Five Years Ago
Welcome to the second of The Mark Steyn Club's Tales for Our Time, in which we serialize some classic fiction I've mentioned in my books and columns over the years. This latest audio adventure is The Time Machine, written by H G Wells and first published in The New Review in 1895. If you missed the first episode, you can find it here. Founding Member Diana Kington enjoyed it:
Thank you, Diana. In tonight's episode, we pick up where we left off - with the Time Traveler about to demonstrate his "time machine" to his dinner guests. When next they see him, he has returned from the future with an account of life on earth many centuries hence - but with eerie lessons for our own age. Truly a tale for our time: To hear Part Two of my audio adaptation of The Time Machine, please click here.
We always get questions about the accompanying music: The theme for Tales for Our Time is Elgar's Imperial March, Op 32, written two years after The Time Machine. The music we use for the serial itself is the famous Scherzo from Mahler's Resurrection Symphony: Our graphics department grievously wronged poor old Gustav in one of our telly ventures yesterday, so I felt we needed to make it up to him. The third movement was, as it happens, written two years before Wells' tale.
There's a reason I like to pick more or less contemporaneous compositions for our stories: I was always puzzled by the way a music scholar could tell you everything about the music that was being composed in, say, the 1850s, but often had no idea of or interest in the paintings of the period; likewise, an art critic could tell you everything about the paintings being painted in the 1850s, but often had no idea about the plays or operas of the period. There's a tendency to think vertically down the development of one's area of expertise, rather than horizontally across the field - and my own view is that, in the heyday of our civilization, painters were very much aware of what composers were doing, and composers were very much aware of what poets were doing, and so on. Which is a pretentious way of explaining how I choose the music for our adaptations - although in this case I should add a footnote: while the third movement was indeed written two years before Wells' story, Mahler's symphony didn't receive its first performance until six years after. I've always felt, though, that that Scherzo's spooky unsettled quality sounds at least potentially time-travelly.
If you've only joined The Mark Steyn Club this month, you may have missed our first serialization - The Tragedy of the Korosko, by Sherlock Holmes' creator Sir Arthur Conan Doyle. Susan Miller is playing catch-up:
That would be In the Mystic Land of Egypt by one of my favorite composers of light-music exotica, Albert KetÃ¨lbey. We may do a special on him. But, if you haven't yet heard my serialization of The Tragedy of the Korosko, you can find all fifteen episodes here (scroll down).
Tales for Our Time is an experimental feature we introduced as a bonus for Mark Steyn Club members, and, as you know, I said if it was a total stinkeroo, we'd eighty-six the thing and speak no more of it. But I'm thrilled to say it's proving very popular, and looks like it'll be around a while. If you're a Club member and you incline more to the stinkeroo view of it, give it your best in the Comments Section below.
We launched The Mark Steyn Club last month, and I'm immensely heartened by all those SteynOnline supporters around the globe who've signed up to be a part of it. As I said at the time, Founder Membership isn't for everyone, but it is a way of ensuring that all our content remains available for everyone - all my columns, audio interviews, video content, including in the last 24 hours my take on Jim Comey, a Saturday-night movie with Kevin Costner, and a video version of Mark's Mailbox. None of it's going behind a paywall, because I want it out there in the world, being read and being heard and being viewed, and maybe changing an occasional mind somewhere along the way. The point of The Mark Steyn Club is to come up with a way to keep funding some of the more logistically complex and labor-intensive stuff, like my interview with former Aussie PM John Howard, or the live show from Ottawa. So I thank those longtime readers, listeners and viewers who've volunteered to be part of that.
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To become a Founding Member of The Mark Steyn Club, please click here - and join us for Part Three of The Time Machine tomorrow.
from A Clubman's Notes, June 10, 2017
Five years ago, a cartoonist with The Seattle Weekly, shocked by the way Comedy Central had censored "South Park" after the usual threats from violent Muslims, proclaimed May 20th as "Everybody Draw Mohammed" Day...
Climategate's fascinating glimpse into how the science got settled
Michael E Mann's once iconic "hockey stick" looks pretty flaccid once you add in tree rings post-1980...
The East Anglia emails and the corruption of science
It's half a decade since the East Anglia emails were revealed to the world...
Frosty the Snowqueen meets Huckabing Crosby
Denying the very possibility of a common culture
In this tenth anniversary week, we're running various 9/11 material old and new. We started with Smelling Blood, my column on the summer of 2001, and a special audio edition of our Song of the Week: God Bless America.Â Then we looked at the war in its narrow, terrorist sense - Crying Lone Wolf - and on the broader front - Winning And Losing - and Mark's Friday Feature considered September 11th in cinematic terms. This is what I had to say in The Chicago Sun-Times five years ago on the fifth anniversary of 9/11: I suppose my I'll-never-forget-where-I-was recollections are pretty typical: a half-curious pricking up of the ears when they cut into the morning show on the radio with breaking news about a plane hitting the World Trade Center ...
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