literature

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<p>"Ah! the death of the poor, the empty entrails, howling hunger, the animal appetite that leads one with chattering teeth to fill one’s stomach with beastly refuse in this great Paris, so bright and golden! "<br>Chapter XII</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1877.</p><p>Émile Zola's L'Assommoir, 7th in his novel sequence Les Rougon-Macquart, is first published in book format a few weeks after its serialisation ends in Le Bien public (Paris). </p><p><a href="https://en.wikipedia.org/wiki/L%27Assommoir" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/L%27Assommoir"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/L%27Asso</span><span class="invisible">mmoir</span></a></p><p>L´Assommoir at PG:<br><a href="https://gutenberg.org/ebooks/search/?query=L%27Assommoir&submit_search=Go%21" rel="nofollow" class="ellipsis" title="gutenberg.org/ebooks/search/?query=L%27Assommoir&submit_search=Go%21"><span class="invisible">https://</span><span class="ellipsis">gutenberg.org/ebooks/search/?q</span><span class="invisible">uery=L%27Assommoir&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>

Cover of 1877 Charpentier edition of L'Assommoir.

The cover of the 1877 Charpentier edition of L'Assommoir by Émile Zola is relatively simple and characteristic of 19th-century French book design.

It typically features a plain or minimalistic layout with the title (L'Assommoir) and author's name (Émile Zola) displayed prominently in an elegant, classic serif typeface.

The publisher, G. Charpentier, is credited, often at the bottom of the cover. The design is likely devoid of elaborate illustrations, aligning with the literary and serious nature of Zola’s Rougon-Macquart series.

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1835.</p><p>Abolitionist Susan Paul officiates at a meeting of the New England Anti-Slavery Society (NEASS) in Boston. Later in the year, her Memoir of James Jackson becomes the earliest-known published narrative by an African-American woman and the first account documenting the life of a free black child in the United States.</p><p><a href="https://en.wikipedia.org/wiki/Susan_Paul" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Susan_Paul"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Susan_Pa</span><span class="invisible">ul</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Memoir of James Jackson by Susan Paul, 1835, cover

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<p>" I always have a quotation for everything - it saves original thinking."<br>Have His Carcase</p><p>English author, poet, and playwright Dorothy L. Sayers died <a href="/tags/otd/" rel="tag">#OTD</a> in 1957. Sayers is most famous for her detective novels featuring Lord Peter Wimsey, an aristocratic amateur sleuth. She wrote several plays, including The Zeal of Thy House and The Man Born to Be King. Sayers also translated major works, notably Dante’s Divine Comedy. </p><p>Dorothy L. Sayers at PG:<br><a href="https://www.gutenberg.org/ebooks/author/45867" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/45867"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/45867</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Dorothy L. Sayers – English crime writer, playwright, essayist and Christian writer (1893-1957)

uncredited; published by Boni and Liveright in connexion with her 1925 release Whose Body - Publicity photo from her American publishers; copy at the National Portrait Gallery.

The focus is on Sayers' upper torso and face, with a neutral or slightly blurred background that ensures the viewer’s attention is drawn entirely to her.

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1824.</p><p>The first issue of a radical quarterly founded by Jeremy Bentham, The Westminster Review, is published in London.</p><p>It was published from 1824 to 1914. James Mill was one of the driving forces behind the liberal journal until 1828. Some notable contributors: George Eliot, Harriet Martineau, John Stuart Mill, Mary Shelley, Herbert Spencer, John Tyndall, Caroline Cornwallis, Julia Wedgwood, Elizabeth Clarke Wolstenholme Elmy. </p><p><a href="https://en.wikipedia.org/wiki/The_Westminster_Review" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Westminster_Review"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_West</span><span class="invisible">minster_Review</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Frontispiece of The Westminster review v.1 1824.

Full copies are available at Hathi Trust Digital Library:
https://catalog.hathitrust.org/Record/008893449

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<p>HAPPY PUBLIC DOMAIN DAY!</p><p>Books which will enter the US public domain:</p><p>William Faulkner, The Sound and the Fury<br>Ernest Hemingway, A Farewell to Arms<br>Virginia Woolf, A Room of One's Own<br>Dashiell Hammett, Red Harvest and The Maltese Falcon (as serialized in Black Mask magazine)<br>John Steinbeck, Cup of Gold (Steinbeck's first novel)<br>Richard Hughes, A High Wind in Jamaica<br>Oliver La Farge, Laughing Boy: A Navajo Love Story<br>Patrick Hamilton, Rope</p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/publicdomain/" rel="tag">#publicdomain</a> <br>/1</p>

Edited 1y ago

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1873.</p><p>Louisa May Alcott's family satire "Transcendental Wild Oats" is published in the newspaper The Independent.</p><p>The work was first published in a New York newspaper in 1873, and reprinted in 1874, 1876, and 1915 and after. Alcott's view of male arrogance and female exploitation in this piece is paralleled in her novel Work, published in the same year as Transcendental Wild Oats.</p><p><a href="https://en.wikipedia.org/wiki/Transcendental_Wild_Oats" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Transcendental_Wild_Oats"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Transcen</span><span class="invisible">dental_Wild_Oats</span></a></p><p>Transcendental Wild Oats at PG:<br><a href="https://www.gutenberg.org/ebooks/34920" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/34920</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

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<p>"Thus, after pursuing those images, I overtook them. Now I know that I invented them. But inventing is a creation, not a lie."<br>La coscienza di Zeno (1923)</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1928.</p><p>Italo Svevo (Aron Schmitz), returning from an Alpine resort to Trieste, suffers a car accident. He dies next day leaving his novel Il Vegliardo (The Old Man) unfinished in mid-word.</p><p><a href="https://en.wikipedia.org/wiki/Italo_Svevo" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Italo_Svevo"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Italo_Sv</span><span class="invisible">evo</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Italo Svevo with the preliminary draft of A Life (1892).

Svevo is depicted as a refined, intellectual figure. He has a well-groomed mustache and an intense, thoughtful gaze, reflective of his literary persona and introspective writing style.

Svevo is dressed in formal, period-appropriate clothing, including:
A dark suit jacket and waistcoat.

A white shirt and bow tie, which enhance the formality of his appearance.

A stylish boater hat, which adds a touch of elegance and aligns with late 19th-century European fashion trends.

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<p>What January taught George Orwell about control and resistance</p><p>Like many of us, George Orwell saw January as a month to be endured rather than enjoyed. You can picture him steeling himself against its cold, gloom, rain, frost and wind.</p><p>by Nathan Waddell</p><p><a href="https://theconversation.com/what-january-taught-george-orwell-about-control-and-resistance-272860" rel="nofollow" class="ellipsis" title="theconversation.com/what-january-taught-george-orwell-about-control-and-resistance-272860"><span class="invisible">https://</span><span class="ellipsis">theconversation.com/what-janua</span><span class="invisible">ry-taught-george-orwell-about-control-and-resistance-272860</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Picture of George Orwell which appears in an old accreditation for the BNUJ.

Orwell has dark, neatly combed hair swept back from a high forehead, a thin moustache, and a slender face with pronounced cheekbones. His expression is serious and composed, with a direct, steady gaze. He appears to be wearing a jacket over a collared shirt.

https://en.wikipedia.org/wiki/George_Orwell#/media/File:George_Orwell_press_photo.jpg

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<p>Peter Kropotkin’s Memoirs of a Revolutionist (1899)</p><p>“Many a man and many a woman have accomplished a great life-work without having led a great life”, the influential Danish literary critic Georg Brandes wrote in his introduction to Peter Kropotkin’s 1899 Memoirs of a Revolutionist. “Many people are interesting, although their lives may have been quite insignificant and commonplace. Kropotkin’s life is both great and interesting”.</p><p>Book at PG:</p><p><a href="https://www.gutenberg.org/ebooks/73882" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/73882</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Drawing of Peter Kropotkin.

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<p>"Every human institution (Justice included) will stretch a little, if you only pull it the right way."</p><p>From January 4 till August 8 1868.</p><p>Wilkie Collins' epistolary novel The Moonstone: a Romance is serialised in All the Year Round (U.K.), being published in book format in July by Tinsley Brothers of London. It is seen as a precursor of full-length mystery fiction and the psychological thriller.</p><p><a href="https://en.wikipedia.org/wiki/The_Moonstone" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Moonstone"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Moon</span><span class="invisible">stone</span></a></p><p>The Moonstone at PG:<br><a href="https://gutenberg.org/ebooks/155" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/155</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

First edition title page.

The title, The Moonstone, prominently displayed in a serif typeface, with the author's name, Wilkie Collins, positioned below.

It includes a subtitle describing the novel, such as "A Romance".

Details of the original publisher, Tinsley Brothers, are found at the bottom of the title page, indicating the publication city, London, and sometimes the publication year.

The layout and typography are straightforward, avoiding elaborate ornamentation, characteristic of 19th-century literature.

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<p>Alexander the Great, Ancient Gay Icon</p><p>Harry Tanner Explores Queerness and Homophobia in the Hellenistic Period</p><p><a href="https://lithub.com/alexander-the-great-ancient-gay-icon/" rel="nofollow" class="ellipsis" title="lithub.com/alexander-the-great-ancient-gay-icon/"><span class="invisible">https://</span><span class="ellipsis">lithub.com/alexander-the-great</span><span class="invisible">-ancient-gay-icon/</span></a></p><p>Alexander the Great at PG:<br><a href="https://www.gutenberg.org/ebooks/subject/3864" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subject/3864"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">ct/3864</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/history/" rel="tag">#history</a></p>

Alexander Cuts the Gordian Knot by Jean-Simon Berthélemy (1767).

At the center of the composition stands Alexander, shown as a youthful. He wears a metal breastplate, a short tunic, and a flowing blue cloak. With one arm extended, he raises a sword, poised mid-action as he decisively cuts the knot rather than attempting to untie it.

Around him, several figures react with surprise and tension. To the right, men kneel or lean forward, their bodies twisted toward the knot, hands outstretched as if caught between disbelief and awe. To the left, older figures and attendants watch intently, one bearded man appearing contemplative, while a child looks on with curiosity.

https://en.wikipedia.org/wiki/Alexander_the_Great#/media/File:Alexander_cuts_the_Gordian_Knot.jpg

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<p>On Henry James and the Enduring Lessons of Love</p><p>Katherine J. Chen Rediscovers James (and Falls in Love)</p><p><a href="https://lithub.com/on-henry-james-and-the-enduring-lessons-of-love/" rel="nofollow" class="ellipsis" title="lithub.com/on-henry-james-and-the-enduring-lessons-of-love/"><span class="invisible">https://</span><span class="ellipsis">lithub.com/on-henry-james-and-</span><span class="invisible">the-enduring-lessons-of-love/</span></a></p><p>Books by Henry James at PG:<br><a href="https://www.gutenberg.org/ebooks/author/113" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/113"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/113</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>

Portrait of Henry James, charcoal drawing by John Singer Sargent (1912)

https://en.wikipedia.org/wiki/Henry_James#/media/File:Portrait_of_Henry_James_1913.jpg

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1846.</p><p>Fyodor Dostoevsky's first original novel, Poor Folk, is published in the St. Petersburg Collection.</p><p>The first English translation was provided by Lena Milman in 1894, with an introduction by George Moore, cover art design by Aubrey Beardsley and publication by London's Mathews and Lane. It is the first novel by Fyodor Dostoevsky, written over the span of nine months between 1844 and 1845.</p><p><a href="https://en.wikipedia.org/wiki/Poor_Folk" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Poor_Folk"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Poor_Fol</span><span class="invisible">k</span></a></p><p>Poor Folk at PG:<br><a href="https://gutenberg.org/ebooks/2302" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/2302</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

First English language edition of Poor Folk by Fedor Dostoiesvsky.

The first English-language edition of Fyodor Dostoevsky's "Poor Folk" was published in 1894 by Elkin Mathews and John Lane in London, and Roberts Brothers in Boston. This edition featured a distinctive cover designed by Aubrey Beardsley, a prominent English illustrator and author associated with the Aesthetic Movement.

The book was bound in original yellow pictorial cloth, a design choice reminiscent of the quarterly "Yellow Book," for which Beardsley served as art director. The cover and title page bore Beardsley's illustrations, including his "key monogram" on the spine and rear cover. This monogram, a stylized design incorporating his initials, was a signature element in many of Beardsley's works.

The yellow cloth binding, combined with Beardsley's distinctive black ink illustrations, gave the book a striking appearance that stood out among publications of the time.

This edition was part of Mathews and Lane's Keynotes Series and included an introduction by Irish novelist George Moore.

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1904.</p><p>The first of Virginia Woolf's published writings, "Haworth, November 1904", an account of a visit to the Brontë family home, appears anonymously in a women's supplement to a clerical journal, The Guardian. (A book review written later has appeared in the same journal a week earlier.)</p><p><a href="https://en.wikipedia.org/wiki/Haworth" rel="nofollow"><span class="invisible">https://</span>en.wikipedia.org/wiki/Haworth</a></p><p>Books by Virginia Woolf at PG:<br><a href="https://www.gutenberg.org/ebooks/author/89" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/89"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/89</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

This is the draft of the essay, which appeared in The Guardian in December 1904. Woolf opens by briefly questioning the legitimacy of literary tourism, and decides that her visit to Haworth is acceptable because it added to her understanding of the Brontës’ books. After walking the West Yorkshire moors in the bleak November weather and spending time in the family’s home and church, Woolf concludes that “however harsh the struggle, Emily, and Charlotte above all, fought to victory.” via @NYPL

https://www.nypl.org/events/exhibitions/galleries/section-1-early-years/item/13112#:~:text=%E2%80%9CHaworth%3A%20November%2C%201904%E2%80%9C%20essay%20draft&text=Woolf's%20first%20published%20essay%20is,The%20Guardian%20in%20December%201904.

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<p>English author Agatha Christie died <a href="/tags/otd/" rel="tag">#OTD</a> in 1976.</p><p>She is best known for her 66 detective novels and 14 short story collections, particularly those revolving around fictional detectives Hercule Poirot and Miss Marple. She also wrote the world's longest-running play, the murder mystery The Mousetrap.</p><p>Watch our podcast about The Big Four:<br><a href="https://www.youtube.com/watch?v=MoKUX5a7T0Y&t=74s" rel="nofollow" class="ellipsis" title="www.youtube.com/watch?v=MoKUX5a7T0Y&t=74s"><span class="invisible">https://</span><span class="ellipsis">www.youtube.com/watch?v=MoKUX5</span><span class="invisible">a7T0Y&t=74s</span></a></p><p>Books by Agatha Chrissie at PG:<br><a href="https://www.gutenberg.org/ebooks/author/451" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/451"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/451</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Christie as a young woman, 1910s

Unknown author - The Christie Archive Trust

The photo typically depicts her as poised and elegant, reflecting the fashion and sensibilities of the Edwardian era transitioning into the 1910s.

Christie often appears with a gentle, confident expression, her hair styled in soft waves or an updo common at the time.

Her attire would likely consist of a high-collared blouse or dress, possibly adorned with lace, reflecting the refined yet understated elegance of the era.

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<p>3 philosophy classics that are better than self-help books</p><p>Self-help often distills philosophical ideas for the modern ear. Sometimes, its better to go back to the source.</p><p>By Jonny Thomson</p><p><a href="https://bigthink.com/thinking/3-philosophy-classics-that-are-better-than-self-help-books/" rel="nofollow" class="ellipsis" title="bigthink.com/thinking/3-philosophy-classics-that-are-better-than-self-help-books/"><span class="invisible">https://</span><span class="ellipsis">bigthink.com/thinking/3-philos</span><span class="invisible">ophy-classics-that-are-better-than-self-help-books/</span></a></p><p>The 3 philosophy classics are available at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=Nicomachean+Ethics&submit_search=Search" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=Nicomachean+Ethics&submit_search=Search"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=Nicomachean+Ethics&submit_search=Search</span></a><br><a href="https://www.gutenberg.org/ebooks/3600" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/3600</a><br><a href="https://www.gutenberg.org/ebooks/49965" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/49965</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/philosophy/" rel="tag">#philosophy</a></p>

First page of a 1566 edition of the Aristotolic Ethics in Greek and Latin

https://www.gutenberg.org/ebooks/search/?query=Nicomachean+Ethics&submit_search=Search

Title page of the Essais with notes

Michel de Montaigne († 1592) -

https://www.gutenberg.org/ebooks/3600

A part of a Taoist manuscript, ink on silk, 2nd century BCE, Han Dynasty, unearthed from Mawangdui tomb 3rd, Chansha, Hunan Province, China. Hunan Province Museum.

Unknown author - Mawangdui Silk Manuscript Volume First, Wen Wu Publishing, Beijing, China, 1980-03

https://www.gutenberg.org/ebooks/49965

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<p>"All the glories of the sunset,<br>In the sunrise one may see;<br>That which others call the dawning<br>Is the night for you and me."</p><p>Sarah Morgan Bryan Piatt , who died <a href="/tags/otd/" rel="tag">#OTD</a> in 1919, was an American poet. She published hundreds of poems in nationally circulated newspapers, magazines, and anthologies as well as in eighteen volumes of poems, two of which she co-authored with her husband, the poet John James Piatt.</p><p><a href="https://en.wikipedia.org/wiki/Sarah_Morgan_Bryan_Piatt" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Sarah_Morgan_Bryan_Piatt"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Sarah_Mo</span><span class="invisible">rgan_Bryan_Piatt</span></a></p><p><a href="https://www.gutenberg.org/ebooks/25004" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/25004</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>

Photographic portrait of American author Sarah Morgan Bryan Piatt (1836-1919). From American Women: Fifteen Hundred Biographies with Over 1,400 Portraits, Frances E. Willard and Mary A. Livermore, editors. Mast, Crowell & Kirkpatrick, 1897 (revised edition from 1893), vol. 2, p. 569.

Piatt is portrayed in a formal seated pose, reflecting the conventions of late 19th-century portraiture. Her attire is elegant and characteristic of the era, with intricate lacework and detailed fabric adorning her high-collared dress. Her hair is styled in a manner typical of the time, complementing her refined and composed expression. Her gaze, directed slightly away from the camera, conveys thoughtfulness and dignity.

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<p>Rights of Nature: A Reading List</p><p>What would it mean for rivers, forests, and animals to have legal rights? A global movement is rethinking law’s relationship to nature.</p><p>By: Sam Firman </p><p><a href="https://daily.jstor.org/rights-of-nature-a-reading-list/?utm_source=Klaviyo&utm_medium=campaign&utm_id=01KEYB46PN6NMF8X3GYBW3ZKEX&_kx=3MZUehzXM-41qlWAMPUiuNZadX2p0SByuNf_t0eMLB0.U5D8ER" rel="nofollow" class="ellipsis" title="daily.jstor.org/rights-of-nature-a-reading-list/?utm_source=Klaviyo&utm_medium=campaign&utm_id=01KEYB46PN6NMF8X3GYBW3ZKEX&_kx=3MZUehzXM-41qlWAMPUiuNZadX2p0SByuNf_t0eMLB0.U5D8ER"><span class="invisible">https://</span><span class="ellipsis">daily.jstor.org/rights-of-natu</span><span class="invisible">re-a-reading-list/?utm_source=Klaviyo&utm_medium=campaign&utm_id=01KEYB46PN6NMF8X3GYBW3ZKEX&_kx=3MZUehzXM-41qlWAMPUiuNZadX2p0SByuNf_t0eMLB0.U5D8ER</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/environment/" rel="tag">#environment</a></p>

An almond tree flourished in the surroundings of the church of Santa Cruz de Olorda, in the Sarria district of Barcelona. In the background, you can see a farmhouse.

https://www.europeana.eu/pt/item/2024914/photography_ProvidedCHO_Ajuntament_de_Girona_102099

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1y

<p>The Editor Who Drove Hemingway Away</p><p>Harry C. Hindmarsh, assistant managing editor of the Toronto Daily Star, knew how to get under Ernest Hemingway’s skin.</p><p><a href="https://daily.jstor.org/the-editor-who-drove-hemingway-away/" rel="nofollow" class="ellipsis" title="daily.jstor.org/the-editor-who-drove-hemingway-away/"><span class="invisible">https://</span><span class="ellipsis">daily.jstor.org/the-editor-who</span><span class="invisible">-drove-hemingway-away/</span></a></p><p>Hemingway at PG:<br><a href="https://www.gutenberg.org/ebooks/author/50533" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/50533"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/50533</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Hemingway's 1923 passport photo; at this time, he lived in Paris with his wife Hadley and worked as a foreign correspondent for the Toronto Star Weekly.

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83d

<p>The strange tale of Sigmund Freud’s begonia</p><p>How the gift of a plant helped Emma Freud finally get to know her great-grandfather</p><p>by Emma Freud</p><p><a href="https://observer.co.uk/news/first-person/article/emma-freud-sigmund-freuds-begonia" rel="nofollow" class="ellipsis" title="observer.co.uk/news/first-person/article/emma-freud-sigmund-freuds-begonia"><span class="invisible">https://</span><span class="ellipsis">observer.co.uk/news/first-pers</span><span class="invisible">on/article/emma-freud-sigmund-freuds-begonia</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/botany/" rel="tag">#botany</a></p>

Begonia obliqua L.

Robert John Thornton (1768-1837) - Botanicus http://www.botanicus.org "Temple of Flora"

The image depicts Begonia obliqua (now more commonly known as Begonia species), showing:

A begonia with characteristic asymmetrical (oblique) leaves in rich green tones, with prominent red stems
Delicate pink blossoms and white star-shaped flowers scattered throughout the composition
An orange/brown butterfly in the upper left, adding life and movement to the scene

https://en.wikipedia.org/wiki/Begonia#/media/File:Begonia_obliqua00.jpg

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82d

<p>Who Was the Inspiration Behind the ‘Gibson Girl’ Illustrations? The Artist Said She Was Every Woman</p><p>Charles Dana Gibson’s archetype became the original American “it girl” in the late 19th and early 20th centuries, and helped transform fashion and beauty</p><p>by Michelle Mehrtens</p><p><a href="https://www.smithsonianmag.com/smithsonian-institution/who-was-the-inspiration-behind-the-gibson-girl-illustrations-the-artist-said-she-was-every-woman-180988014/?utm_source=smithsoniandaily&utm_medium=email&utm_campaign=editorial&lctg=93133550" rel="nofollow" class="ellipsis" title="www.smithsonianmag.com/smithsonian-institution/who-was-the-inspiration-behind-the-gibson-girl-illustrations-the-artist-said-she-was-every-woman-180988014/?utm_source=smithsoniandaily&utm_medium=email&utm_campaign=editorial&lctg=93133550"><span class="invisible">https://</span><span class="ellipsis">www.smithsonianmag.com/smithso</span><span class="invisible">nian-institution/who-was-the-inspiration-behind-the-gibson-girl-illustrations-the-artist-said-she-was-every-woman-180988014/?utm_source=smithsoniandaily&utm_medium=email&utm_campaign=editorial&lctg=93133550</span></a></p><p>Charles Dana Gibson at PG:<br><a href="https://www.gutenberg.org/ebooks/author/26456" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/26456"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/26456</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/illustrations/" rel="tag">#illustrations</a></p>

Engraving after the pen and ink drawing of the Gibson Girl by illustrator w:Sarah Kaplan

It depicts a voluminous, upswept hair styled in the signature "Gibson Girl" pompadour with soft curls; long, elegant neck; delicate, refined features with a confident, somewhat aloof expression.

https://en.wikipedia.org/wiki/Charles_Dana_Gibson#/media/File:Gibson_Girl.png

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83d

<p>“I have a harmonium and it’s going to explode in two minutes”</p><p>Ivor Cutler (1923–2006) – poet, singer, musician, songwriter, artist, humorist – was born <a href="/tags/otd/" rel="tag">#OTD</a>, 15 Jan</p><p>In 2013, to mark what would have been his 90th birthday, BBC Radio 4 celebrated his life & career:</p><p>1/7</p><p><a href="https://www.bbc.co.uk/programmes/b0381jzt" rel="nofollow" class="ellipsis" title="www.bbc.co.uk/programmes/b0381jzt"><span class="invisible">https://</span><span class="ellipsis">www.bbc.co.uk/programmes/b0381</span><span class="invisible">jzt</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/music/" rel="tag">#music</a> <a href="/tags/humour/" rel="tag">#humour</a> <a href="/tags/surrealism/" rel="tag">#surrealism</a> <a href="/tags/absurdist/" rel="tag">#absurdist</a> <a href="/tags/ivorcutler/" rel="tag">#IvorCutler</a></p>

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1815.</p><p>Jane Austen's novel Emma is published anonymously by John Murray in London dated 1816. About 1500 copies sell over the next 5 years. Murray offered Austen £450 for this plus the copyrights of Mansfield Park and Sense and Sensibility, which she refused. Instead, she published two thousand copies of the novel at her own expense, retaining the copyright and paying a 10% commission to Murray.</p><p>Emma at PG:<br><a href="https://gutenberg.org/ebooks/158" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/158</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Title page of the first edition of Emma by Jane Austen, published on 23 December 1815, although the title page is dated 1816.

The text reads:
"EMMA: A Novel. In Three Volumes. By the Author of 'Pride and Prejudice,' etc."

The publisher's details are printed at the bottom:
"London: Printed for John Murray, 1816."

The layout is symmetrical, with no decorative embellishments or illustrations, emphasizing the content of the book rather than its exterior. As typical for books of the time, the title page serves both an informational and promotional purpose, linking the novel to the author's previous works, which would have been recognizable to readers.

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81d

<p>Straight Outta Compton (Mackenzie)</p><p>Edward Compton Mackenzie (1883–1972) was born <a href="/tags/otd/" rel="tag">#OTD</a>, 17 Jan. Mainly remembered today for his 1947 comedy WHISKY GALORE, he wrote more than 100 books & influenced writers such as F Scott Fitzgerald, George Orwell, & Cyril Connolly</p><p>A 🎂🧵</p><p>1/4</p><p><a href="https://unherd.com/2022/11/the-forgotten-genius-of-compton-mackenzie/" rel="nofollow" class="ellipsis" title="unherd.com/2022/11/the-forgotten-genius-of-compton-mackenzie/"><span class="invisible">https://</span><span class="ellipsis">unherd.com/2022/11/the-forgott</span><span class="invisible">en-genius-of-compton-mackenzie/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/modernism/" rel="tag">#modernism</a> <a href="/tags/comptonmackenzie/" rel="tag">#ComptonMackenzie</a> <a href="/tags/fscottfitzgerald/" rel="tag">#FScottFitzgerald</a> <a href="/tags/georgeorwell/" rel="tag">#GeorgeOrwell</a> <a href="/tags/cyrilconnolly/" rel="tag">#CyrilConnolly</a></p>

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1910.</p><p>Serialisation of Gaston Leroux's novel The Phantom of the Opera (Le Fantôme de l'Opéra) concludes in the Paris newspaper Le Gaulois.</p><p>Because of his fascination with both Edgar Allan Poe and Sir Arthur Conan Doyle, he wrote a detective mystery entitled The Mystery of the Yellow Room in 1907, and four years later he published Le Fantôme de l'Opéra.</p><p><a href="https://en.wikipedia.org/wiki/The_Phantom_of_the_Opera_(novel)" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Phantom_of_the_Opera_(novel)"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Phan</span><span class="invisible">tom_of_the_Opera_(novel)</span></a></p><p>The Phantom of the Opera at PG:<br><a href="https://gutenberg.org/ebooks/175" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/175</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Dressed in a red death mask for a costume ball, Erik the Phantom descends the grand staircase of the Opéra Garnier. He “appears with his true face, challenging the masked characters with his unveiled ugliness” (François Raymond and Daniel Compère, Les maîtres du fantastique en littérature, Paris, Bordas, coll. “Les Compacts” (n° 36), 1994, ISBN 2-04-018502-X.) Watercolor by André Castaigne illustrating the first American edition of Gaston Leroux's Fantôme de l'Opéra (1911).

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