literature

1y

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

First English language edition of Poor Folk by Fedor Dostoiesvsky.

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

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

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

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

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1y

<p>"There can be no freedom or beauty about a home life that depends on borrowing and debt."<br>Torvald Helmer, Act I</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1879.</p><p>The first production of Henrik Ibsen's controversial "modern drama" A Doll's House takes place at the Royal Danish Theatre in Copenhagen, after publication there on December 4.</p><p><a href="https://en.wikipedia.org/wiki/A_Doll%27s_House" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/A_Doll%27s_House"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/A_Doll%2</span><span class="invisible">7s_House</span></a></p><p>A Doll's House at PG:<br><a href="https://gutenberg.org/ebooks/2542" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/2542</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>

Adeleide Johannessen in character as Nora, from a cigarette card of c. 1880 – c. 1882.

Adeleide Johannessen is captured mid-action, holding a tambourine in her raised hand, evoking an energetic or defiant moment from her performance as Nora.

Her body language is dynamic, and her intense facial expression reflects the emotional depth and complexity of Nora's character, perhaps hinting at her journey of self-discovery and rebellion.

Johannessen wears a full-length Victorian-era dress, with detailed pleating, fitted bodice, and layered skirts that cinch at the waist with a decorative belt.

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1y

<p>The Remarkable Life of Charles Dickens: Hard Times & Great Expectations</p><p>One of the greatest writers of English literary history, Charles Dickens’ rags-to-riches story is as incredible as any of his greatest works of fiction.</p><p>By Catherine Dent</p><p><a href="https://www.thecollector.com/charles-dickens-remarkable-life/" rel="nofollow" class="ellipsis" title="www.thecollector.com/charles-dickens-remarkable-life/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/charles-d</span><span class="invisible">ickens-remarkable-life/</span></a></p><p>Books by Charles Dickens at PG:<br><a href="https://www.gutenberg.org/ebooks/author/37" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/37"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/37</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Portrait of Charles Dickens by Jeremiah Gurney, c. 1867–1868.

Dickens appears older, with his characteristic beard and somewhat tired expression, reflecting the toll of his demanding career and failing health.

The portrait is a waist-length photograph, focusing on Dickens’s face and upper torso.

He is dressed formally in a dark suit with a vest and a neatly tied cravat, typical of Victorian fashion, emphasizing his status as a literary and public figure.

Dickens's expression is serious and introspective, with his gaze directed slightly away from the camera. This contemplative look may suggest his reflective nature during this period of his life.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1872.</p><p>Jules Verne's novel Around the World in Eighty Days (Le Tour du monde en quatre-vingts jours) finishes serialisation (since November 2) in the daily Le Temps, the day after the concluding date of the narrative. The story was published in installments over the next 45 days, with its ending timed to synchronize Fogg's December 21 deadline with the real world. </p><p><a href="https://en.wikipedia.org/wiki/Around_the_World_in_Eighty_Days" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Around_the_World_in_Eighty_Days"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Around_t</span><span class="invisible">he_World_in_Eighty_Days</span></a></p><p>Around the World in Eighty Days at PG:<br><a href="https://gutenberg.org/ebooks/search/?query=le+tour+du+monde&submit_search=Go%21" rel="nofollow" class="ellipsis" title="gutenberg.org/ebooks/search/?query=le+tour+du+monde&submit_search=Go%21"><span class="invisible">https://</span><span class="ellipsis">gutenberg.org/ebooks/search/?q</span><span class="invisible">uery=le+tour+du+monde&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 the French first edition of Jules Verne's Around the World in Eighty Days. Published on January 30, 1873,[1] printed by Gauthier-Villars, published by Pierre-Jules Hetzel & Cie, Paris. 217 pages, illustrated with B/W engravings by De Neuville and Benett. (publisher's binding).

Centered prominently is the title, "Le Tour du Monde en Quatre-Vingts Jours," surrounded by ornate borders and motifs inspired by travel, exploration, and exotic destinations. Visual elements such as globes, compasses, and decorative frames emphasize the book's focus on global circumnavigation.

The illustrations by De Neuville and Benett, reproduced in black and white within the 217 pages, add further detail to the narrative, bringing key scenes to life with precision and dramatic flair. The overall design of the cover communicates a sense of grandeur and excitement, perfectly encapsulating the spirit of Verne’s iconic tale.

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1y

<p>"The trouble with this country is... that there're too many people going about saying "The trouble with this country is—"<br>Dodsworth, Ch. 10 (1929)</p><p>American novelist, short-story writer, and playwright Sinclair Lewis died <a href="/tags/otd/" rel="tag">#OTD</a> in 1951.</p><p>Lewis wrote six popular novels: Main Street (1920), Babbitt (1922), Arrowsmith (1925), Elmer Gantry (1927), Dodsworth (1929), and It Can't Happen Here (1935). </p><p><a href="https://en.wikipedia.org/wiki/Sinclair_Lewis" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Sinclair_Lewis"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Sinclair</span><span class="invisible">_Lewis</span></a></p><p>Sinclair Lewis at PG:<br><a href="https://www.gutenberg.org/ebooks/author/278" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/278"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/278</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Sinclair Lewis, Nobel laureate in Literature 1930.

Lewis is seen with a sharp, angular face, a prominent nose, and a high forehead. His expression is thoughtful and slightly reserved, reflecting his intellectual nature.

He is dressed in early 20th-century attire, typically a suit and tie, presenting a professional and refined look suitable for his era and stature.

He is seated with a relaxed but composed posture, often gazing directly at the camera or slightly to the side, evoking a sense of introspection and seriousness.

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84d

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

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

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

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84d

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

Begonia obliqua L.

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

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

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

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

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83d

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

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82d

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

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1818.</p><p> Lord Byron, in Venice, sends the final part of Childe Harold to his publisher.</p><p>The poem contains elements thought to be autobiographical, as Byron generated some of the storyline from experience gained during his travels through Portugal, the Mediterranean and Aegean Sea between 1809 and 1811.</p><p><a href="https://en.wikipedia.org/wiki/Childe_Harold%27s_Pilgrimage" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Childe_Harold%27s_Pilgrimage"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Childe_H</span><span class="invisible">arold%27s_Pilgrimage</span></a></p><p>Childe Harold's Pilgrimage at PG:<br><a href="https://gutenberg.org/ebooks/5131" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/5131</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>

This is the title page of Childe Harold's Pilgrimage, circa 1812.

The name of the work, Childe Harold's Pilgrimage, prominently displayed in an elegant and serif typeface, reflecting the literary and romantic style of the period.

Lord Byron, the author, would be credited beneath or near the title. His name might appear in a slightly smaller or secondary font.

The name of the publisher (John Murray), the location (London), and the year of publication (1812) would be included, often at the bottom of the page.

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83d

<p>In Pursuit of Peace, Ancient Athens Created a Goddess</p><p>In the aftermath of the Peloponnesian War, Athenians worshipped Eirene. Her cult reflects the political role of religion in Ancient Greece.</p><p>By: Anna Gustafsson </p><p><a href="https://daily.jstor.org/in-pursuit-of-peace-ancient-athens-created-a-goddess/?utm_source=mcae&utm_medium=email&utm_campaign=jstordaily-01152026" rel="nofollow" class="ellipsis" title="daily.jstor.org/in-pursuit-of-peace-ancient-athens-created-a-goddess/?utm_source=mcae&utm_medium=email&utm_campaign=jstordaily-01152026"><span class="invisible">https://</span><span class="ellipsis">daily.jstor.org/in-pursuit-of-</span><span class="invisible">peace-ancient-athens-created-a-goddess/?utm_source=mcae&utm_medium=email&utm_campaign=jstordaily-01152026</span></a></p><p>Eirene at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=eirene" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=eirene"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=eirene</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/history/" rel="tag">#history</a></p>

Eirene (Peace) bearing Plutus (Wealth), Roman copy after a Greek votive statue by Kephisodotos (ca. 370 BC) which stood on the agora in Athens.

Eirene is shown as a mature, dignified woman in flowing Classical Greek drapery. She cradles the infant Plutus in her left arm.

https://en.wikipedia.org/wiki/Eirene_(goddess)#/media/File:Eirene_Ploutos_Glyptothek_Munich_219_n4.jpg

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1818.</p><p>Percy Bysshe Shelley's poem "Ozymandias" appears in Leigh Hunt's weekly The Examiner (London; p. 24) under the pen name "Glirastes". Horace Smith's contribution to the same informal sonnet-writing competition, "On a Stupendous Leg of Granite, Discovered Standing by Itself in the Deserts of Egypt, with the Inscription Inserted Below" is published on February 1 under his initials.</p><p><a href="https://en.wikipedia.org/wiki/Ozymandias" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Ozymandias"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Ozymandi</span><span class="invisible">as</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>

"Ozymandias" by Glirastes in The Examiner, London, Sunday, January 11, 1818, No. 524, page 24.

Percy Bysshe Shelley. - First publication in The Examiner, No. 524, page 24.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1868.</p><p>John William De Forest, writing for The Nation, calls for a more specifically American literature; the essay's title, "The Great American Novel", is the first known use of the term. In 1880, writer Henry James simplified the term with the initialism "GAN".</p><p><a href="https://en.wikipedia.org/wiki/Great_American_Novel" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Great_American_Novel"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Great_Am</span><span class="invisible">erican_Novel</span></a></p><p><a href="https://en.wikipedia.org/wiki/Great_American_Novel#Notable_candidates" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Great_American_Novel#Notable_candidates"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Great_Am</span><span class="invisible">erican_Novel#Notable_candidates</span></a></p><p>Books by John William De Forest at PG:<br><a href="https://www.gutenberg.org/ebooks/author/4323" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/4323"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/4323</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Portrait of John William De Forest.

A middle-aged or older man with a strong, thoughtful expression, likely with neatly combed dark or graying hair and a short, well-groomed mustache.

Wearing formal 19th-century clothing, such as a dark suit, waistcoat, and a white shirt, typical of the era's intellectuals or gentlemen.

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1y

<p>American novelist, journalist and activist Jack London was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1876.</p><p>London wrote several works dealing with animal welfare, workers' rights and socialism, such as his dystopian novel The Iron Heel, his non-fiction exposé The People of the Abyss, War of the Classes, and Before Adam. His most famous works include The Call of the Wild and White Fang.</p><p><a href="https://en.wikipedia.org/wiki/Jack_London" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Jack_London"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Jack_Lon</span><span class="invisible">don</span></a></p><p>Books By Jack London at PG:<br><a href="https://www.gutenberg.org/ebooks/author/120" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/120"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/120</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Portrait photograph of Jack London (1876-1916) Contributor Names Genthe, Arnold, 1869-1942, photographer Created / Published between 1906 and 1942; from a negative taken between 1906 and 1916.

London, known for his rugged individualism, is portrayed with a thoughtful expression, emphasizing his literary and adventurous spirit.

His attire is simple yet sturdy, perhaps a jacket or a collared shirt, indicative of his practical, outdoorsy lifestyle.

The photograph's composition is intimate, with a soft focus on London's face, drawing attention to his determined eyes and expressive features.

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80d

<p>Why we love literary anniversaries</p><p>In 2026 there is another slew of big anniversaries, marking the tercentenary of Jonathan Swift’s Gulliver’s Travels, and 200 years since the ever-relevant Mary Shelley’s The Last Man.</p><p>by Amy Wilcockson</p><p><a href="https://theconversation.com/why-we-love-literary-anniversaries-273375" rel="nofollow" class="ellipsis" title="theconversation.com/why-we-love-literary-anniversaries-273375"><span class="invisible">https://</span><span class="ellipsis">theconversation.com/why-we-lov</span><span class="invisible">e-literary-anniversaries-273375</span></a></p><p>Some literary anniversaries at PG:<br>Gulliver’s Travels: <a href="https://www.gutenberg.org/ebooks/829" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/829</a><br>The Last man: <a href="https://www.gutenberg.org/ebooks/18247" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/18247</a><br>Winnie-the-Pooh: <a href="https://www.gutenberg.org/ebooks/67098" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/67098</a><br>The murder of Roger Ackroyd: <a href="https://www.gutenberg.org/ebooks/69087" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/69087</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

In the drawing, Eeyore is starting to munch on the thistle; Pooh is standing up with lots of thistle-burrs on his behind.

https://www.gutenberg.org/cache/epub/67098/pg67098-images.html

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1y

<p>"We thought we believed in trial marriage. Nothing of the sort—trial separation! What marriage put asunder divorce has joined together."</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1917.</p><p>Jesse Lynch Williams' Why Marry?, the first drama to win a Pulitzer Prize, opens at the Astor Theatre (New York).</p><p><a href="https://en.wikipedia.org/wiki/Why_Marry%3F" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Why_Marry%3F"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Why_Marr</span><span class="invisible">y%3F</span></a></p><p>Why Marry? at PG:<br><a href="https://www.gutenberg.org/ebooks/35389" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/35389</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/theatre/" rel="tag">#theatre</a> <a href="/tags/drama/" rel="tag">#drama</a></p>

Nat Goodwin, an unidentified actress and Leonard Mudie in the 1917 play Why Marry. Date stamped Sept. 28, 1918.

The play was a comedic exploration of the institution of marriage, written by Jesse Lynch Williams. The actors are likely dressed in early 20th-century attire, fitting the time period of the play's production. The image was stamped with the date September 28, 1918, indicating either the date of publication or archival cataloging. The scene captures a moment of dramatic or comedic interaction between the characters.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1893.</p><p>Kate Chopin's short stories "Désirée's Baby" and "A Visit to Avoyelles" appear in Vogue magazine in the United States. It first appeared under the title "The Father of Désirée's Baby" in a section called "Character Studies".</p><p><a href="https://en.wikipedia.org/wiki/D%C3%A9sir%C3%A9e%27s_Baby" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/D%C3%A9sir%C3%A9e%27s_Baby"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/D%C3%A9s</span><span class="invisible">ir%C3%A9e%27s_Baby</span></a></p><p>Désirée's Baby at PG:<br><a href="https://www.gutenberg.org/ebooks/160" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/160</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

"Désirée's Baby" by Kate Chopin as it appeared in Bayou Folk, 1894.

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81d

<p>The shape of time</p><p>In the 19th century, the linear idea of time became dominant – with profound implications for how we experience the world</p><p>By Emily Thomas</p><p><a href="https://aeon.co/essays/when-we-turned-time-into-a-line-we-reimagined-past-and-future?utm_source=Aeon+Newsletter&utm_campaign=6edcc3967b-EMAIL_CAMPAIGN_2026_01_10_COPY_01&utm_medium=email&utm_term=0_-4ef8a26106-72664972" rel="nofollow" class="ellipsis" title="aeon.co/essays/when-we-turned-time-into-a-line-we-reimagined-past-and-future?utm_source=Aeon+Newsletter&utm_campaign=6edcc3967b-EMAIL_CAMPAIGN_2026_01_10_COPY_01&utm_medium=email&utm_term=0_-4ef8a26106-72664972"><span class="invisible">https://</span><span class="ellipsis">aeon.co/essays/when-we-turned-</span><span class="invisible">time-into-a-line-we-reimagined-past-and-future?utm_source=Aeon+Newsletter&utm_campaign=6edcc3967b-EMAIL_CAMPAIGN_2026_01_10_COPY_01&utm_medium=email&utm_term=0_-4ef8a26106-72664972</span></a></p><p>Space and Time at PG:<br><a href="https://www.gutenberg.org/ebooks/subject/7601" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subject/7601"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">ct/7601</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/historyofscience/" rel="tag">#historyofscience</a></p>

(Page 1) Adams' Synchronological Chart of Universal History. Through the Eye to the Mind. A Chronological chart of Ancient, Modern and Biblical History, Synchronized by Sebastian C. Adams. Third Edition and Twelfth-Thousand carefully and critically revised and brought down to 1878. Colby & Co.

The work depicted is part of "Adams' Synchronological Chart of Universal History" by Sebastian C. Adams, published in 1881 by Colby & Co. The chart is a massive timeline measuring 57 cm in width and 70 cm in height, featuring a sophisticated layout that visually represents 5,885 years of history, from 4004 B.C. to 1881 A.D. It's known for its complexity and effectiveness in synthesizing historical data into a cohesive visual narrative.

The chart is a lithograph, characterized by its detailed and colorful design. It integrates text, illustrations, and graphical lines to convey chronological information. The timeline is divided into segments that represent different eras, with intricate pathways tracing historical events and genealogies.

https://archive.org/details/dr_page-1-adams-synchronological-chart-of-universal-history-through-the-ey-6000002

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1y

<p>English writer A. A. Milne was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1882.</p><p>He is best best known for his books about the teddy bear Winnie-the-Pooh, as well as for children's poetry. Milne was primarily a playwright before the huge success of Winnie-the-Pooh overshadowed all his previous work.</p><p>Watch our podcast on Winnie the Pooh:<br><a href="https://www.youtube.com/watch?v=zWZxwuam5Iw" rel="nofollow" class="ellipsis" title="www.youtube.com/watch?v=zWZxwuam5Iw"><span class="invisible">https://</span><span class="ellipsis">www.youtube.com/watch?v=zWZxwu</span><span class="invisible">am5Iw</span></a></p><p>A. A. Milne's Winnie-the-Pooh as an accessible eBook:<br><a href="https://tilde.zone/@gluejar/113749300977151258" rel="nofollow" class="ellipsis" title="tilde.zone/@gluejar/113749300977151258"><span class="invisible">https://</span><span class="ellipsis">tilde.zone/@gluejar/1137493009</span><span class="invisible">77151258</span></a></p><p>Books by A.A. Milne at PG:<br><a href="https://www.gutenberg.org/ebooks/author/730" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/730"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/730</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Photograph of A. A. Milne.

Emil Otto Hoppé - Shadowland, September 1922 (page 62).

In this photograph, A. A. Milne, best known as the creator of Winnie-the-Pooh, is likely captured in a thoughtful or distinguished pose, characteristic of Hoppé’s style.

The lighting and composition would emphasize Milne’s features, possibly with soft shadows adding depth.

Given the time period, the image is a black-and-white portrait, possibly highlighting Milne's refined yet approachable demeanor.

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81d

<p>We went each Sunday for the mass<br>recited in my parent’s language<br>that wasn’t mine. The Gaelic gospel</p><p>that was just sound, pure sound, to me.<br>I rose and kneeled, and listened as<br>my people traded vowel for vowel…</p><p>—Niall Campbell, “Tongues of Water”<br>published in THE ISLAND IN THE SOUND (Bloodaxe Books, 2024)</p><p><a href="https://www.bloodaxebooks.com/ecs/product/the-island-in-the-sound-1361" rel="nofollow" class="ellipsis" title="www.bloodaxebooks.com/ecs/product/the-island-in-the-sound-1361"><span class="invisible">https://</span><span class="ellipsis">www.bloodaxebooks.com/ecs/prod</span><span class="invisible">uct/the-island-in-the-sound-1361</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/gaidhlig/" rel="tag">#Gaidhlig</a> <a href="/tags/gaelic/" rel="tag">#Gaelic</a> <a href="/tags/minoritylanguages/" rel="tag">#minoritylanguages</a></p>

Tongues of Water
by Niall Campbell

We went each Sunday for the mass
recited in my parent’s language
that wasn’t mine. The Gaelic gospel

that was just sound, pure sound, to me.
I rose and kneeled, and listened as
my people traded vowel for vowel;

my whole small world, this flowing water.
Back then, I sat and heard the ocean
in their unknowable call,

that same unknowable response.
My parents stood in the psalm’s current
like waders gone out, as I settled

knee-deep on a second bank,
hearing only the sound of a stream,
believing only the sound the stream makes.

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1y

<p>Perpetual Movement: Francis Picabia’s 391 Review (1917–1924).</p><p>Francis Picabia, like his close friend and collaborator Marcel Duchamp, was a man of many names. While Duchamp famously went by his feminine alter ego Rrose Sélavy and signed his 1917 Fountain with the pseudonym R. Mutt, Picabia adopted numerous aliases across his literary and artistic practice. </p><p><a href="https://publicdomainreview.org/collection/francis-picabia-391-review/?utm_source=newsletter" rel="nofollow" class="ellipsis" title="publicdomainreview.org/collection/francis-picabia-391-review/?utm_source=newsletter"><span class="invisible">https://</span><span class="ellipsis">publicdomainreview.org/collect</span><span class="invisible">ion/francis-picabia-391-review/?utm_source=newsletter</span></a></p><p><a href="https://archive.org/details/391-vol-1-19" rel="nofollow" class="ellipsis" title="archive.org/details/391-vol-1-19"><span class="invisible">https://</span><span class="ellipsis">archive.org/details/391-vol-1-</span><span class="invisible">19</span></a></p><p>Picabia at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=picabia&submit_search=Search" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=picabia&submit_search=Search"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=picabia&submit_search=Search</span></a></p><p><a href="/tags/art/" rel="tag">#art</a> <a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/dada/" rel="tag">#dada</a></p>

“La Sainte-Vierge” from the 12th volume of 391 (1920).

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1812.</p><p>Lord Byron takes his seat in the Parliament of the United Kingdom.</p><p>These parlamentary experiences inspired Byron to write political poems such as Song for the Luddites (1816) and The Landlords' Interest, Canto XIV of The Age of Bronze. Examples of poems in which he attacked his political opponents include Wellington: The Best of the Cut-Throats (1819) and The Intellectual Eunuch Castlereagh (1818).</p><p>Books by Lord Byron at PG:<br><a href="https://www.gutenberg.org/ebooks/author/1708" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/1708"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/1708</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Portrait of Byron by Richard Westall, completed in 1813.

Byron is shown in a slightly turned pose, gazing to the side with a thoughtful and introspective expression.

He wears an open-collared white shirt with a rich, red cloak or drape, which enhances his aristocratic elegance.

His hair is styled in soft, dark curls, framing his face, which was considered emblematic of beauty during the period.

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1y

<p>Norwegian folklorist, writer, and zoologist Peter Christen Asbjørnsen was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1812.</p><p>He and Jørgen Engebretsen Moe were collectors of Norwegian folklore. The most famous collection, "Norske Folkeeventyr" ("Norwegian Folktales"), was co-published with Moe starting in 1841. He worked as a zoologist and forestry expert, publishing writings on nature and the environment.</p><p><a href="https://en.wikipedia.org/wiki/Peter_Christen_Asbj%C3%B8rnsen" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Peter_Christen_Asbj%C3%B8rnsen"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Peter_Ch</span><span class="invisible">risten_Asbj%C3%B8rnsen</span></a></p><p>Books by Peter Christen Asbjørnsen at PG:<br><a href="https://www.gutenberg.org/ebooks/author/34177" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/34177"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/34177</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Portrait of norwegian author Peter Christen Asbjørnsen (1812-1885). Belongs to Kunstnerforeningen.

Asbjørnsen is portrayed in a formal, seated pose, exuding a sense of dignity and intellectual depth.

He is dressed in formal 19th-century attire, depicted in a dark suit or coat with a waistcoat, befitting his status as a respected author and intellectual.

The portrait captures Asbjørnsen’s distinctive features, such as his broad forehead, thick, wavy hair, and full beard, emphasizing his mature and wise demeanor.

Norwegian Folktales, a collection of Norwegian folktales and legends by Peter Christen Asbjørnsen and Jørgen Moe, published in Copenhagen 1896.

This second illustrated edition is known as the "Huldrebindet", after the picture of the Huldra on the front page.

The first illustrated edition (from 1879) is known as the "nissebindet", after the Nisse pictured on it.

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80d

<p>Lord, when I’m speechless<br>when something – not just sorrow<br>but under that – a dull, numb, nameless dreich<br>about the heart I hardly seem to have…</p><p>—Diana Hendry, “Psalm 88 Blues”<br>Published in TWELVE LILTS (Mariscat Press, 2003)</p><p>A poem for Blue Monday – officially the most depressing day of the year…</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/bluemonday/" rel="tag">#BlueMonday</a></p>

Psalm Eighty-Eight Blues
by Diana Hendry

Lord, when I’m speechless
when something – not just sorrow
but under that – a dull, numb, nameless dreich
about the heart I hardly seem to have,
when this afflicts me,
when hope’s been cancelled,
when the pilot light of me’s put out,
when every reflex and response
has been extinguished,

send word, snowdrop, child, light.

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68d

<p>The Explorer Who Faked His Way Through the Hajj</p><p>Englishman Richard Burton wore several disguises, ranging from merchant to doctor to pilgrim in the holy city of Mecca.</p><p>By Kayla Johnson</p><p><a href="https://daily.jstor.org/the-explorer-who-faked-his-way-through-the-hajj/?utm_source=mcae&utm_medium=email&utm_campaign=jstordaily_01302026" rel="nofollow" class="ellipsis" title="daily.jstor.org/the-explorer-who-faked-his-way-through-the-hajj/?utm_source=mcae&utm_medium=email&utm_campaign=jstordaily_01302026"><span class="invisible">https://</span><span class="ellipsis">daily.jstor.org/the-explorer-w</span><span class="invisible">ho-faked-his-way-through-the-hajj/?utm_source=mcae&utm_medium=email&utm_campaign=jstordaily_01302026</span></a></p><p>Richard Burton at PG:<br><a href="https://www.gutenberg.org/ebooks/author/898" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/898"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/898</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/history/" rel="tag">#history</a></p>

Portrait of Captain Richard Burton, British explorer, army officer, orientalist writer and scholar, c. 1863, by Ernest Edwards, from vintage albumen print in the publication Portraits of Men of Eminence in Literature, Science, and Art, with Biographical Memoirs, Edwards, Ernest, and Lovell Reeve, State Library of New South Wales, DSM/920.042/P

Burton is dressed in Middle Eastern/Ottoman attire:
Fez or tarbush (traditional cap)
Flowing robes and kaftan
Sash around the waist
Dagger visible at his waist
Oriental setting: Seated on cushions with draped fabric and tent-like backdrop
His characteristic intense gaze and prominent mustache
A pose suggesting his famous ability to "pass" as a native in various cultures

https://upload.wikimedia.org/wikipedia/commons/thumb/0/03/Edwards_Richard_Burton_1864_slnsw.jpg/960px-Edwards_Richard_Burton_1864_slnsw.jpg

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