literature

87d

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

Duncan Glen
The Heid o Hecht

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

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

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

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1812.</p><p>Leigh Hunt is tried and convicted of libel for calling the Prince Regent "a violator of his word, a libertine over head and ears in debt and disgrace" in The Examiner on March 22.</p><p><a href="https://en.wikipedia.org/wiki/Leigh_Hunt" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Leigh_Hunt"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Leigh_Hu</span><span class="invisible">nt</span></a></p><p>Original files (with links) are 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> </p><p>Books by Leigh Hunt at PG:<br><a href="https://www.gutenberg.org/ebooks/author/3612" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/3612"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/3612</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

The Examiner 1812-12-06: Iss 258
Publication date 1812-12-06

https://archive.org/details/sim_examiner-a-weekly-paper-on-politics-literature-music_1812-12-06_258/page/n11/mode/2up

The Examiner 1812-03-22: Iss 221
Publication date 1812-03-22

https://archive.org/details/sim_examiner-a-weekly-paper-on-politics-literature-music_1812-03-22_221/mode/1up

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<p>"It is equally a fault to believe all men or to believe none."</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1817.</p><p>Walter Scott's historical novel Rob Roy, written from this spring, is published anonymously by Archibald Constable in Edinburgh, while a shipload of copies is carried from Leith to London for simultaneous publication there by Longman.</p><p><a href="https://en.wikipedia.org/wiki/Rob_Roy_(novel)" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Rob_Roy_(novel)"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Rob_Roy_</span><span class="invisible">(novel)</span></a></p><p>Rob Roy at PG:<br><a href="https://gutenberg.org/ebooks/7025" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/7025</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Title page of Walter Scott's Rob Roy, 1st edition.

The title page of the first edition of Walter Scott's Rob Roy, published in 1817, reflects the typographical conventions of early 19th-century book design. It is simple and elegant, featuring the book's title, Rob Roy, prominently displayed in bold typeface near the top. Below the title, Scott is credited as the author, though he initially published his novels anonymously, often referring to himself as "the Author of Waverley."

The page includes the publisher's information—Archibald Constable and Co., based in Edinburgh—and the date of publication, 1817, typically at the bottom of the page. The layout is symmetrical, with ample margins and no elaborate illustrations or ornamentation, emphasizing clarity and function. The lack of visual embellishments aligns with the literary focus of the era.

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<p>"Everything comes in time to him who knows how to wait."</p><p>In December 1869.</p><p>Publication of Leo Tolstoy's novel War and Peace complete in book form concludes. It is printed in Moscow and sold by the author on subscription. Portions of an earlier version, titled The Year 1805, were serialized in The Russian Messenger from 1865 to 1867 before the novel was published in its entirety in 1869.</p><p><a href="https://en.wikipedia.org/wiki/War_and_Peace#" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/War_and_Peace#"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/War_and_</span><span class="invisible">Peace#</span></a></p><p>War and Peace at PG:<br><a href="https://gutenberg.org/ebooks/2600" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/2600</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Front page of War and Peace sixth volume, first edition, 1869 (Russian)

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<p>In December 1855.</p><p>Charles Dickens publishes the first instalment of Little Dorrit, which continues to appear into 1857.</p><p>Little Dorrit was published in 19 monthly instalments, each consisting of 32 pages with two illustrations by Hablot Knight Browne whose pen name was Phiz. Each instalment cost a shilling except for the last, a double issue which cost two shillings.</p><p><a href="https://en.wikipedia.org/wiki/Little_Dorrit#" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Little_Dorrit#"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Little_D</span><span class="invisible">orrit#</span></a></p><p>Little Dorrit at PG:<br><a href="https://gutenberg.org/ebooks/963" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/963</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Cover of serial, "Little Dorrit" by Charles Dickens

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1898.</p><p>Moscow Art Theatre's first season opens with a double bill of Emilia Matthai's Greta's Happiness and Carlo Goldoni's The Mistress of the Inn. The successful and influential Moscow Art Theatre production of The Seagull by Chekhov (its Moscow première), would open on 29 December 1898.</p><p><a href="https://en.wikipedia.org/wiki/The_Mistress_of_the_Inn" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Mistress_of_the_Inn"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Mist</span><span class="invisible">ress_of_the_Inn</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>

The Russian actor and director Constantin Stanislavski in a production of Goldoni's Locandiera in 1898.

In this image, Stanislavski is dressed in an elaborate 18th-century costume reflective of the play's setting—a richly embroidered jacket, breeches, and a wig styled in the fashion of the period.

This image encapsulates his early experiments with realism, which would later form the foundation of his influential acting system.

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1851.</p><p>The French coup d'état of 1851 prompts Victor Hugo to be a leader of an unsuccessful insurrection against it. He is forced into exile, initially to Brussels, then Jersey, from which he was expelled for supporting L’Homme. He finally settled with his family at Hauteville House in Saint Peter Port, Guernsey, where he would live in exile from October 1855 until 1870.</p><p>Books by Victor Hugo at PG:<br><a href="https://www.gutenberg.org/ebooks/author/85" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/85"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/85</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Charles Hugo - Victor Hugo on the Rock of the Exiles.

The photograph titled Victor Hugo on the Rock of the Exiles, taken by Charles Hugo, is a striking visual representation of the legendary French writer during his period of exile on the Channel Islands. The image captures Victor Hugo standing or seated on a rugged rock formation, overlooking the sea, symbolizing his defiance and resilience during his years away from France.

Hugo is typically depicted wearing dark, heavy clothing suitable for the windy, coastal environment. His demeanor is contemplative, with his gaze fixed on the horizon, evoking a sense of introspection and strength. The wild, untamed landscape around him complements the romantic and rebellious spirit of Hugo’s personality and his works.

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1928.</p><p>Radclyffe Hall's novel The Well of Loneliness, published by Jonathan Cape in London, is tried and convicted on the grounds of obscenity under the Hicklin test, after a campaign against it by James Douglas in the Sunday Express. </p><p><a href="https://gutenberg.org/ebooks/73042" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/73042</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>Is Oedipus Rex the Mother of All Drama?</p><p>Sophocles’s Oedipus Rex (aka Oedipus the King) … Is it the mother of all Western drama? The father? Or both?</p><p>By Thom Delapa</p><p><a href="https://www.thecollector.com/oedipus-rex-mother-drama/" rel="nofollow" class="ellipsis" title="www.thecollector.com/oedipus-rex-mother-drama/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/oedipus-r</span><span class="invisible">ex-mother-drama/</span></a></p><p><a href="https://en.wikipedia.org/wiki/Oedipus_Rex" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Oedipus_Rex"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Oedipus_</span><span class="invisible">Rex</span></a></p><p>Oedipus King of Thebes by Sophocles at PG:<br><a href="https://www.gutenberg.org/ebooks/27673" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/27673</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/culture/" rel="tag">#culture</a> <a href="/tags/history/" rel="tag">#history</a></p>

Bénigne Gagneraux, The Blind Oedipus Commending his Children to the Gods.

Oedipus, aged and blind, is the central figure, seated with his arms extended in a gesture of fervent prayer. His tattered robes and gaunt appearance reflect his physical suffering and moral struggles. His face, lined with age and anguish, conveys a mix of despair and hope as he entrusts his children to the divine powers.

His children, Antigone and possibly Polynices or Ismene, are depicted nearby. Antigone, often portrayed with a sense of grace and compassion, might be kneeling or standing close to Oedipus, offering support. The other child may exhibit a contrasting demeanor, illustrating the familial tension inherent in the myth.

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<p>Arthur Schopenhauer’s Idealism: Is Our World Just a Dream?<br>Schopenhauer argued that the world is but an intricate dream, and what he suggested lies beyond it may shock you.</p><p>By Maysara Kamal</p><p><a href="https://www.thecollector.com/arthur-schopenhauers-idealism-is-our-world-just-a-dream/" rel="nofollow" class="ellipsis" title="www.thecollector.com/arthur-schopenhauers-idealism-is-our-world-just-a-dream/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/arthur-sc</span><span class="invisible">hopenhauers-idealism-is-our-world-just-a-dream/</span></a></p><p>Books by Arthur Schopenhauer at PG:<br><a href="https://www.gutenberg.org/ebooks/author/3648" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/3648"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/3648</span></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>

Schopenhauer portrait.

A portrait of Arthur Schopenhauer typically depicts the German philosopher with a serious and introspective demeanor, reflecting his profound and often somber philosophy. His distinctive physical features include a high forehead, sharp cheekbones, and piercing eyes that suggest a deep intellectual presence.

Schopenhauer is often shown wearing formal 19th-century attire, such as a dark coat, white shirt, and cravat, emphasizing his scholarly persona. His hair is white and wild, framing his face in an untamed manner that has become iconic. The background in such portraits is usually subdued, with neutral tones or simple drapery, ensuring that the focus remains on the subject.

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1847.</p><p>Emily Brontë's Wuthering Heights and Anne Brontë's Agnes Grey are published in a three-volume set under the pen names of Ellis and Acton Bell respectively, in London by T. C. Newby. Wuthering Heights will be Emily's only published novel, as she dies a year later, aged 30.</p><p><a href="https://en.wikipedia.org/wiki/Wuthering_Heights" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Wuthering_Heights"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Wutherin</span><span class="invisible">g_Heights</span></a></p><p>Wuthering Heights at PG:<br><a href="https://gutenberg.org/ebooks/768" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/768</a></p><p><a href="https://en.wikipedia.org/wiki/Agnes_Grey" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Agnes_Grey"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Agnes_Gr</span><span class="invisible">ey</span></a></p><p>Agnes Grey at PG:<br><a href="https://gutenberg.org/ebooks/767" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/767</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Title page for the first volume of the first edition of Wuthering Heights by Emily Brontë, published in 1847 under the pseudonym Ellis Bell. Thomas Cautley Newby, publisher. Lowell 1238.5 (A), Houghton Library, Harvard University

First edition title page of Agnes Grey by Anne Bronte. Volumes 1 and 2 of this edition are Wuthering Heights by Emily Bronte.

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84d

<p>The burn was big wi’ spate,<br>An’ there cam’ tum’lin doon<br>Tapsalteerie the half o’ a gate,<br>Wi’ an auld fish-hake an’ a great muckle skate,<br>An’ a lum hat wantin’ the croon!</p><p>—David Rorie, “The Lum Hat Wantin’ the Croon”</p><p>As things start to thaw in the north-east, mind how ye go…</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/song/" rel="tag">#song</a> <a href="/tags/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/humour/" rel="tag">#humour</a> <a href="/tags/scots/" rel="tag">#Scots</a> <a href="/tags/scotslanguage/" rel="tag">#Scotslanguage</a></p>

The Lum Hat Wantin’ the Croon
Dr David Rorie

The burn was big wi’ spate,
An’ there cam’ tum’lin doon
Tapsalteerie the half o’ a gate,
Wi’ an auld fish-hake an’ a great muckle skate,
An’ a lum hat wantin’ the croon!

The auld wife stude on the bank
As they gaed swirlin’ roun’,
She took a gude look an’ syne says she:
“There’s food an’ there’s firin’ gaun to the sea,
An’ a lum hat wantin’ the croon!”

Sae she gruppit the branch o’ a saugh,
An’ she kickit aff ane o’ her shoon,
An’ she stuck oot her fit – but it caught in the gate,
An’ awa’ she went wi’ the great muckle skate,
An’ the lum hat wantin’ the croon!

She floatit fu’ mony a mile,
Past cottage an’ village an’ toon,
She’d an awfu’ time astride o’ the gate,
Though it seemed to gree fine wi’ the great muckle skate,
An’ the lum hat wantin’ the croon!

A fisher was walkin’ the deck,
By the licht o’ his pipe an’ the mune,
When he sees an auld body astride o’ a gate,
Come bobbin’ alang in the waves wi’ a skate,
An’ a lum hat wantin’ the croon!

“There’s a man overboard!” cries he,
“Ye leear!” says she, “I’ll droon!
A man on a boord! It’s a wife on a gate,
It’s auld Mistress Mackintosh here wi’ a skate,
An’ a lum hat wantin’ the croon!”

Was she nippit to death at the Pole?
Has India bakit her broon?
I canna tell that, but whatever her fate,
I’ll wager ye’ll find it was shared by a skate,
An’ a lum hat wantin’ the croon!

There’s a moral attached to my sang,
On greed ye should aye gie a froon,
When ye think o’ the wife that was lost for a gate,
An auld fish-hake an’ a great muckle skate,
An’ a lum hat wantin’ a croon!

Edited 84d ago

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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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86d

<p>"Understand this, I mean to arrive at the truth. The truth, however ugly in itself, is always curious and beautiful to seekers after it."<br>The Murder of Roger Ackroyd (1926)</p><p>Dame Agatha Christie died <a href="/tags/otd/" rel="tag">#OTD</a> 50 years ago.</p><p>She wrote 66 detective novels and 14 short story collections. She also wrote six novels under the pseudonym Mary Westmacott.</p><p><a href="https://en.wikipedia.org/wiki/Agatha_Christie" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Agatha_Christie"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Agatha_C</span><span class="invisible">hristie</span></a></p><p>Agatha Christie 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>

Agatha Christie as a young woman

Unknown author - The Christie Archive Trust

The image captures Christie leaning out of a window with decorative latticed or diamond-patterned glass panes. She is photographed from roughly chest level up, positioned in the window frame.

Christie appears youthful creating volume on top of her head. She wears a distinctive outfit featuring a striped blouse with bold vertical stripes, paired with what appears to be a polka-dotted. A decorative handkerchief or lace detail is visible near her collar area.

https://commons.wikimedia.org/wiki/Category:Agatha_Christie#/media/File:Agatha_Christie_as_a_young_woman.jpg

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<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1818.</p><p>Mary Shelley's novel Frankenstein; or, the Modern Prometheus first appears anonymously in London. </p><p>Shelley started writing the story when she was 18, and the first edition was published anonymously in London on 1 January 1818, when she was 20. Her name first appeared in the second edition, which was published in Paris in 1821.</p><p><a href="https://en.wikipedia.org/wiki/Frankenstein" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Frankenstein"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Frankens</span><span class="invisible">tein</span></a></p><p>1818 edition at PG:<br><a href="https://gutenberg.org/ebooks/41445" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/41445</a><br>1831 edition<br><a href="https://gutenberg.org/ebooks/42324" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/42324</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Title page of first edition of Frankenstein, Volume I.

Author Mary Shelley; publisher Lackington, Hughes, Harding, Mavor & Jones

It includes the following details:

Title: Frankenstein; or, The Modern Prometheus
Volume Information: "In Three Volumes."
Quotation: A quote from Paradise Lost by John Milton:
Did I request thee, Maker, from my clay
To mould me man? Did I solicit thee
From darkness to promote me?

Volume Number: "VOL. I."
Publication Details:
Published in London.
Printed for Lackington, Hughes, Harding, Mavor, & Jones, located at Finsbury Square.
Year of Publication: 1818.

Victor Frankenstein becoming disgusted at his creation. Illustration from the frontispiece of the 1831 edition. Steel engraving (993 x 71mm) to the revised edition of Frankenstein by Mary Shelley, published by Colburn and Bentley, London 1831. The novel was first published in 1818.

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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>Thomas Hardy’s Jude the Obscure criticised university elitism – it still rings true today</p><p>by Shelley Galpin</p><p><a href="https://theconversation.com/thomas-hardys-jude-the-obscure-criticised-university-elitism-it-still-rings-true-today-266009" rel="nofollow" class="ellipsis" title="theconversation.com/thomas-hardys-jude-the-obscure-criticised-university-elitism-it-still-rings-true-today-266009"><span class="invisible">https://</span><span class="ellipsis">theconversation.com/thomas-har</span><span class="invisible">dys-jude-the-obscure-criticised-university-elitism-it-still-rings-true-today-266009</span></a></p><p>Jude the Obscure at PG:<br><a href="https://www.gutenberg.org/ebooks/153" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/153</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Hardy - Jude the Obscure, 1896.

The illustration depicts a dramatic indoor scene with three figures. On the left, partially visible through what appears to be a doorway, is a man in formal Victorian attire with a bow tie, holding what looks like a candle or lamp, illuminating the scene. In the center and right of the composition stand two other figures - a man in dark clothing and a woman in a light-colored blouse or dress with a dark skirt, both dressed in typical late 19th-century fashion.

https://commons.wikimedia.org/wiki/Category:Jude_the_Obscure#/media/File:Hardy_-_Jude_the_Obscure,_1896_(page_135_crop).jpg

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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>"THE times that tried men's souls," are over- and the greatest and completest revolution the world ever knew, gloriously and happily accomplished."</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1776.</p><p>Thomas Paine publishes one of a series of pamphlets in The Pennsylvania Journal entitled "The American Crisis". Paine signed the pamphlets with the pseudonym, "Common Sense".</p><p><a href="https://en.wikipedia.org/wiki/The_American_Crisis" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_American_Crisis"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Amer</span><span class="invisible">ican_Crisis</span></a></p><p>The American Crisis at PG:<br><a href="https://www.gutenberg.org/ebooks/3741" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/3741</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

An image of the first page from the first edition of The American Crisis, a pamphlet authored by Thomas Paine.

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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><a href="/tags/otd/" rel="tag">#OTD</a> in 1864 (until April 16).</p><p>James Payn publishes his most popular story, Lost Sir Massingberd, in Chambers's Journal. He follows it in the magazine (August 6 – December 24) by Married Beneath Him. Lost Sir Massingberd was published as a book in two volumes in 1864.</p><p><a href="https://en.wikipedia.org/wiki/Lost_Sir_Massingberd" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Lost_Sir_Massingberd"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Lost_Sir</span><span class="invisible">_Massingberd</span></a></p><p>Lost Sir Massingberd at PG:<br><a href="https://www.gutenberg.org/ebooks/37170" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/37170</a><br><a href="https://www.gutenberg.org/ebooks/37171" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/37171</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Title page of Lost Sir Massingberd.

The book is in two volumes, with this being Volume I.
Published in London by Sampson Low, Son, and Marston, located at 14, Ludgate Hill, in 1864.
It includes the note: "[The Right of Translation is Reserved.]".

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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>Today, 13 January, is the Feast Day of St Mungo (AKA St Kentigern), patron saint of Glasgow. Edwin Morgan’s “Colloquy in Glaschu” imagines a conversation between St Mungo & St Columba.</p><p>From CENTENARY SELECTED POEMS (Carcanet, 2020)</p><p>1/5</p><p><a href="https://www.carcanet.co.uk/cgi-bin/indexer?product=9781784109967" rel="nofollow" class="ellipsis" title="www.carcanet.co.uk/cgi-bin/indexer?product=9781784109967"><span class="invisible">https://</span><span class="ellipsis">www.carcanet.co.uk/cgi-bin/ind</span><span class="invisible">exer?product=9781784109967</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/edwinmorgan/" rel="tag">#EdwinMorgan</a> <a href="/tags/glasgow/" rel="tag">#Glasgow</a> <a href="/tags/saints/" rel="tag">#Saints</a> <a href="/tags/stmungo/" rel="tag">#StMungo</a></p>

Colloquy in Glaschu
by Edwin Morgan

God but le son du cor, Columba sighed
to Kentigern, est triste au fond silvarum!
Frater, said Kentigern, I see no harm.
J'aime le son du cor, when day has died,
deep in the bois, and oystercatchers rise
before the fowler as he trudges home
and sermo lupi loosens the grey loam.
À I’horizon lointain is paradise,
abest silentium, le cor éclate –
– et meurt, Columba mused, but Kentigern
replied, renaît et se prolonge. The cell
is filled with song. Outside, puer cantat.
Veni venator sings the gallus kern.
The saints dip startled cups in Mungo’s well.

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