Brain Pickings

Posts Tagged ‘jazz’

30 AUGUST, 2013

William Faulkner’s Little-Known Jazz Age Drawings, with a Side of Literary Derision

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From the sartorial to the satiric, or how the award-winning author’s youthful pretensions earned him a helping of high-brow mockery.

The latest addition to luminaries’ secret talents in a surprising discipline — including Richard Feynman’s sketches, Dr. Seuss’s wartime propaganda, and Marilyn Monroe’s poetry — comes from none other than William Faulkner. As if it weren’t already pleasantly disorienting to learn that he penned a little-known children’s book with a kooky inception, it turns out the Nobel- and Pulitzer-winning author also had a deftness for drawing.

In 1916, as he was about to turn twenty, Faulkner began contributing poems and sketches to the Mississippian, the literary magazine at Ole Miss — the University of Mississippi, in which he would enroll three years later for a brief three-semester stint before dropping out in 1920. But Faulkner continued to draw for the magazine until 1925 — shortly before he penned the aforementioned little-known children’s book while courting his future wife — even earning small commissions for his drawings, largely inspired by Aubrey Beardsley, bearing that distinct Jazz Age swanky sensibility and reminiscent of Henry Clarke’s sensual 1919 illustrations of Edgar Allan Poe’s tales, with a twinge of Goreyana. The drawings were published only once, in William Faulkner: Early Prose and Poetry (public library; public domain), an out-of-print anthology released months after Faulkner’s death in 1962 by The Atlantic Monthly’s imprint.

But in Becoming Faulkner: The Art and Life of William Faulkner (public library), Philip Weinstein argues that the drawings were merely part of Faulkner’s budding pretensions — which included claims to have served in the British Royal Flying Corps during the First World War, which he never actually did:

During the postwar years … Faulkner remained in aggressively role-playing mode. Following the initial season of sporting his unearned war uniform — worn not only on ceremonial occasions but at dances and on golf courses as well — he settled into an equally self-conscious role as a special student at the university. He took courses in English, Spanish, and French, but he was better-remembered for his cultural and sartorial pretensions. Earlier, his expensive tailored suits had earned him the title “The Count.” Now his more elaborate costuming — replete with cane, limp, and swagger — elicited from his university peers the derisive term “Count No ’Count.” Seemingly descent from Parnassus and returned from war-torn France, Faulkner maintained his façade of imperturbability. He published poems in the university literary magazine, the Mississippian, as well as contributed elegant, Beardsley-inspired drawings.

Indeed, his drawings pushed his already irked peers over the edge and an orchestrated high-brow mockery ensued:

Annoyed classmates eventually refused to take his cultural pretensions lying down. The title of one his poems — a translation of Paul Verlaine’s “Fantoches” — was misprinted in the Mississippian as “Fantouches.” That title and the poem’s most famous line — “la lune ne garde aucune rancune” — soon generated a satiric response. There appeared in the same magazine a counter-poem — “Whotouches,” described as “Just a Parody on Count’s ‘Fantouches’ by Count Jr.” — and it ended thus: “how long the old aucune raccoon.” Journalistic ripple effects continued, and a month later the Mississippian published “Cane de Looney” written by one “Peruney Prune.”

And yet the drawings, taken in and of themselves, are undeniably lovely.

Should you be so lucky, you might be able to snag one of the few surviving copies of William Faulkner: Early Prose and Poetry still floating around. Else, there’s always a voyeuristic look back at Faulkner’s other secret talent.

Open Culture Lit Hitchhiker

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06 JUNE, 2013

Taschen’s Jazz: An Illustrated Portrait of New York in the Roaring Twenties

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Band battles, brass classics, Cotton Club etiquette, and how to do the “double roll” like a pro.

“Jazz is the music of the body,” Anaïs Nin wrote in her diary, “…and the mystery of the withheld theme, known to jazz musicians alone, is like the mystery of our secret life.” From the fine folks of Taschen () — who have given us such visual gems as the world’s best infographics, the best illustrations from 130 years of Brothers Grimm, Harry Benson’s luminous photos of The Beatles, and the history of menu design — comes Jazz. New York in the Roaring Twenties (public library), a remarkable time-capsule of Gotham’s swinging golden age by music journalist Hans-Jürgen Schaal, edited and gloriously illustrated by German graphic designer, illustrator, and book artist Robert Nippoldt. The lavish large-format volume, which comes with a CD compilation of the era’s most celebrated songs, covers iconic venues like the Cotton Club and the Roseland Ballroom, legendary recording sessions, and the epic “band battles” that dominated the club scene, among other curious and lesser-known facets of the Roaring Twenties.

Also included are illustrated micro-biographies of twenty-four of the era’s greatest icons, alongside little-known and often amusing anecdotes.

But perhaps most delightful of all are the infographic-inspired maps and morphologies of the jazz scene and its geography, technology, and human topography:

Complement Jazz. New York in the Roaring Twenties with Herman Leonard’s rare portraits of jazz icons, W. Eugene Smith’s ambitious Jazz Loft Project, and William Gottlieb’s magnificent photos of jazz greats.

Images courtesy Taschen

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04 AUGUST, 2011

Happy Birthday, Louis Armstrong: What a Wonderful World

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Celebrating a timeless voice with a timely message.

Just last month, we commemorated 40 years since the world lost the great Louis Armstrong with Satchmo, the fascinating documentary about his life and legacy. But there’s no reason not to also celebrate his birth, which happens to have taken place exactly 110 years ago today. And there’s hardly a better way to do that than by taking delight in one of his most iconic performances, his remarkable rendition of “What a Wonderful World” — with the added joy of serving up a simple reminder of optimism, amidst a particularly difficult year framed by news of every kind of global tragedy, from environmental disaster to large-scale violence to financial and political disillusionment. Sing it, Lou.

For more on the life and work of the iconic musician, look no further than Terry Teachout’s excellent Pops: A Life of Louis Armstrong.

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