16 May 2013
Noam Chomsky and Propaganda
Noam Chomsky at the British Library, 2013 © Ander McIntyre
Ander McIntyre is a photographer and a Fellow at the Eccles Centre for American Studies at the British Library. He is an occasional contributor to this blog:
A portrait of Noam Chomsky just before he delivered a lecture at the British Library on 19 March this year, as part of the series of events under the banner of the Library's new exhibition Propaganda: Power and Persuasion.
In 1988, Professor Chomsky wrote, in Language and Problems of Knowledge: The Managua Lectures (MIT Press),
Work of true aesthetic value follows canons and principles that are only in part subject to human choice; in part, they reflect our fundamental nature. The result is that we can experience deep emotion - pleasure, pain, excitement, and so on - from certain creative work, though how and why remains largely unknown. But the very capacities of mind that open these possibilities to us exclude other possibilities forever. The limits of artistic creativity should, again, be a matter of joy, not sorrow, because they follow from the fact that there is a rich domain of aesthetic experience to which we have access.
A film of Chomsky's conversation at the Library with Jonathan Freedland is on our YouTube channel.
[A.M.]
06 December 2012
The Aura of the Object: Jack Kerouac's manuscript scroll
It won’t be too long before Jim ‘Keeper of the scroll’ returns to roll up On the Road and take it back home to Indiana. I’ve no idea how many visitors have come to see it while it’s been on display at the Library but it’s A LOT. And it’s been a real pleasure to see so many people, of all ages, carefully scrutinising the scroll.
When he was over in October, Jim told me that the scroll had recently been scanned -once he had managed to source a big enough scanner! This was an important step for the future preservation of the manuscript and is a demonstration of the careful stewardship of its owner. But scanning had also enabled Jim to locate particular passages more easily and to generally become even more familiar with the scroll, whilst also reducing wear and tear at the same time.
Digitisation is, of course, great – I love the way that we’re starting to open up our collections and make them more accessible, particularly to those who will never get the chance to come here to use them. But, to state the obvious, digitisation doesn’t make the original redundant. It can make something more accessible (both in terms of audience and also in revealing ‘hidden’ content); it can help preserve a frail or incredibly valuable original; and we’re only really just beginning to get our heads round the potential of digitisation for new modes of scholarship and research. But never underestimate the power of the object.
When Jim started to unroll the scroll in its specially built case, I was surprised at the wave of emotion that hit me. It’s a really amazing textual object, and for a moment I felt like I was in that apartment in Chelsea, standing at the shoulder of Kerouac and watching him pound the keys of his typewriter in that manic burst of creativity.
For someone who really only cared about being considered as a writer but who was destined to be forever burdened with the tag of King of the Beats during his short life, Kerouac couldn’t have imagined in his wildest dreams that thousands of people would take the time to come to look at his manuscript, - not only here, but in numerous exhibitions across the U.S. and Europe (and by the way, let’s hear it for the owner of the Indianapolis Colts, also owner of the scroll, who has allowed it to travel and not kept it locked in a private vault). So, whatever the wonders that digitisation can bring us, would getting up close to a digital version of the scroll bring a lump to my throat and a tear to my eye? I doubt it. You only have until 27 December to come and see it for yourself.
http://www.bl.uk/whatson/exhibitions/kerouac/index.html
[C.H.]
09 October 2012
Three weeks, fuelled by coffee: Jack Kerouac's On the Road scroll
So did Kerouac really write the scroll in 3 weeks? Well, the answer is both yes - and no. And that’s not a cop out – it’s really quite complicated!
I don’t think there’s any doubt that the scroll was indeed typed over 3 weeks in April 1951. But did Kerouac just sit down at the typewriter and the story suddenly came to him? No, definitely not. He’d had the idea for a road novel for a long time – years, from his own first solitary road trip in July 1947 in fact. In a journal entry from August 1948 he wrote, “I have another novel in mind – ‘On the Road’ – which I keep thinking about: - about two guys hitch-hiking to California in search of something they don’t really find, and losing themselves on the road, and coming all the way back hopeful of something else. Also, I’m finding a new principle of writing.” The last sentence is particularly significant, referring to Kerouac’s desire to find his ‘own voice,’ to get away from the standard prose of his first novel The Town and the City, and to find a new, more immediate and authentic way of expressing experience – the style that was to become known as ‘spontaneous prose.’
As early as autumn 1948 Kerouac had completed the first draft of a road novel he later referred to as ‘Ray Smith,’ (a name he subsequently gave to the narrator of Dharma Bums, - a character based on himself). And this is just one of numerous road drafts of varying lengths that can be found in Kerouac’s archive at the New York Public Library. Elements of some of those drafts would eventually become part of On the Road, whilst others ended up in other novels (e.g. Pic).
Kerouac’s journals covering 1949/50 document his later road trip with Neal Cassady, Luanne Henderson and Al Hinkle, and demonstrate how he was constantly writing about what he was seeing and feeling. In fact, one of the things that struck me when I started reading about Kerouac is that anyone who knew him would inevitably say at some point that he was always writing, - always scribbling in notebooks and journals (if you check out some of the images of him in the exhibition, you will spot notebooks poking out of his pockets). Not only was he a very disciplined writer, but he was also very methodical – the perfect self archivist in fact. And the writing of drafts and notes was clearly an essential part of the creative process for Kerouac – his way of exploring both himself and his friends.
Something else that also always pops up when you read about Kerouac is that everyone remarks on the fact that he had a phenomenal memory. And that’s the final point to add before going back to that Chelsea apartment in April 1951. So, various drafts, chapter outlines, ‘cast of characters’ already exist, Kerouac is sitting at the typewriter with his coffee (and ok, maybe Benzhedrine too), and, in a truly extraordinary burst of creativity, everything comes exploding out of his head on to that scroll over the next 3 weeks.
Many more drafts were to follow of course, and the title of the novel would also go through many variations, including, for example, The Beat Generation (in 1955/56), but it would return to On the Road at the insistence of Viking’s editor, Matthew Cowley.
And that’s the short version. If you want to read more on the complex story of all the pre and post scroll drafts, I would recommend Isaac Gewirtz’s excellent (and beautifully written) Beatific Soul: Jack Kerouac On the Road, which was published to accompany the exhibition of the same title at New York Public library in 2007.
On the Road: Jack Kerouac's manuscript scroll is on at the British Library until 27 December.
[C.H.]
06 October 2012
On the Road: scroll versus book
I've enjoyed doing the research for our On the Road exhibition over the past couple of months, but inevitably, a lot of that research didn't make it in to the exhibition. The scroll is the star and we didn't want to spoil your viewing of it by cramming too much in to the gallery. As I've already mentioned on the blog, we decided instead to include just a few books and focus on our great sound holdings. But we had very little space for words too; some topics fell out completely, or we were able to just briefly allude to others. So, over the next few months, while the scroll is still in residence with us, Matt and I will be blogging about some of the things that got left out.
One of the questions that has already come up a lot concerns the differences between the scroll and the published novel. Well, you could write a book on the subject, but I thought I'd add a few more details to the limited panel and label text, even though I'm still presenting a very simplified view. Essentially, you can put the differences in to at least 4 categories, 3 of which are down to the publishers.
Viking's main concerns had to do with the obscenity and libel laws of the times. In 1956, just the year before publication of On the Road, Lawrence Ferlinghetti had found himself involved in a long court case when copies of Allen Ginsberg's Howl (published by Ferlinghetti's City Lights Books publishing house) were seized for obscenity by U.S. Customs. Viking were anxious to avoid the same fate, so Kerouac was obliged to tone down or take out the more explicit language and sex. On top of that, he had used real names in the scroll, and Viking were worried that anyone who took exception to the way they had been portrayed might sue. So for the novel, Ginsberg becomes Carlo Marx, Neal Cassady is Dean Moriarty and so on.
The other category of enforced changes involves the publisher's attempts to deal with Kerouac's 'spontaneous prose.' It's a myth that he used no punctuation, but there aren't standard paragraphs or chapters, a lot of his sentences are LONG, and clearly the style was an issue for Viking (though I can't help think, why publish then?). If I remember correctly, Kerouac wasn't even sent a final set of proofs so he didn't know just how much unsympathetic editors had hacked his sentences until after publication. No wonder he was annoyed!
But the final category is the changes that Kerouac made himself. By 1957 he was an older, more experienced writer and it's unsurprising that he would want to make revisions which he thought improved on the original. In fact, even on the scroll you can see where he's already started to make changes. And the subject of Kerouac's numerous drafts for the novel, both pre and post scroll, is a whole new can of worms which will have to wait for another blog.
On the Road: Jack Kerouac's Manuscript Scroll is on at the British Library until December 27.
[C.H.]
03 October 2012
David Amram, Then and Now
A beat moment this morning: at the press preview of our On the Road exhibition, David Amram - the composer and musician - spotted a younger version of himself, as he helped with the film Pull My Daisy (1959). Kerouac can also be just about seen in the photo on the left. The exhibition opens tomorrow (Thursday, 4 Oct.)
[M.S.]
25 September 2012
Waiting for the scroll: On the Road is coming
It’s been a busy month for all of Team Americas, with much of my and Matt’s time in particular taken up with activities relating to our forthcoming exhibition On the Road: Jack Kerouac's manuscript scroll. Yes, we’re excited at the prospect of the arrival next week of Jim ('keeper of the scroll') with the typed manuscript, which will exhibited from 4 October until 27 December in our newly re-launched Folio Society Gallery in the Library's Front Hall.
The scroll will be taking centre stage in a specially designed 16 metre case so we decided that the accompanying BL material should focus on our sound recordings and Steve has put together a great ‘soundtrack’ to the scroll and the Beat Generation. You will be able to hear several contributions from Kerouac, including an excerpt of On the Road, jazz recordings which echo references in the novel, plus Allen Ginsberg reads Howl, and there are contributions by William Burroughs, Herbert Huncke, Joyce Johnson, Carolyn Cassady et al. Oh, and there’s Neal Cassady reading Proust too!
And the exhibition should look great, thanks to Fiona’s design and the generosity of Carolyn Cassady, the Allen Ginsberg Estate and the Kerouac Estate in letting us reproduce some wonderful images. So, schedule your visit now. The exhibition is free and there’s also an excellent events programme, including a preview screening of Walter Salles’ new movie.
Regular readers of the blog will know that we’ve highlighted our sound recordings relating to the beats before, but if you’re a new reader, here’s the link to a bibliography Steve put together some years ago. We also have really strong printed collections, and here’s a bibliography of those (be warned, it’s BIG). Picking just a few of these books to put in the exhibition was very difficult so we’ve opted for the holy trinity of Kerouac, Ginsberg and Burroughs, with just a couple of others.
Apart from writing Kerouac labels, I was also involved in our Inspired by Artists’ Books event on 4 September, at which we showcased some of our wonderful artists’ books and fine press holdings (here’s Fran’s blog on the event). I suppose it was inevitable that my brain would end up connecting the 2 themes so I started to think about whether we had any beat-related books which fall in to this category. Of course we do, and I featured Bill Burroughs and David Bradshaw’s Propagation Hazard at the event. But for this blog, I’ve chosen a Kerouac title. It’s by Mark McMurray, a colleague who is Curator of Special Collections and University Archivist at St. Lawrence University, teaches courses on the history of the book and printing, and who set up his own Caliban Press in 1985 - how he finds the time I don’t know! Anyway, Mark has made a couple of jazz-related titles, small, but perfectly formed and lovingly made, and here is an image of his History of Bop by Jack Kerouac.
14 August 2012
Team Americas looks forward to a great Fall events programme
We've been feeling decidedly down in the mouth after the Olympics - we’ve all enjoyed the last couple of weeks so much that it was inevitable that things would suddenly feel a bit flat. But we’ve now perked up considerably since we find ourselves not only very busy but with a lot to look forward to over the next couple of months. Matt and Carole are wearing their Beat hats as they prepare for the arrival of Jack Kerouac’s On the Road manuscript scroll in early October - how exciting is that! And then there is the accompanying programme of events, featuring a preview screening of Walter Salles’ new film of On the Road, and an evening with Amiri Baraka to mention just two. The full programme can be found on the BL’s website under events (check under each month), and details of the exhibition will be up very soon.
In addition to supporting some of the On the Road events/exhibition, our wonderful Eccles Centre for American Studies is sponsoring a fantastic range of autumn talks, including our Summer Scholars series (featuring e.g. Naomi Wood and Sheila Rowbotham, our 2 Eccles Writers in Residence), as well as events with Liza Klaussman (who, incidentally, happens to be Herman Melville’s great-great-great granddaughter!), Andrea Wulf, and Lord Putnam to pick out just a few. And how could we forget that there happens to be a big election coming up in the U.S. in November, and we of course have that covered too. For the full range of Eccles events see http://www.bl.uk/eccles/events.html/.
And as if that wasn’t enough, we’ll be showcasing some of our artists’ books on 4 September at Inspired by Artists' Books, we have David H.Treece speaking about The Meanings of Music in Brazilian Culture for Brazil World Music Day on September 7, and we'll be celebrating Jamaican Independence on October 5th . Finally, the Olympics are still in our thoughts as we look forward not only to Rio, but to our conference Social Change and the Sporting Mega-event on November 5, organised in collaboration with our Brazilian colleagues.
Whew! Hopefully, you’ll find at least some of these events of interest and we hope to see you at the Library in the near future.
07 June 2012
Framing Canada: the work of William Notman
'Construction of the Victoria Bridge, Montreal: dredging machine', William Notman, 1858 [Shelmark: C.161.g.2]. Displayed as part of the British Library's Points of View exhibition.
Keeping my recent Quebec run going, I'm going to jump a few centuries ahead from Samuel de Champlain's work and into the realm of nineteenth century photographers; in particular, Montreal's William Notman. Notman has been cropping up quite a bit in my work recently, I used some of his photographs in the display mentioned in my last post and CBC Radio have recently posted a very good documentary about his work on their website.
Notman, for want of a better way of describing him, was one of those canny individuals with an excess of talent and a knack for being in the right place at the right time (overlooking his suspected bankruptcy in Scotland, a possible reason he settled in Montreal). His photographs were of a very high quality and his savvy for branding and promotion allowed him to develop an international reputation for himself. An example of this is his decision to create an ornate Maple box of stereoviews which was presented to the Royal Family at the opening of the Victoria Bridge, an action which would eventually allow him to call himself 'photographer to the Queen'.
'Ski Jump, Montreal', copyrighted by William Notman and Son, 1905. Part of the Library's Canadian Colonial Copyright Photographs collection [Shelfmark: HS.85/10]
The technical skill and photographic flair of Notman led to him creating some of Canada's iconic photographic images, such as 'Caribou Hunting, the Chance Shot' which is held in the Notman collection of the McCord Museum. Indeed, Notman's skill and reputation was such that by the 1860s he was known as Canada's great portrait photographer and a fixture on the British colonial traveller's list. By the time of his death in 1891 the reputation of the Notman brand was such that his descendants could maintain a successful photographic business using the family name.
The British Library has a surprising collection of Notman related photography, largely as a result his work being used to illustrate books or his successors depositing 'William Notman and Son' work for copyright deposit. As a brief illustration, 'Portraits of British Americans' is a three volume work containing many Notman photographic portraits [Shelfmark: 010803.f.1], while 'The Canadian Handbook and Tourist's Guide' by H. B. Small is illustrated by some striking Notman landscapes [Shelfmark: 10470.e.31]. Finally, the Library also holds copyright deposit photographs from William Notman and Son, with the volumes of 'Notman's Photographic Selections of Canada' containing photographs from Quebec, British Columbia and the rest of Canada [Shelfmark: Maps 8.bb.1]
[PJH]
Americas and Oceania Collections blog recent posts
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- Spring news from the Eccles Centre
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