Back in grade school, I got into the genre of computer games known as "graphic adventures," narrative experiences — and often quite elaborate ones — through which the player guides the protagonist with points and clicks: games like Maniac Mansion, Space Quest, Mean Streets, Zak McCracken and the Alien Mindbenders. In college I got into the writing of Haruki Murakami, the international superstar of Japanese literature specializing in the kind of stories that, in his words, have undergone "a kind of magical baptism to link the world on this side with the world on the other side." More recently, I’ve cultivated an interest in projects crowdfunded on platforms like Kickstarter. At long last, someone has come up with a creation that unites all three: Memoranda, a Murakami-inspired graphic adventure now raising its budget on Kickstarter. "Three years ago I sat down with a friend to brainstorm for making a game," writes one of Memoranda‘s developers. Murakami’s work "had inspired us profoundly and we thought that the vague, surrealistic reality of his fictional world would have a great potential for being turned into something visual and could lead to the creation of odd characters, an essential element in game design." This led to a "script inspired by more than 20 stories by Murakami" involving a little town (which has "European-like architecture but that doesn’t mean it belongs to somewhere in Europe") "where there are both laptops and bamboo water clocks," a cast of characters from "a WWII surviving soldier to an elephant taking shelter in a man’s house hoping to become human," and a protagonist "who little by little realizes she is forgetting her own name." Kickstarter has proven a viable financing medium for a new wave of graphic adventure games, some of them by the creators of the old wave: Tim Schafer, known for Maniac Mansion‘s beloved sequel Day of the Tentacle, raised $3.3 million for what would become Broken Age, and Space Quest masterminds Scott Murphy and Mark Crowe more recently reunited to raise over $500,000 for SpaceVenture. Memoranda, by comparison, requires no more than a shoestring, and, with ten days to go in its funding drive, it has already raised more than the $13,695 requested by Bit Byterz, its Vancouver-based Iranian developers (how’s that for a demonstration of Murakami’s global appeal?). But you can still contribute at its Kickstarter page, and as a reward could get a copy of the game, its soundtrack, a digital art book, or even — enthusiasts of Murakami tropes, take note — the inclusion of your own cat in the story. No game company ever offered me that in grade school. You can watch a trailer for Memoranda above. via Flavorwire Related Content: In Search of Haruki Murakami: A Documentary Introduction to Japan’s Great Postmodernist Novelist Haruki Murakami’s Advice Column ("Mr. Murakami’s Place") Is Now Online: Read English Translations Haruki Murakami Lists the Three Essential Qualities For All Serious Novelists (And Runners) Haruki Murakami’s Passion for Jazz: Discover the Novelist’s Jazz Playlist, Jazz Essay & Jazz Bar Discover Haruki Murakami’s Advertorial Short Stories: Rare Short-Short Fiction from the 1980s A Photographic Tour of Haruki Murakami’s Tokyo, Where Dream, Memory, and Reality Meet Colin Marshall writes elsewhere on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, and the crowdfunded journalism project Where Is the City of the Future? Follow him on Twitter at @colinmarshall or on Facebook. New Video Game Inspired by 20 Haruki Murakami Stories Is Coming Your Way: Help Kickstart It is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

In the past, we’ve brought you the creative work of R. Sikoryak. An illustrator who teaches at the Parsons School of Design in NYC, Sikoryak has a penchant for creating comic book adaptations of literary classics. Take for example Dostoyevsky Comics where Batman stars in a comic book version of Crime & Punishment. Or Waiting to Go, which marries Waiting for Godot with Beavis and Butt-Head.  In his latest project, Sikoryak veers sharply away from literature toward language that is much more technical. Now, on his tumblr, you can find iTunes Terms & Conditions: The Graphic Novel. Adding a new page every day, Sikoryak is creating an illustrated version of the "complete, unabridged legal agreement." You can currently view the first 49 pages. Click here. Go to the bottom of the page. Then start scrolling up as you read. Follow Open Culture on Facebook and Twitter and share intelligent media with your friends. Or better yet, sign up for our daily email and get a daily dose of Open Culture in your inbox. And if you want to make sure that our posts definitely appear in your Facebook newsfeed, just follow these simple steps. Related Content: Batman Stars in an Unusual Cartoon Adaptation of Dostoyevsky’s Crime and Punishment Download 15,000+ Free Golden Age Comics from the Digital Comic Museum Comics Inspired by Waiting For Godot, Featuring Tintin, Roz Chast, and Beavis & Butthead iTunes Terms & Conditions Adapted into a Graphic Novel: Read It Free Online is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

When photographers specialize in portraits of famous people, they often speak of finding a visual way to reveal their oft-photographed subject’s rarely exposed nature; to bring their depths, in other words, to the surface. Man Ray (1890-1976), the Surrealist photographer and artist, had his own way of doing most everything, and he certainly had his own approach to celebrity portraiture. Take, for example, his 1923 shot of Ernest Hemingway above, taken just a couple years after both the writer and photographer joined the moveable feast of Paris, which Man Ray would call home for most of his career. That same year and in that same urban bohemia, Man Ray photographed another famed man of letters, the modernist poet Ezra Pound. You can see the somewhat more conventional-looking result of that encounter just above. Below, we have a far less conventional-looking portrait from 1922, which takes as its subject the dancer Bronislava Nijinska, who perhaps only counts as famous to you if you know the history of 20th-century ballet — but I say anyone willing to appear in a portrait looking that frightening has earned all the fame they can get. Marcel Duchamp, who appears below, sat for Man Ray in 1921 looking less scary than silly, but as one of the wittiest and most artistically forward-thinking figures of the era, he surely got the joke. These appear in the book Man Ray: Paris - Hollywood - Paris, which collects 500 of the portraits Man Ray left in his archives when he died in 1976, all of "members of Dadaist and Surrealist circles, of artists and painters, of writers and US emigrants of the Lost Generation, of aristocrats, and paragons of the worlds of fashion and theater." You can sample more such works, which capture as only Man Ray would the natures of such icons as André Breton, Salvador Dalí, and Lee Miller, at Mondo Blogo. You can also find many more works, in general, by Man Ray on the MoMA’s website. via Flavorwire Related Content: Three Essential Dadaist Films: Groundbreaking Works by Hans Richter, Man Ray & Marcel Duchamp Andy Warhol’s 85 Polaroid Portraits: Mick Jagger, Yoko Ono, O.J. Simpson & Many Others (1970-1987) Philosopher Portraits: Famous Philosophers Painted in the Style of Influential Artists Portraits of Virginia Woolf, James Joyce, Walter Benjamin & Other Literary Legends by Gisèle Freund Coffee Portraits of John Lennon, Albert Einstein, Marilyn Monroe & Other Icons Colin Marshall writes elsewhere on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, and the crowdfunded journalism project Where Is the City of the Future? Follow him on Twitter at @colinmarshall or on Facebook. Man Ray’s Portraits of Ernest Hemingway, Ezra Pound, Marcel Duchamp & Many Other 1920s Icons is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

Creative Commons image via NASA It shouldn’t be especially controversial to point out that we live in a pivotal time in human history—that the actions we collectively take (or that plutocrats and technocrats take) will determine the future of the human species—or whether we even have a future in the coming centuries. The threats posed by climate change and war are exacerbated and accelerated by rapidly worsening economic inequality. Exponential advances in technology threaten to eclipse our ability to control machines rather than be controlled, or stamped out, by them. It’s also the case that our most well-regarded scientists and technological innovators have not remained silent in the face of these crises. Physicist Stephen Hawking has issued some dire warnings lately when it comes to humanity’s future. Several years ago, he predicted that "our only chance of long term survival" may be to "spread out into space," a la Interstellar. In addition to the worsening climate crisis, the rise of artificial intelligence concerns Hawking. Along with Bill Gates and Elon Musk, he has warned of what futurist Ray Kurzweil has called "the singularity," the point at which machine intelligence surpasses our own. Where Kurzweil has seen this event through an optimistic, New Age lens, Hawking’s view seems more in line with dystopian sci-fi visions of robot apocalypse. "Success in AI would be the biggest event in human history," he wrote in The Independent last year, "Unfortunately it might also be the last." Given the design of autonomous weapons systems and, as he told the BBC, the fact that "Humans, who are limited by slow biological evolution, couldn’t compete and would be superseded," the prospect looks chilling, but it isn’t inevitable. Our tech isn’t actively out to get us. "The real risk with AI isn’t malice but competence," Hawking clarified, in a fascinating Reddit "Ask Me Anything" session last month. Due to the physicist’s physical limitations, readers posted questions and voted on their favorites. From these, Hawking elected the "ones he feels he can give answers to." In response to a top-rated question about the so-called "Terminator Conversation," he wrote, "A superintelligent AI will be extremely good at accomplishing its goals, and if those goals aren’t aligned with ours, we’re in trouble." This problem of misaligned goals is not of course limited to our relationship with machines. Our precarious economic relationships with each other pose a separate threat, especially in the face of massive job loss due to future automation. We’d like to imagine a future where technology frees us of toil and want, the kind of society Buckminster Fuller sought to create. But the truth is that wealth and income inequality, at their highest levels in the U.S. since at least the Gilded Age, may determine a very different path—one we might think of in terms of "The Elysium Conversation." Asked in the same AMA Reddit session, "Do you foresee a world where people work less because so much work is automated? Do you think people will always either find work or manufacture more work to be done?," Hawking elaborated, If machines produce everything we need, the outcome will depend on how things are distributed. Everyone can enjoy a life of luxurious leisure if the machine-produced wealth is shared, or most people can end up miserably poor if the machine-owners successfully lobby against wealth redistribution. So far, the trend seems to be toward the second option, with technology driving ever-increasing inequality. For decades after the Cold War, capitalism had the status of an unquestionably sacred doctrine—the end of history and the best of all possible worlds. Now, not only has Hawking identified its excesses as drivers of human decline, but so have other decidedly non-Marxist figures like Bill Gates, who in a recent Atlantic interview described the private sector as "in general inept" and unable to address the climate crisis because of its focus on short-term gains and maximal profits. "There’s no fortune to be made," he said, from dealing with some of the biggest threats to our survival. But if we don’t deal with them, the losses are incalculable. via Huff Po Related Content: 187 Big Thinkers Answer the Question: What Do You Think About Machines That Think? Bertrand Russell & Buckminster Fuller on Why We Should Work Less, and Live & Learn More Seven Questions for Stephen Hawking: What Would He Ask Albert Einstein & More Stephen Hawking: Abandon Earth Or Face Extinction Noam Chomsky Explains Where Artificial Intelligence Went Wrong Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness Stephen Hawking Wonders Whether Capitalism or Artificial Intelligence Will Doom the Human Race is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

The 19th century witnessed the birth of photography. And, before too long, Victorian society found important applications for the new medium — like memorializing the dead. A recent post on a Dutch version of National Geographic notes that "Photographing deceased family members just before their burial was enormously popular in certain Victorian circles in Europe and the United States. Although adults were also photographed, it was mainly children who were commemorated in this way. In a period plagued by unprecedented levels of infant mortality, post-mortem pictures often provided the only tangible memory of the deceased child." Though unusual by modern standards, the pictures played an important role in a family’s grieving process and often became one of its cherished possessions — cherished because it was likely the only photo of the deceased child that families had. During the early days of photography, portraits were expensive, which meant that most families didn’t take pictures during the course of everyday life. It was only death that gave them a prompt. The practice of taking post mortem pictures peaked in the 19th century, right around the time when "snapshot" photography became more prevalent, allowing families to take portraits at a lower cost, when everyone was in the full swing of life. Hence obviating the need for post-mortem photos. You can learn more about this bygone practice by visiting the Burns Archive or getting the book, Sleeping Beauty: Memorial Photography in America. via Dutch Nat Geo/ Science Dump Follow Open Culture on Facebook and Twitter and share intelligent media with your friends. Or better yet, sign up for our daily email and get a daily dose of Open Culture in your inbox. And if you want to make sure that our posts definitely appear in your Facebook newsfeed, just follow these simple steps.   Poignant and Unsettling Post-Mortem Family Portraits from the 19th Century is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

Many people still have a major fear of mathematics, having suffered through school and not really having been in the right frame of mind to grasp concepts that we’ve been told will come in handy in our future working lives. When Britons get to the age of 16, many can choose to leave school, escaping the terror of math (or, as they say, maths). But we shouldn’t live in fear, so along comes Citizen Maths, a UK-based free online course that purports to help adults catch up with Level 2 math (aka what a 16-year-old should know) without getting hit with a ruler or a spit wad. The course is funded by the UFI Charitable Trust, which focuses on providing free education for adults. The Citizen Maths course currently consists of three units—Proportion, Uncertainty, and Representation. Additional sections on Pattern and Measurements will soon follow. All units come with videos and tests that take about an hour of the viewer’s time. As the narrator says, you can "learn in safety, without fear of being told off or exposed." The full course takes, on average, about 20 hours. And the tutorials bring in the real world, not just the abstract. Ratios and odds are experienced through roulette, horse racing, and playing dice. Understanding insurance comes into the tutorial on making decisions. Modeling is explained by trying to understand weather patterns. And proportion is explained through baking recipes and making cocktails. You will need a Google Account to get started, though, for those without one, there is a simple guide to get you started. The tutorials feature YouTube instruction along with an embedded app called Scratch. As of this post, three of the five sections are available, with the complete course due up by next year. You can find more advanced Math courses in our collection of Free Online Math Courses. via BoingBoing Related Content: Free Online Math Courses Free Math Textbooks The Unexpected Math Behind Van Gogh’s "Starry Night" Ted Mills is a freelance writer on the arts who currently hosts the FunkZone Podcast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here. Citizen Maths: A Free Online Course That Teaches Adults the Math They Missed in High School is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

Did Bram Stoker’s world-famous Dracula character—perhaps the most culturally unkillable of all horror monsters—derive from Irish folklore? Search the Gaelic "Droch-Fhoula" (pronounced droc’ola) and, in addition to the requisite metal bands, you’ll find references to the "Castle of the Blood Visage," to a blood-drinking chieftain named Abhartach, and to other possible native sources of Irish writer Bram Stoker’s 1897 novel. These Celtic legends, the BBC writes, "may have shaped the story as much as European myths and Gothic literature." Despite all this intriguing speculation about Dracula’s Irish origins, the actors playing him have come from a variety of places. One recent incarnation, TV series Dracula, did cast an Irish actor, Jonathan Rhys Meyers, in the role. Hungarian Bela Lugosi comes closest to the fictional character’s nationality, as well as that of another, perhaps dubious source, Romanian warlord Vlad the Impaler. Protean Brit Gary Oldman played up the character as Slavic aristocrat in Francis Ford Coppola’s somewhat more faithful take. But one too-oft-overlooked portrayal by another English actor, Christopher Lee, deserves much more attention than it receives. In ten low-budget films made by British exploitation studio Hammer, Lee portrayed the monstrous-yet-seductive blood-sucking nobleman as a very proper Englishman with "a certain lascivious sex appeal"—beginning with 1958’s Horror of Dracula (see a trailer above) and ending with 1973’s The Satanic Rites of Dracula. I find Lee’s Dracula so memorable that I was delighted to hear the audio above of him reading an adaptation of the novel, in ten parts. The video begins with titles and an establishing shot from the Hammer films, then segues to images from a 1966 Dracula graphic novel, the source of the "pretty faithful" adaptation by Otto Binder and Craig Tennis, for which Lee wrote an introduction. The audio here was also recorded in 1966 by the book’s editor Russ Jones. Comics blogger Steven Thompson remarks that "since Dracula is made up of a series of letters, journal and diary entries, the writers here logically take a more straightforward route of telling the tale while maintaining the episodic feel quite well." Rather than the voice of Count Dracula, Lee reads as the novel’s epistolary narrator Jonathan Harker, and the Dracula in the artwork, drawn by artist Al McWilliams, "bears more than a passing resemblance here to actor John Carradine," a notable American actor who played the character in Universal’s House of Frankenstein and House of Dracula. Nonetheless, Lee’s voice is enough to conjure his many exceptional performances as the prototypical vampire, a character and concept that will likely never die. Scholar and writer Bob Curran, a proponent of the Irish origins of Dracula, argues in his book Vampires that legends of undead, blood-drinking ghouls are found all over the world, which goes a long way toward explaining the enduring popularity of Dracula in particular and vampires in general. We’ll probably see another actor inherit the role of Stoker’s seductively creepy count in the near future. Whoever it is will have to measure himself against not only the performances of Lugosi, Carradine, Oldman, and Meyers, but also against the debonair Christopher Lee. He would do well, wherever he comes from, to study Lee’s Dracula films closely, and listen to him read the story in the adaptation above. Related Content: Christopher Lee (R.I.P.) Reads Edgar Allan Poe’s "The Raven," and From "The Fall of the House of Usher" Christopher Lee Narrates a Beautiful Animation of Tim Burton’s Poem, Nightmare Before Christmas Watch Nosferatu, the Seminal Vampire Film, Free Online (1922) Hear Edgar Allan Poe’s "The Tell Tale Heart" Read by the Great Bela Lugosi (1946) 700 Free eBooks for iPad, Kindle & Other Devices. Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness Horror Legend Christopher Lee Reads Bram Stoker’s Dracula is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

In a perfect world, I could write this post for free. Alas, the rigors of the modern economy demand that I pay regular and sometimes high prices for food, shelter, books, and the other necessities of life. And so if I spend time working on something — and in my case, that usually means writing something — I’d better ask for money in exchange, or I’ll find myself out on the street before long. Nobody understands this better than Harlan Ellison, the hugely prolific author of novels, stories, essays screenplays, comic books, usually in, or dealing with, the genre of science fiction. Ellison also starred in Dreams with Sharp Teeth, a documentary about his colorful life and all the work he’s written during it, a clip of which you can see at the top of the post. In it, he describes receiving a call just the day before from "a little film company" seeking permission to include an interview clip with him previously shot about the making of Babylon 5, a series on which he worked as creative consultant. "Absolutely," Ellison said to the company’s representative. "All you’ve got to do is pay me." This simple request seemed to take the representative—who went on to insist that "everyone else is just doing it for nothing" and that "it would be good publicity"—quite by surprise. "Do you get a paycheck?" Ellison then asked. "Does your boss get a paycheck? Do you pay the telecine guy? Do you pay the cameraman? Do you pay the cutters? Do you pay the Teamsters when they schlep your stuff on the trucks? Would you go to the gas station and ask them to give you free gas? Would you go to the doctor and have them take out our spleen for nothing?" This line of questioning has come up again and again since Ellison told this story, as when the journalist Nate Thayer, or more recently Wil Wheaton, spoke out against the expectation that writers would hand out the rights to their work "for exposure." The pragmatic Ellison frames the matter as follows: "Cross my palm with silver, and you can use my interview." But do financially-oriented attitudes such as his ("I don’t take a piss without getting paid for it") taint the art and craft of writing? He doesn’t think so: "I sell my soul," he admits, "but at the highest rates." Related Content: William Faulkner Explains Why Writing is Best Left to Scoundrels … Preferably Living in Brothels (1956) Stephen King’s Top 20 Rules for Writers Ray Bradbury on Zen and the Art of Writing (1973) Colin Marshall writes elsewhere on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, and the crowdfunded journalism project Where Is the City of the Future? Follow him on Twitter at @colinmarshall or on Facebook. Harlan Ellison’s Wonderful Rant on Why Writers Should Always Get Paid is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

Just a few miles down the highway from Open Culture’s gleaming headquarters you will find Los Gatos High School, where Dan Burns, an AP Physics Teacher, has figured out a simple but clever way to visualize gravity, as it was explained by Einstein’s 1915 General Theory of Relativity. Get $20 of spandex, some marbles, a couple of weights, and you’re all good to go. Using these readily-available objects, you can demonstrate how matter warps space-time, how objects gravitate towards one another, and why objects orbit in the way they do. My favorite part comes at the 2:15 mark, where Burns demonstrates the answer to a question you’ve maybe pondered before: why do all planets happen to orbit the sun moving in a clockwise (rather than counter-clockwise) fashion? Now you can find out why. via Coudal Related Content Free Online Physics Courses The Feynman Lectures on Physics, The Most Popular Physics Book Ever Written, Now Completely Online Bertrand Russell’s ABC of Relativity: The Classic Introduction to Einstein (Free Audio) Free Physics Textbooks Gravity Visualized by High School Teacher in an Amazingly Elegant & Simple Way is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

1949’s Death of a Salesman is one of the most enduring plays in the American canon, a staple of both community and professional theater. Playwright Arthur Miller recalled that when the curtain fell on the first performance, there were "men in the audience sitting there with handkerchiefs over their faces. It was like a funeral." Robert Falls, Artistic Director of Chicago’s Goodman Theater, brings the experience of dozens of productions to bear when he describes it as the only play that "sends men weeping into the Men’s room." Small wonder that the titular part has become a grail of sorts for aging leading men eager to be taken seriously. Dustin Hoffman, George C. Scott, and Philip Seymour Hoffman have all had a go at Willy Loman, a role still associated with the towering Lee J. Cobb, who originated it. (Willy’s wife, Linda, with her famous graveside admonition that "attention must be paid," is considered no less of a plum part.) On February 2, 1955, Arthur Miller joined Salesman’s first Mrs. Loman, Mildred Dunnock, to read selections from the script before a live audience at Manhattan’s 92nd Street YMCA. In addition to reading the role of Willy Loman, Miller supplied stage directions and explained his rationale for picking the featured scenes. The Pulitzer Prize winner’s New York accent and brusque manner make him a natural, and of course, who better to understand the nuances, motivations, and historical context of this tragically flawed character? Miller told The New Yorker that he based Loman on his family friend, Manny Newman: Manny lived in his own mind all the time. He never got out of it. Everything he said was totally unexpected. People regarded him as a kind of strange, completely untruthful personality. Very charming. I thought of him as a kind of wonderful inventor. For example, at will, he would suddenly say, "That’s a lovely suit you have on." And for no reason at all, he’d say, "Three hundred dollars." Now, everybody knew he never paid three hundred dollars for a suit in those days. At a party, he would lie down on his wife’s lap and pretend to be sucking her breast. He’d curl up on her lap—she was an immense woman. It was crazy. At the same time, there was something in him which was terribly moving. It was very moving, because his suffering was right on his skin, you see. If Miller and Dunnock’s performance leaves you hungry for more, you can see her and Lee J. Cobb reprise their roles on television in a 1966 CBS production. See Act 1 above, and Act 2 here. Related Content: Albert Camus Talks About Adapting Dostoyevsky for the Theatre, 1959 Hear Antonin Artaud’s Censored, Never-Aired Radio Play: To Have Done With The Judgment of God (1947) Peter Weiss’s Marat/Sade Pushed the Boundaries of Theater, and Still Does Ayun Halliday is an author, illustrator, and Chief Primatologist of the East Village Inky zine. Her play, Fawnbook, is now playing in New York City . Follow her @AyunHalliday Hear Arthur Miller Read From Death of a Salesman, His Great American Play (1955) is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.