literature

1y

<p>German poet Friedrich Gottlieb Klopstock was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1724.</p><p>He is best known for his epic poem "Der Messias" which was heavily influenced by John Milton's "Paradise Lost" but distinguished itself with its intense emotionality and religious fervor. Klopstock also wrote numerous odes and lyric poems that celebrated themes of friendship, patriotism, nature, and spirituality. Notable collections include "Odes" and "Poetische Werke".</p><p><a href="https://www.gutenberg.org/ebooks/author/6558" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/6558"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/6558</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poetry/" rel="tag">#poetry</a></p>

Klopstock by Johann Caspar Füssli (1750)
Johann Caspar Füssli - Das Jahrhundert der Freundschaft. Johann Wilhelm Ludwig Gleim und seine Zeitgenossen, ed. Ute Pott (Göttingen: Wallstein, 2004), p. 25.

Image of a man with white hair and a red tie in a painting.

Titelblatt der Erstausgabe der ersten drei Gesänge des Messias (1749).

Klopstock began writing "Der Messias" in 1748. This epic poem, written in unrhymed hexameters, is a religious and lyrical masterpiece that narrates the life and mission of Jesus Christ. It was heavily influenced by John Milton's "Paradise Lost" but distinguished itself with its intense emotionality and religious fervor.

The first three cantos were published in 1748, and the poem was eventually completed in 1773. The work was groundbreaking for its time, emphasizing religious devotion and the sublime rather than the rationality and order typical of Enlightenment literature.

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160d

<p>WRITERS!</p><p>Submissions invited to NEW WRITING SCOTLAND 44! We want poetry & prose in English, <a href="/tags/gaelic/" rel="tag">#Gaelic</a>, & <a href="/tags/scots/" rel="tag">#Scots</a> from writers who are Scottish by residence, birth, or inclination. All successful contributors are paid – deadline 31 Oct!</p><p>@writingcommunity </p><p>Submit free via Submittable 👇</p><p><a href="https://nws.submittable.com/submit" rel="nofollow"><span class="invisible">https://</span>nws.submittable.com/submit</a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/writing/" rel="tag">#writing</a> <a href="/tags/writingcommunity/" rel="tag">#WritingCommunity</a> <a href="/tags/iamwriting/" rel="tag">#IAmWriting</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/shortfiction/" rel="tag">#shortfiction</a> <a href="/tags/shortstories/" rel="tag">#shortstories</a> <a href="/tags/scots/" rel="tag">#Scots</a> <a href="/tags/scotslanguage/" rel="tag">#Scotslanguage</a> <a href="/tags/gaelic/" rel="tag">#Gaelic</a> <a href="/tags/gaidhlig/" rel="tag">#Gaidhlig</a></p>

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118d

<p>I am a human being <br>and I exist</p><p>a human being<br>and a citizen of the world</p><p>responsible to that world<br>– and responsible for that world</p><p>—Tom Leonard, “Being a Human Being”<br>First published in PN Review 32 (2005)</p><p>Today, 10 December, is Human Rights Day </p><p><a href="https://www.un.org/en/observances/human-rights-day" rel="nofollow" class="ellipsis" title="www.un.org/en/observances/human-rights-day"><span class="invisible">https://</span><span class="ellipsis">www.un.org/en/observances/huma</span><span class="invisible">n-rights-day</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/humanrights/" rel="tag">#HumanRights</a> <a href="/tags/humanrightsday/" rel="tag">#HUmanRightsDay</a></p>

Being a Human Being
Tom Leonard

for Mordechai Vanunu

not to be complicit
not to accept everyone else is silent it must be alright

not to keep one’s mouth shut to hold onto one’s job
not to accept public language as cover and decoy

not to put friends and family before the rest of the world
not to say I am wrong when you know the government is wrong

not to be just a bought behaviour pattern
to accept the moment and fact of choice

I am a human being
and I exist

a human being
and a citizen of the world

responsible to that world
– and responsible for that world

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92d

<p>Off Lindisfarne<br>the waves shiver like monks<br>at their ablutions.</p><p>Under high horizontals<br>of ice-cloud, the sky<br>scrubbed clean as a dairy.</p><p>The train darts north,<br>hungry as a tongue…</p><p>—Alison Fell, “January, 5”<br>published in LIGHTYEAR (Smokestack Books, 2005)</p><p><a href="https://www.scottishpoetrylibrary.org.uk/poem/january-5/" rel="nofollow" class="ellipsis" title="www.scottishpoetrylibrary.org.uk/poem/january-5/"><span class="invisible">https://</span><span class="ellipsis">www.scottishpoetrylibrary.org.</span><span class="invisible">uk/poem/january-5/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/winter/" rel="tag">#winter</a></p>

January, 5
by Alison Fell

Off Lindisfarne
the waves shiver like monks
at their ablutions.

Under high horizontals
of ice-cloud, the sky
scrubbed clean as a dairy.

The train darts north,
hungry as a tongue.

Only the exile longs for
the words to name a country:

either live it or learn,
at a bare table,

ancestral silence, like a rumble
deep in the loch’s throat,

the forgotten song
of the curling-stone,

the snow slipping like white meat
from the bones of the mountain.

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1y

<p>American author and journalist Rebecca Harding Davis was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1831.</p><p>"Life in the Iron Mills" (1861): Davis´s most famous work, originally published anonymously in the Atlantic Monthly, is considered one of the earliest examples of American realism. It depicts the harsh realities of life for industrial workers and is noted for its empathetic portrayal of the working class.</p><p>Books by Rebecca Harding Davis at PG:<br><a href="https://www.gutenberg.org/ebooks/author/186" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/186"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/186</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

American novelist Rebecca Harding Davis.

A monochrome photograph featuring a woman with long hair, from the past.

Cover page of Life in the Iron-Mills; Or, The Korl Woman by Rebecca Harding Davis.

"Life in the Iron Mills; or, The Korl Woman" is a novella by Rebecca Harding Davis, first published in 1861 in the Atlantic Monthly. It is considered a pioneering work of American realism and is notable for its social critique and empathetic portrayal of the working class during the Industrial Revolution.

The novella is set in a dreary industrial town and revolves around the lives of Hugh Wolfe, a furnace tender in an iron mill, and his cousin Deborah, who works in a cotton mill. The story is narrated by an unnamed observer who provides a grim depiction of the industrial environment and the dehumanizing conditions faced by the workers.

"Life in the Iron Mills" remains a seminal work in American literature, celebrated for its empathetic portrayal of the working class and its pioneering role in the development of literary realism.

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159d

<p>Victorian Horror and the Search for Truth</p><p>by Emily Erwin</p><p><a href="https://www.wordonfire.org/articles/victorian-horror-and-the-search-for-truth/" rel="nofollow" class="ellipsis" title="www.wordonfire.org/articles/victorian-horror-and-the-search-for-truth/"><span class="invisible">https://</span><span class="ellipsis">www.wordonfire.org/articles/vi</span><span class="invisible">ctorian-horror-and-the-search-for-truth/</span></a></p><p>The Woman in White at PG:<br><a href="https://www.gutenberg.org/ebooks/583" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/583</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Walter Hartright's first encounter with 'The Woman in White'. Illustration by Thomas Eyre Macklin.

Illustration for The Woman in White, a lithograph by Thomas Eyre Macklin RBA (1867–1943), a British artist, illustrator and sculptor.

It depicts the haunting nighttime meeting between the young drawing master Walter Hartright and the mysterious woman dressed entirely in white, from The Woman in White by Wilkie Collins.

The scene shows the two figures standing on a dimly lit country road. Walter, dressed in formal Victorian attire with a tall hat and cloak, looks toward the woman with a mix of surprise and concern. The woman in white, her expression anxious and imploring, gestures toward the distance as she asks, “Is that the road to London?” Her light gown and bonnet stand out against the shadowed background and cloudy night sky, enhancing her spectral presence.

https://en.wikipedia.org/wiki/The_Woman_in_White_(novel)#/media/File:Illustration_by_Thomas_Eyre_Macklin_for_The_Woman_in_White_(1).jpg

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92d

<p>RE: <a href="https://mastodon.scot/@scotlit/115842616105911298" rel="nofollow" class="ellipsis" title="mastodon.scot/@scotlit/115842616105911298"><span class="invisible">https://</span><span class="ellipsis">mastodon.scot/@scotlit/1158426</span><span class="invisible">16105911298</span></a></p><p>“The killer is never assumed to be a local East Ender… He’s always judged to be a man out of place, flipping between high society by day & the dark & dirty streets of Whitechapel by night”</p><p>Lucy Worsley on how Robert Louis Stevenson’s JEKYLL & HYDE influenced the legend of Jack the Ripper</p><p><a href="https://www.salon.com/2014/10/18/jack_the_rippers_long_shadow_from_sherlock_holmes_to_jekyll_hyde/" rel="nofollow" class="ellipsis" title="www.salon.com/2014/10/18/jack_the_rippers_long_shadow_from_sherlock_holmes_to_jekyll_hyde/"><span class="invisible">https://</span><span class="ellipsis">www.salon.com/2014/10/18/jack_</span><span class="invisible">the_rippers_long_shadow_from_sherlock_holmes_to_jekyll_hyde/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/19thcentury/" rel="tag">#19thcentury</a> <a href="/tags/victorian/" rel="tag">#Victorian</a> <a href="/tags/robertlouisstevenson/" rel="tag">#RobertLouisStevenson</a> <a href="/tags/jekyllandhyde/" rel="tag">#JekyllandHyde</a> <a href="/tags/horror/" rel="tag">#horror</a> <a href="/tags/gothic/" rel="tag">#gothic</a> <a href="/tags/jacktheripper/" rel="tag">#JacktheRipper</a></p>

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159d

<p>Rubbing a glistening circle<br>on the steamed-up window I framed <br>a pheasant in a field of mist…</p><p>—Edwin Morgan, “Aberdeen Train”<br>published in CENTENARY SELECTED POEMS (Carcanet, 2020)</p><p><a href="https://www.carcanet.co.uk/cgi-bin/indexer?product=9781784109967" rel="nofollow" class="ellipsis" title="www.carcanet.co.uk/cgi-bin/indexer?product=9781784109967"><span class="invisible">https://</span><span class="ellipsis">www.carcanet.co.uk/cgi-bin/ind</span><span class="invisible">exer?product=9781784109967</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/chineseart/" rel="tag">#ChineseArt</a> <a href="/tags/edwinmorgan/" rel="tag">#EdwinMorgan</a> <a href="/tags/autumn/" rel="tag">#autumn</a> <a href="/tags/october/" rel="tag">#October</a></p>

Edwin Morgan
Aberdeen Train

Rubbing a glistening circle
on the steamed-up window I framed
a pheasant in a field of mist.
The sun was a great red thing somewhere low,
struggling with the milky scene. In the furrows
a piece of glass winked into life,
hypnotized the silly dandy; we
hooted past him with his head cocked,
contemplating a bottle-end,
and this was the last of October,
a Chinese moment in the Mearns.

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159d

<p>He telt us his wife had run aff wi Super Mario.<br>Noo, he wis dinin on the dustbins, dwinin awa<br>for want o a pouer pill and a braw sheenie cherry…</p><p>—Amy Jo Philip, “Pac-Man’s Last Stand”<br>in DOUBLE BILL (Red Squirrel Press 2014)<br>🟡 🍒 👻 </p><p>Happy 45th birthday to Pac-Man!</p><p><a href="https://www.redsquirrelpress.com/product-page/double-bill-andy-jackson" rel="nofollow" class="ellipsis" title="www.redsquirrelpress.com/product-page/double-bill-andy-jackson"><span class="invisible">https://</span><span class="ellipsis">www.redsquirrelpress.com/produ</span><span class="invisible">ct-page/double-bill-andy-jackson</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/pacman/" rel="tag">#PacMan</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/scots/" rel="tag">#Scots</a> <a href="/tags/scotslanguage/" rel="tag">#Scotslanguage</a> <a href="/tags/gaming/" rel="tag">#gaming</a> <a href="/tags/retrogaming/" rel="tag">#retrogaming</a> <a href="/tags/googledoodle/" rel="tag">#GoogleDoodle</a></p>

Pac-Man’s Last Stand
Amy Jo Philip

We funt him dossin in a piss-scented close
oot the back o a defunct arcade,
his canary coupon dulled fae dool and stour
tae say naething o the bargain booze he swallied
fae a bottle happed in a broun paper poke.

He telt us his wife had run aff wi Super Mario.
Noo, he wis dinin on the dustbins, dwinin awa
for want o a pouer pill and a braw sheenie cherry;
in a constant, feartie, blootered dwam
o Inky, Blinky, Pinky and even Clyde closin in

for the kill. Haurdly a shaddae o his auld sel.
The worst o it wis, every time he yawned
his gub wid gant that wee tait wider till it seemed
he’d fauld in on hissel and the air aroun him growe
shairp wi they twa wirds ilka gamer dreids.

Naiturally, we taen him hame wi’s and fed him up
on spare fou stops, Morellos and tartrazine.
Man, ye shuid hae seen thon appetite!
The trouble stairted wi a toattie bite taen out
the sofa. Afore lang, the living room was a guddle

o sawdust, torn swatches and chowed wires. Im gey feart
he’ll soon hae eaten us oot o hous and hauld.
And that’s whaur youse come in. A puckle wee ghosties
dinnae fleg me, but yon yellae golach’s anither story.
The doors and windaes is aw locked. He’ll no suspect a thing.

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159d

<p>Meet the Real Dr. Frankenstein</p><p>The Italian scientist who sparked an electric revolution that led to the beloved horror story—and the battery</p><p>By Molly Glick</p><p><a href="https://nautil.us/meet-the-real-dr-frankenstein-1245010/" rel="nofollow" class="ellipsis" title="nautil.us/meet-the-real-dr-frankenstein-1245010/"><span class="invisible">https://</span><span class="ellipsis">nautil.us/meet-the-real-dr-fra</span><span class="invisible">nkenstein-1245010/</span></a></p><p>Galvani and Frankenstein at PG:<br><a href="https://www.gutenberg.org/ebooks/subject/27281" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subject/27281"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">ct/27281</span></a><br><a href="https://www.gutenberg.org/ebooks/84" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/84</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/science/" rel="tag">#science</a></p>

Luigi Galvani - De viribus electricitatis in motu musculari commentarius, Tav. 1

Luigi Galvani experiment on frogs legs.

In this 18th-century scientific engraving, Galvani demonstrates how electricity can cause muscular movement in a dissected frog’s legs. The scene typically shows frog limbs connected by metal wires to an electrical source or to a metal arc, producing visible contractions when the circuit is completed.

https://en.wikipedia.org/wiki/Luigi_Galvani#/media/File:Luigi_Galvani_Experiment.jpeg

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159d

<p>R.B. & Gabriela Cunninghame Graham: International Travel, Domestic Reality<br>28 November, University of Glasgow – free</p><p>A symposium exploring the cultural & political significance of Robert Bontine Cunninghame Graham’s travels & travel-writing; the question of his wife Gabriela’s identity & his collusion in the deception at its heart; his writing about women & the equality of the sexes.</p><p><a href="https://wegottickets.com/event/677550" rel="nofollow"><span class="invisible">https://</span>wegottickets.com/event/677550</a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/19thcentury/" rel="tag">#19thcentury</a> <a href="/tags/victorian/" rel="tag">#Victorian</a> <a href="/tags/travel/" rel="tag">#travel</a> <a href="/tags/travelwriting/" rel="tag">#travelwriting</a> <a href="/tags/equality/" rel="tag">#equality</a></p>

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159d

<p>“That’s Why We Become Witches”: Sylvia Townsend Warner’s Lolly Willowes (1926)</p><p>"A novel about a woman who throws off the yoke of patriarchy to become a witch."</p><p><a href="https://publicdomainreview.org/collection/lolly-willowes/" rel="nofollow" class="ellipsis" title="publicdomainreview.org/collection/lolly-willowes/"><span class="invisible">https://</span><span class="ellipsis">publicdomainreview.org/collect</span><span class="invisible">ion/lolly-willowes/</span></a></p><p>The book at PG:</p><p><a href="https://www.gutenberg.org/ebooks/72223" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/72223</a></p><p><a href="/tags/witches/" rel="tag">#witches</a> <a href="/tags/supernatural/" rel="tag">#supernatural</a> <a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Halloween: illustration shows a witch riding on a broom with a black cat.

Edited 159d ago

3 0 1 View Post & Replies See Original

159d

<p>The Uncanny Scot</p><p>To get you in the mood for Halloween, this back issue of The Bottle Imp pursues the spectre of the Scottish Gothic – including HP Lovecraft’s favourite Scots word …</p><p>From ghoulies and ghosties<br>And long-leggity beasties<br>And things that go bump in the night,<br>Good Lord, deliver us!</p><p>🎃 <br>(the absence of a neep emoji is cultural imperialism at its worst)</p><p><a href="https://www.thebottleimp.org.uk/2009/11/editorial-the-uncanny-scot-scottish-gothic/" rel="nofollow" class="ellipsis" title="www.thebottleimp.org.uk/2009/11/editorial-the-uncanny-scot-scottish-gothic/"><span class="invisible">https://</span><span class="ellipsis">www.thebottleimp.org.uk/2009/1</span><span class="invisible">1/editorial-the-uncanny-scot-scottish-gothic/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/horror/" rel="tag">#horror</a> <a href="/tags/gothic/" rel="tag">#gothic</a> <a href="/tags/halloween/" rel="tag">#halloween</a> <a href="/tags/lovecraft/" rel="tag">#Lovecraft</a> <a href="/tags/hplovecraft/" rel="tag">#HPLovecraft</a></p>

The Uncanny Scot
By The Unreliable Narrator

Readers of a nervous disposition, turn away! This issue of The Bottle Imp pursues the spectre of the Gothic. Naught but ruined towers, blasted heaths, and cold wastes lie within.

Horror seeps in to this our waking world from the margins, and the marginalised. Scotland lies on Britain’s edge, a ragged, ancient fringe. The very rocks beneath our feet are primeval: they count their years in billions, and were old past knowing when first things sneaked and scuttled from out the slime. The skin is thinner here, stretched more tightly over the bones of the Earth.

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118d

<p>George MacDonald (1824–1905) was born <a href="/tags/otd/" rel="tag">#OTD</a>, 10 Dec. One of the earliest theorists of the fantastic, & grandfather of modern fantasy literature, he was read & admired by CS Lewis, JRR Tolkien & Madeleine L’Engle, among others </p><p>@litstudies </p><p>🎨 : Cecilia Harrison (1863–1941)</p><p>🧵 1/5</p><p><a href="https://www.nationalgalleries.org/art-and-artists/3082" rel="nofollow" class="ellipsis" title="www.nationalgalleries.org/art-and-artists/3082"><span class="invisible">https://</span><span class="ellipsis">www.nationalgalleries.org/art-</span><span class="invisible">and-artists/3082</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/victorian/" rel="tag">#Victorian</a> <a href="/tags/19thcentury/" rel="tag">#19thCentury</a> <a href="/tags/fantasty/" rel="tag">#fantasty</a> <a href="/tags/childrenslit/" rel="tag">#childrenslit</a> <a href="/tags/cslewis/" rel="tag">#CSLewis</a> <a href="/tags/tolkien/" rel="tag">#Tolkien</a></p>

“George Macdonald, 1824–1905. Poet and novelist”, by Cecilia Harrison (1863–1941). Oil on canvas.

A portrait of an elderly man with a full white beard, wearing a brown jacket and a deep crimson-coloured cap. His pale grey-blue eyes look down and to the left of the painting, as he sits with his head resting on his right hand.

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118d

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1905, O. Henry’s short story “The Gift of the Magi” is first published in The New York Sunday World. </p><p>The story at PG:</p><p><a href="https://www.gutenberg.org/ebooks/7256" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/7256</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Photograph of O. Henry

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92d

<p>Wordsworth Revolutionized Poetry But His Life Was Equally Interesting</p><p>"Who was William Wordsworth, and what made his poetry so revolutionary? Read about the life and works of this major Romantic poet."</p><p><a href="https://www.thecollector.com/william-wordsworth/" rel="nofollow" class="ellipsis" title="www.thecollector.com/william-wordsworth/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/william-w</span><span class="invisible">ordsworth/</span></a></p><p>Books by Wordsworth at PG:</p><p><a href="https://www.gutenberg.org/ebooks/author/2879" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/2879"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/2879</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poetry/" rel="tag">#poetry</a></p>

Portrait of William Wordsworth, by William Shuter, 1798.

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157d

<p>The Distributed Proofreaders' blog this month is about another Edgar Allan Poe book at PG: "The Poems of Edgar Allan Poe."</p><p><a href="https://blog.pgdp.net/2025/11/01/nevermore/" rel="nofollow" class="ellipsis" title="blog.pgdp.net/2025/11/01/nevermore/"><span class="invisible">https://</span><span class="ellipsis">blog.pgdp.net/2025/11/01/never</span><span class="invisible">more/</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poetry/" rel="tag">#poetry</a></p>

Portrait of Edgar Allan Poe from 1849.

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157d

<p>Naomi Mitchison (née Haldane, 1897–1999) was born <a href="/tags/otd/" rel="tag">#OTD</a>, 1 Nov, & saw almost every day of the <a href="/tags/20thcentury/" rel="tag">#20thcentury</a>. A hugely influential writer, with 80+ books—poetry, politics, historical novels, <a href="/tags/sciencefiction/" rel="tag">#ScienceFiction</a>, <a href="/tags/fantasy/" rel="tag">#Fantasy</a>, <a href="/tags/childrensliterature/" rel="tag">#ChildrensLiterature</a> & more—to her credit</p><p>A 🎂🧵 </p><p>“She liked to challenge, she liked to shock, she liked to deliver the unexpected, she liked to experiment”</p><p>—Jenni Calder looks at Mitchison’s life & work</p><p>@litstudies <br>1/9</p><p><a href="https://dangerouswomenproject.org/2016/09/25/naomi-mitchison/" rel="nofollow" class="ellipsis" title="dangerouswomenproject.org/2016/09/25/naomi-mitchison/"><span class="invisible">https://</span><span class="ellipsis">dangerouswomenproject.org/2016</span><span class="invisible">/09/25/naomi-mitchison/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/womenwriters/" rel="tag">#womenwriters</a></p>

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1923.</p><p>A riot breaks out at the re-staging of Tristan Tzara's Dadaist play The Gas Heart at the Théâtre Michel, Paris, between those aligned with André Breton and those aligned with Tzara. The conflict leads to a permanent split in the Dada movement and the founding of Surrealism as an alternative.</p><p>Francis Picabia at PG:<br><a href="https://www.gutenberg.org/ebooks/author/49071" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/49071"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/49071</span></a></p><p>Tristan Tzara at PG:<br><a href="https://www.gutenberg.org/ebooks/author/48499" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/48499"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/48499</span></a></p><p>André Breton at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=andr%C3%A9+breton&submit_search=Go%21" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=andr%C3%A9+breton&submit_search=Go%21"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=andr%C3%A9+breton&submit_search=Go%21</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Dada artists, group photograph, 1920, Paris. From left to right, Back row: Louis Aragon, Theodore Fraenkel, Paul Eluard, Clément Pansaers, Emmanuel Fay (cut off). Second row: Paul Dermée, Philippe Soupault, Georges Ribemont-Dessaignes. Front row: Tristan Tzara (with monocle), Celine Arnauld, Francis Picabia, André Breton.

The Dada group poses facing the camera, in various attitudes, most of them smiling. They are dressed in dark jackets and white shirts, the men wearing ties.

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156d

<p>Famous Medieval Words and Their Surprising Origins</p><p>Words like castles, Vikings, and even medieval itself instantly evoke the Middle Ages. Some of these terms were used by people of the time, while others were coined centuries later to describe their world. Each carries traces of history, revealing how language has preserved — and reimagined — the medieval past.</p><p><a href="https://www.medievalists.net/2025/10/medieval-words-origins/" rel="nofollow" class="ellipsis" title="www.medievalists.net/2025/10/medieval-words-origins/"><span class="invisible">https://</span><span class="ellipsis">www.medievalists.net/2025/10/m</span><span class="invisible">edieval-words-origins/</span></a></p><p>Medieval words at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=medieval+words" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=medieval+words"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=medieval+words</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

The Squire in the Ellesmere manuscript of Geoffrey Chaucer’s Canterbury Tales.

The image shows a finely dressed young man riding a prancing horse. The rider, The Squire, is adorned in elegant, elaborately patterned garments wears a blue hat with white decorations, a dark, elaborately embroidered tunic, and white hose. His short blond hair curls outward under his hat, reflecting the fashionable style of the late 14th century. A richly patterned cloak drapes over his shoulders, flowing behind him as the horse rears gracefully.

The horse is light brown with a well-groomed mane and tail, decorated with red and white harness straps in an ornamental pattern.

https://commons.wikimedia.org/wiki/File:The_Squire_-_Ellesmere_Chaucer.jpg

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1y

<p>In July 1866.</p><p> Anthony Trollope's novel Nina Balatka: The Story of a Maiden of Prague is initially published anonymously (serialisation in Blackwood's Magazine July 1866–January 1867). Trollope is interested in discovering whether his books sell on their own merits or as a consequence of the author's name and reputation.</p><p>Nina Balakta at PG:<br><a href="https://www.gutenberg.org/ebooks/8897" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/8897</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

First edition title page of Nina Balatka by Anthony Trollope.

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1y

<p>"Our deeds are like children that are born to us; they live and act apart from our own will."</p><p>In July 1862.</p><p>George Eliot's historical novel Romola begins serialization in Cornhill Magazine, the first time she has published a full-length book in this format. George Murray Smith of the publishers Smith, Elder & Co. has agreed a £7,000 advance for it. It was first published as a book, in three volumes, by Smith, Elder & Co. in 1863.</p><p>Romola at PG:<br><a href="https://gutenberg.org/ebooks/24020" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/24020</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

First edition of Romola bye George Sand.

The novel first appeared in fourteen parts published in Cornhill Magazine from July 1862 (vol. 6, no. 31) to August 1863 (vol. 8, no. 44), and was first published as a book, in three volumes, by Smith, Elder & Co. in 1863.

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156d

<p>Rising in November in these days of dusk<br>I am one life older, watching now as the walls<br>green over, the stones break into bud;<br>if this is ebb-tide turned to flood it means that<br>nightfall might begin again at dawn.<br>And so it does…</p><p>—Robin Robertson, “Crossing the Archipelago”<br>published in SAILING THE FOREST (Picador, 2014)</p><p><a href="https://www.panmacmillan.com/authors/robin-robertson/sailing-the-forest/9781447231554" rel="nofollow" class="ellipsis" title="www.panmacmillan.com/authors/robin-robertson/sailing-the-forest/9781447231554"><span class="invisible">https://</span><span class="ellipsis">www.panmacmillan.com/authors/r</span><span class="invisible">obin-robertson/sailing-the-forest/9781447231554</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/november/" rel="tag">#November</a></p>

Crossing the Archipelago
Robin Robertson

Rising in November in these days of dusk
I am one life older, watching now as the walls
green over, the stones break into bud;
if this is ebb-tide turned to flood it means that
nightfall might begin again at dawn.
And so it does. The sea at Djurgården is a mirror
of lost light. I watch snowflakes fall on water,
transparent as tissue, melting back to nothing,
the black water’s endless echo of the night.
A diminished life turns turtle and the day breaks
like a spell; to double back on this, through
ash and silver birch, to that extinguished past, a world
that’s over, will wreck me. Hopeless to return
now: my future lit by bridges, and their burning.

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1y

<p>"Unless one is a genius, it is best to aim at being intelligible."<br>The Dolly Dialogues</p><p>British novelist and playwright Anthony Hope died <a href="/tags/otd/" rel="tag">#OTD</a> in 1933.</p><p>Hope wrote numerous other novels and plays, though none achieved the same level of acclaim as "The Prisoner of Zenda." Notable works include "The Dolly Dialogues", a collection of witty sketches, and "The Chronicles of Count Antonio", an adventure novel set in Renaissance Italy.</p><p>Anthony Hope at PG:<br><a href="https://www.gutenberg.org/ebooks/author/63" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/63"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/63</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Anthony Hope Hawkins by Zaida Ben-Yusuf, 1897

Zaida Ben-Yusuf - Philadelphia Museum of Art

Platinum print of Anthony Hope Hawkins.

An individual wearing a suit and sitting on a chair.

Second edition cover of The Prisoner of Zenda by Anthony Hope.

The cover might feature decorative borders or frames around the illustration and text, adding to the visual appeal and giving a classic, timeless look. These borders could include intricate patterns or motifs that align with the novel's setting.

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161d

<p><a href="/tags/art/" rel="tag">#art</a> <a href="/tags/history/" rel="tag">#history</a>: every 28th october, i use elsa lanchester (born <a href="/tags/otd/" rel="tag">#otd</a> in 1902) as an excuse to pay homage to mary wollstonecraft shelley's masterpiece, 'frankenstein'. mind you, elsa was pretty cool, herself. difficult not to be when you're the daughter of a suffragette who was also secretary to eleanor marx. <br>i've got more to say about elsa in the response posts below, so read or ignore as you wish. <br><a href="/tags/wip/" rel="tag">#wip</a> <a href="/tags/illustration/" rel="tag">#illustration</a> <a href="/tags/cinema/" rel="tag">#cinema</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/frankenstein/" rel="tag">#frankenstein</a> <a href="/tags/maryshelley/" rel="tag">#maryShelley</a> <a href="/tags/elsalanchester/" rel="tag">#elsaLanchester</a></p>

black & white digital ink (wip) of the actor, elsa lanchester, in her eponymous role from the 1935 film, 'bride of frankenstein'.
elsa's face is turned to her left & she stares intently in that direction, trademark streak dominating her trademark barnet.

digital ink illustration (drawn in 2024) of english actor, elsa lanchester, in her iconic role as the bride of frankenstein.
here, she stares unflinchingly at her audience, her body draped in a frock of satin bandages. 'elsa' is in stylised text beneath her. there's a black deco arch behind her.
colours are cream, violet, mossy green & black.

Edited 161d ago

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