Posts Tagged ‘Marginalia’
October 23, 2014 | by Dan Piepenbring
- “On a winter’s day in 1482 a scholar had an embarrassing disaster, leaving a blood-red blot of ink on the pristine page of a valuable book. He then compounded his crime by confessing, adding a note in the same red ink still legible after 532 years. On the desecrated page of the Historiae Romanae Decades, printed in Venice in 1470, he wrote: ‘Ita macula’—this stain—‘I stupidly made on the first of December 1482.’ ”
- On George Whitman, the eccentric founder of Shakespeare and Company: “He could be welcoming. He could be gruff. He could be charismatic. He could be aloof … This was, after all, a man who on occasion expressed himself by throwing books at people, sometimes affectionately, sometimes less so—a love-hate gesture, or so it sounds, not unlike Ignatz Mouse hurling bricks at an eternally besotted Krazy Kat.”
- Novelists, here is your picaresque, contemporary Bartleby: an Italian coal miner who shirked work for thirty-five years and is now collecting his pension. “I invented everything—amnesia, pains, hemorrhoids, I used to lurch around as if I was drunk. I bumped my thumb on a wall and obviously you can’t work with a swollen thumb … Other times I would rub coal dust into my eyes. I just didn’t like the work—being a miner was not the job for me.”
- Let’s trade fossil casts: “In the first part of the twentieth century, casts of fossil specimens were key to paleo sciences. Because actual fossils were too valuable and rare to ship to international researchers, casts of fossils circulated in their stead … Paleoanthropologists would offer to trade casts of ‘their’ fossils to other researchers in different areas of the world, who had different looking specimens—the casts became a social currency.”
- In praise of reading plays: “A great published script makes you understand what the play is, at its heart. Not just what a certain production was like, though it also ought to do a good job of that. It makes you understand how the play feels as a living work of art—how it sounds and behaves inside your head, a mental effort that matters more in reading a play than in reading any other kind of literature.”
July 17, 2014 | by Dan Piepenbring
- A new project, “The Archaeology of Reading in Early Modern Europe,” catalogs and digitizes marginalia from the sixteenth and seventeenth centuries. “These notes reveal a largely unvarnished history of personal reading within the early modern historical moment. They also embody an active tradition of physically mapping and personalizing knowledge upon the printed page.”
- How will Woody Allen’s latest film fare in light of the allegations leveled against him earlier this year? “Allen dismissed the possibility that lingering outrage could affect the public’s interest in Magic in the Moonlight. ‘No thoughts like that occur to me … They only occur to you guys,’ ” said Allen, who, as coincidence would have it, is referred to as a “major-league fantasist” elsewhere in this piece.
- Nathan Rabin has apologized for inventing the phrase “Manic Pixie Dream Girl”: “I’m sorry for creating this unstoppable monster. Seven years after I typed that fateful phrase, I’d like to join Kazan and Green in calling for the death of the ‘Patriarchal Lie’ of the Manic Pixie Dream Girl trope. I would welcome its erasure from public discourse.”
- The art collector George Costakis devoted his life “to unearthing masterworks of the Russian avant-garde … but his enthusiasm met with obstacles: the difficulty of tracking down the works, the neglect they had suffered, the disbelief of widows (‘What do you see in them?’). In a dacha outside Moscow he found a Constructivist masterpiece being used to close up a window; the owner wouldn’t part with it. He dashed to the city to fetch a piece of plywood the same size, ferried it back to the dacha, and swapped it for the painting.”
- “The history of punk is, above all, the story of the traumatic loss of its elusive essence: that brief moment in time when a new sensibility was beginning to coalesce … Punk died as soon as it ceased being a cult with no name.”
January 23, 2014 | by Dan Piepenbring
In college, I was excited to discover a student-produced, fly-by-night zine called “From the Margins.” I don’t know what’s more embarrassing: that I assumed it was devoted to marginalia or that I was seriously juiced about the idea. When I opened its creased, xeroxed pages, though, I found it was devoted not to literal margins but to my school’s “disenfranchised peoples,” most of whom struck me as too well-heeled to feel put out.
In any case, this month has granted my wish: it’s seen some great attention paid to margins, the kind on paper. Open Culture featured Dostoevsky’s manuscript doodles, which demonstrate not just his remarkable penmanship but also an affinity for faces and architecture. (The former, to no one’s surprise, are deeply melancholy.) The Public Domain Review resurfaced some rainbow-colored beasts “found in a book of hours attributed to an artist of the Ghent-Bruges school and dating from the late fifteenth century,” and Brain Pickings resurfaced a piece about Edgar Allan Poe, “history’s greatest champion of marginalia.” Poe is indeed unreserved in his praise; he also suggests, “If you wish to forget anything upon the spot, make a note that this thing is to be remembered.”
Oh, that Poe! He’s a regular Mark Twain.
Last, Sam Anderson and David Rees have defaced, or, uh, annotated, a copy of Dan Brown’s Inferno, much to its benefit. There’s a lot of comfort in seeing—next to such atrocious lines of dialogue as “Don’t let her beauty fool you, she is a dangerous foe”—the red, hateful tendrils of a handwritten EAT SHIT.
It’s exactly the sort of thing I’d hoped to find in “From the Margins.”