Stage Business

https://commons.wikimedia.org/wiki/File:Attributed_to_Benjamin_West_and_studio_Romeo_and_Juliet.jpg

The goal of the Shakespeare programming language is to create code that reads like a Shakespearean play: Variables are “characters” that interact through dialogue, constants are represented by nouns and adjectives, and if/then statements are phrased as questions. (Insulting Macbeth assigns him a negative value.) Act and scene numbers serve as GOTO labels, and characters can tell one another to “remember” or “recall” values. The phrases “Open your heart” and “Speak your mind” output a variable’s numerical value and the corresponding ASCII character, respectively.

This program prints the phrase HELLO WORLD:

Romeo, a young man with a remarkable patience.
Juliet, a likewise young woman of remarkable grace.
Ophelia, a remarkable woman much in dispute with Hamlet.
Hamlet, the flatterer of Andersen Insulting A/S.

                   Act I: Hamlet's insults and flattery.
                   Scene I: The insulting of Romeo.
[Enter Hamlet and Romeo]
Hamlet:
You lying stupid fatherless big smelly half-witted coward! You are as
stupid as the difference between a handsome rich brave hero and thyself!
Speak your mind!
You are as brave as the sum of your fat little stuffed misused dusty
old rotten codpiece and a beautiful fair warm peaceful sunny summer's
day. You are as healthy as the difference between the sum of the
sweetest reddest rose and my father and yourself! Speak your mind!
You are as cowardly as the sum of yourself and the difference
between a big mighty proud kingdom and a horse. Speak your mind.
Speak your mind!
[Exit Romeo]
                   Scene II: The praising of Juliet.
[Enter Juliet]
Hamlet:
Thou art as sweet as the sum of the sum of Romeo and his horse and his
black cat! Speak thy mind!
[Exit Juliet]
                   Scene III: The praising of Ophelia.
[Enter Ophelia]
Hamlet:
Thou art as lovely as the product of a large rural town and my amazing
bottomless embroidered purse. Speak thy mind!
Thou art as loving as the product of the bluest clearest sweetest sky
and the sum of a squirrel and a white horse. Thou art as beautiful as
the difference between Juliet and thyself. Speak thy mind!
[Exeunt Ophelia and Hamlet]

                   Act II: Behind Hamlet's back.
                   Scene I: Romeo and Juliet's conversation.
[Enter Romeo and Juliet]
Romeo:
Speak your mind. You are as worried as the sum of yourself and the
difference between my small smooth hamster and my nose. Speak your
mind!
Juliet:
Speak YOUR mind! You are as bad as Hamlet! You are as small as the
difference between the square of the difference between my little pony
and your big hairy hound and the cube of your sorry little
codpiece. Speak your mind!
[Exit Romeo]
                   Scene II: Juliet and Ophelia's conversation.
[Enter Ophelia]
Juliet:
Thou art as good as the quotient between Romeo and the sum of a small
furry animal and a leech. Speak your mind!
Ophelia:
Thou art as disgusting as the quotient between Romeo and twice the
difference between a mistletoe and an oozing infected blister! Speak
your mind!
[Exeunt]

Because it’s written as a play, a program can be performed by human actors, but the drama lacks a certain narrative drive:

See Output.

Three Odd Books

B.S. Johnson’s 1969 “book in a box” The Unfortunates consists of 27 unbound sections, ranging in length from a single paragraph to 12 pages. The first and last chapters are specified, but the 25 in between can be read in any order. Johnson felt this was a “better solution to the problem of conveying the mind’s randomness than the imposed order of a bound book.”

Jerzy Andrzejewski’s 40,000-word novel The Gates of Paradise, published in 1960, consists of only two sentences. The second is “And they marched all night.”

When Edgar Wallace published his detective thriller The Four Just Men in 1905, he challenged readers of the Daily Mail to guess the murder method, offering first, second, and third prizes of £250, £200, and £50. Unfortunately he failed to specify that each prize would go to a single entrant, so he was legally obliged to award a prize to every correct entry. He went bankrupt, and the newspaper had to pay more than £5,000 to protect its reputation.

Insult to Injury

http://www.freeimages.com/photo/1192859

Shortly after his travel book Alexandria appeared in December 1922, E.M. Forster received a regretful letter from the publisher, Whitehead Morris & Co. There had been a fire in the warehouse and the entire edition had been burned. Fortunately, it had been insured, and they enclosed a substantial check in compensation.

“A few weeks later Forster received a yet more regretful letter from the publishers,” notes editor Lawrence Durrell in the book’s 1961 edition. “The books had been found intact, in a cellar which had escaped the flames. This, in view of the insurance money, his publishers wrote, had created a most awkward situation, and they had taken the only way out: they burnt the books deliberately.”

All Right, Then

Index entries in Hilaire Belloc’s The Aftermath: Or, Gleanings From a Busy Life, 1903:

Abingdon, History of, by Lord Charles Gamber, see Pulping, p. 187.
Advertisement, Folly and Waste of, see Pulping, p. 187.
All Souls, College of, see Pulping, p. 187.
Cabs, Necessity of, to Modern Publisher, see Pulping, p. 187.
Cabs to Authors, Unwarrantable Luxury, see Pulping, p. 187.
Call, Divine, to a Literary Career, see Pulping, p. 187.
Dogs, Reputation Going to the, see Pulping, p. 187.
England, Source and Wealth of, see Pulping, p. 187.
Fame, see Pulping, p. 187.
Genius, Indestructibility of, see Pulping, p. 187.
India, Lord Curzon’s Views on, see Pulping, p. 187.
Jesuits, Their Reply to “Huguenot,” see Pulping, p. 187.
“Mamma,” “Darling Old,” Story for Children, by the Countess of K——, see Pulping, p. 187.
Name, Real, of “Diplomaticus,” see Pulping, p. 187.
Rhodes, Cecil, Numerous Lives of, see Pulping, p. 187.
Suzanna and the Elders, Sacred Poem, see Pulping, p. 187.
Uganda Railway, Balance-sheet of, see Pulping, p. 187.

So runs the whole thing, right up to the summary “W.X.Y.Z., see Pulping, p. 187” at the end.

There’s also an entry for “Pulping, p. 187.”

In the Know

You are quite correct in saying it is a long time since you have heard from me: in fact, I find that I have not written to you since the 13th of last November. But what of that? You have access to the daily papers. Surely you can find out negatively, that I am all right! Go carefully through the list of bankruptcies; then run your eye down the police cases; and, if you fail to find my name anywhere, you can say to your mother in a tone of calm satisfaction, ‘Mr. Dodgson is going on well.’

— Lewis Carroll to Edith Blakemore, Jan. 1, 1895

Good Measure

Scottish writer Alasdair Gray is a practical joker. As his collection Unlikely Stories, Mostly was going to press in 1984, he called publisher Stephanie Wolfe Murray and said, “I want to have an erratum slip inserted.”

She said, “Oh God! What’s wrong? Surely we corrected everything. What do you want to say on it?”

He said, “I want it to say: THIS ERRATUM SLIP HAS BEEN INSERTED BY MISTAKE.”

“Of course we said yes immediately,” remembered Wolfe Murray, “but it was a hell of a nuisance, having to get it inserted into every single book, and expensive probably, but well worth it. All of us thought so.”

Oh

During Arthur Conan Doyle’s first tour of the United States, in 1894, he encountered a cabbie in Boston who declined his fare and asked instead for a ticket to that evening’s lecture. Surprised, Doyle asked how he had recognized him. The cabbie replied:

“If you will excuse other personal remarks, your coat lapels are badly twisted downward, where they have been grasped by the pertinacious New York reporters. Your hair has the Quakerish cut of a Philadelphia barber, and your hat, battered at the brim in front, shows where you have tightly grasped it, in the struggle to stand your ground at a Chicago literary luncheon. Your right overshoe has a large block of Buffalo mud just under the instep, the odor of a Utica cigar hangs about your clothing, and the overcoat itself shows the slovenly brushing of the porters of the through sleepers from Albany. The crumbs of doughnut on the top of your bag could only have come there in Springfield … and stenciled upon the very end of your walking stick, in fairly plain lettering, is the name Conan Doyle.”

Behind the Lines

https://commons.wikimedia.org/wiki/File:Harold_Pinter.JPG

After a performance of his play The Birthday Party, Harold Pinter received a note from an audience member:

Can you tell me the meaning of your play? There are three points I do not understand.

i. Who are the two men?
ii. Where did Stanley come from?
iii. Were they all supposed to be normal?

You will appreciate that without the answers to my questions I cannot understand your play.

He wrote back:

Dear Madam,

I would be obliged if you could explain to me the meaning of your letter. There are three points which I do not understand.

i. Who are you?
ii. Where do you come from?
iii. Are you supposed to be normal?

You will appreciate that without the answers to these questions I cannot fully understand your letter.

Appreciation

https://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_The_Difficult_Lesson_(1884).jpg

“Why I began to write for children,” by Isaac Bashevis Singer:

  1. Children read books, not reviews. They don’t give a hoot about the critics.
  2. Children don’t read to find their identity.
  3. They don’t read to free themselves of guilt, to quench the thirst for rebellion, or to get rid of alienation.
  4. They have no use for psychology.
  5. They detest sociology.
  6. They don’t try to understand Kafka or Finnegans Wake.
  7. They still believe in God, the family, angels, devils, witches, goblins, logic, clarity, punctuation, and other such obsolete stuff.
  8. They love interesting stories, not commentary, guides, or footnotes.
  9. When a book is boring, they yawn openly, without any shame or fear of authority.
  10. They don’t expect their beloved writer to redeem humanity. Young as they are, they know that it is not in his power. Only the adults have such childish illusions.

(From his 1978 Nobel banquet speech.)

Side Effects

http://www.freeimages.com/photo/810139

From a letter from Gerard Manley Hopkins to his sister Kate, April 25, 1871:

We were all vaccinated the other day. The next day a young Portug[u]ese came up to me and said ‘Oh misther Opkins, do you feel the cows in yewer arm?’ I told him I felt the horns coming through. I do I am sure. I cannot remember now whether one ought to say the calf of the arm or the calf of the leg. My shoulder is like a shoulder of beef. I dare not speak above a whisper for fear of bellowing – there now, I was going to say I am obliged to speak low for fear of lowing. I dream at night that I have only two of my legs in bed. I think there is a split coming in both of my slippers. Yesterday I could not think why it was that I would wander about on a wet grass-plot: I see now. I chew my pen a great deal. The long and short of it is that my left forequarter is swollen and painful (I meant to have written arm but I cowld not.) Besides the doctor has given us medicine, so that I am in a miserable way just now.