11 Facts About To Kill A Mockingbird

istock (blank book, background)
istock (blank book, background)

It has been nearly 60 years since Harper Lee's To Kill a Mockingbird was published, and the story still resonates with readers. The coming-of-age tale about racial injustice in the south was a phenomenal success from the start, and has only become more popular with time.

1. The Book Drew On Lee’s Childhood In Alabama

While To Kill A Mockingbird is not autobiographical, there are similarities between the novel and Lee’s life. The book is set in Maycomb, Alabama, the fictional name for Monroeville, where Lee grew up. Like the main character Scout, Lee was a tomboy who was uncomfortable with traditional femininity. She and Scout would have been the same age and her brother Edwin was four years older, just like Scout's brother Jem. She even gave the family her mother’s maiden name, Finch.

2. Dill Was Based on Truman Capote

Lee modeled the neighbor boy Dill after Capote. As a child, Capote—the author of In Cold Blood and Breakfast At Tiffany’s—lived next door to Lee. They played together and even shared Lee’s typewriter. Both children were outside the social circles of their close-knit Southern town. As Gerald Clarke wrote in Capote: A Biography, “Nelle was too rough for most other girls, and Truman was too soft for most other boys.”

Capote’s first book, Other Voices, Other Rooms, has a tomboy character resembling Lee. Her name is Idabel Thompkins.

3. Lee Grew Up In The Courtroom

Like the character Atticus, Lee’s father, AC Lee, was a lawyer. Soft-spoken and dignified, he defended two African American men accused of murder and lost the case. Lee spent much of her childhood in the Monroeville courthouse. “Her father was a lawyer, and she and I used to go to trials all the time as children," Capote said. "We went to the trials instead of going to the movies."

Lee herself went to law school, but hated it and dropped out.

4. Boo Radley May Also Be Inspired From Life

In the book, Boo Radley is a recluse who leaves presents for the children in a tree. He may have been modeled after a real man, Son Boulware, who lived in Monroeville when Lee was a child. According to Capote, “He was a real man, and he lived just down the road from us. We used to go and get those things out of the trees. Everything [Lee] wrote about it is absolutely true.”

5. Go Set A Watchman Was Written Before Mockingbird

Lee wrote Go Set A Watchman in the 1950s. Set 20 years after To Kill A Mockingbird, it contains many of the same characters and themes. An editor who read the manuscript loved a flashback about Scout’s childhood and told Lee to write a book from the child’s point of view. Lee then started To Kill A Mockingbird.

Go Set A Watchman was thought to be lost until it was recently discovered in Lee’s archives.

6. Lee Was Able To Write Because Of A Gift From Friends

After finishing school, Lee moved to New York and worked as an airline reservationist. One Christmas, her friends Joy and Michael Brown gave her a gift: enough money to write for one year. In an essay for McCall’s in 1961, Lee wrote that they told her to quit her job and write whatever she wanted, no strings attached. “Our faith in you was really all I had heard them say. I would do my best not to fail them.”

7. The Book Changed Considerably During Editing

Lee’s agent sent To Kill A Mockingbird to 10 publishers and all of them turned it down. Finally, the publisher Lippincott accepted the manuscript, even though it needed a lot of work. “There were dangling threads of a plot, there was a lack of unity—a beginning, a middle, and an end—that was inherent in the beginning,” according to editor Tay Hohoff. “It is an indication of how seriously we were impressed by the author that we signed a contract at that point.”

There followed “a long and hopeless period of writing the book over and over again,” said Lee. It was published in 1960.

8. Lee Thought The Novel Would Fail

In 1964, Lee said she “[N]ever expected any sort of success with Mockingbird. I didn't expect the book to sell in the first place.” But the novel was an immediate success. Not only was it a best-seller, it was followed up with an Oscar-winning movie starring Gregory Peck. It also won a Pulitzer Prize in 1961. Today, the book sells almost a million copies a year, more than fellow 20th century classics The Great Gatsby or The Catcher in the Rye.

9. Truman Capote Didn’t Write The Novel

At some point, a rumor started that Capote wrote To Kill A Mockingbird, or at least edited it. Aside from the fact that Lee’s writing sounds nothing like Capote’s, he only saw the manuscript once. In 1959, Lee accompanied Capote to Kansas to research In Cold Blood. During that trip, she showed him a finished version of Mockingbird, which was about to go to print. Since the book was done, it would have been impossible for Capote to edit it, let alone write it.

10. In Fact, It's Said That Capote Was Jealous Of The Novel’s Success

While Capote initially seemed supportive, the friendship soured as Lee’s novel was increasingly lauded. According to Alice Lee, “Truman became very jealous because Nelle Harper got a Pulitzer and he did not. He expected In Cold Blood to bring him one, and he got involved with the drugs and heavy drinking and all. And that was it. It was not Nelle Harper dropping him. It was Truman going away from her.”

11. Lee Hated The Spotlight

When asked about her success in 1964, Lee called it frightening, saying her reaction was “sheer numbness. It was like being hit over the head and knocked cold.” While she never became the “Jane Austen of south Alabama” as she once hoped, she did work on a true crime novel in the 1970s. Here’s hoping it too sees the light of day.

The Gruesome Medieval Masquerade That Inspired Edgar Allan Poe

Hulton Archive/Getty Images
Hulton Archive/Getty Images

In March 1849, Edgar Allan Poe published a short story with one of the most macabre dénouements in his entire body of work. Called Hop-Frog, it was the tale of an eponymous court jester who endures repeated humiliations from an abusive king and his ministers before finally exacting his revenge. Like other works of the great horror master, it may have been inspired by historical events—in this case, by a particularly grisly episode from 14th-century France.

In Poe's short story, both Hop-Frog and Trippetta are people with dwarfism stolen from their respective home countries and brought as presents for the king from one of his generals. Hop-Frog is described as having a disability that makes him walk "by a sort of interjectional gait—something between a leap and a wriggle." Forced to be the court's jester, he's the target of the king's practical jokes, and while enduring near-constant humiliations grows close to Trippetta, whose status at the court isn't much better.

One day, the king demands a masquerade, and as the evening draws near, he asks Hop-Frog what to wear. After a scene in which he and Trippetta are abused once again, Hop-Frog sees the perfect chance for revenge. He suggests the monarch and his ministers dress as escaped orangutans chained together, which he calls "a capital diversion—one of my own country frolics—often enacted among us, at our masquerades." The king and his ministers love the idea of scaring their guests, and especially the women. The jester carefully prepares their costumes, saturating tight-fitting fabric with tar and plastering flax on top to resemble the hair of the beasts.

On the evening of the masquerade, the men enter in their special outfits just after midnight. The guests are duly terrified, and amid the hubbub, Hop-Frog attaches the chain that surrounds the group to one hanging from the ceiling that normally holds a chandelier. As the men are drawn upwards, he brings a flame close to their bodies, pretending to the crowd that he's trying to figure out who the disguised men really are. The flax and tar ignite quickly and the noblemen burn to death, suspended above the crowd. "The eight corpses swung in their chains," Poe writes, "a fetid, blackened, hideous, and indistinguishable mass."

Bernard Picart, "Bal des Ardents"
Bernard Picart, "Bal des Ardents"
Rijksmuseum, Europeana // Public Domain

The gruesome scene was likely inspired by a historical event: the Bal des Ardents (literally, "the Ball of the Burning Ones"). This obscure episode took place during the reign of Charles VI of France (1380-1422), known to posterity as "Charles the Mad." His periods of illness are well-documented by contemporary chroniclers, who tell us that he ran through his castle howling like a wolf, failed to recognize his own wife and children, and forbade anyone to touch him because he believed he was made of glass. After his first bout in 1392, when delirium led him to kill several knights, his physician prescribed "amusements, relaxations, sports, and pastimes."

Meanwhile, the royal council was controlled by his brother Louis d'Orléans and his uncle the Duke of Burgundy—who both had their eyes set on the throne. It was also the middle of the Hundred Years' War, and England was seen as a severe threat to national stability. In spite of the unrest, on January 28, 1393, Charles's wife, Queen Isabeau of Bavaria, held a ball in the royal palace of Saint-Pol to celebrate the third marriage of her lady-in-waiting Catherine de Fastaverin. The plan was also to entertain the king, as the royal physician had prescribed. One of the guests, the knight Sir Hugonin (sometimes Huguet) de Guisay, suggested that a group of nobles dress as "wild men" or "wood savages," mythical creatures associated with nature and pagan beliefs. The king liked the idea so much that he decided to join in as one of the masked dancers.

The six noblemen wore garments made of linen covered in pitch and stuck-on clumps of flax, so they appeared "full of hair from the top of the head to the sole of the foot," according to contemporary historian Jean Froissart. Poe preserved these details in Hop-Frog, though his characters weren't dressed as wild men, but as orangutans—an animal he had also used in The Murders in the Rue Morgue (1841) to great effect.

Unlike his fictional counterpart, Charles VI was aware that the costumes were highly flammable, so he ordered all torch-bearers to keep to one side of the room. As they entered the ballroom, five of the wild men were chained to one another. Only the king was free. The men probably humiliated the newlyweds, howling and dancing; some historians believe the wild dance was a charivari, a folk ritual intended to shame newlyweds at "irregular" marriages. (As a widow getting married for the third time, Lady Catherine would have been a target.)

But there was an important guest missing: the king's brother, Louis d'Orléans. He arrived late, carrying his own torch, and joined the dance. While the exact sequence of events is unclear, before long his torch had set fire to one of the wild men's costumes. The fire spread quickly. Two of the knights burned to death in front of the guests, and two more died in agony days later. Court chronicler Michel Pintoin, known as the Monk of St. Denis, describes the dancers' "flaming genitals dropping to the floor … releasing a stream of blood."

Only two of the wild men survived. One of them, named Nantoiullet, had reacted to the blaze by throwing himself into a barrel of water, which spared him a horrid death. The other was the king. He was saved by the Duchess of Berry, who used her gown to extinguish his costume before it was too late.

The event shook French society. It was seen as the height of courtly decadence, causing outrage and further unrest. That the king had engaged in this extravagant amusement, and that his life had been spared only by chance, was further proof that he was unfit for the throne.

Meanwhile, the part that Louis d'Orléans played in the tragedy was subject to some debate. Most chroniclers blamed his youth and recklessness for the terrible accident; some reportedly suggested it was a prank to "frighten the ladies" that got out of hand.

Although it seems that the Bal des Ardents wasn't a planned crime, the king's brother must have felt responsible for the fatal accident, since he founded a chapel in the convent of the Célestins shortly afterwards, hoping it would buy him a place in heaven. It didn't save him from a violent end, however: In 1407, Louis was assassinated on the orders of his cousin and recently minted political rival the Duke of Burgundy, which triggered a civil war that divided France for decades. The Duke of Burgundy justified the murder by accusing Louis of having used sorcery and occultism to attempt regicide on several occasions—one of them, he claimed, during the Bal des Ardents.

Regardless of the truth behind the matter, the horror of the event filtered down through the centuries to inspire one of Poe's most macabre works. (It's not clear where the author first heard about it, but it may have been in the pages of The Broadway Journal, where he was soon to become editor, and where a writer likened it to the accidental onstage burning death of the dancer Clara Webster in London.) Today, the shocking historical event lives on in Poe's story—and in Hop Frog's memorable final line: "I am simply Hop-Frog, the jester—and this is my last jest."

Additional source: Chronique du Religieux de Saint-Denys

25 of Oscar Wilde's Wittiest Quotes

By Napoleon Sarony - Library of Congress, Public Domain, Wikimedia Commons
By Napoleon Sarony - Library of Congress, Public Domain, Wikimedia Commons

On October 16, 1854, Oscar Fingal O'Flahertie Wills Wilde was born in Dublin, Ireland. He would go on to become one of the world's most prolific writers, dabbling in everything from plays and poetry to essays and fiction. Whatever the medium, his wit shone through.

1. ON GOD

"I think that God, in creating man, somewhat overestimated his ability."

2. ON THE WORLD AS A STAGE

"The world is a stage, but the play is badly cast."

3. ON FORGIVENESS

"Always forgive your enemies; nothing annoys them so much."

4. ON GOOD VERSUS BAD

"It is absurd to divide people into good and bad. People are either charming or tedious."

5. ON GETTING ADVICE

"The only thing to do with good advice is pass it on. It is never any use to oneself."

6. ON HAPPINESS

"Some cause happiness wherever they go; others whenever they go."

7. ON CYNICISM

"What is a cynic? A man who knows the price of everything and the value of nothing."

8. ON SINCERITY

"A little sincerity is a dangerous thing, and a great deal of it is absolutely fatal."

9. ON MONEY

"When I was young I thought that money was the most important thing in life; now that I am old I know that it is."

10. ON LIFE'S GREATEST TRAGEDIES

"There are only two tragedies in life: one is not getting what one wants, and the other is getting it."

11. ON HARD WORK

"Work is the curse of the drinking classes."

12. ON LIVING WITHIN ONE'S MEANS

"Anyone who lives within their means suffers from a lack of imagination."

13. ON TRUE FRIENDS

"True friends stab you in the front."

14. ON MOTHERS

"All women become like their mothers. That is their tragedy. No man does. That's his."

15. ON FASHION

"Fashion is a form of ugliness so intolerable that we have to alter it every six months."

16. ON BEING TALKED ABOUT

"There is only one thing in life worse than being talked about, and that is not being talked about."

17. ON GENIUS

"Genius is born—not paid."

18. ON MORALITY

"Morality is simply the attitude we adopt towards people whom we personally dislike."

19. ON RELATIONSHIPS

"How can a woman be expected to be happy with a man who insists on treating her as if she were a perfectly normal human being?"

20. ON THE DEFINITION OF A "GENTLEMAN"

"A gentleman is one who never hurts anyone’s feelings unintentionally."

21. ON BOREDOM

"My own business always bores me to death; I prefer other people’s."

22. ON AGING

"The old believe everything, the middle-aged suspect everything, the young know everything."

23. ON MEN AND WOMEN

"I like men who have a future and women who have a past."

24. ON POETRY

"There are two ways of disliking poetry; one way is to dislike it, the other is to read Pope."

25. ON WIT

"Quotation is a serviceable substitute for wit."

And one bonus quote about Oscar Wilde! Dorothy Parker said it best in a 1927 issue of Life:

If, with the literate, I am
Impelled to try an epigram,
I never seek to take the credit;
We all assume that Oscar said it.

SECTIONS

arrow
LIVE SMARTER