Lit Box

To celebrate 25 years of publishing and its 74th issue, the San Francisco-based magazine McSweeney’s is offering a lunchbox packed with literary treats. Instead of a PB&J sandwich and an apple, the retro-inspired box includes sets of author cards, pencils that change meaning when sharpened, and artwork from the famed cartoonist and author of Maus, Art Spiegelman.

The artwork on the box references 20th century children’s books and illustrations rather than TV shows or superheroes. Inside of the lunchbox there’s a treasure trove ephemera, including three sets of baseball card-style author trading cards.

There are also three pencils, each featuring writing from Lydia Davis, Catherine Lacey and David Horvitz. As the pencil is sharpened and words disappear the meanings change. The lunchbox also has an anthology of writing 25 years of McSweeney’s Quarterly. 

 

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Railway Parable

Erich Kästner, Das Eisenbahngleichnis, 1931

 

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When Ray Bradbury channeled Herman Melvile

I was today years old when I learned that the iconic American Sci-Fi writer Ray Bradbury was also a Hollywood screenwriter. The Los Angeles Review of Books recently published a fascinating story on the fraught collaboration between Bradbury and the great director John Huston.

Some in Hollywood were taken aback by Huston’s screenwriting choice to bring Melville to the big screen. After all, to adapt a profoundly complex literary novel, he had given the nod to a man known for writing science fiction. Perhaps no one was more surprised by Huston’s choice than Bradbury himself. Huston had read the most recent book Bradbury had sent him, The Golden Apples of the Sun, and the lead story was all it took.

“The Fog Horn” is a tale about two lighthouse keepers who, late one November night, are paid a visit by a beast that has surfaced from the depths after hearing the lonely call of the lighthouse’s foghorn. Bradbury’s love of dinosaurs had led him to write the story, and it was this love that led Huston to believe he was the right man to adapt Moby-Dick. In reading “The Fog Horn,” Huston stated in his 1980 autobiography An Open Book, he “saw something of Melville’s elusive quality.”

Sam Weller’s piece on how Ray Bradbury came to write the screenplay for John Huston’s adaptation of Moby-Dick is an intriguing read.

Sam Weller is a two-time Bram Stoker Award–winning and best-selling biographer of Ray Bradbury. He worked with Bradbury for 12 years on The Bradbury Chronicles: The Life of Ray Bradbury (HarperPerennial, 2006) and Listen to the Echoes: The Ray Bradbury Interviews (Hat & Beard Press, 2017).

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World Without Meaning

via https://existentialcomics.com/comic/435

 

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Appetite For Solitude

Martin Amis

 

 


Martin Amis, 14 Rules for writers (2009)

 

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No Monopoly On Fun

The old fashioned board game has been making a comeback in North America, especially with Gen Z. Many attribute the renewed interest in this decidedly nondigital pastime to the Covid Pandemic. Along with the iconic games such as Monopoly and Scrabble, new examples like Wingspan are adding to the multibillion dollar business. But few gamers know about the oldest American board game:  Travellers’ Tour Through the United States, which came out more than a century ago, in 1822.

Created by the New York map company F. & R. Lockwood, the Travelers’ Tour was an imitation of earlier European geography games, a genre of educational game. These activities generally used a map for a board, and the rules involved players reciting geographic facts as they raced toward the finish.

Travelers’ Tour first appeared in 1822, making it the earliest known board game printed in the U.S. But for almost a century, another game was thought to hold that honor.

In 1894, the game manufacturer Parker Brothers acquired the rights to the Mansion of Happiness, an English game first produced in the U.S. in 1843. In its promotional materials, the company declared it “the first board game ever published in America.”

That distinction ended in 1991, when a game collector found the copy of the Travelers’ Tour in the archives of the American Antiquarian Society.

Since the Travelers’ Tour was the first board game to employ a map of the U.S., it might have been an especially interesting gift for American consumers.

It’s difficult, however, to gauge just how popular the Travelers’ Tour was in its time. No sales records are known to exist, and since so few copies remain, it likely wasn’t a big seller.

the Travelers’ Tour consists of a hand-colored map of the then-24 states and a numbered list of 139 towns and cities, ranging from New York City to New Madrid, Missouri. Beside each number is the name and description of the corresponding town.

Using a variant spelling for the device, the instructions stipulate that the game should be “performed with a Tetotum.” Small top-like devices with numbers around their sides, teetotums functioned as alternatives to dice, which were associated with immoral games of chance.

Once spun, the teetotum landed with a random side up, revealing a number. The player looked ahead that number of spaces on the map. If they could recite from memory the name of the town or city, they moved their token, or traveler, to that space. Whoever got to New Orleans first won.

Promoting the value of education, the game highlights institutions of learning. For example, Philadelphia’s “literary and benevolent institutions are numerous and respectable.” Providence boasts “Brown University, a respectable literary institution.” And Boston’s “citizens … are enterprising and liberal in the support of religious and literary institutions.”

As the game pieces meander toward New Orleans, players learn about Richmond’s “fertile backcountry” and the “polished manners and unaffected hospitality” of the citizens of Charleston. Savannah “contains many splendid edifices” and Columbia’s “South Carolina College … bids fair to be a valuable institution.”

 

 

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‘Many try to take us down, but we fight back.’

A big tip of the hat to TBTP loyal follower Will G. from the UK for reminding me about the project called Anna’s Archive. This literary anarchist site keeps popping back up even when entire nations try to drive a metaphorical stake through its heart.

Anna’s Archive is a search engine for shadow libraries created by the pseudonymous Anna. It was founded in direct response to law enforcement efforts to close down Z-Library in 2022. It describes itself as aiming to “catalog all the books in existence” and to “track humanity’s progress toward making all these books easily available in digital form”.

Anna’s Archive mirrors Library GenesisOpen LibrarySci-Hub and Z-Library, and has scraped (downloaded the entirety of) the library catalog WorldCat and the scanned book database DuXiu. Anna’s Archive claims it does not host copyrighted materials and that it only indexes metadata that is already publicly available.

As of August 18, 2024, Anna’s Archive includes 36,615,662 books and 103,196,895 papers. via Wikipedia

Among the 36,515,662 books, I found a couple of my own. Although I probably didn’t need to be reminded that my first two books sold over 100,000 copies that I barely got paid for.

 

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It’s all one thing

HYMN TO TIME
by Ursula K. Le Guin

Time says “Let there be”
every moment and instantly
there is space and the radiance
of each bright galaxy.

And eyes beholding radiance.
And the gnats’ flickering dance.
And the seas’ expanse.
And death, and chance.

Time makes room
for going and coming home
and in time’s womb
begins all ending.

Time is being and being
time, it is all one thing,
the shining, the seeing,
the dark abounding.

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What time to leave for the airport

 

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Remember, therefore, that outcasts must never be afraid.

The true artist has always had to fight, but it is, and will be, a more ferocious struggle for you, and the artists of your generation, than ever before. The working man, this time, will be better looked after, he will be flattered by the press and bribed with Beveridge schemes, because he possesses a plurality of votes. But who will care for you and your fate, who will trouble to defend the cause of the young writer, painter, sculptor, musician? And what inspiration will you be offered when theatre, ballet, concert-hall lie in ruins, and, owing to the break in training, there are no great executant artists for several decades? Above all, do not underestimate the amount and intensity of genuine ill-will that people will feel for you; not the working man, for though not highly educated he has a mild respect for the arts and no preconceived notions, not the few remaining patricians, but the vast army between, the fat middle classes and the little men. And here I must make special mention of the civil servant as enemy . . . . At the best, you will be ground down between the small but powerful authoritarian minority of art directors, museum racketeers, the chic, giggling modistes who write on art and literature, publishers, journalists and dons (who will, to do them justice, try to help you, if you will write as they tell you)—and the enormous remainder who would not mind, who would indeed be pleased, if they saw you starve. For we English are unique in that, albeit an art-producing nation, we are not an art-loving one. In the past the arts depended on a small number of very rich patrons. The enclave they formed has never been re-established. The very name ‘art-lover’ stinks . . . . The privileges you hold today, then, as an artist, are those of Ishmael, the hand of every man is against you. Remember, therefore, that outcasts must never be afraid.

George Orwell

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