Brain Pickings

Posts Tagged ‘Leo Tolstoy’

20 NOVEMBER, 2014

The Graphic Canon of Children’s Literature: Comic Artists Reimagine Beloved Childhood Classics, from Tolstoy’s Fairy Tales to Harry Potter

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“One sign of a great work of literature or art is that it can be interpreted multiple ways, that it remains ambiguous, refusing to provide clear-cut answers.”

“Tales are powerful instruments and should be wielded skillfully,” artist Andrea Dezsö told me in our conversation about her striking black-and-white illustrations for the little-known original edition of the Brothers Grimm fairy tales. Some of history’s most skillful wielding of tales has refused to bend to the false divide between “children’s” and “adult” storytelling — there are the Grimms themselves, of course, but also Tolkien, who vehemently believed that there is no such thing as writing “for children”; Maurice Sendak, who in his final interview scoffed that he has never written for children; Neil Gaiman, who opposes the idea of protecting children from the dark; Madeleine L’Engle, who believed that the best children’s books ask questions that “disturb someone’s universe”; and most of all C.S. Lewis, who elegantly eviscerated the notion that literature should treat children as a special species.

On the heels of the year’s best children’s books comes a magnificent embodiment of that ethos in The Graphic Canon of Children’s Literature: The World’s Greatest Kids’ Lit as Comics and Visuals (public library | IndieBound) — the latest installment in an ongoing series of comic adaptations of beloved works of literature.

In this volume, fifty contemporary graphic artists reimagine such classics as The Little Prince, Alice in Wonderland, The Wizard of Oz, Aesop’s fables, Russian fairy tales, Harry Potter, and even The Diary of Anne Frank.

Series editor Russ Kick writes in the introduction:

Part of the appeal is my belief that “children’s literature” can be great literature, period. Works meant primarily for children or teens are usually ghettoized, considered unworthy of serious treatment and study. But the best of it achieves a greatness through heightened use of language, through examination of universal themes and human dilemmas, and through nuance and layers of meaning. One sign of a great work of literature or art is that it can be interpreted multiple ways, that it remains ambiguous, refusing to provide clear-cut answers.

[…]

Children’s literature is wild. It’s often bizarre, grotesque, dark, and violent. It seems odd that many of these works are considered children’s literature… Danger everywhere! Wolves, dogs, tigers, condors, thieves, wicked stepmothers, witches, giants, pirates, disease, Nazis… There’s something about seeing a children’s work fully illustrated sequentially to make the terror and weirdness that much more visceral, that undeniable.

[…]

We ended up with over forty adaptations and over sixty stand-alone illustrations that treat children’s literature with the respect, daring, and verve it deserves. In a strange twist, we created a book that many people may think isn’t suitable for children… They might be right. The book has obvious appeal for teens and adults, and maybe they’re the only audience for a work that shows so many bizarre, upsetting, and nightmarish images. Or perhaps we should keep in mind something Sendak said in one of his final interviews: “I refuse to lie to children. I refuse to cater to the bullshit of innocence.”

Here are a few of my favorites, beginning with British illustrator and Penguin book-cover designer Lesley Barnes’s breathtaking illustrations for the Russian fairy tale “Ivan Tsarevich, the Firebird, and the Gray Wolf,” which my grandmother used to read to me when I was little and which graces the book’s cover:

American comic artist Lucy Knisley, who read Harry Potter when she was fourteen, reimagines the famed J.K. Rowling series:

Artist Dasha Tolstikova — the illustrator behind the heartwarming bibliophile tale The Jacket — takes on At the Back of the North Wind by Victorian preacher and unsung fantasy pioneer George MacDonald, who influenced such storytelling icons as J.R.R. Tolkien, Madeleine L’Engle, C.S. Lewis, and more:

Children’s book author and illustrator Karen Katz does a lyrical adaptation of Tolstoy’s little-known tales for young readers:

Comic artist and illustrator Isabel Greenberg presents an appropriately gory take on Hans Christian Andersen’s The Tinderbox:

Chicago-based artist and writer Caroline Picard adapts the tales from Rudyard Kipling’s The Jungle Book in an unusual visual sequence, where each story moves forward from left to right along a single arrow-line across multiple pages:

Illustrator Matthew Houston applies his singular style of visual psychedelia to H.G. Wells’s The Time Machine:

Swedish cartoonist Emelie Östergren presents a wonderfully twisted take on Astrid Lindgren’s Pippi Longstockings:

The Graphic Canon of Children’s Literature contains many more treasures at the intersection of literature and graphic art. Complement it with the previous volumes of the series, then treat yourself to the year’s most intelligent and imaginative children’s books.

Images courtesy of Russ Kick

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30 SEPTEMBER, 2014

Tolstoy’s Reading List: Essential Books for Each Stage of Life

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Even if one could never “finish” great literature, one has to begin somewhere.

Shortly after his fiftieth birthday, Leo Tolstoy succumbed to a deep spiritual crisis and decided to pull himself out by finding the meaning of life. He did so largely by reading voraciously across the world’s major philosophical and religious traditions, discovering great similarities in how they dealt with the truth of the human spirit. He was also, as any great writer, an insatiable reader of literature, which he wove together into A Calendar of Wisdom — the proto-Tumblr he spent the final decades of his life assembling.

But despite his wide and prolific reading, Tolstoy did consider specific books especially important and influential in his development. At the age of sixty-three, in a letter to a friend, he compiled such a list of the books that had most impressed him over the course of his life. Dated October 25, 1891, and found in Tolstoy’s Letters (public library), the missive is prefaced by the author’s disclaimer: “I am sending the list I began, but didn’t finish, for your consideration, but not for publication, since it is still far from complete.” (Reading, of course, is inherently incompletable — one can never hope to “finish” the body of literature, nor should one wish to.)

Under the heading “WORKS WHICH MADE AN IMPRESSION,” Tolstoy divides his reading list into five distinct life-stages — beginning with childhood and ending with his age at the time — and ranks each title by excellence, from “great” to “v. great” to “enormous.” Curiously, Tolstoy seems to consider the teenage years one’s most formative, prescribing for them books greater in both quality and quantity, whereas the twenties and early thirties are most meager in both and mostly occupied by poetry — perhaps because few people at the time had the luxury of leisure for reading during their most vital wage-earning years, or maybe because Tolstoy simply believed that one should be busier living than reading during that life-stage.

That only two known women figure in Tolstoy’s list is, one would imagine, less a function of his bias than of his era’s and his culture’s — though the latter certainly shape the former.

CHILDHOOD TO AGE 14 OR SO

“Great”:

“V. great”:

“Enormous”:

AGE 14 TO 20

“Great”:

“V. great”:

“Enormous”:

AGE 20 TO 35

“Great”:

“V. great”:

AGE 35 TO 50

“Great”:

“V. great”:

“Enormous”:

AGE 50 TO 63

“Great”:

“V. great”:

“Enormous”:

Complement with Tolstoy’s timeless meditation on art, his chronicle of spiritual awakening, and his compendium of humanity’s greatest wisdom.

For more notable reading lists, see those of Carl Sagan, Alan Turing, Nick Cave, David Bowie, and Brian Eno.

* Tolstoy’s original letter recommended reading Homer and the gospels in translation during one’s teens and in the Greek after age 35, reflecting a true classical education

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21 AUGUST, 2014

Why We Hurt Each Other: Tolstoy’s Letters to Gandhi on Love, Violence, and the Truth of the Human Spirit

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“Love is the only way to rescue humanity from all ills.”

In 1908, Indian revolutionary Taraknath Das wrote to Leo Tolstoy, by then one of the most famous public figures in the world, asking for the author’s support in India’s independence from British colonial rule. On December 14, Tolstoy, who had spent the last twenty years seeking the answers to life’s greatest moral questions, was moved to reply in a long letter, which Das published in the Indian newspaper Free Hindustan. Passed from hand to hand, the missive finally made its way to the young Mahatma Gandhi, whose career as a peace leader was just beginning in South Africa. He wrote to Tolstoy asking for permission to republish it in his own South African newspaper, Indian Opinion. Tolstoy’s letter was later published in English under the title A Letter to a Hindu (free download; public library).

The exchange sparked an ongoing correspondence between the two that lasted until Tolstoy’s death — a meeting of two great minds and spirits, eventually collected in Letters from One: Correspondence (and more) of Leo Tolstoy and Mohandas Gandhi and rivaled only by Einstein’s correspondence with Freud on violence and human nature.

Tolstoy’s letters issue a clarion call for nonviolent resistance — he admonishes against false ideologies, both religious and pseudo-scientific, that promote violence, an act he sees as unnatural for the human spirit, and advocates for a return to our most natural, basic state, which is the law of love. Evil, Tolstoy argues with passionate conviction, is restrained not with violence but with love — something Maya Angelou would come to echo beautifully decades later.

Gandhi’s introduction to the original edition, in which he calls Tolstoy “one of the clearest thinkers in the western world, one of the greatest writers,” offers a pithy caveat to the text, as perfect today as it was a century ago:

One need not accept all that Tolstoy says … to realize the central truth of his indictment.

[…]

There is no doubt that there is nothing new in what Tolstoy preaches. But his presentation of the old truth is refreshingly forceful. His logic is unassailable. And above all he endeavors to practice what he preaches. He preaches to convince. He is sincere and in earnest. He commands attention.

Tolstoy opens each “chapter” of his missive — for the letter’s length, indeed, puts in glaring perspective the nuanceless and hasty op-eds of our time, contrasting the truly reflective with the merely reactive — by quoting a passage from Krishna as a backdrop for his political, moral, and humanistic arguments. His words bear extraordinary prescience today, as we face a swelling tide of political unrest, ethnic violence, and global conflict. He writes:

The reason for the astonishing fact that a majority of working people submit to a handful of idlers who control their labour and their very lives is always and everywhere the same — whether the oppressors and oppressed are of one race or whether … the oppressors are of a different nation.

[…]

The reason lies in the lack of a reasonable religious teaching which by explaining the meaning of life would supply a supreme law for the guidance of conduct and would replace the more than dubious precepts of pseudo-religion and pseudo-science with the immoral conclusions deduced from them and commonly called “civilization.”

It’s worth pausing here to note that Tolstoy’s notion of “religious teaching” is perhaps best regarded as “spiritual direction,” for he dedicated a great portion of his life trying to discern precisely such spiritual direction for himself by selectively culling wisdom from all the major religious and philosophical traditions. Indeed, he speaks to that aspect directly further along in the letter:

In every individual a spiritual element is manifested that gives life to all that exists, and that this spiritual element strives to unite with everything of a like nature to itself, and attains this aim through love… The mere fact that this thought has sprung up among different nations and at different times indicates that it is inherent in human nature and contains the truth. But this truth was made known to people who considered that a community could only be kept together if some of them restrained others, and so it appeared quite irreconcilable with the existing order of society.

Illustration by Maurice Sendak for Tolstoy's 'Nikolenka's Childhood.' Click image for more.

He considers how political ideologies hijacked this basic law of love at various times in human history and tried to replace it with a law of violent submission:

This truth was made known to people who considered that a community could only be kept together if some of them restrained others, and so it appeared quite irreconcilable with the existing order of society… The dissemination of the truth in a society based on coercion was always hindered in one and the same manner, namely, those in power, feeling that the recognition of this truth would undermine their position, consciously or sometimes unconsciously perverted it by explanations and additions quite foreign to it, and also opposed it by open violence. Thus the truth — that his life should be directed by the spiritual element which is its basis, which manifests itself as love, and which is so natural to man—this truth, in order to force a way to man’s consciousness, had to struggle not merely against the obscurity with which it was expressed and the intentional and unintentional distortions surrounding it, but also against deliberate violence, which by means of persecutions and punishments sought to compel men to accept religious laws authorized by the rulers and conflicting with the truth.

[…]

The recognition that love represents the highest morality was nowhere denied or contradicted, but this truth was so interwoven everywhere with all kinds of falsehoods which distorted it, that finally nothing of it remained but words. It was taught that this highest morality was only applicable to private life — for home use, as it were — but that in public life all forms of violence — such as imprisonment, executions, and wars — might be used for the protection of the majority against a minority of evildoers, though such means were diametrically opposed to any vestige of love. And though common sense indicated that if some men claim to decide who is to be subjected to violence of all kinds for the benefit of others, these men to whom violence is applied may, in turn, arrive at a similar conclusion with regard to those who have employed violence to them, and though the great religious teachers … foreseeing such a perversion of the law of love, have constantly drawn attention to the one invariable condition of love (namely, the enduring of injuries, insults, and violence of all kinds without resisting evil by evil) people continued — regardless of all that leads man forward — to try to unite the incompatibles: the virtue of love, and what is opposed to love, namely, the restraining of evil by violence. And such a teaching, despite its inner contradiction, was so firmly established that the very people who recognize love as a virtue accept as lawful at the same time an order of life based on violence and allowing men not merely to torture but even to kill one another.

Illustration by Maurice Sendak for Tolstoy's 'Nikolenka's Childhood.' Click image for more.

He distills this idea to one “old and simple truth”:

It is natural for men to help and to love one another, but not to torture and to kill one another.

In addition to the false interpretations of religion, Tolstoy takes equal issue with scientific reductionism — something that undoubtedly felt like a great threat at the dawn of the twentieth century, when science was just beginning break to down the material universe into its basic atomic units, a discovery that many feared might be reduced to the hollowing belief that a human being is nothing more than physical “stuff.” Both science and religion, Tolstoy argues, could result in dangerous dogma that blinds us to the basic law of love, if taken at face value and stripped of nuance — the danger of, as he puts it, “scientific superstition replacing the religious one”:

But by the term “scientific” is understood just what was formerly understood by the term “religious”: just as formerly everything called “religious” was held to be unquestionable simply because it was called religious, so now all that is called “scientific” is held to be unquestionable… The unfortunate majority of men bound to toil is so dazzled by the pomp with which these “scientific truths” are presented, that under this new influence it accepts these scientific stupidities for holy truth, just as it formerly accepted the pseudo-religious justifications.

(How easy it is even today for laypeople to be “dazzled by the pomp” of questionable science journalism that prioritizes clickbait sensationalism — something else about which Tolstoy held passionate, prescient opinions — over clarity and rigor.)

He returns to the central point, affirming Gandhi’s advocacy of nonviolent resistance:

Love is the only way to rescue humanity from all ills, and in it you too have the only method of saving your people from enslavement… Love, and forcible resistance to evil-doers, involve such a mutual contradiction as to destroy utterly the whole sense and meaning of the conception of love.

Considering the British colonization of India, Tolstoy marvels at how “a commercial company enslaved a nation comprising two hundred millions” and argues that this was only made possible by people, both the oppressors and the oppressed, failing to contact “the eternal law of love inherent in humanity.” He writes:

As soon as men live entirely in accord with the law of love natural to their hearts and now revealed to them, which excludes all resistance by violence, and therefore hold aloof from all participation in violence — as soon as this happens, not only will hundreds be unable to enslave millions, but not even millions will be able to enslave a single individual.

Reflecting on the process of reawakening to that “eternal law,” Tolstoy offers a developmental metaphor:

What is now happening to the people of the East as of the West is like what happens to every individual when he passes from childhood to adolescence and from youth to manhood. He loses what had hitherto guided his life and lives without direction, not having found a new standard suitable to his age, and so he invents all sorts of occupations, cares, distractions, and stupefactions to divert his attention from the misery and senselessness of his life. Such a condition may last a long time.

When an individual passes from one period of life to another a time comes when he cannot go on in senseless activity and excitement as before, but has to understand that although he has outgrown what before used to direct him, this does not mean that he must live without any reasonable guidance, but rather that he must formulate for himself an understanding of life corresponding to his age, and having elucidated it must be guided by it. And in the same way a similar time must come in the growth and development of humanity. I believe that such a time has now arrived — not in the sense that it has come in the year 1908, but that the inherent contradiction of human life has now reached an extreme degree of tension: on the one side there is the consciousness of the beneficence of the law of love, and on the other the existing order of life which has for centuries occasioned an empty, anxious, restless, and troubled mode of life, conflicting as it does with the law of love and built on the use of violence. This contradiction must be faced, and the solution will evidently not be favorable to the outlived law of violence, but to the truth which has dwelt in the hearts of men from remote antiquity: the truth that the law of love is in accord with the nature of man.

But men can only recognize this truth to its full extent when they have completely freed themselves from all religious and scientific superstitions and from all the consequent misrepresentations and sophistical distortions by which its recognition has been hindered for centuries.

To save a sinking ship it is necessary to throw overboard the ballast, which though it may once have been needed would now cause the ship to sink.

Sensing that global tensions were brewing, Tolstoy added the prescient admonition that “in our time all these things must be cleared away in order that mankind may escape from self-inflicted calamities that have reached an extreme intensity.” World War I broke out less than five years later. One of humanity’s grimmest self-inflicted calamities offered evidence, as modern wars do, that we still have a long way to go before reaching that return to the basic nature of love Tolstoy envisioned — which is why Tolstoy’s closing words to Gandhi ring with amplified urgency today:

What are wanted for the Indian as for the Englishman, the Frenchman, the German, and the Russian, are not Constitutions and Revolutions, nor all sorts of Conferences and Congresses, nor the many ingenious devices for submarine navigation and aerial navigation, nor powerful explosives, nor all sorts of conveniences to add to the enjoyment of the rich, ruling classes; nor new schools and universities with innumerable faculties of science, nor an augmentation of papers and books, nor gramophones and cinematographs, nor those childish and for the most part corrupt stupidities termed art — but one thing only is needful: the knowledge of the simple and clear truth which finds place in every soul that is not stupefied by religious and scientific superstitions — the truth that for our life one law is valid — the law of love, which brings the highest happiness to every individual as well as to all mankind. Free your minds from those overgrown, mountainous imbecilities which hinder your recognition of it, and at once the truth will emerge from amid the pseudo-religious nonsense that has been smothering it: the indubitable, eternal truth inherent in man, which is one and the same in all the great religions of the world.

(Twelve years earlier, Tolstoy found far more than “childish and for the most part corrupt stupidities” in art in his sublime essay on the “emotional infectiousness” of art.)

Illustration by Maurice Sendak for 'Open House for Butterflies' by Ruth Krauss. Click image for more.

Writing to Gandhi again on September 7, 1910 — eight weeks before he took his final breath — Tolstoy revisited the subject with even more heartfelt conviction:

The longer I live — especially now when I clearly feel the approach of death — the more I feel moved to express what I feel more strongly than anything else, and what in my opinion is of immense importance, namely, what we call the renunciation of all opposition by force, which really simply means the doctrine of the law of love unperverted by sophistries. Love, or in other words the striving of men’s souls towards unity and the submissive behavior to one another that results therefrom, represents the highest and indeed the only law of life, as every man knows and feels in the depths of his heart (and as we see most clearly in children), and knows until he becomes involved in the lying net of worldly thoughts… Any employment of force is incompatible with love.

A Letter to a Hindu is well worth a read in its entirety, and it’s available as a free download. Complement it with Tolstoy on finding meaning in a meaningless world, his timeless Calendar of Wisdom, and a rare recording of the author reading from it shortly before his death, then revisit another extraordinary exchange of Eastern and Western ideas in Einstein and Tagore’s 1930 conversation about Truth and Beauty.

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