literature

1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1878.</p><p>Henry Irving's production of Hamlet, with himself in the title rôle playing opposite Ellen Terry as Ophelia, opens at the Lyceum Theatre, London (of which they have taken over the management). The tendency of actor-managers to emphasise the importance of their own central character did not always meet with the critics' approval.</p><p><a href="https://en.wikipedia.org/wiki/Hamlet" rel="nofollow"><span class="invisible">https://</span>en.wikipedia.org/wiki/Hamlet</a></p><p>Hamlet at PG:<br><a href="https://gutenberg.org/ebooks/1524" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/1524</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/theatre/" rel="tag">#theatre</a> <a href="/tags/drama/" rel="tag">#drama</a></p>

Hamlet, Prince of Denmark, Act I, Scene IV by Henry Fuseli. Hamlet, Horatio, Marcellus, and the Ghost, on platform before the Palace of Elsinor.

This image is an engraving based on the work by Henry Fuseli, titled Hamlet, Prince of Denmark, Act I, Scene IV. It illustrates a dramatic moment from William Shakespeare's play Hamlet. The scene shows Hamlet, Horatio, and Marcellus witnessing the ghost of Hamlet's father on the platform before the palace of Elsinore.

The ghost appears in armor, pointing dramatically, while the characters react in fear and awe. The dark, atmospheric setting emphasizes the tension and supernatural tone of the scene. Fuseli's composition captures the gothic and emotional intensity for which he is renowned.

This image is a painting by Eugène Delacroix, titled Hamlet and Horatio in the Cemetery (1839). It depicts the famous gravedigger scene from William Shakespeare's Hamlet, specifically Act V, Scene I.

In this pivotal moment, Hamlet reflects on mortality as he holds the skull of Yorick, the court jester he knew in his youth. The scene is set in a graveyard, with a gravedigger presenting the skull to Hamlet, while Horatio observes. The dramatic sky and earthy tones contribute to the somber and introspective mood of the painting, characteristic of Delacroix's Romantic style. This artwork is housed in the Louvre Museum.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1877.</p><p>Anna Sewell's animal welfare novel Black Beauty is published. It was written from a horse as main character's perspective. Sewell wrote it in the last years of her life, during which she was bedridden and seriously ill.</p><p><a href="https://gutenberg.org/ebooks/271" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/271</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover of the novel Black Beauty, first edition 1877, published by London: Jarrold and Sons Unknown author - https://archive.org/details/blackbeautyhisgr00seweiala

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1891.</p><p>Maurice Maeterlinck's play The Blind (written in 1890) is premièred. Les Aveugles is, along with L'Intruse, one of Maurice Maeterlinck's first two plays.</p><p><a href="https://en.wikipedia.org/wiki/The_Blind_(play)" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Blind_(play)"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Blin</span><span class="invisible">d_(play)</span></a></p><p>Les Aveugles is available at PG:<br><a href="https://www.gutenberg.org/ebooks/48368" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/48368</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/theatre/" rel="tag">#theatre</a></p>

A print by Nicholas Roerich published 1906, based on Maurice Maeterlinck's The Blind.

The artwork feature a desolate, eerie setting, a forest, reflecting the isolation and vulnerability of the blind characters in the play. The figures could appear huddled together, their expressions a mix of fear, confusion, and a yearning for guidance, symbolizing humanity's search for meaning in the face of the unknown. Roerich’s use of light, perhaps moonlight or a faint celestial glow, might guide the viewer’s eye and emphasize the interplay between darkness and illumination, echoing the play’s spiritual overtones.

Auguste Donnay illustration pour Les aveugles de Maurice Maeterlinck (1862-1949) in Théâtre de Maurice Maeterlinck, illustré par Auguste Donnay, (1862-1921) Date d'édition : 1901-1902 (BNF/Gallica)

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97d

<p>Happy New Year!</p><p>This month's Distributed Proofreaders' Blog takes time out to talk about the Minute Boys juvenile series.</p><p><a href="https://blog.pgdp.net/2026/01/01/the-minute-boys/" rel="nofollow" class="ellipsis" title="blog.pgdp.net/2026/01/01/the-minute-boys/"><span class="invisible">https://</span><span class="ellipsis">blog.pgdp.net/2026/01/01/the-m</span><span class="invisible">inute-boys/</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/dp/" rel="tag">#dp</a> <a href="/tags/dpblog/" rel="tag">#dpblog</a></p>

Cover of the "The Minute Boys of Long Island" by James Otis. The cover shows two youths in colonel wear looking towards something to their left.

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1y

<p>"Intelligent men are cruel. Stupid men are monstrously cruel."</p><p>Jack London died <a href="/tags/otd/" rel="tag">#OTD</a> in 1916.</p><p>A pioneer of commercial fiction and American magazines, he was an innovator in the genre that would later become known as science fiction.</p><p><a href="https://www.gutenberg.org/ebooks/author/120" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/120"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/120</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Jack London (date unknown) Bain Collection - Library of Congress.

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313d

<p>When you were people<br>We could have loved you,<br>Found out your names<br>And brought you presents…</p><p>—“Poem for Innocent Victims of War” by AC Jacobs (1937–1994) – born <a href="/tags/otd/" rel="tag">#OTD</a>, 30 May</p><p>Published in NAMELESS COUNTRY: Selected Poems (Carcanet, 2018)</p><p>A 🎂 🧵</p><p>1/6</p><p><a href="https://www.carcanet.co.uk/9781784106751/nameless-country/" rel="nofollow" class="ellipsis" title="www.carcanet.co.uk/9781784106751/nameless-country/"><span class="invisible">https://</span><span class="ellipsis">www.carcanet.co.uk/97817841067</span><span class="invisible">51/nameless-country/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/jewish/" rel="tag">#Jewish</a> <a href="/tags/diaspora/" rel="tag">#diaspora</a> <a href="/tags/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/warpoetry/" rel="tag">#warpoetry</a></p>

Poem for Innocent Victims of War
A. C. Jacobs

You did not die for me
Or love or desperation.
No-one chipped your names
On plaques on peaceful blocks of stone.
You are just the useless dead
Who mock our daily sin of passion,
Climb through our heads in cold, slow silence.

When you were people
We could have loved you,
Found out your names
And brought you presents.
We could have walked around with your response.

Or even if you chose to die
We might have understood your longing
And written down your utmost fear.

Now, though, you have got beyond our feelings,
And we can never almost follow
To learn your last shared and perfect secret.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1899.</p><p>William Gillette's play Sherlock Holmes, based (with authorisation) on the writings of Arthur Conan Doyle, opens in New York City with himself in the title rôle.</p><p><a href="https://archive.org/details/sherlockholmes0000will" rel="nofollow" class="ellipsis" title="archive.org/details/sherlockholmes0000will"><span class="invisible">https://</span><span class="ellipsis">archive.org/details/sherlockho</span><span class="invisible">lmes0000will</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/theatre/" rel="tag">#theatre</a></p>

Detail of photograph of the Broadway production of Sherlock Holmes, with William Gillette as Sherlock Holmes and Katherine Florence as Alice Faulkner. Stage Publishing Company, Inc.; photograph by Byron Company - Stage, August 1937 (page 91)

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1y

<p>Danish author Marie Bregendahl was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1867.</p><p>Her first novel Hendrik i Bakken was published in 1904. She went on to gain fame with En Dødsnat in 1912, based on the death of her mother when she was only 12.</p><p><a href="https://en.wikipedia.org/wiki/Marie_Bregendahl" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Marie_Bregendahl"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Marie_Br</span><span class="invisible">egendahl</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

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95d

<p>"Call me Ishmael."</p><p>Readers dive into New Bedford Whaling Museum's 30th 'Moby-Dick' marathon</p><p>by Andrea Shea</p><p><a href="https://www.wbur.org/news/2026/01/01/new-bedford-whaling-museum-moby-dick-marathon" rel="nofollow" class="ellipsis" title="www.wbur.org/news/2026/01/01/new-bedford-whaling-museum-moby-dick-marathon"><span class="invisible">https://</span><span class="ellipsis">www.wbur.org/news/2026/01/01/n</span><span class="invisible">ew-bedford-whaling-museum-moby-dick-marathon</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>

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95d

<p>Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do:..."</p><p>Lewis Carroll’s Personal Copy of ‘Alice’s Adventures in Wonderland’ Returns to its ‘Spiritual Home’ in Oxford</p><p>The book has been donated jointly to Christ Church and the Bodleian Library, which are both part of the University of Oxford</p><p>by Sarah Kuta </p><p><a href="https://www.smithsonianmag.com/smart-news/lewis-carrolls-personal-copy-of-alices-adventures-in-wonderland-returns-to-its-spiritual-home-in-oxford-180987910/" rel="nofollow" class="ellipsis" title="www.smithsonianmag.com/smart-news/lewis-carrolls-personal-copy-of-alices-adventures-in-wonderland-returns-to-its-spiritual-home-in-oxford-180987910/"><span class="invisible">https://</span><span class="ellipsis">www.smithsonianmag.com/smart-n</span><span class="invisible">ews/lewis-carrolls-personal-copy-of-alices-adventures-in-wonderland-returns-to-its-spiritual-home-in-oxford-180987910/</span></a></p><p>Alice’s Adventures in Wonderland at PG:<br><a href="https://www.gutenberg.org/ebooks/11" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/11</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover of the book Alice's Adventures in Wonderland by Lewis Carroll

The cover has a beige or cream-colored background with the title "ALICE IN WONDERLAND" displayed at the top in a bold, serif typeface in dark blue or black. At the bottom, "LEWIS CARROLL" appears in the same typeface and color.

The main image is contained within a dark blue border and depicts a whimsical garden scene featuring two central figures:

On the right stands Alice, portrayed as a young girl with shoulder-length blonde hair with bangs. She wears a classic white pinafore dress over a white blouse, with the dress featuring a decorative orange or coral-colored hem with a scalloped pattern. Her expression is calm and pleasant.

On the left is a rotund figure in elaborate costume consisting of:

An enormous round red or orange hat or headdress that dominates the upper portion
A smiling, chubby face with rosy cheeks
An orange and yellow striped collar or ruff
A flowing orange robe or dress decorated with circular patterns and ornate details
The figure has a jovial, almost comical appearance

https://www.gutenberg.org/cache/epub/11/pg11-images.html

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95d

<p>"Ours is essentially a tragic age, so we refuse to take it tragically. "</p><p>‘Lady Chatterley’s Lover’: The raunchy banned book that became a best-seller and helped to launch counterculture</p><p>by Paulina Subia</p><p><a href="https://faroutmagazine.co.uk/raunchy-banned-book-helped-to-launch-counterculture/" rel="nofollow" class="ellipsis" title="faroutmagazine.co.uk/raunchy-banned-book-helped-to-launch-counterculture/"><span class="invisible">https://</span><span class="ellipsis">faroutmagazine.co.uk/raunchy-b</span><span class="invisible">anned-book-helped-to-launch-counterculture/</span></a></p><p>Lady Chatterley’s Love at PG:<br><a href="https://www.gutenberg.org/ebooks/73144" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/73144</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

A photo of Lawrence by Lady Ottoline Morrell in November 1915.

Lawrence stands in a formal, frontal pose facing the camera directly, with his body slightly stiff and arms at his sides.

Lawrence has a distinctive full beard that covers much of his lower face, and his hair is parted and styled in the fashion of the Edwardian period.

He is dressed formally in what appears to be:

A dark jacket or suit coat with visible buttons down the front
Light-colored trousers
Dark shoes or boots
What appears to be a white collar visible at the neck.

https://en.wikipedia.org/wiki/D._H._Lawrence#/media/File:D.H._Lawrence,_29_November_1915.jpg

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1859</p><p>Wilkie Collins's The Woman in White, an early example of mystery fiction, begins serialisation in All the Year Round.</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><a href="https://en.wikipedia.org/wiki/All_the_Year_Round" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/All_the_Year_Round"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/All_the_</span><span class="invisible">Year_Round</span></a></p><p><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>

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1952.</p><p>Agatha Christie's murder-mystery play The Mousetrap opens at the Ambassadors Theatre in London's West End after a premiere in Nottingham, UK. It will become the longest continuously running play in history.</p><p><a href="https://en.wikipedia.org/wiki/The_Mousetrap" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Mousetrap"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Mous</span><span class="invisible">etrap</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/theatre/" rel="tag">#theatre</a></p>

22461th performance of The Mousetrap (at St Martin's Theatre)

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16d

<p>Hear my prayer, O non-existent God,<br>accept these cries into thy nothingness,<br>thou, who never leaves poor men unblessed<br>by your false comfort…</p><p>—Don Paterson, “Atheist Prayer”<br>from THE ARCTIC (Faber, 2023)</p><p>Today, March 23, is Atheist Day</p><p><a href="https://www.faber.co.uk/product/9780571338191-the-arctic/" rel="nofollow" class="ellipsis" title="www.faber.co.uk/product/9780571338191-the-arctic/"><span class="invisible">https://</span><span class="ellipsis">www.faber.co.uk/product/978057</span><span class="invisible">1338191-the-arctic/</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/atheism/" rel="tag">#atheism</a> <a href="/tags/atheistday/" rel="tag">#AtheistDay</a></p>

Atheist Prayer
Don Paterson

after Miguel de Unamuno

Hear my prayer, O non-existent God,
accept these cries into thy nothingness,
thou, who never leaves poor men unblessed
by your false comfort. Your perfect fraud
was all I ever yearned for, my old friend:
when you withdraw, my memory is assailed
by every silly song and fairy tale
my mother read to sweeten the day’s end.

How great you are, my absent god! So rare
and boundless, an idea less than air:
O look how very thin the world has grown
in trying to meet you. For you and you alone
I suffer, Lord; for you, I die and die –
since were you to exist … Then so might I.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1919.</p><p>The Großes Schauspielhaus opens as a theater in Berlin, with an interior designed by Hans Poelzig. It begins with the director Max Reinhardt's production of the Oresteia.</p><p>The House of Atreus at PG:<br><a href="https://www.gutenberg.org/ebooks/8604" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/8604</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/theatre/" rel="tag">#theatre</a></p>

Set design for Aeschylus' Oresteia (premiere April 8, 1912 at the Nationaltheater Mannheim in the Nibelungensaal of the Rosengarten Mannheim, production: Ferdinand Gregori), gouache over pencil, Theaterwissenschaftliche Sammlung der Universität zu Köln, Schloss Wahn

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1y

<p>Is beauty natural?</p><p>Charles Darwin was as fascinated by extravagant ornament in nature as Jane Austen was in culture. Did their explanations agree?</p><p>By Abigail Tulenko via @aeonmag </p><p><a href="https://aeon.co/essays/how-austen-and-darwin-converged-on-the-question-of-beauty" rel="nofollow" class="ellipsis" title="aeon.co/essays/how-austen-and-darwin-converged-on-the-question-of-beauty"><span class="invisible">https://</span><span class="ellipsis">aeon.co/essays/how-austen-and-</span><span class="invisible">darwin-converged-on-the-question-of-beauty</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

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194d

<p>Jane Austen’s real and literary worlds weren’t exclusively white – just read her last book, Sanditon</p><p>by Olivia Carpenter</p><p><a href="https://theconversation.com/jane-austens-real-and-literary-worlds-werent-exclusively-white-just-read-her-last-book-sanditon-264813?utm_medium=email&utm_campaign=Latest%20from%20The%20Conversation%20for%20September%2023%202025%20-%203526535938&utm_content=Latest%20from%20The%20Conversation%20for%20September%2023%202025%20-%203526535938+CID_981a5b07f074b622eb36f70a0ddb5912&utm_source=campaign_monitor_uk&utm_term=Jane%20Austens%20real%20and%20literary%20worlds%20werent%20exclusively%20white%20%20just%20read%20her%20last%20book%20Sanditon" rel="nofollow" class="ellipsis" title="theconversation.com/jane-austens-real-and-literary-worlds-werent-exclusively-white-just-read-her-last-book-sanditon-264813?utm_medium=email&utm_campaign=Latest%20from%20The%20Conversation%20for%20September%2023%202025%20-%203526535938&utm_content=Latest%20from%20The%20Conversation%20for%20September%2023%202025%20-%203526535938+CID_981a5b07f074b622eb36f70a0ddb5912&utm_source=campaign_monitor_uk&utm_term=Jane%20Austens%20real%20and%20literary%20worlds%20werent%20exclusively%20white%20%20just%20read%20her%20last%20book%20Sanditon"><span class="invisible">https://</span><span class="ellipsis">theconversation.com/jane-auste</span><span class="invisible">ns-real-and-literary-worlds-werent-exclusively-white-just-read-her-last-book-sanditon-264813?utm_medium=email&utm_campaign=Latest%20from%20The%20Conversation%20for%20September%2023%202025%20-%203526535938&utm_content=Latest%20from%20The%20Conversation%20for%20September%2023%202025%20-%203526535938+CID_981a5b07f074b622eb36f70a0ddb5912&utm_source=campaign_monitor_uk&utm_term=Jane%20Austens%20real%20and%20literary%20worlds%20werent%20exclusively%20white%20%20just%20read%20her%20last%20book%20Sanditon</span></a></p><p>Sanditon at PG:<br><a href="https://gutenberg.org/ebooks/74233" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/74233</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Title: Fragment of a novel written by Jane Austen, January-March 1817

Now first printed from the manuscript

Author: Jane Austen

Editor: R. W. Chapman

Original publication: United Kingdom: Oxford University Press, 1925

https://gutenberg.org/cache/epub/74233/pg74233-images.html

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15d

<p>4 Forgotten Female Authors Who Inspired Jane Austen</p><p><a href="https://www.mentalfloss.com/literature/authors/forgotten-female-authors-who-inspired-jane-austen?utm_source=RSS" rel="nofollow" class="ellipsis" title="www.mentalfloss.com/literature/authors/forgotten-female-authors-who-inspired-jane-austen?utm_source=RSS"><span class="invisible">https://</span><span class="ellipsis">www.mentalfloss.com/literature</span><span class="invisible">/authors/forgotten-female-authors-who-inspired-jane-austen?utm_source=RSS</span></a></p><p>Books at PG by:</p><p>Frances Burney</p><p><a href="https://www.gutenberg.org/ebooks/author/2010" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/2010"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/2010</span></a></p><p>Maria Edgeworth </p><p><a href="https://www.gutenberg.org/ebooks/author/630" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/630"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/630</span></a></p><p>Charlotte Smith</p><p><a href="https://www.gutenberg.org/ebooks/author/41281" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/41281"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/41281</span></a></p><p>Elizabeth Inchbald</p><p><a href="https://www.gutenberg.org/ebooks/author/1305" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/1305"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/1305</span></a></p><p>Maria Edgeworth </p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Drawing of Maria Edgeworth. She is shown sitting in a chair next to a table. There is a stack of books on the table, and she resting her left elbow on them. That hand is touching her face.

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87d

<p>10,000 books were tossed at a London school. Librarians say there are other ways to give books a second life</p><p>The province says it is halting all current and future school library reviews</p><p>by Kendra Seguin </p><p><a href="https://www.cbc.ca/news/canada/london/beal-library-old-book-purge-9.7040273" rel="nofollow" class="ellipsis" title="www.cbc.ca/news/canada/london/beal-library-old-book-purge-9.7040273"><span class="invisible">https://</span><span class="ellipsis">www.cbc.ca/news/canada/london/</span><span class="invisible">beal-library-old-book-purge-9.7040273</span></a></p><p>Librarians at PG:<br><a href="https://www.gutenberg.org/ebooks/subjects/search/?query=librarians" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subjects/search/?query=librarians"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">cts/search/?query=librarians</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/librarians/" rel="tag">#librarians</a></p>

"Morrisania, Thirteen women, librarians?" The New York Public Library Digital Collections. 1875.

The photograph shows a group of thirteen women arranged in two rows - seven standing in the back row and six seated or kneeling in the front row. They are photographed outdoors against a wall heavily covered with ivy or climbing vines.

The women are dressed in typical late 19th-century attire. Most wear white blouses (shirtwaists) with high collars and long sleeves, paired with dark skirts. Some have decorative brooches or pins at their collars. Their hair is styled in the fashion of the era, with most wearing it pulled back or up. One woman in the back row appears to be wearing a hat.

https://digitalcollections.nypl.org/items/4343e1d0-c5b3-012f-faca-58d385a7bc34?canvasIndex=0

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1y

<p>As today is the re-opening of Notre Dame Cathedral in Paris, this is a good reason to re-read Victor Hugo's masterpiece. There is also an interesting book on the restoration of Notre-Dame (1843). </p><p>Notre-Dame de Paris - Tome 1 by Victor Hugo:<br><a href="https://www.gutenberg.org/ebooks/70891" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/70891</a></p><p>Notre-Dame de Paris - Tome 2:<br><a href="https://www.gutenberg.org/ebooks/71445" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/71445</a></p><p>The Hunchback of Notre Dame:<br><a href="https://www.gutenberg.org/ebooks/6539" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/6539</a></p><p>Projet de restauration de Notre-Dame de Paris by Lassus and Viollet-le-Duc:<br><a href="https://www.gutenberg.org/ebooks/18920" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/18920</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Frontispiece of Notre-Dame de Paris - Tome 1

Author: Victor Hugo

Illustrator: François Flameng

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1884.</p><p>The first London publication of Mark Twain's Adventures of Huckleberry Finn occurs.</p><p>Twain initially conceived of the work as a sequel to The Adventures of Tom Sawyer that would follow Huckleberry Finn through adulthood. He worked on the manuscript off and on for the next several years, ultimately abandoning his original plan of following Huck's development into adulthood. </p><p><a href="https://en.wikipedia.org/wiki/Adventures_of_Huckleberry_Finn" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Adventures_of_Huckleberry_Finn"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Adventur</span><span class="invisible">es_of_Huckleberry_Finn</span></a></p><p>Adventures of Huckleberry Finn at PG:<br><a href="https://gutenberg.org/ebooks/76" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/76</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover of the book «Adventures of Huckleberry Finn» by Mark Twain, 1884

By E. W. Kemble (1861–1933)

The central focus is a depiction of Huckleberry Finn, often shown in a casual and relaxed pose, embodying his free-spirited and rebellious nature.

Kemble’s illustration style captures Huck in his rustic clothing—likely a worn shirt, pants rolled up at the cuffs, and perhaps a slouchy hat—evoking the setting of the American South.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1908.</p><p>Cuala Press, set up at Churchtown, Dublin, as a private press independent of the former Dun Emer Press in connection with the Irish Literary Revival and Arts and Crafts movement by Elizabeth "Lolly" Yeats with editorial support from her brother W. B. Yeats, produces its first publication, Poetry and Ireland: Essays by W. B. Yeats and Lionel Johnson (died 1902).</p><p><a href="https://en.wikipedia.org/wiki/Cuala_Press" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Cuala_Press"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Cuala_Pr</span><span class="invisible">ess</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Elizabeth Yeats using the Cuala Press in Dun Emer Press (1903).

A poised woman in her early 30s, with neatly styled dark hair and wearing modest, period-appropriate attire. She might have an apron over her clothing, reflecting the hands-on nature of her craft.

A traditional hand-operated press dominates the scene. It is crafted from wood or metal, with levers, rollers, and stacks of paper nearby. This press symbolizes the artisanal approach of the Cuala Press.

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1y

<p>"I saw you - and from that day<br>I see only you in the world."</p><p>Johan Henric Kellgren, born <a href="/tags/otd/" rel="tag">#OTD</a> in 1751, was a Swedish poet and critic.</p><p>Kellgren began as a tutor and later worked as a journalist and editor for Stockholms Posten, where he gained a reputation as a sharp and influential critic. Notable works include "Mina Löjen", which blends satire with lyrical beauty, and "Den nya skapelsen", which highlights themes of renewal & enlightenment.</p><p><a href="https://en.wikipedia.org/wiki/Johan_Henric_Kellgren" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Johan_Henric_Kellgren"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Johan_He</span><span class="invisible">nric_Kellgren</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

19th century portrait of Kellgren, engraved by Evald Hansen.

Kellgren is portrayed as a man of intellectual bearing, with sharp, refined features. His face, clean-shaven and composed, reflects both intelligence and sensitivity. His hair, styled neatly and appropriate to the late 18th-century or early 19th-century fashion, might be powdered or combed back.

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1y

<p>"Ask no questions, and you'll be told no lies."</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1860.</p><p>Charles Dickens's Bildungsroman Great Expectations begins serialization in All the Year Round. Although intended for weekly publication, Great Expectations was divided into nine monthly sections, with new pagination for each.</p><p>Great Expectations at PG:<br><a href="https://gutenberg.org/ebooks/1400" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/1400</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Great Expectations advertised in All the Year Round.

With Estella after all.

Great Expectations
[1867 Edition]
by Charles Dickens

https://gutenberg.org/ebooks/1400

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87d

<p>The laverock rises owe blin waas<br>At ane wi the great North wun<br>At the heid o hecht…</p><p>—“The Heid o Hecht” by Duncan Glen, born <a href="/tags/otd/" rel="tag">#OTD</a>, 11 Jan, 1933. Starting out as an apprentice printer, he became a poet, designer, editor, publisher, & academic</p><p>1/3</p><p><a href="https://asls.org.uk/publications/books/volumes/a-kist-o-skinlan-things/" rel="nofollow" class="ellipsis" title="asls.org.uk/publications/books/volumes/a-kist-o-skinlan-things/"><span class="invisible">https://</span><span class="ellipsis">asls.org.uk/publications/books</span><span class="invisible">/volumes/a-kist-o-skinlan-things/</span></a></p><p><a href="/tags/scotish/" rel="tag">#Scotish</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/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/scots/" rel="tag">#Scots</a> <a href="/tags/scotslanguage/" rel="tag">#Scotslanguage</a></p>

Duncan Glen
The Heid o Hecht

The laverock rises owe blin waas
At ane wi the great North wun
At the heid o hecht. Here The Stuarts huntit the reid deer
And I look doun at that sma grey toun
Wi its fremmit Freench-like Palace
Whaur aince kings walkt wi thochts
O the saft wuns o the Sooth;

Saft wuns that cam lown north
Bringin the bricht bird o simmer
That has but a glisk o that cauld yin
Wha moves baith gress and pine. There
By toom waas whaur aince kings sat
Wi braw sudroun tapestries hidin
The grey stane that cam straucht
Frae the quarries o this hill.

Stanes and laverock risin heich
In the cauld wun that kens nae
Swallow, gouk, or that simmer swarm
O flees. And the great stanes are bare.
Nae claith or burnin wud that can
Gie and tak frae that cauld hunter oot
On the hill wi the laverock wha passes
Owre aw at the heid o hecht.

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