books

164d

<p>Tutivillus Is Watching You</p><p>For medieval scribes, mistakes couldn’t be easily shrugged off, as Tutivillus, the stickler demon, was always looking over their shoulders.</p><p>By: Amelia Soth </p><p><a href="https://daily.jstor.org/tutivillus-is-watching-you/" rel="nofollow" class="ellipsis" title="daily.jstor.org/tutivillus-is-watching-you/"><span class="invisible">https://</span><span class="ellipsis">daily.jstor.org/tutivillus-is-</span><span class="invisible">watching-you/</span></a></p><p>Medieval manuscripts at PG:<br><a href="https://www.gutenberg.org/ebooks/subjects/search/?query=medieval+manuscripts" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subjects/search/?query=medieval+manuscripts"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">cts/search/?query=medieval+manuscripts</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/old_manuscripts/" rel="tag">#old_manuscripts</a></p>

Representation of Titivillus (14th century).

The scene shows a scribe seated at a wooden desk, diligently copying a manuscript with a quill pen. He leans over an open book filled with red and black text.

Behind him, Titivillus appears as a small, dark, winged creature with a mischievous face, hairy body, and clawed hands. The demon watches him intently.

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

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166d

<p>finished reading <a href="https://eggplant.place/search?r=1&q=https://reviewdb.app/book/7h4lK28LeqWRIMWHBB7wKJ" rel="nofollow">Playground</a> 🌕🌕🌕🌕🌑 <br>by Richard Powers.</p><p>The glorious wonder of the ocean, the fraught love of competitive friends, our tangled dependence on both extraction & love of the natural world, the tempting appeal of AI. Felt like there was too much to wrap up in so short a space, but he pulls it off remarkably, leaving an uncertainty as to what was real and what imagined or simulated.</p><p><a href="/tags/bookreview/" rel="tag">#BookReview</a> <a href="/tags/books/" rel="tag">#Books</a> <a href="/tags/bookstodon/" rel="tag">#Bookstodon</a> </p><p><span class="h-card"><a href="https://aus.social/@wildwoila" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>WildWoila</span></a></span> @wildwoila@wyrms.de<br></p>

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1881.</p><p>Robert Louis Stevenson's children's pirate adventure novel Treasure Island begins serialization in the British magazine Young Folks as Treasure Island; or, The mutiny of the Hispaniola by "Captain George North". It was first published as a book on 14 November 1883 by Cassell & Co.</p><p><a href="https://en.wikipedia.org/wiki/Treasure_Island" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Treasure_Island"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Treasure</span><span class="invisible">_Island</span></a></p><p>Treasure Island at PG:<br><a href="https://gutenberg.org/ebooks/120" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/120</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Treasure Island, illustrated by George Wylie Hutchinson (1894).

Chums serialization of “Treasure Island,” which ran from 29 Aug 1894- 2 Jan 1895.

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164d

<p>Earlier this evening I took part in my first <a href="/tags/esperanto/" rel="tag">#Esperanto</a> book club. I was nervous in the beginning, as I still don't feel very confident using the language. But the group was so nice and friendly, and the book we're reading is well suited for learners (M. Boulton's Faktoj kaj fantazioj). It was great fun and I can't wait for the next week's meeting!</p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/bookclub/" rel="tag">#bookclub</a> <a href="/tags/zoom/" rel="tag">#zoom</a></p>

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265d

<p>With A Boat And Some Help, You Can Read Moby Dick In A Day</p><p>'All my means are sane, my motive and my object mad'</p><p>By Riley MacLeod</p><p><a href="https://aftermath.site/moby-dick-marathon-mystic" rel="nofollow" class="ellipsis" title="aftermath.site/moby-dick-marathon-mystic"><span class="invisible">https://</span><span class="ellipsis">aftermath.site/moby-dick-marat</span><span class="invisible">hon-mystic</span></a></p><p>Moby Dick at PG:<br><a href="https://www.gutenberg.org/ebooks/2701" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/2701</a></p><p><a href="/tags/books/" rel="tag">#Books</a> <a href="/tags/literature/" rel="tag">#Literature</a></p>

Moby Dick in a 1902 edition

I. W. Taber - Moby Dick - edition: Charles Scribner's Sons, New York

Illustration of the final chase of Moby-Dick.

Moby Dick, the great white whale, dominates the composition — massive, pale, and thrashing as it battles Captain Ahab's whaleboats. The whale is shown lunging or rearing from the ocean, its enormous body twisting, eyes fierce, and mouth open in defiance. The water surges violently around it, emphasizing the force of its movement.

Around Moby Dick, tiny whaleboats are depicted — fragile and dwarfed by the whale’s size. Sailors are shown in disarray; some clinging to the boats, others tossed into the sea. Captain Ahab, distinguishable by his grim posture and harpoon, caught in the fatal moment of his obsession.

https://en.wikipedia.org/wiki/Moby-Dick#/media/File:Moby_Dick_final_chase.jpg

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1889.</p><p>Arthur Conan Doyle and Oscar Wilde are entertained together at dinner at the Langham Hotel, London, by the American Joseph Marshall Stoddart of Lippincott's Monthly Magazine, who commissions from them respectively the stories The Sign of the Four and The Picture of Dorian Gray, which appear next year in the magazine.</p><p>The Sign of the Four at PG:<br><a href="https://gutenberg.org/ebooks/2097" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/2097</a></p><p>The Picture of Dorian Gray at PG:<br><a href="https://gutenberg.org/ebooks/4078" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/4078</a><br><a href="https://gutenberg.org/ebooks/174" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/174</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

One of the coversheets to the original serial publication of the novel in Lippincott’s Monthly Magazine.

A picture of the cover of the July, 1890 edition of Lippincott's Monthly Magazine, where "The Picture of Dorian Gray" was first published (also simultaneously published in London).

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1y

<p>American author Gertrude Chandler Warner died <a href="/tags/otd/" rel="tag">#OTD</a> in 1970.</p><p>She is best known for creating The Boxcar Children series, a popular series of children's books. The book was well-received, and Warner later revised it in 1942, making it more accessible to younger readers. This revised version became a classic, and Warner went on to write 18 more books in the series.</p><p><a href="https://en.wikipedia.org/wiki/Gertrude_Chandler_Warner" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Gertrude_Chandler_Warner"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Gertrude</span><span class="invisible">_Chandler_Warner</span></a></p><p>Books by Gertrude Chandler Warner at PG:<br><a href="https://www.gutenberg.org/ebooks/author/41863" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/41863"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/41863</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Gertrude Chandler Warner.

The portrait of Gertrude Chandler Warner, the beloved American author best known for creating The Boxcar Children series, typically captures her as a dignified, thoughtful figure, reflecting her nurturing and imaginative nature.

In the portrait, Warner is often depicted as an older woman, befitting her most productive years as a writer. She has short, neatly styled gray hair, often curled or softly waved, lending her an air of quiet elegance. Her expression is gentle and kind, with a warm, grandmotherly presence that aligns with her role as a creator of children's literature. Her eyes, often behind round or oval spectacles, are lively and intelligent, conveying her lifelong dedication to teaching and writing.

Warner is usually dressed modestly, in simple but tasteful clothing, such as a blouse with a high collar or a cardigan, reflecting her practical New England upbringing.

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1y

<p>English novelist and playwright Mary Wollstonecraft Shelley was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1797.</p><p>She wrote the Gothic novel Frankenstein; or, The Modern Prometheus (1818), which is considered an early example of science fiction. She also contributed five volumes of Lives of Italian, Spanish, Portuguese, and French authors to Dionysius Lardner's Cabinet Cyclopaedia.</p><p>Books by Mary Shelley at PG:<br><a href="https://www.gutenberg.org/ebooks/author/61" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/61"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/61</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/literarycriticism/" rel="tag">#literarycriticism</a></p>

Richard Rothwell's portrait of Shelley was shown at the Royal Academy in 1840, accompanied by lines from Percy Shelley's poem The Revolt of Islam calling her a "child of love and light".

In the portrait, Mary Shelley is depicted as a youthful and ethereal figure, embodying the Romantic ideals of beauty and intellect. Her face is delicately rendered, with soft, refined features that convey a sense of calm and introspection. Her skin is pale, almost luminescent, contributing to the portrayal of her as a "child of love and light," echoing the lines from Percy Shelley's poem The Revolt of Islam that accompanied the painting's exhibition.

Her dark hair is styled in loose waves, framing her face and adding to the gentle, almost melancholic mood of the image. She is dressed in period-appropriate clothing, often imagined as a simple yet elegant dress that reflects her status as a literary figure. The color palette of the portrait is subdued, with soft tones that enhance the delicate and introspective atmosphere.

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165d

<p>“Don’t get me wrong, I can’t do anything to change the way things are. That’s not why I went into politics, to make changes for the better for people like you. I went into politics to make sure things stay the same for people like me.” ~~ from 'Clown Town' by Mick Herron (spoken by Peter Judd, a very Boris Johnson-like character)</p><p><a href="/tags/wednesdaybookquote/" rel="tag">#WednesdayBookQuote</a> <a href="/tags/books/" rel="tag">#books</a> <a href="/tags/reading/" rel="tag">#reading</a> <span class="h-card"><a href="https://fedigroups.social/@bookstodon" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>bookstodon</span></a></span></p>

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165d

<p>Ebook and paperback: <a href="https://books2read.com/SheGoesToWar" rel="nofollow"><span class="invisible">https://</span>books2read.com/SheGoesToWar</a></p><p>With the return of her arch-nemesis to the world, in 1972, the Hunter literally goes to war, finding herself drawn to Vietnam, once more backed up by her demon hunting allies, but as all that faced the horrors of the Vietnam War, she finds her time there trying and emotionally difficult.</p><p><span class="h-card"><a href="https://fedigroups.social/@bookstodon" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>bookstodon</span></a></span><br><a href="/tags/author/" rel="tag">#author</a> <a href="/tags/indieauthor/" rel="tag">#indieauthor</a> <a href="/tags/writing/" rel="tag">#writing</a> <a href="/tags/fantasy/" rel="tag">#fantasy</a> <a href="/tags/actionadventure/" rel="tag">#actionadventure</a> <a href="/tags/fiction/" rel="tag">#fiction</a> <a href="/tags/books/" rel="tag">#books</a></p>

(Left) The cover of She Goes to War, by Owen Tyme, illustrated by Ryan Johnson.

Three people dressed in tiger-stripe camouflage crouch near the edge of a jungle, in Veitnam. The jungle is a mixture of bamboo and ferns.

The first is a girl with brown hair and blue eyes. She wears a dress, top hat and elbow-length fingerless gloves. She points out of the jungle.

The second is a hispanic man and his skin is covered in greasepaint, to make him blend in even better. He wears a military uniform, including a hat with a round brim and leans on an AK-47 for support. His vest has pouches large enough for spare magazines for his weapon. He looks through a pair of binoculars at what the girl is pointing at.

The third is huge and has the head of a cat, with black fur and green eyes. He wears a military uniform.

(Right) The view from the back of a military cargo plane, with the rear hatch open, in flight, while cargo is dropped for descent via parachute, with the following quote over the top:

“Did you see that?”

“No! I officially *never* saw that crate! I *did not* see the flash of a sword cut the crate apart and *very specifically* didn’t see it explode into a shower of thousands of dinner rolls, with a teenage girl in the middle!”

“Good! I was afraid I was the only one that hadn’t seen that!”

(Bottom) https://books2read.com/SheGoesToWar

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163d

<p>Audiobook: <a href="https://owentyme.bandcamp.com/album/short-of-tyme-the-most-powerful-words" rel="nofollow" class="ellipsis" title="owentyme.bandcamp.com/album/short-of-tyme-the-most-powerful-words"><span class="invisible">https://</span><span class="ellipsis">owentyme.bandcamp.com/album/sh</span><span class="invisible">ort-of-tyme-the-most-powerful-words</span></a></p><p>Hungry and hunting alone, a goblin boy meets a bouncing, blue slime and assumes it will be dinner. Naturally, the slime has other ideas, and the boy gets his hind-end handed to him by what’s supposed to be one of the weakest monsters of the forest.</p><p><span class="h-card"><a href="https://fedigroups.social/@bookstodon" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>bookstodon</span></a></span><br><a href="/tags/author/" rel="tag">#author</a> <a href="/tags/indieauthor/" rel="tag">#indieauthor</a> <a href="/tags/writing/" rel="tag">#writing</a> <a href="/tags/fantasy/" rel="tag">#fantasy</a> <a href="/tags/fiction/" rel="tag">#fiction</a> <a href="/tags/goblin/" rel="tag">#goblin</a> <a href="/tags/books/" rel="tag">#books</a> <a href="/tags/audiobook/" rel="tag">#audiobook</a></p>

(Left) The cover of The Most Powerful Words, by Owen Tyme, which consists of a temperate forest path in twilight, with a tree on the right side, which hangs over the path. At the base of the tree is a translucent, blue slime monster, with shiny, black eyes that give it a somewhat cute appearance, while the shadow that's visible at its base almost looks like a big mouth. The air has an almosty golden look, because there's a hint of fog in it. The cover is framed with beveled stone.

(Right) The background is a bookcase with three shelves that are filled with old-looking books. Some have bookmark ribbons that stick off the edge, adding a little color. The books are largely brown, with ribbed spines. The following quote is laid over it:

“There are words so powerful, they can shake the foundations of reality or alter the fate of the world.”

“The most powerful words of all can change a man’s heart and mind about old, incorrect beliefs.”

(Bottom) https://books2read.com/TheMostPowerfulWords

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165d

<p>Tajja Isen for The Walrus: "The Publishing Industry Has a Gambling Problem"</p><p>“I don’t know how people are supposed to develop in their careers,” says a novelist who also spoke on the condition of anonymity. She has published multiple books but, owing to editorial shuffles at her publishing houses, has had to take her books out on submission multiple times. “Every single time, the sales track becomes heavier.”</p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/writing/" rel="tag">#writing</a> <a href="/tags/writersofmastodon/" rel="tag">#writersofmastodon</a> <a href="/tags/writingcommunity/" rel="tag">#WritingCommunity</a> <a href="/tags/bookstodon/" rel="tag">#bookstodon</a> <span class="h-card"><a href="https://fedigroups.social/@bookstodon" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>bookstodon</span></a></span><br> <br><a href="https://thewalrus.ca/the-publishing-industry-has-a-gambling-problem/" rel="nofollow" class="ellipsis" title="thewalrus.ca/the-publishing-industry-has-a-gambling-problem/"><span class="invisible">https://</span><span class="ellipsis">thewalrus.ca/the-publishing-in</span><span class="invisible">dustry-has-a-gambling-problem/</span></a></p>

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1y

<p>"I am nothing but a bundle of nerves dressed up to look like a man."<br>Epoch 2, Frederick Fairlie</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1860.</p><p>Wilkie Collins' sensation novel The Woman in White, an early example of mystery fiction, completes its serialization in All the Year Round. It appears in book form in London around August 15.</p><p><a href="https://en.wikipedia.org/wiki/The_Woman_in_White_(novel)#" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Woman_in_White_(novel)#"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Woma</span><span class="invisible">n_in_White_(novel)#</span></a></p><p>Original file available here:<br><a href="https://www.djo.org.uk/all-the-year-round/volume-iii/page-1.html" rel="nofollow" class="ellipsis" title="www.djo.org.uk/all-the-year-round/volume-iii/page-1.html"><span class="invisible">https://</span><span class="ellipsis">www.djo.org.uk/all-the-year-ro</span><span class="invisible">und/volume-iii/page-1.html</span></a></p><p>The Woman in White at PG:<br><a href="https://gutenberg.org/ebooks/583" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/583</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

The Woamn in White published in All The Year Round, a Weekly Journal conducted by Charles Dickens with which is incorporated Household Words. Vol. 51, Saturday, April 14, 1860.

The Woman in White by Wilkie Collins published in All Year Round, November 20, 1859.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1835.</p><p>The first Great Moon Hoax article is published in The New York Sun, announcing the discovery of life and civilization on the Moon.</p><p>The discoveries were falsely attributed to Sir John Herschel and his fictitious companion Andrew Grant. In September 16, The Sun admitted the articles were in fact fabricated.</p><p><a href="https://en.wikipedia.org/wiki/Great_Moon_Hoax" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Great_Moon_Hoax"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Great_Mo</span><span class="invisible">on_Hoax</span></a></p><p>The Moon Hoax by Richard Adams Locke (Dubious author: J. N. Nicollet) at PG: <br><a href="https://www.gutenberg.org/ebooks/62779" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/62779</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/extraterrestrial/" rel="tag">#extraterrestrial</a></p>

Lunar animals and other objects Discovered by Sir John Herschel in his observatory at the Cape of Good Hope and copied from sketches in the Edinburgh Journal of Science.

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1y

<p>Dutch poet and novelist Jacob van Lennep died <a href="/tags/otd/" rel="tag">#OTD</a> in 1868.</p><p>He wrote in various genres, including historical novels, poetry, and plays. Among his most famous works is the novel "De Lotgevallen van Ferdinand Huyck" (The Adventures of Ferdinand Huyck), which remains a classic in Dutch literature.</p><p><a href="https://en.wikipedia.org/wiki/Jacob_van_Lennep" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Jacob_van_Lennep"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Jacob_va</span><span class="invisible">n_Lennep</span></a></p><p>Books by Jacob van Lennep at PG:<br><a href="https://www.gutenberg.org/ebooks/author/8513" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/8513"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/8513</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Drawing by W. Grebner and P. Velijn 1832 of Jacob van Lennep (1802-1868), dutch writer.

Jacob van Lennep is portrayed in a three-quarter view, which was a popular choice for portraits during this period as it provides a dynamic perspective while maintaining the subject's dignity. His expression is thoughtful and composed, with a slight, serious gaze, possibly looking off into the distance or slightly downward, indicating contemplation or introspection.

He is dressed in typical early 19th-century gentleman's attire. This likely includes a high-collared shirt, cravat, and a well-tailored jacket or coat. The clothing is formal and reflects his status as a respected figure in Dutch society.

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163d

<p>"Padraic Scanlan’s Rot: A History of the <a href="/tags/irishfamine/" rel="tag">#IrishFamine</a> doesn’t seek to overturn this consensus but Scanlan’s central claim is in some ways an echo of Mitchel’s: although <a href="/tags/ireland/" rel="tag">#Ireland</a> was part of the United Kingdom, it was, he writes, ‘imagined, governed and exploited in strikingly colonial ways ... The famine – a complex ecological, economic, logistical and political disaster – was a consequence of colonialism.’ " </p><p><a href="https://www.lrb.co.uk/the-paper/v47/n21/niamh-gallagher/carrion-and-earth" rel="nofollow" class="ellipsis" title="www.lrb.co.uk/the-paper/v47/n21/niamh-gallagher/carrion-and-earth"><span class="invisible">https://</span><span class="ellipsis">www.lrb.co.uk/the-paper/v47/n2</span><span class="invisible">1/niamh-gallagher/carrion-and-earth</span></a></p><p><a href="/tags/greatfamine/" rel="tag">#GreatFamine</a> <a href="/tags/irishhistory/" rel="tag">#IrishHistory</a> <a href="/tags/colonialism/" rel="tag">#colonialism</a> <a href="/tags/books/" rel="tag">#books</a> <span class="h-card"><a href="https://fedigroups.social/@bookstodon" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>bookstodon</span></a></span></p>

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164d

<p>If the universe as a fair place you'd live long enough to finish your reading list 😜😂 </p><p><span class="h-card"><a href="https://fedigroups.social/@reading" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>reading</span></a></span> <span class="h-card"><a href="https://fedigroups.social/@bookstodon" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>bookstodon</span></a></span> <a href="https://lemmy.world/u/books" rel="nofollow">@books</a> <span class="h-card"><a href="https://fedigroups.social/@humor" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>humor</span></a></span> @humor@lemmy.world @aiop</p><p><a href="/tags/readingmemes/" rel="tag">#ReadingMemes</a> <a href="/tags/memes/" rel="tag">#Memes</a> <a href="/tags/readallthebooks/" rel="tag">#ReadAllTheBooks</a> <a href="/tags/humor/" rel="tag">#Humor</a> <a href="/tags/humour/" rel="tag">#Humour</a><br><a href="/tags/reading/" rel="tag">#Reading</a> <a href="/tags/readers/" rel="tag">#Readers</a> <a href="/tags/readersofmastodon/" rel="tag">#ReadersOfMastodon</a> <a href="/tags/readingcommunity/" rel="tag">#ReadingCommunity</a><br><a href="/tags/book/" rel="tag">#Book</a> <a href="/tags/books/" rel="tag">#Books</a> <a href="/tags/novel/" rel="tag">#Novel</a> <a href="/tags/novels/" rel="tag">#Novels</a> <a href="/tags/fiction/" rel="tag">#Fiction</a> <br><a href="/tags/recommendation/" rel="tag">#Recommendation</a> <a href="/tags/bookrecommendation/" rel="tag">#Bookrecommendation</a><br><a href="/tags/bookwyrm/" rel="tag">#Bookwyrm</a> <a href="/tags/bookworm/" rel="tag">#Bookworm</a> <a href="/tags/bookstodon/" rel="tag">#Bookstodon</a> <a href="/tags/booklove/" rel="tag">#BookLove</a></p>

Picture of two lines, and a happy, little stickfigure reader.

The first longer line:
TIME IT WOULD TAKE TO GET THROUGH MY READING LIST

The second shorter line:
TIME LEFT BEFORE THE HEAT DEATH OF THE UNIVERSE

Reader: OOO, THIS BOOK LOOKS I SHOULD BUY IT

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163d

<p>‘A girl of genius’: archives unsealed of Amy Levy, queer Jewish writer admired by Oscar Wilde</p><p>Levy’s work was ‘ahead of her time’ and speaks to current debate around feminism, LGBTQ+ literature and Jewish identity, say researchers</p><p>By Nadia Khomami </p><p><a href="https://www.theguardian.com/books/2025/nov/13/archives-amy-levy-queer-jewish-writer-admired-by-oscar-wilde-unsealed" rel="nofollow" class="ellipsis" title="www.theguardian.com/books/2025/nov/13/archives-amy-levy-queer-jewish-writer-admired-by-oscar-wilde-unsealed"><span class="invisible">https://</span><span class="ellipsis">www.theguardian.com/books/2025</span><span class="invisible">/nov/13/archives-amy-levy-queer-jewish-writer-admired-by-oscar-wilde-unsealed</span></a></p><p>Amy Levy at PG:<br><a href="https://www.gutenberg.org/ebooks/author/49112" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/49112"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/49112</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/lgbtq/" rel="tag">#lgbtq</a></p>

Amy Levy (1861-1889): english poetess and feminist who committed suicide when becoming deaf.

This is a black-and-white portrait of Amy Levy with a calm, serious expression. She has dark, wavy hair pulled back and wears a dress with an ornate, lace-like collar.

https://en.wikipedia.org/wiki/Amy_Levy#/media/File:Amy_Levy_1.jpg

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135d

<p>A peace prize winner worth remembering</p><p>In 1930, Addams published her memoir of the next 20 years, describing her further involvement in Hull-House, her social and political reform work, and her activism for world peace, which won her a share of the 1931 Nobel Peace Prize. The public domain wins The Second Twenty Years at Hull-House in 20 days.<br> <br>By John Mark Ockerbloom</p><p><a href="https://everybodyslibraries.com/2025/12/12/a-peace-prize-winner-worth-remembering/" rel="nofollow" class="ellipsis" title="everybodyslibraries.com/2025/12/12/a-peace-prize-winner-worth-remembering/"><span class="invisible">https://</span><span class="ellipsis">everybodyslibraries.com/2025/1</span><span class="invisible">2/12/a-peace-prize-winner-worth-remembering/</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/publicdomaindaycountdown/" rel="tag">#publicDomainDayCountdown</a></p>

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165d

<p>How a Book Marketing Ploy Almost Ruined Edgar Wallace, Literature’s “King of Thrillers”</p><p>Edgar Wallace wanted to promote his first novel with more than just traditional ads—but his brilliant idea almost became his downfall.</p><p>By Jane Alexander</p><p><a href="https://www.mentalfloss.com/literature/authors/edgar-wallace-four-just-men-contest-financial-ruin" rel="nofollow" class="ellipsis" title="www.mentalfloss.com/literature/authors/edgar-wallace-four-just-men-contest-financial-ruin"><span class="invisible">https://</span><span class="ellipsis">www.mentalfloss.com/literature</span><span class="invisible">/authors/edgar-wallace-four-just-men-contest-financial-ruin</span></a></p><p>Edgar Wallace at PG:<br><a href="https://www.gutenberg.org/ebooks/author/999" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/999"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/999</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover page of Room 13

Author: Edgar Wallace

Original publication: London: John Long, Limited, 1924

https://www.gutenberg.org/cache/epub/76168/pg76168-images.html

The cover features a dramatic, illustrated scene in a vintage 1920s art style.

In the foreground, a woman dressed in a tailored mauve suit and white blouse is shown in motion, pushing a door closed with a determined expression. Her short, wavy hairstyle and fashion reflect the modern 1920s “flapper” style. Her body language suggests urgency or fear, as if she is trying to keep someone out.

Behind the door, a man in a dark suit is partly visible, leaning through the opening, his expression alert and intent.

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165d

<p>Stoking creative fires: Counting down to Public Domain Day 2026</p><p>Until I saw it performed earlier this month, I had doubts that one could successfully adapt an unthemed magazine issue into a stage play. But that’s what the New Classics Collective did with the first and only issue of <a href="https://onlinebooks.library.upenn.edu/webbin/serial?id=fire1926" rel="nofollow">Fire!!</a>, a literary magazine “devoted to younger Negro artists” published in Harlem in 1926. The <a href="https://www.quintessencetheatre.org/fire" rel="nofollow">play, which premiered at the Quintessence Theatre</a> in my Philadelphia neighborhood, laid a light dramatic frame over a set of performances of plays, poems, stories, drawings and essays from the magazine’s sole issue, including early work by authors like <a href="https://onlinebooks.library.upenn.edu/webbin/who/Hughes%2c%20Langston%2c%201902%2d1967" rel="nofollow">Langston Hughes</a> and <a href="https://onlinebooks.library.upenn.edu/webbin/who/Hurston%2c%20Zora%20Neale" rel="nofollow">Zora Neale Hurston</a> who are still known to many readers today.</p><p>As a <a href="https://www.inquirer.com/arts/theater/review-fire-quintessence-theatre-20251023.html" rel="nofollow">review in fhe Philadelphia Inquirer notes</a>, the play, like the magazine issue that inspired it, is a bit of a hot mess as a whole, but has a lot of talent going into its various parts, and it impressed a sold-out multiracial audience the night I went. The magazine itself perished after its first issue, after a fire destroyed the publication’s office. But both the then-new magazine and the new play that’s just been created from it are bold creative experiments, and I’m confident that the people who produced and experienced the play will go on to create more and better work, whether it’s new versions of what I saw in the play’s premiere, or other work inspired by it, just as the authors and artists in the magazine did.</p><p>Along with the people who produced it, we have the public domain to thank for the experience. All 1926 publications <a href="https://everybodyslibraries.com/2021/12/01/coming-soon-to-the-public-domain-in-2022/" rel="nofollow">joined the public domain in the United States</a> just a few years ago. That makes it possible for anyone who’s found an unburnt copy of Fire!! to digitize it and put it online without needing permission from anyone, as <a href="https://onlinebooks.library.upenn.edu/webbin/serial?id=fire1926" rel="nofollow">several online book collections now have done</a>. And it means that the New Classics Collective, or anyone else intrigued by the magazine’s content, can freely adapt and repurpose it as they like, without needing to work out deals with all of the creators whose works were adapted for the play. These new versions will have their own copyrights for a time, just as the original 1926 pieces did. But eventually, when they too join join the public domain, they will be free for all of us to remember, share, preserve, and renew as part of our common cultural heritage.</p><p>Fifty days from today, the public domain will grow further for many people around the world. In the United States, <a href="https://everybodyslibraries.com/2024/11/01/the-remainder-of-the-roaring-20s-about-to-join-the-public-domain/" rel="nofollow">the last copyrights for 1920s publications</a> (except for sound recordings) joined the public domain here last year. This coming January 1, a new wave of copyright expiration will reach the start of the 1930s, with all remaining publication copyrights from 1930 expiring (as well as 1925 sound recording copyrights). And starting tomorrow, I’ll be featuring selected works that will be joining the public domain here, in short daily posts that will appear on this blog, and also on some social media networks. On <a href="https://joinmastodon.org/" rel="nofollow">Mastodon</a> and other services on the “<a href="https://en.wikipedia.org/wiki/Fediverse" rel="nofollow">fediverse</a>“, you can follow this blog by following the user <span class="h-card"><a href="https://everybodyslibraries.com" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>everybodyslibraries.com</span></a></span>, or the hashtag <a href="/tags/publicdomaindaycountdown/" rel="tag">#PublicDomainDayCountdown</a>. I’ll also boost the posts from my own personal Mastodon account (<a href="https://mastodon.social/@JMarkOckerbloom" rel="nofollow" class="ellipsis" title="mastodon.social/@JMarkOckerbloom"><span class="invisible">https://</span><span class="ellipsis">mastodon.social/@JMarkOckerblo</span><span class="invisible">om</span></a>). That account uses the Bridgy Fed service to connect to Blue Sky, where I believe you should be able to follow the user @JMarkOckerbloom.mastodon.social.ap.brid.gy. I’m not aware of any way to automatically get my posts on other large commercial social media, but folks relying on sites dependent on the likes of Elon Musk or Mark Zuckerberg may want to diversify their information sources in any case.</p><p>If you follow my posts, I hope you’ll hear about a number of works and creators you know and love, as well as ones you might not be familiar with. You can get an even more diverse and inclusive set of works and perspectives if you also check out other sources that will be promoting the public domain (which I expect to include <a href="https://en.wikipedia.org/wiki/2026_in_public_domain" rel="nofollow">Wikipedia</a>, the <a href="https://publicdomainreview.org/" rel="nofollow">Public Domain Review</a>, the <a href="https://web.law.duke.edu/cspd/" rel="nofollow">Center for the Study of the Public Domain</a>, and the <a href="https://archive.org/" rel="nofollow">Internet Archive</a> as we get closer to the new year). Enjoy the countdown!</p><p><a href="/tags/books/" rel="tag">#Books</a> <a href="/tags/copyright/" rel="tag">#copyright</a> <a href="/tags/film/" rel="tag">#film</a> <a href="/tags/publicdomain/" rel="tag">#publicDomain</a> <a href="/tags/publicdomaindaycountdown/" rel="tag">#PublicDomainDayCountdown</a> <a href="/tags/writing/" rel="tag">#writing</a></p>

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164d

<p>8 Times Scientists and Inventors Tragically Died for Their Experiments</p><p>Innovation can be deadly.</p><p>By Gayoung Lee</p><p><a href="https://gizmodo.com/8-times-scientists-and-inventors-tragically-died-for-their-experiments-2000684271" rel="nofollow" class="ellipsis" title="gizmodo.com/8-times-scientists-and-inventors-tragically-died-for-their-experiments-2000684271"><span class="invisible">https://</span><span class="ellipsis">gizmodo.com/8-times-scientists</span><span class="invisible">-and-inventors-tragically-died-for-their-experiments-2000684271</span></a></p><p>Science at PG:<br><a href="https://www.gutenberg.org/ebooks/subject/51" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subject/51"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">ct/51</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Death of the German physicist Georg Wilhelm Richmann (1711–1753), who was shocked by lightning during one of their electrical thunderstorm experiments in Saint Petersburg.

In the center of the scene, Richmann is shown collapsing backward as a sudden bolt of lightning or electric discharge strikes the metal rod of his experimental apparatus. His face is contorted in shock, and his body is thrown off balance.

To one side, a laboratory assistant or observer recoils in terror, his arms raised and face turned away from the flash. Objects in the laboratory—papers, instruments, and tools—are scattered or thrown into the air by the blast.

https://en.wikipedia.org/wiki/Georg_Wilhelm_Richmann#/media/File:Richmanns_Tod_1753.jpg

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44d

The best recent science fiction, fantasy and horror – review roundup <small class="notice" x-post-type-data="None"> Takahe has limited support for this type: <a href="https://lemmy.world/post/44204489">See Original Page</a> </small>

the-best-recent-science-fiction-fantasy-and-horror-review-roundup

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1y

<p>"Sunlight is the life-blood of Nature."<br>Ch. 19.</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1889.</p><p>Jerome K. Jerome's comic fictional English travelogue set on the River Thames, Three Men in a Boat (To Say Nothing of the Dog), is published in Bristol. Its sequel is Three Men on the Bummel (also known as Three Men on Wheels, 1900).</p><p><a href="https://en.wikipedia.org/wiki/Three_Men_in_a_Boat" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Three_Men_in_a_Boat"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Three_Me</span><span class="invisible">n_in_a_Boat</span></a></p><p>Three Men in a Boat at PG:<br><a href="https://gutenberg.org/ebooks/308" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/308</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Frontpage Jerome Three Men in a Boat 1889

Titlepage of the first edition of Jerome K. Jerome (1889) Three Men in a Boat: (To Say Nothing of the Dog), Bristol: J.W. Arrowsmith OCLC: 213830865.

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134d

<p>50% off @ <a href="/tags/smashwords/" rel="tag">#Smashwords</a>: <a href="https://books2read.com/WrathOfTheSky" rel="nofollow"><span class="invisible">https://</span>books2read.com/WrathOfTheSky</a></p><p>Zechariah Jacobs has angered a vast empire that spans a third of the galaxy, which is far too much for his planet to stand against, but in a clash of wizards and magic versus technology, it’s hard to say which will win.</p><p><span class="h-card"><a href="https://fedigroups.social/@bookstodon" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>bookstodon</span></a></span><br><a href="/tags/author/" rel="tag">#author</a> <a href="/tags/indieauthor/" rel="tag">#indieauthor</a> <a href="/tags/writing/" rel="tag">#writing</a> <a href="/tags/fantasy/" rel="tag">#fantasy</a> <a href="/tags/scifi/" rel="tag">#scifi</a> <a href="/tags/sciencefiction/" rel="tag">#sciencefiction</a> <a href="/tags/sff/" rel="tag">#sff</a> <a href="/tags/sciencefantasy/" rel="tag">#sciencefantasy</a> <a href="/tags/scifi/" rel="tag">#scifi</a> <a href="/tags/actionadventure/" rel="tag">#actionadventure</a> <a href="/tags/fiction/" rel="tag">#fiction</a> <a href="/tags/books/" rel="tag">#books</a> <a href="/tags/eoysale25/" rel="tag">#EOYSale25</a> <a href="/tags/ebook/" rel="tag">#ebook</a> <a href="/tags/sale/" rel="tag">#sale</a> <a href="/tags/books2read/" rel="tag">#books2read</a> <a href="/tags/indiebooks/" rel="tag">#indiebooks</a></p>

(Left) The cover of Wrath of the Sky, by Owen Tyme.

On a black background, a planet much like earth burns, set aflame. The flames are on the top and sides, but haven't yet reached the bottom.

(Right) An ogre stands on a rocky cliffside path, clearly quite upset, with both his head and arms raised as he cries out! The background is blue sky with white clouds. The following quote is laid over the top of the scene:

Winzon grinned evilly. With great slowness and ceremony, he undid the draw-string of his sack and up-ended it, dropping an ogre skull at the brute’s feet!

The massive ogre’s entire demeanor changed in an instant! He backed away, carefully stepping out of reach of Winzon’s ax, even though it was still strapped to his back!

The brute whispered, “Ogre-slayer!”

(Bottom) https://books2read.com/WrathOfTheSky

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