Det er bemærkelsesværdigt så meget der stadig skrives om fantastiske Hitchens, som Rushdie kalder vor tids Voltaire:
Christopher Hitchens, 1949–2011
Targeted by Khomeini in 1989, the author found himself with a formidable champion: Christopher Hitchens. Salman Rushdie recalls his friend’s many joyfully waged battles, not least the Hitch’s magnificent argument with Death.
By Salman Rushdie - February 2012
On June 8, 2010, I was “in conversation” with Christopher Hitchens at the 92nd Street Y in New York in front of his customary sellout audience, to launch his memoir, Hitch-22. Christopher turned in a bravura performance that night, never sharper, never funnier, and afterward at a small, celebratory dinner the brilliance continued. A few days later he told me that it was on the morning of the Y event that he had been given the news about his cancer. It was hard to believe that he had been so publicly magnificent on such a privately dreadful day. He had shown more than stoicism. He had flung laughter and intelligence into the face of death.
Hitch-22 was a title born of the silly word games we played, one of which was Titles That Don’t Quite Make It, among which were A Farewell to Weapons, For Whom the Bell Rings, To Kill a Hummingbird, The Catcher in the Wheat, Mr. Zhivago, and Toby-Dick, a.k.a. Moby-Cock. And, as the not-quite version of Joseph Heller’s comic masterpiece, Hitch-22. Christopher rescued this last title from the slush pile of our catechism of failures and redeemed it by giving it to the text which now stands as his best memorial.
Mere HER i Vanity Fair. Der eksisterer 11 minutter af det program, Rushdie omtaler:
Christopher Hitchens in Conversation with Salman Rushdie at the 92nd Street Y
Og Hitchens sidste artikel:
Charles Dickens’s Inner Child
While it’s tempting to see Charles Dickens as a fusion of his heroes and villains, on the great British novelist’s 200th birthday his true gifts should be recognized: a respect for childhood and a willingness to atone for his mistakes.
By Christopher Hitchens – February 2012
Those who study Charles Dickens, or who keep up the great cult of his admiration, had been leading a fairly quiet life until a few years ago. The occasional letter bobs to the surface, or a bit of reminiscence is discovered, or perhaps some fragment of a souvenir from his first or second American tour. The pages of that agreeable little journal The Dickensian remained easy to turn, with little possibility of any great shock. At least since The Invisible Woman, Claire Tomalin’s definitive, 1991 exposure of the other woman in Dickens’s life—the once enigmatic Nelly Ternan—there hasn’t been any scandal or revelation.
Mere HER i Vanity Fair. Desuden denne audio. Det går fint med at høre, hvad der bliver sagt, selvom der er en lille fejl i lyden:
PEN Podcasts: Conversation with Umberto Eco, Salman Rushdie, and Mario Vargas Llosa
January 5, 2012 | PEN American
The Three Musketeers is one of the most beautiful examples of literary jazz. Dumas was able to write very badly The Count of Monte Cristo. The Three Musketeers is pure jazz—pah-pah-pah—with such rhythm, such a sense of riff, it’s incredible. He’s able to continue with a dialogue saying nothing, but it’s like a drum.
In today’s podcast, a conversation between Umberto Eco, Salman Rushdie, Mario Vargas Llosa, and Leonard Lopate at the event The Three Musketeers Reunited: Umberto Eco, Salman Rushdie, and Mario Vargas Llosa, part of the 2008 PEN World Voices Festival. Eco, who celebrates a birthday today, also delivered the Arthur Miller Freedom to Write Lecture at the Festival.
Stares HER – åbner Windows Media Player. Varighed 47 minuter.