens­es here the close entwin­ing of mutu­al con­tra­dic­tions; one sens­es the over­flow­ing and vol­un­tary plunge of over-stim­u­lat­ed and tensed ener­gies into chaos, dark­ness and ter­ror, and then an ascend­ing urge toward the light and most ten­der moments.” We might see this pas­sage as charged by the remem­brance of a friend, with whom she once “climbed Monte Sacro,” she claimed, in 1882, “where he told her of the con­cept of the Eter­nal Recur­rence ‘in a qui­et voice with all the signs of deep­est hor­ror.’”

We should also, per­haps pri­mar­i­ly, see Salomé’s impres­sions as an effect of Nietzsche’s tur­bu­lent prose, reach­ing its apoth­e­o­sis in his exper­i­men­tal­ly philo­soph­i­cal nov­el, Thus Spake Zarathus­tra. As a the­o­rist of the embod­i­ment of ideas, of their inex­tri­ca­ble rela­tion to the phys­i­cal and the social, Niet­zsche had some very spe­cif­ic ideas about lit­er­ary style, which he com­mu­ni­cat­ed to Salomé in an 1882 note titled “Toward the Teach­ing of Style.” Well before writ­ers began issu­ing “sim­i­lar sets of com­mand­ments,” writes Maria Popo­va at Brain Pick­ings, Niet­zsche “set down ten styl­is­tic rules of writ­ing,” which you can find, in their orig­i­nal list form, below.

1. Of prime neces­si­ty is life: a style should live.

2. Style should be suit­ed to the spe­cif­ic per­son with whom you wish to com­mu­ni­cate. (The law of mutu­al rela­tion.)

3. First, one must deter­mine pre­cise­ly “what-and-what do I wish to say and present,” before you may write. Writ­ing must be mim­ic­ry.

4. Since the writer lacks many of the speaker’s means, he must in gen­er­al have for his mod­el a very expres­sive kind of pre­sen­ta­tion of neces­si­ty, the writ­ten copy will appear much paler.

5. The rich­ness of life reveals itself through a rich­ness of ges­tures. One must learn to feel every­thing — the length and retard­ing of sen­tences, inter­punc­tu­a­tions, the choice of words, the paus­ing, the sequence of argu­ments — like ges­tures.

6. Be care­ful with peri­ods! Only those peo­ple who also have long dura­tion of breath while speak­ing are enti­tled to peri­ods. With most peo­ple, the peri­od is a mat­ter of affec­ta­tion.

7. Style ought to prove that one believes in an idea; not only that one thinks it but also feels it.

8. The more abstract a truth which one wish­es to teach, the more one must first entice the sens­es.

9. Strat­e­gy on the part of the good writer of prose con­sists of choos­ing his means for step­ping close to poet­ry but nev­er step­ping into it.

10. It is not good man­ners or clever to deprive one’s read­er of the most obvi­ous objec­tions. It is very good man­ners and very clever to leave it to one’s read­er alone to pro­nounce the ulti­mate quin­tes­sence of our wis­dom.

As with all such pre­scrip­tions, we are free to take or leave these rules as we see fit. But we should not ignore them. While Nietzsche’s per­spec­tivism has been (mis)interpreted as wan­ton sub­jec­tiv­i­ty, his ven­er­a­tion for antiq­ui­ty places a high val­ue on for­mal con­straints. His prose, we might say, resides in that ten­sion between Dionysian aban­don and Apol­lon­ian cool, and his rules address what lib­er­al arts pro­fes­sors once called the Triv­i­um: gram­mar, rhetoric, and log­ic: the three sup­ports of mov­ing, expres­sive, per­sua­sive writ­ing.

Salomé was so impressed with these apho­ris­tic rules that she includ­ed them in her biog­ra­phy, remark­ing, “to exam­ine Nietzsche’s style for caus­es and con­di­tions means far more than exam­in­ing the mere form in which his ideas are expressed; rather, it means that we can lis­ten to his inner sound­ings.” Isn’t this what great writ­ing should feel like?

Salomé wrote in her study that “Niet­zsche not only mas­tered lan­guage but also tran­scend­ed its inad­e­qua­cies.” (As Niet­zsche him­self com­ment­ed in 1886, notes Hugo Dro­chon, he need­ed to invent “a lan­guage of my very own.”) Nietzsche’s bold-yet-dis­ci­plined writ­ing found a com­ple­ment in Salomé’s bold­ly keen analy­sis. From her we can also per­haps glean anoth­er prin­ci­ple: “No mat­ter how calum­nious the pub­lic attacks on her,” writes Bar­ry, “par­tic­u­lar­ly from [his sis­ter] Elis­a­beth Förster-Niet­zsche dur­ing the Nazi peri­od in Ger­many, Salomé did not respond to them.”

Note: An ear­li­er ver­sion of this post appeared on our site in Decem­ber 2016.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book and BlueSky.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

The Dai­ly Habits of High­ly Pro­duc­tive Philoso­phers: Niet­zsche, Marx & Immanuel Kant

Wal­ter Kaufmann’s Clas­sic Lec­tures on Niet­zsche, Kierkegaard and Sartre (1960)

Writ­ing Tips by Hen­ry Miller, Elmore Leonard, Mar­garet Atwood, Neil Gaiman & George Orwell

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

by | Permalink | Make a Comment ( 3 ) |

How Insulated Glass Changed Architecture: An Introduction to the Technological Breakthrough That Changed How We Live and How Our Buildings Work

When we think of a “mid­cen­tu­ry mod­ern” home, we think of glass walls. In part, this has to do with the post-World War II decades’ pro­mo­tion of the south­ern Cal­i­for­nia-style indoor-out­door sub­ur­ban lifestyle. But busi­ness and cul­ture are down­stream of tech­nol­o­gy, and, in this spe­cif­ic case, the tech­nol­o­gy known as insu­lat­ed glass. Its devel­op­ment solved the prob­lem of glass win­dows that had dogged archi­tec­ture since at least the sec­ond cen­tu­ry: they let in light, but even more so cold and heat. Only in the 1930s did a refrig­er­a­tion engi­neer fig­ure out how to make win­dows with not one but two panes of glass and an insu­lat­ing lay­er of air between them. Its trade name: Ther­mopane.

First man­u­fac­tured by the Libbey-Owens-Ford glass com­pa­ny, “Ther­mopane changed the pos­si­bil­i­ties for archi­tects,” says Vox’s Phil Edwards in the video above, “How Insu­lat­ed Glass Changed Archi­tec­ture.” In it he speaks with archi­tec­tur­al his­to­ri­an Thomas Leslie, who says that “by the 1960s, if you’re putting a big win­dow into any res­i­den­tial or office build­ing” in all but the most tem­per­ate cli­mates, you were using insu­lat­ed glass “almost by default.”

Com­pet­ing glass man­u­fac­tur­ers intro­duced a host of vari­a­tions on and inno­va­tions in not just the tech­nol­o­gy but the mar­ket­ing as well: “No home is tru­ly mod­ern with­out TWINDOW,” declared one brand’s mag­a­zine adver­tise­ment.

The asso­ci­at­ed imagery, says Leslie, was “always a slid­ing glass door look­ing out onto a very ver­dant land­scape,” which promised “a way of con­nect­ing your inside world and your out­side world” (as well as “being able to see all of your stuff”). But the new pos­si­bil­i­ty of “walls of glass” made for an even more vis­i­ble change in com­mer­cial archi­tec­ture, being the sine qua non of the smooth­ly reflec­tive sky­scrap­ers that rise from every Amer­i­can down­town. Today, of course, we can see 80, 900, 100 floors of sheer glass stacked up in cities all over the world, shim­mer­ing dec­la­ra­tions of mem­ber­ship among the devel­oped nations. Those slid­ing glass doors, by the same token, once announced an Amer­i­can fam­i­ly’s arrival into the pros­per­ous mid­dle class — and now, more than half a cen­tu­ry lat­er, still look like the height of moder­ni­ty.

Relat­ed con­tent:

Why Do Peo­ple Hate Mod­ern Archi­tec­ture?: A Video Essay

How the Rad­i­cal Build­ings of the Bauhaus Rev­o­lu­tion­ized Archi­tec­ture: A Short Intro­duc­tion

The Sur­pris­ing Rea­son Why Chi­na­towns World­wide Share the Same Aes­thet­ic, and How It All Start­ed with the 1906 San Fran­cis­co Earth­quake

Tony Hawk & Archi­tec­tur­al His­to­ri­an Iain Bor­den Tell the Sto­ry of How Skate­board­ing Found a New Use for Cities & Archi­tec­ture

Why Europe Has So Few Sky­scrap­ers

A Glass Floor in a Dublin Gro­cery Store Lets Shop­pers Look Down & Explore Medieval Ruins

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

That Time When the Mediterranean Sea Dried Up & Disappeared: Animations Show How It Happened

We hear a great deal today about the poten­tial caus­es of ris­ing sea lev­els. At a cer­tain point, nat­ur­al curios­i­ty brings out the oppo­site ques­tion: what caus­es sea lev­els to fall? And for that mat­ter, can a body of water so large sim­ply van­ish entire­ly? Such a thing did hap­pen once, accord­ing to the PBS Eons video above. The sto­ry begins, from our per­spec­tive, with the dis­cov­ery about a decade ago of a giant rab­bit — or rather of the bones of a giant rab­bit, one “up to six times heav­ier than your aver­age cot­ton­tail” that “almost cer­tain­ly could­n’t hop.” This odd, long-gone spec­i­men was dubbed Nurala­gus rex: “the rab­bit king of Minor­ca,” the mod­ern-day island it ruled from about five mil­lion to three mil­lion years ago.

After liv­ing for long peri­ods of time on islands with­out nat­ur­al preda­tors, cer­tain species take on unusu­al pro­por­tions. “But how did the nor­mal-size ances­tor of Nurala­gus make it onto a Mediter­ranean island in the first place?” The answer is that Minor­ca was­n’t always an island. In fact, “mega-deposits” of salt under the floor of the Mediter­ranean sug­gest that, “at one point in his­to­ry, the Mediter­ranean Sea must have evap­o­rat­ed.” As often in our inves­ti­ga­tion of the nat­ur­al world, one strange big ques­tion leads to anoth­er even stranger and big­ger one. Geol­o­gists’ long and com­plex project of address­ing it has led them to posit a for­bid­ding-sound­ing event called the Messin­ian Salin­i­ty Cri­sis, or MSC.

MSC-explain­ing the­o­ries include a “glob­al cool­ing event” six mil­lion years ago whose cre­ation of glac­i­ers would have reduced the flow of water into the Mediter­ranean, and “tec­ton­ic events” that could have blocked off what we now know as the Strait of Gibral­tar. But the cause now best sup­port­ed by evi­dence involves a com­bi­na­tion of shifts in the Earth­’s crust and changes in its cli­mate — six­teen full cycles of them. “Dur­ing peri­ods of decreas­ing sea lev­el, the posi­tion and angle of the Earth changed with respect to the Sun, so there were peri­ods of low­er solar ener­gy, and oth­ers of high­er solar ener­gy, which increased evap­o­ra­tion rates in the Mediter­ranean. At the same time, an active­ly fold­ing and uplift­ing tec­ton­ic belt caused water input to decrease.”

The MSC seems to have last­ed for over 600,000 years. At its dri­est point, 5.6 mil­lion years ago, “exter­nal water sources were com­plete­ly cut off, and most of the water left behind in the Mediter­ranean basin was evap­o­rat­ing.” For sea crea­tures, the Mediter­ranean became unin­hab­it­able, but those that lived on dry land had a bit of a field day. These rel­a­tive­ly dry con­di­tions “allowed hip­pos, ele­phants, and oth­er megafau­na from Africa to walk and swim across the Mediter­ranean,” con­sti­tut­ing a great migra­tion that would have includ­ed the ances­tor of Nurala­gus rex. But when the sea lat­er filled back up — pos­si­bly due to a flood, as ani­mat­ed above — the rab­bit king of Minor­ca learned that, even on a geo­log­i­cal timescale, you can’t go home again.

Relat­ed con­tent:

Glob­al Warm­ing: A Free Course from UChica­go Explains Cli­mate Change

A Map Shows What Hap­pens When Our World Gets Four Degrees Warmer: The Col­orado Riv­er Dries Up, Antarc­ti­ca Urban­izes, Poly­ne­sia Van­ish­es

Why Civ­i­liza­tion Col­lapsed in 1177 BC: Watch Clas­si­cist Eric Cline’s Lec­ture That Has Already Gar­nered 5.5 Mil­lion Views

How Humans Domes­ti­cat­ed Cats (Twice)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Zoo Hires Marvin Gaye Impersonator to Help Endangered Monkeys “Get It On”

This past week­end, mon­keys resid­ing at a British zoo got a spe­cial treat. A Mar­vin Gaye imper­son­ator per­formed “Let’s Get It On” and “Sex­u­al Heal­ing,” all in an effort to help the mon­keys, well, “get it on.”

Locat­ed in Stafford, Eng­land, the Tren­tham Mon­key For­est saw the per­for­mance as a nov­el way to get their endan­gered Bar­bary macaques to pro­duce off­spring: Park Direc­tor Matt Lovatt said on the zoo’s web­site: “We thought it could be a cre­ative way to encour­age our females to show a lit­tle affec­tion to males that might not have been so lucky in love.” “Females in sea­son mate with sev­er­al males so pater­ni­ty among our fur­ry res­i­dents is nev­er known. Each birth is vital to the species with Bar­bary macaques being classed as endan­gered. Birthing sea­son occurs in late spring/early sum­mer each year, so hope­ful­ly Marvin’s done his mag­ic and we can wel­come some new babies!”

For any­one keep­ing score, Dave Largie is the singer chan­nel­ing Mar­vin.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book and BlueSky.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

via UPI

Relat­ed Con­tent 

Pianist Plays Beethoven, Bach, Chopin, Rav­el & Debussy for Blind Ele­phants in Thai­land

Footage of the Last Known Tas­man­ian Tiger Restored in Col­or (1933)

Two Mil­lion Won­drous Nature Illus­tra­tions Put Online by The Bio­di­ver­si­ty Her­itage Library

by | Permalink | Make a Comment ( 2 ) |

The Code of Charles Dickens’ Shorthand Has Been Cracked by Computer Programmers, Solving a 160-Year-Old Mystery


We can describe the writ­ing of Charles Dick­ens in many ways, but nev­er as impen­e­tra­ble. The most pop­u­lar nov­el­ist of his day, he wrote for the broad­est pos­si­ble audi­ence, seri­al­iz­ing his sto­ries in news­pa­pers before putting them between cov­ers. This hard­ly pre­vent­ed him from demon­strat­ing a mas­tery of the Eng­lish lan­guage whose mark remains detectable in our own rhetoric and lit­er­ary prose more than 150 years after his death. But Dick­ens wrote both pub­licly and pri­vate­ly, and in the case of the lat­ter he could write quite pri­vate­ly indeed: in doc­u­ments for his own eyes only, he made use of a short­hand that he called it “the devil’s hand­writ­ing,” and which has long been dev­il­ish­ly impen­e­tra­ble to schol­ars.

Dick­ens “learned a dif­fi­cult short­hand sys­tem called Brachyg­ra­phy and wrote about the expe­ri­ence in his semi-auto­bi­o­graph­i­cal nov­el, David Cop­per­field, call­ing it a ‘sav­age steno­graph­ic mys­tery,’ ” says The Dick­ens Code, a web site ded­i­cat­ed to solv­ing that mys­tery.

A for­mer court reporter, “Dick­ens used short­hand through­out his life but while he was using the sys­tem, he was also chang­ing it. So the hooks, lines, cir­cles and squig­gles on the page are very hard to deci­pher.” The Dick­ens Code project thus offered up t0 any­one who could tran­scribe his short­hand a sum of 300 British pounds — which might not sound like much, but imag­ine how grand a sum it would have been in Dick­ens’ day.

Besides, the inter­net’s cryp­tog­ra­phy enthu­si­asts hard­ly require much of an incen­tive to get to work on such a long-uncracked code as this. “The win­ner of the com­pe­ti­tion, Shane Bag­gs, a com­put­er tech­ni­cal sup­port spe­cial­ist from San Jose, Calif., had nev­er read a Dick­ens nov­el before,” writes the New York Times’ Jen­ny Gross. “Mr. Bag­gs, who spent about six months work­ing on the text, most­ly after work, said that he first heard about the com­pe­ti­tion through a group on Red­dit ded­i­cat­ed to crack­ing codes and find­ing hid­den mes­sages.”

The doc­u­ment being decod­ed is a copy of a let­ter from 1859, the year Dick­ens was seri­al­iz­ing A Tale of Two Cities. Writ­ing to Times of Lon­don edi­tor John Thad­deus Delane, “Dick­ens says that a clerk at the news­pa­per was wrong to reject an adver­tise­ment he want­ed in the paper, pro­mot­ing a new lit­er­ary pub­li­ca­tion, and asks again for it to run,” report Gross. This seem­ing­ly triv­ial inci­dent inspires the kind of “strong, direct lan­guage in the 19th cen­tu­ry that showed the writer was angry.” Though 70 per­cent of this deco­rous­ly bad-tem­pered let­ter has now been deci­phered, The Dick­ens Code still has work to do and con­tin­ues to enlist help from vol­un­teers to do it, albeit with­out the prize mon­ey that is now pre­sum­ably in Bag­gs’ pos­ses­sion. Let’s hope he uses it on the hand­somest pos­si­ble set of Dick­ens’ col­lect­ed works.

Relat­ed con­tent:

An Ani­mat­ed Intro­duc­tion to Charles Dick­ens’ Life & Lit­er­ary Works

The Writ­ing Sys­tem of the Cryp­tic Voyn­ich Man­u­script Explained: British Researcher May Have Final­ly Cracked the Code

Stream a 24 Hour Playlist of Charles Dick­ens Sto­ries, Fea­tur­ing Clas­sic Record­ings by Lau­rence Olivi­er, Orson Welles & More

Why Did Leonar­do da Vin­ci Write Back­wards? A Look Into the Ulti­mate Renais­sance Man’s “Mir­ror Writ­ing”

Alice in Won­der­land, Ham­let, and A Christ­mas Car­ol Writ­ten in Short­hand (Cir­ca 1919)

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

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.


  • Great Lectures

  • Sign up for Newsletter

  • About Us

    Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between.


    Advertise With Us

  • Archives

  • Search

  • Quantcast
    Open Culture was founded by Dan Colman.