literature

15d

<p>‘I want my career, my children and a free supple life’: Sylvia Plath’s radical reinvention</p><p>Too often framed as a tragic icon or a victim of domesticity, the poet remade herself and her work at the start of the 60s, as a new collection will show</p><p>by Helen Bain</p><p><a href="https://www.theguardian.com/books/2026/mar/22/i-want-my-career-my-children-and-a-free-supple-life-sylvia-plaths-radical-reinvention?utm_term=69c003f9f4a6758ad9a531ffaeb469c8&utm_campaign=Bookmarks&utm_source=esp&utm_medium=Email&CMP=bookmarks_email" rel="nofollow" class="ellipsis" title="www.theguardian.com/books/2026/mar/22/i-want-my-career-my-children-and-a-free-supple-life-sylvia-plaths-radical-reinvention?utm_term=69c003f9f4a6758ad9a531ffaeb469c8&utm_campaign=Bookmarks&utm_source=esp&utm_medium=Email&CMP=bookmarks_email"><span class="invisible">https://</span><span class="ellipsis">www.theguardian.com/books/2026</span><span class="invisible">/mar/22/i-want-my-career-my-children-and-a-free-supple-life-sylvia-plaths-radical-reinvention?utm_term=69c003f9f4a6758ad9a531ffaeb469c8&utm_campaign=Bookmarks&utm_source=esp&utm_medium=Email&CMP=bookmarks_email</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/womenhistorymonth/" rel="tag">#womenhistoryMonth</a></p>

Edited 15d ago

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1y

<p>American journalist, editor, critic, translator, and women's rights advocate associated with the American transcendentalism movement Margaret Fuller was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1810.</p><p>She was the first American female war correspondent and full-time book reviewer in journalism. Her book Woman in the Nineteenth Century is considered the first major feminist work in the United States.</p><p>Books by Margaret Fuller at PG:<br><a href="https://www.gutenberg.org/ebooks/author/2829" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/2829"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/2829</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Engraving of Sarah Margaret Fuller Ossoli (1810-1850) a journalist, critic and women's rights activist.

A classic engraving capturing a woman deeply immersed in a book, reflecting a sense of tranquility and concentration.

Title page for Woman in the Nineteenth Century (1845) by Margaret Fuller

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179d

<p>Digesting Dante</p><p>Dante’s success was far from guaranteed.</p><p>by Richard Hughes Gibson</p><p><a href="https://hedgehogreview.com/issues/lessons-of-babel/articles/digesting-dante" rel="nofollow" class="ellipsis" title="hedgehogreview.com/issues/lessons-of-babel/articles/digesting-dante"><span class="invisible">https://</span><span class="ellipsis">hedgehogreview.com/issues/less</span><span class="invisible">ons-of-babel/articles/digesting-dante</span></a></p><p>Dante at PG:<br><a href="https://www.gutenberg.org/ebooks/author/507" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/507"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/507</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/translation/" rel="tag">#translation</a></p>

Dante Alighieri with Florence and the Realms of the Divine Comedy (Hell, Purgatory, Paradise).

Dante Alighieri holds his epic poem, The Divine Comedy, in his left hand. With his right hand, he points to a procession of sinners going to Hell, behind him is Purgatory and a historical view of the city of Florence.
Italiano: Dante Alighieri holds his Divine Comedy in his left hand, while with his right hand he points to a procession of the damned heading to Hell. Behind him is Purgatory and the city of Florence. Above, in the background, are the concentric heavens of Paradise.

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

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179d

<p>What War of the Worlds did</p><p>The uncanny realism of Orson Welles’s radio play crystallised a fear of communication technology that haunts us today</p><p>by Benjamin Naddaff-Hafrey</p><p><a href="https://aeon.co/essays/a-radio-play-about-radio-that-became-the-first-fake-news-story?utm_source=Aeon+Newsletter&utm_campaign=f3118e4df4-EMAIL_CAMPAIGN_2025_10_09&utm_medium=email&utm_term=0_-4ef8a26106-72664972" rel="nofollow" class="ellipsis" title="aeon.co/essays/a-radio-play-about-radio-that-became-the-first-fake-news-story?utm_source=Aeon+Newsletter&utm_campaign=f3118e4df4-EMAIL_CAMPAIGN_2025_10_09&utm_medium=email&utm_term=0_-4ef8a26106-72664972"><span class="invisible">https://</span><span class="ellipsis">aeon.co/essays/a-radio-play-ab</span><span class="invisible">out-radio-that-became-the-first-fake-news-story?utm_source=Aeon+Newsletter&utm_campaign=f3118e4df4-EMAIL_CAMPAIGN_2025_10_09&utm_medium=email&utm_term=0_-4ef8a26106-72664972</span></a></p><p><a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/communication/" rel="tag">#communication</a> <a href="/tags/technology/" rel="tag">#technology</a></p>

Welles at the press conference after "The War of the Worlds" broadcast (October 31, 1938)

Photo of Orson Welles meeting with reporters in an effort to explain that no one connected with the War of the Worlds radio broadcast had any idea the show would cause panic.

https://en.wikipedia.org/wiki/Orson_Welles#/media/File:Orson_Welles_War_of_the_Worlds_1938.jpg

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177d

<p>Wake Up, Rip Van Winkle</p><p>Washington Irving’s story isn’t just about a very long nap. It’s about the making of America.</p><p>By John Swansburg</p><p><a href="https://www.theatlantic.com/magazine/archive/2025/11/rip-van-winkle-founding-folktale/684333/" rel="nofollow" class="ellipsis" title="www.theatlantic.com/magazine/archive/2025/11/rip-van-winkle-founding-folktale/684333/"><span class="invisible">https://</span><span class="ellipsis">www.theatlantic.com/magazine/a</span><span class="invisible">rchive/2025/11/rip-van-winkle-founding-folktale/684333/</span></a></p><p>Rip Van Winkle at PG:<br><a href="https://www.gutenberg.org/ebooks/60976" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/60976</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover image of the book Rip Van Winkle

Author: Washington Irving

Illustrator: Arthur Rackham

The image shows the cover of Rip Van Winkle by Washington Irving, illustrated by Arthur Rackham.

The textured dark brown cover features the title and credits in white, stylized lettering at the top. Below, a colored illustration by Rackham depicts a rustic outdoor tavern scene: several men in 18th-century attire sit and converse under a wooden porch, one appearing asleep in a chair while another reads a newspaper. A signboard with “King George’s Head” hangs above, and a dog lies at their feet.

https://www.gutenberg.org/cache/epub/60976/pg60976-images.html

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1y

<p>Portuguese writer Camilo Castelo Branco died <a href="/tags/otd/" rel="tag">#OTD</a> in 1890.</p><p>One of his most famous novels is "Amor de Perdição", a tragic love story that is often compared to Shakespeare's "Romeo and Juliet." Camilo Castelo Branco's life was marked by personal and professional challenges, including periods of financial difficulty, imprisonment, and ill health, yet he remained a central figure in Portuguese literary circles.</p><p>Books by Camilo Castelo Branco at PG:<br><a href="https://www.gutenberg.org/ebooks/author/6699" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/6699"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/6699</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Retrato fotográfico de Camilo Castelo Branco em Bohemia do Espirito.

A monochrome image of a mustached man, captured in black and white.

Cover of O sangue by Camilo Castelo Branco.

"O Sangue" is a novel by Camilo Castelo Branco, one of the most prominent Portuguese writers of the 19th century. This novel, like many of his works, delves into themes of passion, family conflict, and social issues.

"O Sangue" is an important work in Camilo Castelo Branco's oeuvre, showcasing his ability to weave complex narratives that reflect the human condition. It is a testament to his literary skill and his understanding of the darker aspects of human nature.

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1y

<p>English author, philosopher, literary and art critic G. K. Chesterton was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1874.</p><p>Chesterton created the character Father Brown, a Catholic priest and amateur detective. The first collection, "The Innocence of Father Brown," was published in 1911. His most famous novel is "The Man Who Was Thursday" (1908), a metaphysical thriller that explores themes of anarchy and order.</p><p>Books by G. K. Chesterton at PG:<br><a href="https://www.gutenberg.org/ebooks/author/80" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/80"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/80</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Chesterton in 1909.

An elderly man with glasses and a mustache in a vintage photograph.

Cover of The Man Who Was Thursday: A Nightmare by G. K. Chesterton

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179d

<p>Smoky sky.<br>In autumn wind<br>I stroll by the quays<br>in the last light…</p><p>—Edwin Morgan, “Je ne regrette rien: in memory of Edith Piaf”<br>first published in THE SECOND LIFE (EUP, 1968); republished in COLLECTED POEMS (Carcanet, 2012)</p><p>Edith Piaf died <a href="/tags/otd/" rel="tag">#OTD</a>, 10 October, 1963</p><p><a href="https://www.carcanet.co.uk/cgi-bin/indexer?product=9781857541885" rel="nofollow" class="ellipsis" title="www.carcanet.co.uk/cgi-bin/indexer?product=9781857541885"><span class="invisible">https://</span><span class="ellipsis">www.carcanet.co.uk/cgi-bin/ind</span><span class="invisible">exer?product=9781857541885</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/edithpiaf/" rel="tag">#EdithPiaf</a></p>

Edwin Morgan
Je ne regrette rien
in memory of Edith Piaf

Smoky sky.
In autumn wind
I stroll by the quays
in the last light,
my coat flaps, flaps,
wet chestnut leaves
spatter the Seine.
I glance in a window
and touch my hair, yes
I am tiny as they say,
tiny as a sparrow.
Now the lights come on.
I stand under the lamp,
turn up my collar
in a circle of rain
and wait for you.

It’s all beginning again.
Dead leaves or spring
it comes back, it begins.
How could I struggle?
When you held me, your shoulders
were a wall, I sheltered
in your shadow, it began.
They say I couldn’t count my men –
in thirty years I couldn’t count them!
But who counts years?
Count the years I was blind?
Dandled in a brothel? Taught by whores?
Count the prayers that gave me my sight at Lisieux?
Or the heartbeats of my daughter, in thousands,
when I bore her at fourteen
till she starved and died?
Count the crusts I’ve had, or those I’ve given?
The gutters I’ve sung in, or the great halls?
Count the glasses I’ve drunk? Count the beds
I’ve lain in, the lips I’ve kissed?
I can’t count the surgeons who’ve opened me –
do you think my lovers are in a book?
Do you want me to start counting tears?
Count what? The cost? What cost? I won!

No! let the men that had me go their ways.
I regret nothing, nothing. Some were kind.
But I don’t care if they were kind!
I don’t remember if it was bad.
I don’t keep the past in my pocket.

I’ve paid for it all, I’ve forgotten it all.
I’ve paid for it all, I’ve forgotten it all.
I strike a match to my memories,
they light a fire and disappear.

I warm my arms tonight
the fire begins
the stars come out
yes it begins
I am forty-five
it begins again
I hear his step
yes it begins
his broad shoulders
glisten through the rain
I can see
the dead cigarette
in his firm mouth
he throws it aside
it begins and
I regret nothing

We sway in the rain,
he crushes my mouth.
What could I regret
if a hundred times
of parting struck me
like lightning if this
lightning of love
can strike and
strike
again!

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1y

<p>"At times it has been doubtful to me if Emerson really knows or feels what Poetry is at its highest, as in the Bible, for instance, or Homer or Shakspeare. I see he covertly or plainly likes best superb verbal polish, or something old or odd."</p><p>Democratic Vistas: And Other Papers (ed. 1888)</p><p>~Walt Whitman (May 31, 1819 – March 26, 1892) </p><p>Books by Walt Whitman at PG:<br><a href="https://www.gutenberg.org/ebooks/author/600" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/600"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/600</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>

Walt Whitman (1819-1892), age 35, frontispiece to Leaves of Grass, Fulton St., Brooklyn, N.Y., 1855, steel engraving by Samuel Hollyer from a lost daguerreotype by Gabriel Harrison.

Samuel Hollyer (1826-1919) of a daguerreotype by Gabriel Harrison (1818-1902)(original lost). - Morgan Library & Museum.

A man in a hat and pants, depicted in a drawing.

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179d

<p>Fossil hunter, folklorist, evangelist, stonemason, editor, social justice campaigner, & geologist, Hugh Miller (1802–1856) – born <a href="/tags/otd/" rel="tag">#OTD</a>, 10 Oct – should be remembered in the company of Carlyle, Ruskin, Matthew Arnold & JS Mill as one of the leading moral & social thinkers of the 19th century</p><p>A 🎂🧵</p><p>1/4</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/geology/" rel="tag">#geology</a> <a href="/tags/fossil/" rel="tag">#fossil</a> <a href="/tags/fossilfriday/" rel="tag">#fossilfriday</a> <a href="/tags/folklore/" rel="tag">#folklore</a></p>

Faded 19th-century sepia photograph of Hugh Miller. He is standing, dressed in workman's overalls, his shirt-sleeves rolled up. He has bushy hair and large sideburns, and his left elbow is propped up on a carved gravestone. His right hand rests on a large stonemason's maul, and he holds a chisel in his left hand.

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1y

<p>读过 <a href="https://eggplant.place/search?r=1&q=https://neodb.social/book/03I8gtq7HiIW7XOyvKhXL6" rel="nofollow">Step Aside, Pops</a> 🌕🌑🌑🌑🌑 <br>比 Hark! A Vagrant 先看这本的原因是底下的作者注释比较少，嗯，跟作者电波不合，不大笑得出来，不就是塞点私货到历史人物口里吗？恶搞得不刁钻，punchline 也不犀利，还是 pbf 那些够狠够疯癫。</p><p><a href="/tags/comics/" rel="tag">#comics</a> <a href="/tags/history/" rel="tag">#history</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/parody/" rel="tag">#parody</a><br></p>

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179d

<p>Happy World Porridge Day to all who celebrate! 🥣</p><p>Captain of oats, braw brose, fine gruel,<br>you are thi Scotsman’s constant fuel<br>fae New Year’s Dey till end o Yule<br>(we don’t do Simmer):<br>oan ilka morn ye bring renewal,<br>thi stomach’s zimmer…</p><p>—WN Herbert, “To Porridge”<br>published in OMNESIA (Bloodaxe Books, 2013)</p><p><a href="https://poetryinternationalweb.org/pi/site/poem/item/22732/auto/0/TO-PORRIDGE" rel="nofollow" class="ellipsis" title="poetryinternationalweb.org/pi/site/poem/item/22732/auto/0/TO-PORRIDGE"><span class="invisible">https://</span><span class="ellipsis">poetryinternationalweb.org/pi/</span><span class="invisible">site/poem/item/22732/auto/0/TO-PORRIDGE</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/porridge/" rel="tag">#porridge</a> <a href="/tags/worldporridgeday/" rel="tag">#WorldPorridgeDay</a></p>

WN Herbert
TO PORRIDGE
'Auld claes and parritch...'

Captain of oats, braw brose, fine gruel,
you are thi Scotsman’s constant fuel
fae New Year’s Dey till end o Yule
(we don’t do Simmer):
oan ilka morn ye bring renewal,
thi stomach’s zimmer.

Ye greet us lyk a fu-fissed mune
and guarantee tae fill wir spune
wi fushion – see, ye’re cratert roond
wi seas o bubbles –
tranquillity is aa yir tune,
and ease fae troubles.

Grey revolutionary fur guts,
jump-starter fur thi slo-mo slutz
that sends us loupin fae wir cots
intae wir sarks
(a dram in you gets slob and klutz
back tae thir wark).

When snaa faas owre thi Border’s pale
and Southron bairns can plunk aff skail
then even English journos hail
wir Northern mannah –
are sudden experts oan oatmeal
tapped wi a sultana.

Ye’re like a clood-occludit sun
that casts grey licht oan ivrywun;
thi siller ash on grieshoch; grun
ablow thi slush
that derns oat-germs that sune will wun
thru Winter’s crush.

Tho Doctir Johnson caaed ye food
fur foals – mair fulmar him – ye’ve plooed
thru Scotia’s lard-imprisoned bluid
and freed oor veins:
dae mealie puddins dae us good?
Great Oat, explain!

Hoo dae we luve ye? Some wi cream,
wi hinny, spice or jeely reamed,
while Calvin’s crew hae sauty dreams
o fare of auld,
powred in a draaer fur bothy teams
tae slice oot cauld.

‘Auld claes an parritch’ gaes thi creh
wance we hae drunk thi Daft Deys dreh
and neath a sober, saft grey skeh
we view thi year –
we’re nae whit bettir, but we’ll treh
wi sic guid gear!

Editor's Note: Fushion—wholesomeness, strength; slutz—a leap in skating; sark—shirt; grieshoch—red-hot embers; dern–hide.

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1y

<p>What Scotsman was caught up in a civil war before the age of twenty? Wrote a book that became the inspiration for an Oscar-winning film? Met a runaway teenager in Paris and married her against the wishes of his family? Lost his ranch to raiding Apaches? </p><p>Buckle up – it’s going to be a long, wild <a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> 🧵 …</p><p>1/18</p>

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1y

<p>German poet Georg Herwegh was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1817.</p><p>Herwegh's poetry is characterized by its passionate advocacy for freedom and democracy. He became famous with his collection "Gedichte eines Lebendigen", published in 1841. This work was widely acclaimed for its revolutionary zeal and critique of the existing social and political order.</p><p>Books by Georg Herwegh at Projekt Gutenberg-DE:<br><a href="https://www.projekt-gutenberg.org/autoren/namen/herwegh.html" rel="nofollow" class="ellipsis" title="www.projekt-gutenberg.org/autoren/namen/herwegh.html"><span class="invisible">https://</span><span class="ellipsis">www.projekt-gutenberg.org/auto</span><span class="invisible">ren/namen/herwegh.html</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>

Georg Herwegh, copperplate engraving after oil painting by w:de:Hans Conrad Hitz (1798-1866) by Carl Arnold Gonzenbach (1806-1885), Zurich 1843, in Herwegh's handwriting Raum ihr Herrn dem Flügelschlag einer freien Seele.

A portrait of a bearded and mustached man, exuding a dignified and sophisticated aura.

Title page of Einundzwanzig Bogen aus der Schweiz. Hrsg. von Georg Herwegh. Erster Theil
by Herwegh, Georg, 1817-1875; Hess, Moses, 1812-1875; Grün, Karl Theodor Ferdinand, 1817-1887; Bauer, Bruno, 1809-1882

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15d

<p>Medieval chess was more inclusive than the world around it</p><p>Black, white, Muslim, or Christian: Players found common ground across the board.</p><p>by Andrew Paul</p><p><a href="https://www.popsci.com/science/chess-medieval-race/" rel="nofollow" class="ellipsis" title="www.popsci.com/science/chess-medieval-race/"><span class="invisible">https://</span><span class="ellipsis">www.popsci.com/science/chess-m</span><span class="invisible">edieval-race/</span></a></p><p>Chess at PG:<br><a href="https://www.gutenberg.org/ebooks/subject/1677" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subject/1677"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">ct/1677</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/chess/" rel="tag">#chess</a></p>

Two shatranj players in a detail from a Persian miniature painting of Bayasanghori Shahname made in 1430

The Shâhnâmeh (Book of Kings) is major epic work of persian poetry "Ferdowsi Tousi". -

A detailed Persian miniature painting. A enthroned figure in purple robes sits elevated on an ornate dais beneath a decorated arch, attended by a standing courtier in orange. Around and below the platform, a crowd of courtiers in white turbans and robes of red, blue, green and orange stand in attendance. In the foreground, two figures face each other across what appears to be a game board — the shatranj (chess) players referenced in the description — one in blue robes, one in green. Every surface is covered in intricate geometric and floral patterning: the tiled floor in hexagonal motifs, the walls and textiles in arabesques and gold.

http://portal.unesco.org/ci/photos/showgallery.php/cat/793

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1y

<p>Danish writer Martin Andersen Nexø died <a href="/tags/otd/" rel="tag">#OTD</a> in 1954.</p><p>Nexø is best known for his novel "Pelle Erobreren", which is a significant work in Danish literature and has been widely translated. It follows the life of Pelle, a boy from a poor family who grows up to become a labor leader. The novel is celebrated for its detailed portrayal of working-class life and its strong social and political themes.</p><p>Books by Martin Andersen Nexø at PG:<br><a href="https://www.gutenberg.org/ebooks/author/2530" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/2530"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/2530</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

From the Hebrew edition of Ditte Human Child, Israel 1952.

A man with curly hair and a tie in a simple drawing.

Cover of Pelle the Conqueror — Complete by Martin Andersen Nexø

"Pelle the Conqueror" (Danish: "Pelle Erobreren") is a four-volume novel by Danish author Martin Andersen Nexø, published between 1906 and 1910. It is considered a landmark work in Danish literature and an important piece of socialist realist writing. The novel provides a detailed and empathetic portrayal of the working class's struggles and aspirations, reflecting Nexø's own socialist beliefs.

"Pelle the Conqueror" remains a significant work in the canon of Danish and socialist literature. Its detailed depiction of the labor movement and the plight of the working class continues to resonate with readers and scholars interested in social justice and historical labor struggles.

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177d

<p>A gifted writer of gothic & horror fiction, Dorothy K. Haynes (1918–1987) was born <a href="/tags/otd/" rel="tag">#OTD</a>, 12 Oct. Haynes & her twin brother spent 4 years in Aberlour Orphanage, from 1929 to 1933: last year, we republished her long out-of-print childhood memoir, HASTE YE BACK</p><p>1/4</p><p><a href="https://asls.org.uk/publications/books/volumes/haste-ye-back/" rel="nofollow" class="ellipsis" title="asls.org.uk/publications/books/volumes/haste-ye-back/"><span class="invisible">https://</span><span class="ellipsis">asls.org.uk/publications/books</span><span class="invisible">/volumes/haste-ye-back/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/memoir/" rel="tag">#memoir</a> <a href="/tags/gothic/" rel="tag">#gothic</a> <a href="/tags/horror/" rel="tag">#horror</a> <a href="/tags/weird/" rel="tag">#weird</a> <a href="/tags/weirdtales/" rel="tag">#weirdtales</a> <a href="/tags/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/womenwriters/" rel="tag">#womenwriters</a></p>

Book cover: Haste Ye Back, by Dorothy K. Haynes
Edited by Craig Lamont

The cover image is "Blue Flax", an oil painting by Edward Atkinson Hornel (1927). The image shows three cheerful little girls in white smocks, lying on a grassy mound which is covered in small blue flowers. Behind them is a beach and a sunlit bay.

Edited 177d ago

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178d

<p>Jane Austen and theory of mind: how literary fiction sharpens your ‘mindreading’ skills</p><p>by Carmen Barajas and Noelia López-Montilla</p><p><a href="https://theconversation.com/jane-austen-and-theory-of-mind-how-literary-fiction-sharpens-your-mindreading-skills-266920?utm_medium=email&utm_campaign=Europe%20Newsletter%20-%203542436115&utm_content=Europe%20Newsletter%20-%203542436115+CID_490379ce8ca78e5d84d84d9e08fb5b81&utm_source=campaign_monitor_europe&utm_term=Jane%20Austen%20and%20theory%20of%20mind%20how%20literary%20fiction%20sharpens%20your%20mindreading%20skills" rel="nofollow" class="ellipsis" title="theconversation.com/jane-austen-and-theory-of-mind-how-literary-fiction-sharpens-your-mindreading-skills-266920?utm_medium=email&utm_campaign=Europe%20Newsletter%20-%203542436115&utm_content=Europe%20Newsletter%20-%203542436115+CID_490379ce8ca78e5d84d84d9e08fb5b81&utm_source=campaign_monitor_europe&utm_term=Jane%20Austen%20and%20theory%20of%20mind%20how%20literary%20fiction%20sharpens%20your%20mindreading%20skills"><span class="invisible">https://</span><span class="ellipsis">theconversation.com/jane-auste</span><span class="invisible">n-and-theory-of-mind-how-literary-fiction-sharpens-your-mindreading-skills-266920?utm_medium=email&utm_campaign=Europe%20Newsletter%20-%203542436115&utm_content=Europe%20Newsletter%20-%203542436115+CID_490379ce8ca78e5d84d84d9e08fb5b81&utm_source=campaign_monitor_europe&utm_term=Jane%20Austen%20and%20theory%20of%20mind%20how%20literary%20fiction%20sharpens%20your%20mindreading%20skills</span></a></p><p>Austen at PG:<br><a href="https://www.gutenberg.org/ebooks/author/68" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/68"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/68</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Pride and Prejudice, chapter 44: At Lambton, the visitors are all predisposed in Elizabeth's favor.

Hugh Thomson (1860-1920) - Scan de Pride and Prejudice, London: George Allen, 1894.

Illustration for Pride and Prejudice, ch. 44 : "To make herself agreeable to all".

The picture depicts Elizabeth Bennet at Lambton, surrounded by guests who are clearly charmed by her presence.

It shows Elizabeth seated gracefully among several figures in Regency attire. The visitors’ attentive postures and smiles emphasize the text’s note that “all were predisposed in her favor.”

The setting is a refined drawing room, rendered with elegant furniture, soft lines, and balanced composition typical of Thomson’s Cranford style.

https://en.wikipedia.org/wiki/Jane_Austen%27s_literary_universe#/media/File:Thompson-PP-Ch44.JPG

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1y

<p>"L'écriture est la peinture de la voix."</p><p>French writer & philosopher François-Marie Arouet died <a href="/tags/otd/" rel="tag">#OTD</a> in 1778.</p><p>Voltaire left his mark on his era through his literary output and political commitments. His influence on the educated classes was considerable in the decades preceding the French Revolution & in the early 19th century, but diminished thereafter with the triumph of Rousseauist philosophy & the development of pre-Romanticism.</p><p>Voltaire at PG:<br><a href="https://www.gutenberg.org/ebooks/author/913" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/913"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/913</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Atelier de Nicolas de Largillière, portrait de Voltaire, détail (musée Carnavalet) -002

A portrait of a man with flowing hair and a vibrant red coat, captured in a beautiful painting.

This was a frontispiece of Voltaire's Candide, or Optimism. It reads, "Candide, or Optimism. Translated from the German of Dr. Ralph."

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178d

<p>A man walked out of the sea one February morning dressed in a boilersuit & bunnet, and wearing a tartan scarf which had been tucked crosswise under each oxter to be fastened by a safety-pin at a point roughly centre of his shoulder blades…</p><p>—James Kelman, “Incident on a Windswept Beach”</p><p>Published in THE STORY OF THE STONE: Tales, Entreaties, and Incantations (PM Press, 2025)</p><p><a href="https://pmpress.org/index.php?l=product_detail&p=1769" rel="nofollow" class="ellipsis" title="pmpress.org/index.php?l=product_detail&p=1769"><span class="invisible">https://</span><span class="ellipsis">pmpress.org/index.php?l=produc</span><span class="invisible">t_detail&p=1769</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/jameskelman/" rel="tag">#JamesKelman</a> <a href="/tags/flashfiction/" rel="tag">#Flashfiction</a> <a href="/tags/scots/" rel="tag">#Scots</a> <a href="/tags/scotslanguage/" rel="tag">#Scotslanguage</a> <a href="/tags/scotstober/" rel="tag">#Scotstober</a></p>

James Kelman
Incident on a Windswept Beach

A man walked out of the sea one February morning dressed in a boilersuit & bunnet, and wearing a tartan scarf which had been tucked crosswise under each oxter to be fastened by a safety-pin at a point roughly centre of his shoulder blades; from his neck swung a pair of heavy boots whose laces were knotted together. He brought what must have been a waterproof tobacco-pouch out from a pocket, because when he had rolled a smoke he lighted the thing using a kind of Zippo (also from the pouch) and puffed upon it with an obvious relish. It was an astonishing spectacle.
Hastening over to him I exclaimed: Christ Almighty jimmy, where've you come from?
Back there, he muttered oddly and made to proceed on his path.
At least let me give you a pair of socks! I said.
But he shook his head. No ... I'm not supposed to.

Edited 178d ago

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178d

<p>I had known this day was set in bone.<br>After all, that pull to North is hollowing me, too.<br>But now it’s come, and all I think is grief…</p><p>—Roseanne Watt, “Migration Day”<br>from MODER DY (Birlinn, 2019)</p><p>Today, 11 October, is World Migratory Bird Day</p><p><a href="https://birlinn.co.uk/product/moder-dy/" rel="nofollow" class="ellipsis" title="birlinn.co.uk/product/moder-dy/"><span class="invisible">https://</span><span class="ellipsis">birlinn.co.uk/product/moder-dy</span><span class="invisible">/</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/poem/" rel="tag">#poem</a> <a href="/tags/worldmigratorybirdday/" rel="tag">#WorldMigratoryBirdDay</a> <a href="/tags/birds/" rel="tag">#birds</a></p>

Roseanne Watt
Migration Day

I had known this day was set in bone.
After all, that pull to North is hollowing me, too.
But now it’s come, and all I think is grief;

this feels like grief. But it’s not the flight
that can’t be followed, this being left behind
that weighs on me. Something else

is in the fields now they’ve left us;
the marshes, bereft of them, are opening
again, like skin remembering

wounds. It’s not enough to say
they will return. Something’s always lost
in leaving. And anyway, I have less

faith in such assurances these days;
like when she said she did not fear her dying,
I knew she meant the indigo

of its moment – not the increments
of losing, not how each thing would slow
into its last. The day they left

was blue, and kind and sudden.
And still, some part of me
would beg them stay.

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1y

<p>English poet Alfred Austin was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1835.</p><p>Austin served as Poet Laureate of the United Kingdom from 1896 until his death in 1913. Despite holding this prestigious position, his poetry received mixed reviews, and he is often remembered more for the controversies surrounding his appointment than for his literary accomplishments.</p><p>Books by Alfred Austin at PG:<br><a href="https://www.gutenberg.org/ebooks/author/37643" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/37643"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/37643</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 Alfred Austin

Russell & Sons - Chambers's cyclopaedia of English literature: https://archive.org/stream/cyclopaediaengli03cham#page/682/mode/2up

An old black and white photo of a mustached man, exuding a sense of timeless elegance and charm.

Cover of Lamia's Winter-Quarters by Alfred Austin

"Lamia's Winter-Quarters" is a narrative poem by Alfred Austin, published in 1898. The poem reflects Austin's fascination with nature, myth, and the poetic traditions of his time. It combines elements of classical mythology with Victorian sensibilities, depicting a rich tapestry of themes and imagery.

The poem is centered around the character Lamia, who is derived from Greek mythology. In myth, Lamia is often depicted as a beautiful woman who becomes a serpent or monster. However, Austin's portrayal is more sympathetic and nuanced, focusing on her longing and transformation.

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40d

<p>Bird Grove review – George Eliot’s true story embellished in a tender drama</p><p>Elizabeth Dulau is terrific in Alexi Kaye Campbell’s new play as the young woman set to become a daring pioneer in fiction and real life</p><p>by Arifa Akbar</p><p><a href="https://www.theguardian.com/stage/2026/feb/25/bird-grove-review-hampstead-theatre-londong-eorge-eliot" rel="nofollow" class="ellipsis" title="www.theguardian.com/stage/2026/feb/25/bird-grove-review-hampstead-theatre-londong-eorge-eliot"><span class="invisible">https://</span><span class="ellipsis">www.theguardian.com/stage/2026</span><span class="invisible">/feb/25/bird-grove-review-hampstead-theatre-londong-eorge-eliot</span></a></p><p>George Eliot at PG:<br><a href="https://www.gutenberg.org/ebooks/author/90" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/90"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/90</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>

Portrait of George Eliot by Samuel Laurence, c. 1860.

A pencil or chalk portrait drawing of Eliot, shown from the chest up, her face turned slightly to the right. She has dark, wavy hair falling loosely to jaw length. Her features are strong and angular, with a direct, composed expression. She wears a light-coloured dress with a ruffled collar and a large oval brooch at the neckline.

https://en.wikipedia.org/wiki/George_Eliot#/media/File:George_Eliot_by_Samuel_Laurence.jpg

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168d

<p>WRITERS!</p><p>Submissions are invited to NEW WRITING SCOTLAND 44! We want poetry & prose in English, Gaelic, & Scots 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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120d

<p>Why Jane Austen's works still resonate, 250 years after her birth</p><p>Why do the works of Jane Austen still hold so much appeal 250 years after her birth? We ask members of the Jane Austen Society of North America as well as writers Sandra Cisneros and Brandon Taylor.</p><p>By Melissa Gray</p><p><a href="https://www.npr.org/2025/12/07/nx-s1-5567131/why-jane-austens-works-still-resonate-250-years-after-her-birth" rel="nofollow" class="ellipsis" title="www.npr.org/2025/12/07/nx-s1-5567131/why-jane-austens-works-still-resonate-250-years-after-her-birth"><span class="invisible">https://</span><span class="ellipsis">www.npr.org/2025/12/07/nx-s1-5</span><span class="invisible">567131/why-jane-austens-works-still-resonate-250-years-after-her-birth</span></a></p><p>Austen at PG:<br><a href="https://www.gutenberg.org/ebooks/author/68" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/68"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/68</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Back-view watercolour of Jane Austen by her sister Cassandra Austen, 1804.

A delicate 1804 watercolor by Cassandra Austen showing her sister Jane Austen from behind, seated outdoors beneath a tree. Jane wears an elegant white empire-waist dress and bonnet, gazing at a pastoral landscape in soft, muted tones.

https://en.wikipedia.org/wiki/Jane_Austen#/media/File:JaneAustenCassandraWatercolour.jpg

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