Posts Tagged ‘classics’
“Man towers above the rest of creation so long as he realizes his own nature, and when he forgets it, he sinks lower than the beasts”*…
The estimable Jill Lepore on her strategy for coping during the “First 100 Days”…
On the twentieth of January, the year of our Lord 2025, Donald Trump’s one hundred days began.
Thank you. Thank you very much, everybody. (Applause.) Wow. Thank you very, very much.
I read his second Inaugural Address early the next morning in bed, curled, bent to the glow of an iPhone in dark mode, a morning ritual that always feels like sin.
From this day forward, our country will flourish and be respected again all over the world.
Then, dutifully, I scrolled through the Day One executive orders:
A full, complete and unconditional pardon . . . offenses related to events that occurred at or near the United States Capitol on January 6, 2021 . . .
. . . the privilege of United States citizenship does not automatically extend to persons born in the United States . . .
. . . establishes the Department of Government Efficiency . . .
. . . eliminate the “electric vehicle (EV) mandate” . . .
. . . directing that it officially be renamed the Gulf of America.
The Day One executive orders included—and depended on—the President’s formal, executive declarations of not one, not two, but three national emergencies: an immigration emergency, an energy emergency, and a terrorism emergency. There was also the Donald-Trump-is-President-again emergency.
I buried my phone under my pillow and closed my eyes. Blindly, I reached over to my nightstand and groped for a book. I pulled off the stack the first of the Penguin Little Black Classics, a collection of slender paperbacks that I’d been meaning to read, each as thin and sleek as my phone, bound in black, with white type on a plain cover. Dark mode.
No. 1, Giovanni Boccaccio, “Mrs Rosie and the Priest,” is described on the back cover as “bawdy tales of pimps, cuckolds, lovers and clever women from the fourteenth-century Florentine masterpiece The Decameron.” The book opened like a flower, like a hinge, like a butterfly, like a pair of hands in blessing. I turned to the first page:
I was told some time ago about a young man from Perugia called Andreuccio, the son of a certain Pietro and a horse-dealer by trade.
My heart leapt. I had found my doomscrolling methadone. With five hundred gold florins in his bag, Andreuccio set off for Naples. And I made a vow to read one volume of the Penguin Little Black Classics each morning in bed, matins, for a hundred days. Two and a half times Lent. In case of emergency, break open a book…
And read she did– each morning, before the day’s decrees, she turned to a slim book, hoping for sense, or solace… and happily for us, she kept a journal: “A Hundred Classics to Get Me Through a Hundred Days of Trump,” from @newyorker.com. (In the event of a paywall: an archived version.)
* “Indeed, the condition of human nature is just this; man towers above the rest of creation so long as he realizes his own nature, and when he forgets it, he sinks lower than the beasts. For other living things to be ignorant of themselves, is natural; but for man it is a defect.” – Boethius, The Consolation of Philosophy
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As we pursue perspective, we might recall that it was on this date in 1968 that Aretha Franklin impatrted some timeless advice: she released “Think” (which she had co-written with Ted White), the first single from her upcoming album Aretha Now. It reached No. 7 on the Billboard Hot 100, Franklin’s seventh top 10 hit in the United States and hit number 1 on the magazine’s Hot Rhythm & Blues Singles, her sixth single to top that chart.
“When you reread a classic, you do not see more in the book than you did before; you see more in you than there was before.”*…
But how do books become timeless, how do books become classics? And what relationship do they have to the best sellers and award winners of their time? Author Lincoln Michel has some thoughts…
Recently after a literary event, I was hanging out with some other writers and a conversation about older books led to a parlor game. One of us would read the titles of bestselling novels from a few decades ago and everyone else would try to guess the authors’ names. It was hard. Even with hints. We switched to National Book Award finalists, thinking we’d be more likely to remember acclaimed books than merely popular ones. We did marginally better. A couple titles were easy—your Pale Fires and The Haunting of Hill Houses—but most were not remembered. What was more surprising than the fact we couldn’t match names to (once) famous books was that many of the authors themselves were completely obscure, especially to the younger people present. We were writers and professors. If we didn’t remember these authors, who did? The conversation moved on but I think everyone came away with a reminder: literary fame is fickle and fleeting.
(Here, try it yourself. I’ll list the 6 National Book Award finalists for 1967 followed by the top 6 bestsellers of that year. NBA: The Fixer, The Embezzler, All in the Family, The Last Gentleman, A Dream of Kings, Office Politics. Bestsellers: The Arrangement, The Confessions of Nat Turner, The Chosen, Topaz, Christy, The Eighth Day. Many readers will probably know the authors of Nat Turner and perhaps The Fixer, but the others?)
I remembered this as I watched the debates about whether or not popular recent novels like Harry Potter and The Hunger Games will be read “in 100 years.” I don’t really care much about either series, but I am always a little surprised at how confident many are that what is popular now must necessarily be popular in the future. This is rarely the case. Few things endure, after all. And 100 years is quite a long time. 1924 is an almost unrecognizable world. The differences in technology, global politics, and culture are hard to grasp. This was a time period when vaudeville was still one of the most popular art forms and feature films barely even a thing. Those 100 years have seen the rise and fall of empires and much of culture move to entirely different technologies (video games, television, the internet, etc.) What will the world even look like in 100 years?
I’ll save the speculation for a science fiction novel, I suppose. But even limiting ourselves to literature, it’s simply the case that what endures has minimal correlation to either contemporaneous popularity or contemporaneous acclaim. Acclaim has a bit better track record—the names of early Pulitzer Prize winners are more familiar than the names of bestselling novels of the 1920s for example—but neither is a guarantee of anything…
… But it isn’t just some popular works that disappear. It is even the most popular ones. The Harry Potters and MCU films of yesteryear. Take Zane Grey, who was the most popular author of the most popular genre (Westerns) in his day. Grey was one of the first millionaire authors ever and his novels were adapted into over 100 films. He was so popular and prolific that even though he died in 1939 his publisher had a stockpile of manuscripts they published yearly until 1963! Almost no one reads him today.
Grey’s slip to obscurity points to one of the whims of literary fortune: genres rise and fall. Last month, I talked about how quickly the market moves in the near term—how writing toward the market often means you are writing for a market that will have moved on by the time your book comes out—and this is far more pronounced in the long run. The Western was once a dominant genre in American film, TV, and literature. Today? Not so much. There is the occasional work of course, but the Western’s prominence has been replaced by genres like superhero films and YA SFF. In 100 years, those genres may feel just as antiquated.
I could go on and on with examples of how art fades. Perhaps the most interesting question is what makes something endure. What makes a work speak through time to multiple eras and contexts? There are certainly works from 1924—100 years ago—that are read today: A Hunger Artist by Franz Kafka, Billy Budd by Herman Melville, We by Yevgeny Zamyatin, The Magic Mountain by Thomas Mann, Twenty Love Poems and a Song of Despair by Pablo Neruda, multiple books by Agatha Christie, etc. I would like to think that quality helps determine what lasts yet it is obviously more than that. Melville and Kafka, for example, both went through long periods of obscurity before being “rediscovered” decades after their deaths. They are two of my favorite writers, but I have to sadly admit it is possible they will lapse into obscurity again in the future (and perhaps be rediscovered yet again and then forgotten again and so on).
To offer a theory though, I think what lasts is almost always what has a dedicated following among one or more of the following: artists, geeks, academics, critics, and editors. “Gatekeepers” of various types, if you like. Artists play the most important role in what art endures because artists are the ones making new art. Indirectly, they popularize styles and genres and make new fans seek out older influences. Directly, artists tend to tout their influences and encourage their fans to explore them. In literature that takes the form of essays, introductions to reissues, and so forth. In music, it might be something like cover albums as in the way Nirvana’s Unplugged introduced a new generation to older bands and musicians. Academics is pretty obvious. The older books with the best sales are mostly ones that appear on syllabi. And geeks and critics are the ones who extensively explore a genre or category’s history and proselytize their favorites. Editors are the ones who actually chose the older books to republish and can champion obscure books back into the public eye…
[ Michel considers the case of H. P. Lovecraft and other horror writers, starting with Mary Shelley and Frankenstein…]
… if you want to predict what will last I think you should look to what has partisans among dedicated readers—scholars, critics, genre nerds, etc.—rather than what merely sells well with casual readers. Specialists not popularists. And then what work seems influential among younger artists, such as work that seems foundational in a certain style or subgenre. That’s might get you in the ballpark, even if you will strike out more with most swings.
Another way for a work to endure is through the randomness of popularity in another medium. Many books last simply because a film or TV adaptation is popular, although often the books are simply eclipsed. Many younger people probably don’t even realize that Jaws and The Godfather were originally popular novels. (Film/TV can also popularize things in amusingly random ways. Recently, an anime show with characters named after older Japanese writers led to a surprising revival in the sales of Osamu Dazai’s novels…. merely because he shares a name with a character.)
Lastly, I do have to acknowledge that we currently live in the “franchise era” in which the biggest works are not actually individual works by individual artists, but sprawling multimedia empires with video games, movies, TV shows, action figures, and even amusement parks attached. Perhaps this means that the rare super franchises—your James Bonds and Harry Potters and Star Warses—can never die. I’m not entirely convinced. Even this shall likely pass. Time is fleeting. The brief candles flicker, even for sprawling multibillion corporate franchises. All we can do is write what we like and read what we love, and hope others like it too either now or in the future…
On the books that are remembered, rejected, repudiated, and rediscovered: “What Lasts and (Mostly) Doesn’t Last,” from @TheLincoln.
* Clifton Fadiman
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As we contemplate the classics, we might send eerie birthday greeting to one of Michel’s examples, Mary Shelley; she was born on this date in 1797. The daughter of the political philosopher William Godwin and the philosopher and women’s rights advocate Mary Wollstonecraft, she spent much of her life editing and promoting the works of her husband, the Romantic poet and philosopher Percy Bysshe Shelley.
In 1814, Shelley eloped with then-17-year-old Mary Wollstonecraft Godwin… despite the fact that Shelley was already married. Shelley, the heir to his wealthy grandfather’s estate, had been expelled from Oxford for refusing to acknowledge authorship of a controversial essay. He eloped with his first wife, Harriet Westbrook, the daughter of a tavern owner, in 1811. But three years later, Shelley fell in love with the young Mary. Shelley and Godwin fled to Europe, marrying after Shelley’s wife committed suicide in 1816. Shelley’s inheritance did not pay all the bills, and the couple spent much of their married life abroad, fleeing Shelley’s creditors.
While living in Geneva, the Shelleys and their dear friend Lord Byron challenged each other to write a compelling ghost story. Only Mary Shelley finished hers– which she later published as Frankenstein.
Indeed, today is celebrated as Frankenstein Day.
“The gods do not visit you to remind you what you know already”*…
Or do they? As the estimable Emily Watson explains, one woman– Edith Hamilton— had a great deal to do with our acquaintance with the mythology of ancient Greece and Rome, and in a way that had as much to do with the present as the past…
The discipline of “classical” literature has long been associated with social gatekeeping. The mastery of Latin and ancient Greek—or at least enough of an acquaintance to be able to trot out a well-worn tag from Horace and prompt knowing chuckles over the brandy—has often provided a useful qualification for passing as a gentleman and keeping out the plebs (Latin for “common people”) or hoi polloi (ancient Greek for “the many”). It is understandable that George Eliot’s Maggie Tulliver eagerly whizzes through the Latin textbooks neglected by her idle brother Tom, or that Thomas Hardy’s Jude, hoping in vain to escape the obscurity of provincial poverty, slogs through his Greek dictionary until late into the night. For these fictional characters, like many of their real-life equivalents, ancient languages and literature provided the most visible bar against entry into a “higher” social class.
Even in the 20th and 21st centuries, the subject has maintained a close association with systems of exclusion based on income, education, race, and gender…
Over the past century, there have been numerous attempts to provide wider access to the supposed treasures of Greek and Roman antiquity to those once excluded from its riches. In the early 20th century, translations of ancient texts became more widely available, ranging from Gilbert Murray’s wonderfully ornate and virtuosic renditions of Euripides to Hilda Doolittle’s much starker modernist free verse. The Loeb Classical Library was founded in 1911 and featured fairly inexpensive editions of these ancient texts in their original languages, with an English translation on the facing page. These translations heralded a new age in which once-inaccessible works of classical literature became more accessible to a far wider range of people. As Virginia Woolf noted in 1917, it was the Loeb Library editions that helped make it “respectable” for the “amateur” (including female ones) to muddle through Aeschylus.
After the First World War, an ever-larger number of colleges and universities in the United States began to offer classes on ancient texts studied in translation, with no expectation that students would be able to read even a little of the originals. By the early 20th century, the study of ancient literature and history was often considered a prerequisite for understanding contemporary issues in Europe and the United States—regions that were now often lumped together under the term “the West.” The Columbia Core, the first such course in the United States, was developed in 1919 with the explicit goal of showing students the “unique features of the western world,” a world that apparently had begun in ancient Greece and that had now reached its apex in the American present.
The goal of connecting US citizens to a long, largely fabricated notion of “Western civilization” seemed increasingly urgent in the aftermath of a war that had torn the nations of Europe apart. The fantasy of a common “Western” heritage shared by white Europeans and North Americans appeared as a prophylactic against future wars, at least between those who could qualify as “Westerners.” But it also did something else. By excluding the numerous surviving ancient texts and cultural artifacts from the rest of the world, these new courses on “Western civilization” suggested that premodern “civilization” was the exclusive property of the “West”—enabling a kind of mythical/historical justification for continued domination of those peoples deemed to have come from outside this exclusive group, whether it was Black and Asian Americans in the United States or the millions still living under imperial and colonial rule in Asia and Africa.
By the 1920s, a sizable market for popular classics books and translations had emerged in the United States. A new publishing firm, W.W. Norton, decided to seize on it and signed up a recently retired Latin teacher and private school headmistress named Edith Hamilton to translate a trio of Greek tragedies and write two surveys of ancient literature, The Greek Way and The Roman Way. Published in quick succession in the 1930s, these volumes proved to be an immediate success. Along with Mythology, her retelling of the Greco-Roman legends, the books made Hamilton a household name. Mythology has never been out of print since then and has remained an extraordinary commercial success, enriching her heirs and publishers to this day. Probably no other single person has had such an impact in shaping the perceptions of classical literature and mythology in the United States for almost a century.
How did a retired Latin schoolteacher (Hamilton was 62 when The Greek Way was published), with limited formal education and almost no scholarly credentials, come to be one of the most influential “classicists” of the 20th century? Victoria Houseman’s annalistic new biography, American Classicist, does not quite see this question as the puzzle it is, in part because Houseman has so much admiration for her subject that Hamilton’s successes are largely taken for granted. But the book still makes for gripping reading, as we trace the trajectory of Hamilton’s life from her activist youth (she was a member of the Baltimore Equal Suffrage League), through her various travels in Europe and Asia, her health troubles (she was a breast cancer survivor), her fascinating romantic partnerships with other women, to her second career as a popularizer of the ancient world and as a public intellectual who became closely associated with wealthy and powerful conservative groups in the US…
Read on for more of Hamilton’s remarkable– and cautionary– story: “Ancient Worlds,” from @EmilyRCWilson (@emilyrcwilson.bsky.social) in @thenation.
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As we contemplate classics, we might send aquatic birthday greetings to Squidward Tentacles; today is his (fictional) birthday. A main characters of the SpongeBob SquarePants franchise, he is SpongeBob’s and Patrick’s grumpy neighbor and the former’s coworker at the Krusty Krab who lives in an Easter Island head. He is a mostly unpleasant artist and musician, and his favorite hobbies are painting self-portraits and playing the clarinet.
Though Squidward’s name contains the word “squid,” he is an octopus.
“The Greek temple is the creation, par excellence, of mind and spirit in equilibrium”*…
Edmund Stewart outlines the requirements for building a Greek temple…
If, like me, you have ever wondered what goes into building a Greek temple, then fear not: I here present a list of everything you will need. Admittedly, when compared with the wonders made possible by Roman concrete or a mediaeval gothic arch, the hundreds of temples scattered across the Greek world may perhaps look a bit small. Yet they are certainly elegant, sometimes with a slender beauty typical of the Ionic order, or else the sturdy grandeur of the Doric. And, when examined closely, the process of building one may quickly become worryingly complex…
Indeed, as The Browser observes, it’s a challenge…
In brief: [one would need] quite a lot. An architect, obviously, though architects were relatively cheap in ancient Greece; ships to bring in the marble; a hundred slaves for heavy lifting; a dozen carpenters; six craftsmen per column to dress the facade; sculptors and painters for the ornamentation; a door-maker; and do be sure to order your floor-tiles well ahead of time, they may take two years to arrive..
A fascinating and entertaining read: “What You Need to Build a Greek Temple,” in @AntigoneJournal, via @TheBrowser.
* Edith Hamilton
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As we contemplate construction, we might send carefully-excavated birthday greetings to Charles Thomas Newton; he was born on this date in 1816. An archaeologist, he excavated sites in southwestern Turkey and disinterred the remains of one of the seven wonders of the ancient world, the Mausoleum of Halicarnassus (at present-day Bodrum, Turkey). Newton joined staff of British Museum in 1840, where he helped to establish systematic methods for archaeology and ultimately became its first keeper (curator) of Greek and Roman antiquities.
“Your library teacher would say, ‘What happens to a generation that doesn’t read the Classics?’ Me, I’m not your library teacher. But I have some of the same questions and concerns, you know?”*…
A logistical note to those readers who subscribe by email: Google is discontinuing the Feedburner email service that (Roughly) Daily has used since its inception; so email will now be going via Mailchimp. That should be relatively seamless– no re-subscription required– but there may be a day or two of duplicate emails, as I’m not sure how quickly changes take effect at Feedburner. If so, my apologies. For those who don’t get (Roughly) Daily in their inboxes but would like to, the sign-up box is to the right… it’s quick, painless, and can, if you change your mind, be terminated with a click. And now, to today’s business…
My Atlantic colleague John McWhorter and I must have received the same high-frequency language-nerd alert, audible only to the types of people whose idea of fun is Esperanto grammar. We both recently learned that Princeton’s classics department had ceased requiring its students to study Latin and Greek, and we reacted in predictable horror. A classics department without Latin and Greek is like a math department without multiplication and division, or an art department without paint. More than a thousand years ago, the monk Ælfric prefaced his Latin Grammar by saying it was “the key that unlocks the understanding of books.” I had a vision of a new generation of Princeton classicists, sniffing and thwacking at padlocked volumes of Thucydides or Cicero with looks of total incomprehension, like Ben Stiller and Owen Wilson trying to get the files “in the computer” in Zoolander.
But then I remembered my own language training, and I’ve come around to Princeton’s point of view. My classical education started, oddly enough, just like Owen Wilson’s. We attended the same private school about a decade apart, and like all students, we were subjected to a mandatory year of Latin. (After that requirement was abolished, Wilson and his co-screenwriter Wes Anderson made the film Rushmore, in which the nixing of Latin from a prep-school curriculum is a plot point.) We had the same teacher, who told me that Wilson was one of the worst students he’d ever taught. I took another five years of Latin, plus four of Greek, while Wilson went off to find his fortune in Hollywood. I think even Ælfric would agree he got the better end of that deal…
Saving classics from oblivion? Graeme Wood (@gcaw) ponders the news: “Princeton Dumbs Down Classics.”
* poet and rapper Saul Williams
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As we decline to decline, lest we decline, we might recall that today– and every June 16– is Bloomsday, a commemoration and celebration of the life of Irish writer James Joyce, during which the events of his novel Ulysses (a modern classic set on this date in 1904) are relived: Leopold Bloom goes about Dublin, James Joyce’s immortalization of his first outing with Nora Barnacle, the woman who would eventually become his wife.
The first Bloomsday was observed on the 50th anniversary of the events in the novel, in 1954, when John Ryan (artist, critic, publican and founder of Envoy magazine) and the novelist Brian O’Nolan organized what was to be a daylong pilgrimage along the Ulysses route. They were joined by Patrick Kavanagh, Anthony Cronin, Tom Joyce (a dentist who, as Joyce’s cousin, represented the family interest), and AJ Leventhal (a lecturer in French at Trinity College, Dublin).
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