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Sailing to Byzantium: 13 Songs Based on the Poetry of W. B. Yeats

“A pity beyond all telling / Is hid in the heart of love”

The intersection of music and literature is an enchanting place — from Tin Hat’s 17 songs based on the poetry of e. e. cummings to Emily Dickinson’s poetry set to song by Israeli singer-songwriter Efrat Ben Zur to Natalie Merchant’s soulful musical adaptations of Victorian children’s poetry, and even my ongoing Literary Jukebox side project. Now comes Sailing to Byzantium (iTunes) by jazz vocalist and composer Christine Tobin, a collection of thirteen songs — some soothing, some disquieting, some cinematic, all spellbindingly soulful — based on the poetry of W. B. Yeats.

Thanks, @Aleatorus


One-Minute Animated Primers on Major Theories of Religion

From Karl Marx to Richard Dawkins in 60 seconds.

Last year, Open University brought us 60-Second Adventures in Thought — a fascinating and wonderfully animated series exploring six famous philosophy thought experiments. This season, they’re back with 60-Second Adventures in Religion — four short informative yet jocular primers on some major theories of religious studies, offering a fine addition to these essential meditations on faith.

The first introduces Karl Marx and his conception of religion as a vehicle of illusory happiness and a means of oppression and social control:

The second explores religion as ritual through the work of pioneering sociologist Isidore Auguste Marie François Xavier Comte, better-known as Auguste, who — like Alain de Botton today — tried to start a secular religion based on values of charity, order, and science:

The third episode paints religion as a mother through Swiss antiquarian and Roman law professor J. J. Bachofer’s theories of matriarchy:

The final installment explores religion as a virus, a concept proposed by Richard Dawkins, who famously coined the term “meme”:


Displays of Affection: Iconic French Cartoonist Sempé Explores Relationship Clichés

Charming illustrated voyeurism into the lives of people falling in and out of love.

“I prefer drawing to talking,” Le Corbusier famously proclaimed. “Drawing is faster and leaves less room for lies.” The best of drawing can reveal deep and tender truths with just a few simple, expressive lines. That’s what Jean-Jacques Sempé, France’s most celebrated cartoonist, does in Displays of Affection (public library) — a wonderful “book of people falling in (and out) of love,” originally published in 1981. Among other delights of the heart, the charming narrative explores two of my favorite things: bikes and love.

Edward Koren writes in the introduction:

The success of a social satirist can be measured by how much enthusiasm for his work the subjects (and objects) of his satire are willing to show. The great popularity in France enjoyed by Sempé attests to the fond way the French have come to view themselves through his eyes and ears, and to rely on his extraordinary sensibility to get a view of themselves. … The people in Sempé’s world are more the denizens of a global petite bourgeoisie, equally identifiable on both hemispheres and on all the inhabited continents. They live in the humdrum shadow of greatness that for them is chronically out of reach. Inspiration, passion, joy, immortality are some of the ideals never achieved by Sempé’s people, who must content themselves with mundane issues of sustenance, security, uncertainty, anxiety, anger, timidity, and self-importance, to name but a few. All this (and many more subtle and sensitive ingredients) is made laughable and sad by Sempé, who mixes his people into situations that are clichés of modern life.

The enchantment of it, of course, is that even in the most centered and confident of us lives a Sempé character who, if let loose, can steer the wheel — or pedal the bicycle, as it were — in disheartening directions. Koren continues:

Displays of Affection has Sempé fixing his voyeuristic eye and eavesdropping ear on that most clichéd of all subjects — relationships. The great ideal of the grand and lasting passion smiles down on the bumbling solitude of his lovers and mates, who fight, scold, daydream, protect themselves with envelopes of self-importance, always ending up in the same routinized lives they started with. And what is amazing to those of us enmeshed in the deadly seriousness of these matters is how Sempé, with Olympian dispassion, makes it all familiar, personal, real, and truly funny.


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