literature

1y

<p>Norwegian author Amalie Skram was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1846.</p><p>She gave voice to a woman's point of view with her naturalist writing. Skram's most famous works include the novels "Constance Ring", "Lucie", and the four-volume series "Hellemyrsfolket", which provides a stark and realistic depiction of life in 19th-century Norway.</p><p><a href="https://en.wikipedia.org/wiki/Amalie_Skram" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Amalie_Skram"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Amalie_S</span><span class="invisible">kram</span></a></p><p>Books about Amalie Skram at PG:<br><a href="https://www.gutenberg.org/ebooks/68655" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/68655</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Photo portrait and signature of Amalie Skram, published 1905.

The photo portrait of Amalie Skram from 1905 depicts the Norwegian author in a formal and serious pose, reflective of her stature as a significant literary figure. She is dressed in the typical fashion of the late 19th and early 20th centuries, with a high-collared blouse and a dark, modest gown. Her hair is neatly styled, parted in the middle, and pulled back, revealing her strong facial features. Skram's expression is contemplative, suggesting the depth and intensity of her literary work.

Accompanying the portrait is her signature, which is written in a clear and confident hand, indicative of her authoritative presence in the literary world. The portrait and signature together convey a sense of dignity and intellectual strength, capturing the essence of Amalie Skram as a pioneering realist writer and a prominent figure in Scandinavian literature. The publication of this portrait in 1905, the year of her death, serves as a tribute to her enduring influence and legacy.

1 0 0 View Post & Replies See Original

1y

<p>"On a memorable morning of early December London opened its eyes on a frigid gray mist..."</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1891.</p><p>Israel Zangwill's The Big Bow Mystery, the first classic full-length locked room mystery, begins serialization in The Star (London), before being published as a novel the following year.</p><p>It has been almost continuously in print since 1891 and has been used as the basis for three movies.</p><p><a href="https://en.wikipedia.org/wiki/The_Big_Bow_Mystery" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Big_Bow_Mystery"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Big_</span><span class="invisible">Bow_Mystery</span></a></p><p>The Big Bow Mystery at PG:<br><a href="https://www.gutenberg.org/ebooks/28164" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/28164</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover page of The Big Bow Mystery by Israel Zangwill, The First Loocked Room Mystery.

The cover page of The Big Bow Mystery by Israel Zangwill is a classic example of late 19th-century book design. As the first "locked room" mystery ever written, the cover likely reflects the novel's significance and genre. The design may feature an ornate, decorative border that was typical of the period, with the title prominently displayed in bold, serif fonts. The author's name, Israel Zangwill, is also prominently featured, underscoring his importance as a literary figure.

The imagery on the cover might evoke elements of mystery or suspense, possibly incorporating dark or moody colors, symbolic representations like keys, locks, or abstract depictions of a closed door, emphasizing the "locked room" nature of the mystery.

1 0 0 View Post & Replies See Original

148d

<p>Music and Musicians in the Medieval Persianate World</p><p>From royal courts to wine-filled gatherings, music played a vital role in medieval Persianate culture. Two remarkable texts — one practical, one theoretical — reveal how musicians lived, performed, and understood their art.</p><p>By Timur Khan</p><p><a href="https://www.medievalists.net/2025/11/music-and-musicians-in-the-medieval-persianate-world/" rel="nofollow" class="ellipsis" title="www.medievalists.net/2025/11/music-and-musicians-in-the-medieval-persianate-world/"><span class="invisible">https://</span><span class="ellipsis">www.medievalists.net/2025/11/m</span><span class="invisible">usic-and-musicians-in-the-medieval-persianate-world/</span></a></p><p>Music at PG:<br><a href="https://www.gutenberg.org/ebooks/bookshelf/677" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/bookshelf/677"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/books</span><span class="invisible">helf/677</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/music/" rel="tag">#music</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Sultan Mohammed. Kayumars' Court. Miniature, detail. "Shahnameh" by Ferdowsi. 1525-1535. Geneva, Collection of Sadruddin Aga Khan.

At the center of the image, Kayumars sits elevated on a rocky outcrop, clothed in a robe of leopard skin. His haloed face is framed by a soft sky and floating clouds that blend seamlessly with the surrounding forms.

Below and around him, courtiers, princes, and attendants are arranged in rhythmic harmony amid rich vegetation, flowering trees, and undulating rock formations.

Among them roam wild animals and birds—leopards, monkeys, deer, and cranes.

https://en.wikipedia.org/wiki/Shahnameh#/media/File:The_Court_of_Gayumars_(Cropped).jpg

0 0 0 View Post & Replies See Original

145d

<p>“In crime, as in all life, nothing is fixed or certain. Put another way, it is part of the mystery of being, which has its origin in religious faith, & Stevenson’s stories abound in mysteries”</p><p>SINS & FOLLIES<br>Three Stories by Robert Louis Stevenson</p><p>🗡️ “A Lodging for the Night”<br>🪞 “Markheim”<br>💀 “The Body-Snatcher”</p><p>Download the free ebook</p><p>@bookstodon </p><p>1/4</p><p><a href="https://asls.org.uk/publications/books/free-publications/sins-and-follies-2/" rel="nofollow" class="ellipsis" title="asls.org.uk/publications/books/free-publications/sins-and-follies-2/"><span class="invisible">https://</span><span class="ellipsis">asls.org.uk/publications/books</span><span class="invisible">/free-publications/sins-and-follies-2/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/robertlouisstevenson/" rel="tag">#RobertLouisStevenson</a> <a href="/tags/shortstories/" rel="tag">#ShortStories</a> <a href="/tags/crimefiction/" rel="tag">#CrimeFiction</a> <a href="/tags/19thcentury/" rel="tag">#19thcentury</a> <a href="/tags/victorian/" rel="tag">#Victorian</a> <a href="/tags/gothic/" rel="tag">#gothic</a> <a href="/tags/rlsday/" rel="tag">#RLSDay</a></p>

Book cover

Sins and Follies

Three stories
by
Robert Louis Stevenson

1 0 0 View Post & Replies See Original

145d

<p>“It is an RLS hallmark, the quicksilver evolution of thought and the fabular turn, the victory of original perception”</p><p>—Amdrew O’Hagan stays overnight in Robert Louis Stevenson’s childhood home, 17 Heriot Row, Edinburgh – via the London Review of Books</p><p><a href="https://www.lrb.co.uk/the-paper/v46/n01/andrew-o-hagan/diary" rel="nofollow" class="ellipsis" title="www.lrb.co.uk/the-paper/v46/n01/andrew-o-hagan/diary"><span class="invisible">https://</span><span class="ellipsis">www.lrb.co.uk/the-paper/v46/n0</span><span class="invisible">1/andrew-o-hagan/diary</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/robertlouisstevenson/" rel="tag">#RobertLouisStevenson</a> <a href="/tags/edinburgh/" rel="tag">#Edinburgh</a> <a href="/tags/rlsday/" rel="tag">#RLSDay</a></p>

0 0 0 View Post & Replies See Original

148d

<p>Some one was singing<br>Up a twisty stair,<br>A fragment of a song,<br>One sweet, spring day,<br>When twelve o’clock was ringing,<br>Through the sunny square…</p><p>—Marion Angus (1865–1946), “Remembrance Day”<br>first published in THE LILT AND OTHER VERSES (1922)</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/warpoetry/" rel="tag">#warpoetry</a> <a href="/tags/ww1/" rel="tag">#WW1</a> <a href="/tags/remembranceday/" rel="tag">#RemembranceDay</a></p>

Remembrance Day
Marion Angus

Some one was singing
Up a twisty stair,
A fragment of a song,
One sweet, spring day,
When twelve o’clock was ringing,
Through the sunny square—

‘There was a lad baith frank and free,
Cam’ doon the bonnie banks o’ Dee
Wi’ tartan plaid and buckled shoon,
An’ he’ll come nae mair to oor toon.—

‘He dwells within a far countree,
Where great ones do him courtesie,
They’ve gien him a golden croon,
An’ he’ll come nae mair to oor toon.’—

No one is singing
Up the twisty stair.
Quiet as a sacrament
The November day.

Can’t you hear it swinging,
The little ghostly air?—
Hear it sadly stray
Through the misty square,
In and out a doorway,
Up a twisty stair—
Tartan plaid and buckled shoon,
He’ll come nae mair to oor toon.

0 0 0 View Post & Replies See Original

1y

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

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

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

0 0 0 View Post & Replies See Original

144d

<p>Norman MacCaig (1910–1996) was born <a href="/tags/otd/" rel="tag">#OTD</a>, 14 November. A self-described “Zen Calvinist”, when asked how long it took him to write a poem he would reply “one cigarette – or two for a long one”</p><p>A 🎂🧵</p><p>“Toad”<br>published in THE POEMS OF NORMAN MacCAIG (Birlinn, 2009)</p><p>1/12</p><p><a href="https://birlinn.co.uk/product/the-poems-of-norman-maccaig/" rel="nofollow" class="ellipsis" title="birlinn.co.uk/product/the-poems-of-norman-maccaig/"><span class="invisible">https://</span><span class="ellipsis">birlinn.co.uk/product/the-poem</span><span class="invisible">s-of-norman-maccaig/</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/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/normanmaccaig/" rel="tag">#NormanMacCaig</a></p>

Toad
by Norman MacCaig

Stop looking like a purse. How could a purse
squeeze under the rickety door and sit,
full of satisfaction, in a man’s house?

You clamber towards me on your four corners –
right hand, left foot, left hand, right foot.

I love you for being a toad,
for crawling like a Japanese wrestler,
and for not being frightened.

I put you in my purse hand, not shutting it,
and set you down outside directly under
every star.

A jewel in your head? Toad,
you’ve put one in mine,
a tiny radiance in a dark place.

1 0 0 View Post & Replies See Original

1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1918.</p><p>The poets Wilfred Owen and Siegfried Sassoon meet for the last time, in London, and spend what Sassoon will recall as "the whole of a hot cloudless afternoon together."</p><p><a href="https://en.wikipedia.org/wiki/Wilfred_Owen#Relationship_with_Sassoon" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Wilfred_Owen#Relationship_with_Sassoon"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Wilfred_</span><span class="invisible">Owen#Relationship_with_Sassoon</span></a></p><p>Books by Wilfred Owen at PG:<br><a href="https://www.gutenberg.org/ebooks/author/517" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/517"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/517</span></a></p><p>Books by Siegfried Sassoon at PG:<br><a href="https://www.gutenberg.org/ebooks/author/2934" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/2934"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/2934</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Portrait of Wilfred Owen, found in a collection of his poems from 1920.

Owen is depicted with a serious, introspective expression, reflecting the weight of his experiences during World War I. The portrait, likely a photograph or an engraving, shows him in military uniform, which serves as a poignant reminder of his service and the subject matter of his poetry. His eyes are intense, perhaps hinting at the trauma and disillusionment that characterized his work.

Siegfried Loraine Sassoon (1886-1967), poet and novelist, platinum print, wearing military uniform with the collar badges of the Royal Welsh Fusiliers and hat, Beresford's stamp and copyright line on verso, 6 x 4½ in (15.2 x 11.5 cm).

0 0 0 View Post & Replies See Original

145d

<p>Am I really home? A Journey Through the Literary Voices of Italian Scottish Women<br>25 Nov, Edinburgh – free, ticketed</p><p>Through storytelling, poetry, & prose, four widely published Italian Scottish women writers will describe their diverse journeys of navigating, rooting, & belonging</p><p><a href="https://iicedimburgo.esteri.it/en/gli_eventi/calendario/am-i-really-home-a-journey-through-the-literary-voices-of-italian-scottish-women/" rel="nofollow" class="ellipsis" title="iicedimburgo.esteri.it/en/gli_eventi/calendario/am-i-really-home-a-journey-through-the-literary-voices-of-italian-scottish-women/"><span class="invisible">https://</span><span class="ellipsis">iicedimburgo.esteri.it/en/gli_</span><span class="invisible">eventi/calendario/am-i-really-home-a-journey-through-the-literary-voices-of-italian-scottish-women/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/scottishitalian/" rel="tag">#ScottishItalian</a> <a href="/tags/identity/" rel="tag">#identity</a> <a href="/tags/culturalidentity/" rel="tag">#culturalidentity</a> <a href="/tags/belonging/" rel="tag">#belonging</a> <a href="/tags/womenwriters/" rel="tag">#womenwriters</a></p>

0 0 0 View Post & Replies See Original

1y

<p>Belgian lawyer and bibliographer Paul Otlet was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1868.</p><p>He developed the Universal Decimal Classification (UDC) system, an innovative and highly detailed method for cataloging information. Otlet envisioned a global network of information that could be accessed remotely, which he described in his writings as a "réseau" or network of knowledge.</p><p><a href="https://en.wikipedia.org/wiki/Paul_Otlet" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Paul_Otlet"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Paul_Otl</span><span class="invisible">et</span></a></p><p>Books by Paul Otlet at PG:<br><a href="https://www.gutenberg.org/ebooks/author/50172" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/50172"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/50172</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Otlet to work in an office built at his home following the closure of the Palais Mondial in June 1937

2 0 0 View Post & Replies See Original

147d

<p>"We who go out to die shall be remembered, because we gave the world peace. That will be our reward, though we will know nothing of it, but lie rotting in the earth - dead."</p><p>~Philips Gibbs. In : The Pageant of the Years</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1918 - Armistice Day</p><p>The Soul of a Nation by Philip Gibbs is available at PG:<br><a href="https://www.gutenberg.org/ebooks/41308" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/41308</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/armistice/" rel="tag">#armistice</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Armistice Day page from the New York Times.

The image shows the front page of The New York Times from Monday, November 11, 1918, the day the Armistice was signed, ending the fighting of World War I.

At the top of the page, in large, bold capital letters, the headline reads:

“ARMISTICE SIGNED, END OF THE WAR!”

This triumphant declaration spans nearly the full width of the page and dominates the layout, conveying the immense significance of the event. Beneath it, several subheadings and bulletins provide urgent details, such as the hour the cease-fire would take effect and reactions from world capitals.

https://en.wikipedia.org/wiki/Armistice_Day#/media/File:NYTimes-Page1-11-11-1918.jpg

0 0 0 View Post & Replies See Original

147d

<p>Hamish Henderson (1919–2002) – poet, soldier, intellectual, activist, songwriter – was born <a href="/tags/otd/" rel="tag">#OTD</a>, 11 Nov. A hugely important figure in Scottish culture, Henderson fought in North Africa & Italy in WW2. A 🎂🧵</p><p>There were no gods and precious few heroes…<br>—“Elegies for the Dead in Cyrenaica”</p><p>1/10</p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/hamishhenderson/" rel="tag">#HamishHenderson</a> <a href="/tags/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/culture/" rel="tag">#culture</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/warpoetry/" rel="tag">#warpoetry</a> <a href="/tags/ww2/" rel="tag">#WW2</a> <a href="/tags/remembranceday/" rel="tag">#RemembranceDay</a></p>

Hamish Henderson
from Elegies for the Dead in Cyrenaica

FIRST ELEGY
End of a Campaign

There are many dead in the brutish desert, who lie uneasy
among the scrub in this landscape of half-wit
stunted ill-will. For the dead land is insatiate
and necrophilous. The sand is blowing about still.
Many who for various reasons, or because of mere unanswerable compulsion, came here
and fought among the clutching gravestones, shivered and sweated,
cried out, suffered thirst, were stoically silent, cursed
the spittering machine-guns, were homesick for Europe
and fast embedded in quicksand of Africa agonised and died.
And sleep now. Sleep here the sleep of the dust.

There were our own, there were the others.
Their deaths were like their lives, human and animal.
There were no gods and precious few heroes.
What they regretted when they died had nothing to do with race and leader, realm indivisible,
laboured Augustan speeches or vague imperial heritage.
(They saw through that guff before the axe fell.) Their longing turned to
the lost world glimpsed in the memory of letters:
an evening at the pictures in the friendly dark,
two knowing conspirators smiling and whispering secrets; or else
a family gathering in the homely kitchen
with Mum so proud of her boys in uniform: their thoughts trembled
between moments of estrangement, and ecstatic moments
of reconciliation: and their desire

crucified itself against the unutterable shadow of someone
whose photo was in their wallets.
Then death made his incision.

There were our own, there were the others.
Therefore, minding the great word of Glencoe’s
son, that we should not disfigure ourselves
with villainy of hatred; and seeing that all
have gone down like curs into anonymous silence,
I will bear witness for I knew the others.
Seeing that littoral and interior are alike indifferent
and the birds are drawn again to our welcoming north
why should I not sing them, the dead, the innocent?

1 0 0 View Post & Replies See Original

144d

<p>Mary Wollstonecraft, The Woman Who Laid the Foundation for Feminism</p><p>"Think 18th-century feminism must be outdated? Think again—there is still so much to learn from the life and writing of Mary Wollstonecraft."</p><p><a href="https://www.thecollector.com/mary-wollstonecraft-woman-laid-foundation-feminism/" rel="nofollow" class="ellipsis" title="www.thecollector.com/mary-wollstonecraft-woman-laid-foundation-feminism/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/mary-woll</span><span class="invisible">stonecraft-woman-laid-foundation-feminism/</span></a></p><p>Wollstonecraft at PG:</p><p><a href="https://www.gutenberg.org/ebooks/author/84" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/84"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/84</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Mary Wollstonecraft by John Opie

2 0 2 View Post & Replies See Original

246d

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

Moby Dick in a 1902 edition

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

Illustration of the final chase of Moby-Dick.

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

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

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

0 0 0 View Post & Replies See Original

1y

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

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

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

1 0 0 View Post & Replies See Original

1y

<p>English poet Agnes Bulmer was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1775.</p><p>Bulmer’s most famous work is Messiah's Kingdom, an epic poem consisting of 14 books and over 14,000 lines, written in blank verse. The poem, which took over 9 years to complete, was published in 1833. It is is is probably the longest work in verse ever composed by a woman.</p><p><a href="https://en.wikipedia.org/wiki/Agnes_Bulmer#" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Agnes_Bulmer#"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Agnes_Bu</span><span class="invisible">lmer#</span></a></p><p>Messiah's Kindgdom is available at <span class="h-card"><a href="https://mastodon.archive.org/@internetarchive" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>internetarchive</span></a></span>:<br><a href="https://archive.org/details/messiahskingdomp00bulm" rel="nofollow" class="ellipsis" title="archive.org/details/messiahskingdomp00bulm"><span class="invisible">https://</span><span class="ellipsis">archive.org/details/messiahski</span><span class="invisible">ngdomp00bulm</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>

Title page of Messiah's Kingdom. A Poem. In Twelve Books. By Agnes Bulmer.

0 0 0 View Post & Replies See Original

1y

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

Gertrude Chandler Warner.

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

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

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

0 0 0 View Post & Replies See Original

1y

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

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

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

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

Edited 1y ago

1 0 0 View Post & Replies See Original

146d

<p>John Maclean: All that life can give us<br>19 Nov, University of Stirling – free</p><p>Author & poet Henry Bell will discuss his creative & historical work around Scottish socialist John Maclean, followed by an open archive and poetry reading</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/history/" rel="tag">#history</a> <a href="/tags/labourhistory/" rel="tag">#Labourhistory</a> <a href="/tags/socialism/" rel="tag">#socialism</a> <a href="/tags/redclydeside/" rel="tag">#RedClydeside</a> <a href="/tags/johnmaclean/" rel="tag">#JohnMaclean</a></p>

A striking black, red, and white poster for the event

JOHN MACLEAN: ALL THAT LIFE CAN GIVE US.
A TALK BY HENRY BELL

Archives and Special Collections and the Creative Histories Research Group present a talk and poetry reading with award-winning author Henry Bell on
Scottish socialist John Maclean

WEDNESDAY 19* NOVEMBER
UNIVERSITY LIBRARY
SYMPOSIUM JISC HUB LEVEL 3, 3-4PM
POETRY READING LEVEL 2, 4-5PM
REFRESHMENTS PROVIDED

1 0 0 View Post & Replies See Original

1y

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

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

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

Edited 1y ago

1 0 0 View Post & Replies See Original

1y

<p>"To Sarraguce I go, and know full well<br>Who thither goes, may ne'er return."<br>Chanson de Roland</p><p>French literary historian Léon Gautier died <a href="/tags/otd/" rel="tag">#OTD</a> in 1897.</p><p>Gautier rendered great services to the study of early French literature, the most important of his numerous works on medieval subjects being a critical text with translation and introduction of the Chanson de Roland, and Les Épopées françaises.</p><p><a href="https://en.wikipedia.org/wiki/L%C3%A9on_Gautier_(historian)" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/L%C3%A9on_Gautier_(historian)"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/L%C3%A9o</span><span class="invisible">n_Gautier_(historian)</span></a></p><p>La Chanson de Roland at PG:<br><a href="https://www.gutenberg.org/ebooks/23819" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/23819</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Émile Théodore Léon Gautier (8 August 1832-25 August 1897) was a French literary historian.

Émile Gautier is depicted seated or standing in a formal pose, possibly with a slight forward lean, indicative of his engaged and active intellect. His expression is serious and contemplative, with a slight furrow in his brow, suggesting deep thought or focus on a scholarly subject.

He is dressed in formal 19th-century attire, typical of a man of his standing and profession. This includes a dark, tailored suit with a high-collared shirt, possibly accompanied by a vest. He might also be wearing a bow tie or cravat, which was fashionable during this period.

Edited 1y ago

0 0 0 View Post & Replies See Original

1y

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

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

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

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

0 0 0 View Post & Replies See Original

1y

<p>Irish novelist, journalist, and literary hostess Marguerite Blessington was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1789.</p><p>Her most famous work, Conversations with Lord Byron, published posthumously in 1834, documented her interactions with the famous poet during her time in Italy. She was renowned for hosting one of the most famous literary salons in London, attracting leading figures such as Lord Byron, Charles Dickens, and Benjamin Disraeli. </p><p>Marguerite Blessington at PG:<br><a href="https://www.gutenberg.org/ebooks/author/4797" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/4797"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/4797</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Marguerite Gardiner, Countess of Blessington
In: Journal of conversation with Lord Byron, Cottrell, 1859

Edited 1y ago

0 0 0 View Post & Replies See Original

146d

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

Cover page of Room 13

Author: Edgar Wallace

Original publication: London: John Long, Limited, 1924

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

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

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

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

2 0 0 View Post & Replies See Original

Previous Page Next Page