literature

1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1936.</p><p>Charlie Chaplin's film Modern Times opened in New York City.</p><p>During a European tour promoting City Lights, Chaplin got the inspiration for Modern Times from both the lamentable conditions of the continent through the Great Depression, along with a conversation with Mahatma Gandhi in which they discussed modern technology.</p><p><a href="https://en.wikipedia.org/wiki/Modern_Times_(film)" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Modern_Times_(film)"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Modern_T</span><span class="invisible">imes_(film)</span></a></p><p>Books about or by Charlie Chaplin at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=charlie+chaplin&submit_search=Search" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=charlie+chaplin&submit_search=Search"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=charlie+chaplin&submit_search=Search</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/cinema/" rel="tag">#cinema</a></p>

Original poster for Charlie Chaplin's 1936 film Modern Times.

The artwork features Chaplin in his iconic role as the Tramp, wearing overalls and holding two large wrenches, symbolizing his struggle against industrialization and modern labor conditions.

The poster prominently displays Chaplin’s name in bold red and white lettering, emphasizing his star power.

The film's title, Modern Times, is written in a stylized, industrial-themed font.

The bottom of the poster credits Chaplin as the writer, director, and producer, and it notes the film's release through United Artists.

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74d

<p>Robert Burns and Mary, Queen of Scots: how the poet shaped the enduring cultural legacy of the executed monarch</p><p>The queen was the source of much debate among 18th-century thinkers.</p><p>by Kate Kane</p><p><a href="https://theconversation.com/robert-burns-and-mary-queen-of-scots-how-the-poet-shaped-the-enduring-cultural-legacy-of-the-executed-monarch-273950?utm_medium=email&utm_campaign=The%20Weekender%20-%203653437321&utm_content=The%20Weekender%20-%203653437321+CID_43c6452557555cbd4df21443bb065cc9&utm_source=campaign_monitor_uk" rel="nofollow" class="ellipsis" title="theconversation.com/robert-burns-and-mary-queen-of-scots-how-the-poet-shaped-the-enduring-cultural-legacy-of-the-executed-monarch-273950?utm_medium=email&utm_campaign=The%20Weekender%20-%203653437321&utm_content=The%20Weekender%20-%203653437321+CID_43c6452557555cbd4df21443bb065cc9&utm_source=campaign_monitor_uk"><span class="invisible">https://</span><span class="ellipsis">theconversation.com/robert-bur</span><span class="invisible">ns-and-mary-queen-of-scots-how-the-poet-shaped-the-enduring-cultural-legacy-of-the-executed-monarch-273950?utm_medium=email&utm_campaign=The%20Weekender%20-%203653437321&utm_content=The%20Weekender%20-%203653437321+CID_43c6452557555cbd4df21443bb065cc9&utm_source=campaign_monitor_uk</span></a></p><p>Robert Burns at PG:<br><a href="https://www.gutenberg.org/ebooks/author/583" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/583"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/583</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poetry/" rel="tag">#poetry</a></p>

Portrait of Burns by Alexander Nasmyth, 1787, Scottish National Portrait Gallery.

This half-length portrait of Burns, framed within an oval, has become the most well-known and widely reproduced image of the famous Scottish poet. Nasmyth's painting, commissioned by the publisher William Creech, was to be engraved for a new edition of Burn's poems. He is shown fashionably dressed against a landscape, evoking his rural background in Alloway, Ayrshire. Burns and Nasmyth had become good friends, having been introduced to one another in Edinburgh by a mutual patron, Patrick Miller of Dalswinton. Nasmyth, pleased to have recorded Burns' likeness convincingly, decided to leave the painting in a slightly unfinished state.

https://en.wikipedia.org/wiki/Robert_Burns#/media/File:PG_1063Burns_Naysmith.jpg

François Clouet - Mary, Queen of Scots (1542-87)

Mary wears a pink gown decorated with vertical gold striping and small jeweled embellishments. The bodice is tightly fitted and fastened down the center with a line of pearls or gemstone buttons. A crisp white ruff collar frames her neck. Her sleeves are full and carefully tailored.

Her hair is light brown and drawn back smoothly, partially covered by a jeweled headband adorned with pearls. She wears modest jewelry, including a pearl necklace, small earrings, and a ring. Her hands are delicately posed at her waist, fingers gently touching.

https://en.wikipedia.org/wiki/Mary,_Queen_of_Scots#/media/File:Fran%C3%A7ois_Clouet_-_Mary,_Queen_of_Scots_(1542-87)_-_Google_Art_Project.jpg

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74d

<p>I murder hate by flood or field, <br>Tho’ glory's name may screen us; <br>In wars at home I’ll spend my blood—<br>Life-giving wars of Venus.<br>The deities that I adore<br>Are social Peace and Plenty;<br>I’m better pleas’d to make one more,<br>Than be the death of twenty…<br> <br>—Robert Burns, “I Murder Hate”</p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/burnsnight/" rel="tag">#BurnsNight</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/romanticism/" rel="tag">#romanticism</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a></p>

I Murder Hate
Robert Burns

I murder hate by flood or field,
Tho’ glory’s name may screen us;
In wars at home I’ll spend my blood—
Life-giving wars of Venus.
The deities that I adore
Are social Peace and Plenty;
I’m better pleas’d to make one more,
Than be the death of twenty.

I would not die like Socrates,
For all the fuss of Plato;
Nor would I with Leonidas,
Nor yet would I with Cato:
The zealots of the Church and State
Shall ne’er my mortal foes be;
But let me have bold Zimri’s fate,
Within the arms of Cozbi!

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74d

<p>Dear Robert Burns,</p><p>You skipped the big town streets just like I done, you ducked the crosstown cop just like I ducked, you dodged behind a beanpole to beat the bigtime dick and you very seldom stopped off in any big city where the rigged corn wasn’t drying nor the hot vine didn’t help you do your talking…</p><p>“To That Man Robert Burns”<br>—Woody Guthrie, June 9, 1947<br>Published in Woody Guthrie, Born To Win (Macmillan, 1965)</p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/burnsnight/" rel="tag">#BurnsNight</a> <a href="/tags/woodyguthrie/" rel="tag">#WoodyGuthrie</a></p>

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74d

<p>O wad some Pow’r the giftie gie us<br>To see oursels as others see us!<br>It wad frae monie a blunder free us<br>An’ foolish notion:<br>What airs in dress an’ gait wad lea’e us,<br>And ev’n Devotion!</p><p>—Robert Burns, “To a Louse”<br>from Poems, Chiefly in the Scottish Dialect: The Luath Kilmarnock Edition, illustrated by Bob Dewar</p><p><a href="https://luath.co.uk/products/poems-chiefly-in-the-scottish-dialect?variant=42807652581526" rel="nofollow" class="ellipsis" title="luath.co.uk/products/poems-chiefly-in-the-scottish-dialect?variant=42807652581526"><span class="invisible">https://</span><span class="ellipsis">luath.co.uk/products/poems-chi</span><span class="invisible">efly-in-the-scottish-dialect?variant=42807652581526</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/burnsnight/" rel="tag">#BurnsNight</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a> <a href="/tags/humour/" rel="tag">#humour</a></p>

To a Louse, On Seeing one on a Lady’s Bonnet at Church
Robert Burns

Ha! whare ye gaun, ye crowlan ferlie!
Your impudence protects you sairly:
I canna say but ye strunt rarely,
Owre gawze and lace;
Tho’ faith, I fear ye dine but sparely,
On sic a place.

Ye ugly, creepan, blastet wonner,
Detested, shunn’d, by saunt an’ sinner,
How daur ye set your fit upon her,
Sae fine a Lady!
Gae somewhere else and seek your dinner,
On some poor body.

Swith, in some beggar’s haffet squattle;
There ye may creep, and sprawl, and sprattle,
Wi’ ither kindred, jumping cattle,
In shoals and nations;
Whare horn nor bane ne’er daur unsettle,
Your thick plantations.

Now haud you there, ye’re out o’ sight,
Below the fatt’rels, snug and tight,
Na faith ye yet! ye’ll no be right,
Till ye’ve got on it,
The vera topmost, towrin height
O’ Miss’s bonnet.

My sooth! right bauld ye set your nose out,
As plump an’ gray as onie grozet:
O for some rank, mercurial rozet,
Or fell, red smeddum,
I’d gie you sic a hearty dose o’t,
Wad dress your droddum!

I wad na been surpriz’d to spy
You on an auld wife’s flainen toy;
Or aiblins some bit duddie boy,
On ’s wylecoat;
But Miss’s fine Lunardi, fye!
How daur ye do ’t?

O Jenny dinna toss your head,
An’ set your beauties a’ abread!
Ye little ken what cursed speed
The blastie’s makin!
Thae winks and finger-ends, I dread,
Are notice takin!

O wad some Pow’r the giftie gie us
To see oursels as others see us!
It wad frae monie a blunder free us
An’ foolish notion:
What airs in dress an’ gait wad lea’e us,
And ev’n Devotion!

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1924.</p><p>Seán O'Casey's drama Juno and the Paycock opens at the Abbey Theatre, Dublin. It is set in the working-class tenements of Dublin in the early 1920s, during the Irish Civil War period.</p><p>It is the second of his "Dublin Trilogy" – the other two being The Shadow of a Gunman (1923) and The Plough and the Stars (1926).</p><p><a href="https://en.wikipedia.org/wiki/Juno_and_the_Paycock" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Juno_and_the_Paycock"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Juno_and</span><span class="invisible">_the_Paycock</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/drama/" rel="tag">#drama</a> <a href="/tags/theatre/" rel="tag">#theatre</a></p>

Poster for the 1930 film “Juno and the Paycock” (alternate title “The Shame of Mary Boyle”).

Since it was directed by Alfred Hitchcock and based on Seán O’Casey’s acclaimed play, the poster have been designed in the early sound era’s style, featuring bold typography and theatrical imagery.

A strong central image, possibly depicting key characters like Juno Boyle (a struggling mother) and Captain Boyle (her irresponsible husband).

A somber or dramatic color scheme reflecting the film’s serious tone.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1875.</p><p>Bizet's Carmen premiered at the Opéra-Comique in Paris, with mezzo-soprano Célestine Galli-Marié in the title role. It is an opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée. </p><p><a href="https://en.wikipedia.org/wiki/Carmen" rel="nofollow"><span class="invisible">https://</span>en.wikipedia.org/wiki/Carmen</a></p><p>Carmem at IMSLP:<br><a href="https://imslp.org/wiki/Carmen_(Bizet,_Georges)" rel="nofollow" class="ellipsis" title="imslp.org/wiki/Carmen_(Bizet,_Georges)"><span class="invisible">https://</span><span class="ellipsis">imslp.org/wiki/Carmen_(Bizet,_</span><span class="invisible">Georges)</span></a></p><p><a href="/tags/art/" rel="tag">#art</a> <a href="/tags/music/" rel="tag">#music</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Lithograph of act 1 in the premiere performance of Bizet's Carmen, by Pierre-Auguste Lamy, 1875.

The scene portrays a bustling street in Seville, outside a tobacco factory (indicated by the sign "Fábrica de Tabaco" on the building to the right). The image features a group of women, likely representing the female cigarette factory workers, dressed in traditional Spanish attire with full skirts and shawls.

In the foreground, a seated soldier appears to be engaged with something in his hands, possibly representing Don José, one of the opera’s main characters. The composition includes a large arched bridge in the middle ground, adding depth and perspective, while the background shows classic European architecture with multiple buildings and towers.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1912.</p><p>Frieda Weekley meets D. H. Lawrence in Nottingham. She met D. H. Lawrence, a former student of her husband's; they soon fell in love and eloped to Germany. During their stay Lawrence was arrested for spying; after the intervention of Frieda's father, the couple walked south over the Alps to Italy. In 1914, following her divorce, Frieda and D.H. Lawrence married. </p><p><a href="https://en.wikipedia.org/wiki/Frieda_Lawrence" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Frieda_Lawrence"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Frieda_L</span><span class="invisible">awrence</span></a></p><p>D.H. Lawrence at PG:<br><a href="https://www.gutenberg.org/ebooks/author/123" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/123"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/123</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

David Herbert Lawrence & Frieda von Richthofen, 1914.

The image typically shows them sitting close together, reflecting their deep and unconventional relationship.

David Herbert Lawrence, known for his intense gaze and bohemian appearance, is often depicted with unkempt hair and a beard, dressed in simple, rugged clothing that suggests his rejection of traditional societal norms.

Frieda, who came from an aristocratic German background, appears confident and free-spirited, sometimes wearing a long dress or a coat suitable for the countryside.

Edited 1y ago

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1y

<p>‘He contains the whole of literature’: is Dickens better than Shakespeare?</p><p>After rereading the entire works of the great Victorian novelist during the pandemic, Peter Conrad became convinced – whisper it – that Dickens is an even greater writer than that other British literary giant, the Bard.</p><p><a href="https://www.theguardian.com/books/2025/mar/02/is-dickens-better-than-shakespeare" rel="nofollow" class="ellipsis" title="www.theguardian.com/books/2025/mar/02/is-dickens-better-than-shakespeare"><span class="invisible">https://</span><span class="ellipsis">www.theguardian.com/books/2025</span><span class="invisible">/mar/02/is-dickens-better-than-shakespeare</span></a></p><p>Shakespeare at PG:<br><a href="https://www.gutenberg.org/ebooks/author/65" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/65"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/65</span></a></p><p>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 William Shakespeare by John Taylor.

The portrait shows Shakespeare with a slightly melancholic yet confident expression, dark eyes, and a mustache with a small pointed beard.

He is dressed in Elizabethan attire, wearing a black doublet or jacket with a wide, white collar. A gold hoop earring is visible in his left ear, a fashionable accessory among poets and playwrights of the time.

The background is dark, which emphasizes his face and adds a sense of depth and drama to the portrait.

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

In the portrait, Dickens is dressed in formal Victorian attire, typically a dark suit with a vest and a neatly tied cravat.

His hair is slightly disheveled, and his full beard and mustache frame his face, giving him a distinguished yet somewhat weary appearance.

His eyes, often described as piercing and thoughtful, add to the emotional depth of the image.

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68d

<p>Kirkcudbright Book Festival 2026<br>5–8 March</p><p>Kirkcudbright Book Festival celebrates local & national voices, local history, Scottish culture, children’s authors, crime fiction, nature and the environment & much more – full programme online now</p><p><a href="https://www.kbtbookfestival.org/full-programme" rel="nofollow" class="ellipsis" title="www.kbtbookfestival.org/full-programme"><span class="invisible">https://</span><span class="ellipsis">www.kbtbookfestival.org/full-p</span><span class="invisible">rogramme</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/kidlit/" rel="tag">#kidlit</a> <a href="/tags/crimefiction/" rel="tag">#crimefiction</a> <a href="/tags/naturewriting/" rel="tag">#naturewriting</a> <a href="/tags/scottishculture/" rel="tag">#ScottishCulture</a> <a href="/tags/bookfestival/" rel="tag">#bookfestival</a> <a href="/tags/kirkcudbright/" rel="tag">#Kirkcudbright</a></p>

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1y

<p>In March 1881.</p><p>Ambrose Bierce contributes to the weekly satirical San Francisco magazine The Wasp & resumes his column "Prattle" and the series of cynical definitions which he first calls The Devil's Dictionary.</p><p>Bierce's witty definitions were imitated & plagiarized for years before he gathered them into books, first as The Cynic's Word Book in 1906 & then in a more complete version as The Devil's Dictionary in 1911.</p><p><a href="https://en.wikipedia.org/wiki/The_Devil%27s_Dictionary" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Devil%27s_Dictionary"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Devi</span><span class="invisible">l%27s_Dictionary</span></a></p><p>At PG:<br><a href="https://gutenberg.org/ebooks/972" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/972</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Title page of The Cynic's Word Book by Ambrose Bierce.

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72d

<p>Charles Lutwidge Dodgson (aka Lewis Carroll) was born <a href="/tags/otd/" rel="tag">#OTD</a> in 1832.</p><p>An interesting comment from one proofreader at <span class="h-card"><a href="https://universeodon.com/@DProofreaders" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>DProofreaders</span></a></span> : "It is said that Queen Victoria enjoyed the Alice books so much that she sent for all the author's works, and was then appalled to find herself confronted by mathematics."</p><p>"Curiosa mathematica, Part I: A new theory of parallels" by Dodgson, Charles L. coming soon at PG.</p><p>Lewis Carroll at PG:<br><a href="https://www.gutenberg.org/ebooks/author/7" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/7"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/7</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/mathematics/" rel="tag">#mathematics</a></p>

1863 photograph of Carroll by Oscar G. Rejlander.

Carroll appears formally dressed in Victorian clerical attire, with wavy, somewhat disheveled hair, contemplative, serious expression and relaxed pose with hands clasped.

https://en.wikipedia.org/wiki/Lewis_Carroll#/media/File:Lewis_Carroll_1863.jpg

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72d

<p>On Being Ill at 100: Virginia Woolf’s ‘best essay’ still shapes how we read sickness</p><p>Woolf argues that illness is ‘the great confessional’ which is never talked about in literature.</p><p>by Lucyl Harrison</p><p><a href="https://theconversation.com/on-being-ill-at-100-virginia-woolfs-best-essay-still-shapes-how-we-read-sickness-274061?utm_medium=email&utm_campaign=Latest%20from%20The%20Conversation%20for%20January%2026%202026%20-%203655137341&utm_content=Latest%20from%20The%20Conversation%20for%20January%2026%202026%20-%203655137341+CID_adf3f1b5c74478478c0668be85d67378&utm_source=campaign_monitor_uk&utm_term=On%20Being%20Ill%20at%20100%20Virginia%20Woolfs%20best%20essay%20still%20shapes%20how%20we%20read%20sickness" rel="nofollow" class="ellipsis" title="theconversation.com/on-being-ill-at-100-virginia-woolfs-best-essay-still-shapes-how-we-read-sickness-274061?utm_medium=email&utm_campaign=Latest%20from%20The%20Conversation%20for%20January%2026%202026%20-%203655137341&utm_content=Latest%20from%20The%20Conversation%20for%20January%2026%202026%20-%203655137341+CID_adf3f1b5c74478478c0668be85d67378&utm_source=campaign_monitor_uk&utm_term=On%20Being%20Ill%20at%20100%20Virginia%20Woolfs%20best%20essay%20still%20shapes%20how%20we%20read%20sickness"><span class="invisible">https://</span><span class="ellipsis">theconversation.com/on-being-i</span><span class="invisible">ll-at-100-virginia-woolfs-best-essay-still-shapes-how-we-read-sickness-274061?utm_medium=email&utm_campaign=Latest%20from%20The%20Conversation%20for%20January%2026%202026%20-%203655137341&utm_content=Latest%20from%20The%20Conversation%20for%20January%2026%202026%20-%203655137341+CID_adf3f1b5c74478478c0668be85d67378&utm_source=campaign_monitor_uk&utm_term=On%20Being%20Ill%20at%20100%20Virginia%20Woolfs%20best%20essay%20still%20shapes%20how%20we%20read%20sickness</span></a></p><p>Virginia Woold at PG:<br><a href="https://www.gutenberg.org/ebooks/author/89" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/89"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/89</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

A portrait of Woolf by Roger Fry c. 1917.

Virginia faces the viewer with a slightly tilted head and a calm, introspective expression. Her dark hair is parted and swept back into soft, rounded shapes, framing a pale face with large, elongated eyes and lightly flushed cheeks. Her lips are small and red.

She wears a muted, loose-fitting jacket or cardigan over a darker blue garment, with a narrow green trim adding contrast along the edges. Her hands rest together in front of her.

https://en.wikipedia.org/wiki/Virginia_Woolf#/media/File:Roger_Fry_-_Virginia_Woolf.jpg

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72d

<p>When you have walked through a town, as an infantryman<br>you’ll never go through streets the same way again.</p><p>There is shoulder-ache from rifle-sling, and sore<br>butt-bruise, of bolt, on hip and thigh…</p><p>—“Infantryman”, by Colin McIntyre (1927–2012) – born <a href="/tags/otd/" rel="tag">#OTD</a>, 27 January</p><p>Published in FROM THE LINE: Scottish War Poetry 1914–1945</p><p><a href="https://asls.org.uk/publications/books/volumes/from_the_line/" rel="nofollow" class="ellipsis" title="asls.org.uk/publications/books/volumes/from_the_line/"><span class="invisible">https://</span><span class="ellipsis">asls.org.uk/publications/books</span><span class="invisible">/volumes/from_the_line/</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/warpoetry/" rel="tag">#warpoetry</a> <a href="/tags/ww2/" rel="tag">#WW2</a></p>

Infantryman
by Colin McIntyre

When you have walked through a town, as an infantryman
you'll never go through streets the same way again.

There is shoulder-ache from rifle-sling, and sore
butt-bruise, of bolt, on hip and thigh.

The walk comes somewhere between slope and slow hike,
a wary step, splay-footed, as drawers cellular,
catch in the crotch, twist centrifugally around.

Our lot moved at slow deliberate plod, eyes down, look out,
Ted walked on the left, looks right; I took the right,
looked left. Well spaced out, bloody tired all the time.

Ted and I had a reputation, in Four Section, for hitting
the deck, together, quick as a flash, at the first shell.
Ted had a nose for crossroads ranged by guns.

Infantrymen grow fat in later years, from never walking.
Ted would have become quite gross. But Ted's dead.
Stepped on an AP mine in champagne country.
Cheers, Ted, you old sod, you.

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1888.</p><p>During Joseph Conrad's career at sea as Józef Teodor Konrad Korzeniowski, he departs from Bangkok for Sydney in his first command as master, on the British barque Otago. This provides a basis for his novella The Shadow Line (1916).</p><p>It was first published as a serial in New York's Metropolitan Magazine in the English Review and published in book form in 1917 in the UK and America.</p><p><a href="https://en.wikipedia.org/wiki/The_Shadow_Line_(novel)" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Shadow_Line_(novel)"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Shad</span><span class="invisible">ow_Line_(novel)</span></a></p><p>The Shadow Line at PG:<br><a href="https://gutenberg.org/ebooks/451" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/451</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

First edition (UK) of Shadow Line by Joseph Conrad.

The title, The Shadow Line, is prominently displayed at the top in bold, dark lettering. Below the title, a red-bordered box contains text posing a mysterious question about the challenges faced by the captain and crew in passing latitude 8° 20' in the Far East.

Centered on the cover is a black-and-white portrait of Joseph Conrad, framed within a red rectangular border. He has a distinguished look with a mustache and beard.

At the bottom, the author’s name, Joseph Conrad, is printed in bold, capitalized letters on a red background, ensuring visibility.

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31d

<p>Be happy for this moment. This moment is your life.</p><p>Omar Khayyam</p><p><span class="h-card"><a href="https://fedigroups.social/@bookstodon" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>bookstodon</span></a></span> <br><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/bookstodon/" rel="tag">#bookstodon</a></p>

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351d

<p>Happy birthday Shakespeare (born <a href="/tags/otd/" rel="tag">#OTD</a> in 1564)!</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1932. To mark Shakespeare's birthday:</p><p>The Royal Shakespeare Company's new theatre opens at Stratford-upon-Avon.</p><p><a href="https://en.wikipedia.org/wiki/Royal_Shakespeare_Company" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Royal_Shakespeare_Company"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Royal_Sh</span><span class="invisible">akespeare_Company</span></a></p><p>The Folger Shakespeare Library opens in Washington, D.C.</p><p><a href="https://en.wikipedia.org/wiki/Folger_Shakespeare_Library" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Folger_Shakespeare_Library"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Folger_S</span><span class="invisible">hakespeare_Library</span></a></p><p>Shakespeare at PG:<br><a href="https://www.gutenberg.org/ebooks/author/65" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/65"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/65</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>

Artistic depiction of the Shakespeare family, late 19th century

Perine, George Edward, 1837-1885, printmaker. - engraved for the Eclectic by Perine & Giles.

Illustration of William Shakespeare reciting his play Hamlet to his family. His wife, Anne Hathaway, is sitting in the chair on the right; his son Hamnet is behind him on the left; his two daughters Susanna and Judith are on the right and left of him. (Hamnet shown younger than his twin, Judith, as he had died a few years before Hamlet was written).

https://en.wikipedia.org/wiki/William_Shakespeare#/media/File:Shakespeare's_family_circle.jpg

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72d

<p>Reading Scotland with Gioia Angeletti: Early 19th-century Scottish Migration Literature<br>3 Feb, free online</p><p>Examining how Scotland’s experience of “internal colonialism” after the 1707 Union shaped its literary engagement with empire & migration during the long eighteenth century</p><p>@litstudies </p><p><a href="https://www.scotland.uni-mainz.de/reading-scotland/" rel="nofollow" class="ellipsis" title="www.scotland.uni-mainz.de/reading-scotland/"><span class="invisible">https://</span><span class="ellipsis">www.scotland.uni-mainz.de/read</span><span class="invisible">ing-scotland/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a> <a href="/tags/19thcentury/" rel="tag">#19thcentury</a> <a href="/tags/migration/" rel="tag">#migration</a> <a href="/tags/empire/" rel="tag">#empire</a> <a href="/tags/imperialism/" rel="tag">#imperialism</a> <a href="/tags/colonialism/" rel="tag">#colonialism</a> <a href="/tags/nationalidentity/" rel="tag">#nationalidentity</a></p>

Reading Scotland
with Gioia Angeletti

Early 19th-century Scottish Migration Literature

Tuesday, 3rd February 2026
6.00–7.00pm (German time) on MS Teams

www.scotland.uni-mainz.de

Edited 72d ago

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1y

<p>What Is Rousseau’s Social Contract Theory? (Definition & Criticisms)</p><p>Rousseau’s social contract theory advocates for collective sovereignty, freedom, and equality through the general will for a just society.</p><p>By Viktoriya Sus</p><p><a href="https://www.thecollector.com/rousseau-social-contract-theory-definition/" rel="nofollow" class="ellipsis" title="www.thecollector.com/rousseau-social-contract-theory-definition/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/rousseau-</span><span class="invisible">social-contract-theory-definition/</span></a></p><p>The Social Contract at PG:<br><a href="https://www.gutenberg.org/ebooks/46333" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/46333</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>

1766 portrait of Rousseau wearing an Armenian papakha and costume, Allan Ramsay

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1y

<p>The Authorship Debate: Who Is the Real Shakespeare?</p><p>The Shakespeare Authorship Debate concerns the ongoing mystery as to the true author of the plays, sonnets and other works attributed to William Shakespeare of Stratford Upon Avon.</p><p>By Lauren Jones</p><p><a href="https://www.thecollector.com/the-authorship-debate-who-is-the-real-shakespeare/" rel="nofollow" class="ellipsis" title="www.thecollector.com/the-authorship-debate-who-is-the-real-shakespeare/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/the-autho</span><span class="invisible">rship-debate-who-is-the-real-shakespeare/</span></a></p><p>Shakespeare at PG:<br><a href="https://www.gutenberg.org/ebooks/author/65" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/65"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/65</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/drama/" rel="tag">#drama</a></p>

Portrait of William Shakespeare by John Taylor, edited.

The Portrait of William Shakespeare by John Taylor, commonly known as the Chandos Portrait, is one of the most famous and widely accepted depictions of the playwright. Created in the early 17th century, it is an oil painting on canvas and is believed to be the only portrait of Shakespeare painted during his lifetime.

The portrait features Shakespeare with a slightly receding hairline, dark, wavy hair, and a mustache and goatee.

He wears a black doublet with a white collar, and a gold hoop earring in his left ear, which was fashionable among Elizabethan gentlemen and artists.

His expression is calm and introspective, with dark eyes that appear to gaze directly at the viewer.

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1y

<p>7 Out-of-This-World Facts About Ray Bradbury’s ‘The Martian Chronicles’</p><p>The fix-up novel, which turns 75 this year, would become one of Bradbury’s most famous books—and inspire future scientists.</p><p>By Lorna Wallace</p><p><a href="https://www.mentalfloss.com/ray-bradbury-martian-chronicles-book-facts" rel="nofollow" class="ellipsis" title="www.mentalfloss.com/ray-bradbury-martian-chronicles-book-facts"><span class="invisible">https://</span><span class="ellipsis">www.mentalfloss.com/ray-bradbu</span><span class="invisible">ry-martian-chronicles-book-facts</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Publicity photo of Ray Bradbury from the television progam Alfred Hitchcock Presents in 1959.

It shows him as a middle-aged man with a youthful yet intellectual demeanor. Bradbury, known for his iconic works such as Fahrenheit 451 and The Martian Chronicles, typically had neatly combed hair and wore thick, dark-framed glasses, which contributed to his scholarly appearance.

In this black-and-white image, he is dressed in a suit, appropriate for the formal nature of television appearances in the late 1950s.

His expression is serious yet approachable, reflecting his deep imagination and storytelling prowess.

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1y

<p>In February 1929.</p><p>The first of Margery Allingham's crime novels to feature Albert Campion, The Crime at Black Dudley (U.S. title: The Black Dudley Murder), is published in the UK. It introduces Albert Campion, her misleadingly vapid detective, who would go on to appear in another 18 novels and many short stories over the next 30 years.</p><p><a href="https://en.wikipedia.org/wiki/The_Crime_at_Black_Dudley" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Crime_at_Black_Dudley"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Crim</span><span class="invisible">e_at_Black_Dudley</span></a></p><p>Books by Margery Allingham at PG:<br><a href="https://www.gutenberg.org/ebooks/search/?query=Margery+Allingham&submit_search=Search" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=Margery+Allingham&submit_search=Search"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=Margery+Allingham&submit_search=Search</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

First edition of The Crime at Black Dudley by Margery Allingham.

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1y

<p>From February to August 1929.</p><p>Voltaire's Candide (1759) is held to be obscene by the United States Customs Service in Boston.</p><p>Immediately after its secretive publication, the book was widely banned because of its religious blasphemy, political sedition, and intellectual hostility hidden under a thin veil of naivety.</p><p><a href="https://en.wikipedia.org/wiki/Candide" rel="nofollow"><span class="invisible">https://</span>en.wikipedia.org/wiki/Candide</a></p><p>Candide at PG:<br><a href="https://gutenberg.org/ebooks/19942" rel="nofollow"><span class="invisible">https://</span>gutenberg.org/ebooks/19942</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

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

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69d

<p>A History of Existential Anxiety</p><p>From medieval theology to modern philosophy, dread has long been a guide for living ethically.</p><p>By: Livia Gershon </p><p><a href="https://daily.jstor.org/a-history-of-existential-anxiety/" rel="nofollow" class="ellipsis" title="daily.jstor.org/a-history-of-existential-anxiety/"><span class="invisible">https://</span><span class="ellipsis">daily.jstor.org/a-history-of-e</span><span class="invisible">xistential-anxiety/</span></a></p><p>Original article:<br><a href="https://www.jstor.org/stable/44017151?mag=a-history-of-existential-anxiety&seq=1" rel="nofollow" class="ellipsis" title="www.jstor.org/stable/44017151?mag=a-history-of-existential-anxiety&seq=1"><span class="invisible">https://</span><span class="ellipsis">www.jstor.org/stable/44017151?</span><span class="invisible">mag=a-history-of-existential-anxiety&seq=1</span></a></p><p>Kierkegaard, Julian of Norwich, Margery Kempe at PG: <br><a href="https://www.gutenberg.org/ebooks/author/46682" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/46682"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/46682</span></a><br><a href="https://www.gutenberg.org/ebooks/author/47157" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/47157"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/47157</span></a><br><a href="https://www.gutenberg.org/ebooks/search/?query=Margery+Kempe" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=Margery+Kempe"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=Margery+Kempe</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> <a href="/tags/religion/" rel="tag">#religion</a></p>

The Sacrifice of Isaac, Tobias and the Angel, The Angels Appearing to Abraham, Abraham Welcoming the Three Angels (painting series).

This series of paintings predominantly tells the Old Testament story of Abraham and Isaac, and each of the canvases treats the interaction of humans and angels. In three works, angels appear to Abraham and, in one particularly dramatic canvas, an angel intercepts Abraham before he sacrifices his own son. Like another work in this series, Tobias and the Angels, the Sacrifice of Isaac is a narrative about fathers and sons as well as obedience inspired by faith.

https://commons.wikimedia.org/wiki/File:Francesco_Guardi_-_The_Sacrifice_of_Isaac,_Tobias_and_the_Angel,_The_Angels_Appearing_to_Abraham,_Abraham_Welcoming_the_Three_Angels_(painting_series)_-_1952.235_-_Cleveland_Museum_of_Art.tiff

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1y

<p>"Little Brother" von Cory Doctorow ( <span class="h-card"><a href="https://mamot.fr/@pluralistic" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>pluralistic</span></a></span> ) handelt davon, wie schnell die eigene Heimat zum Feindstaat werden kann, wenn die Freiheit der Sicherheit untergeordnet wird. Und davon wie schnell die Technik, die uns ermächtigt und vernetzt, zum Mittel der Überwachung und Unterdrückung werden kann. Dabei macht Doctorow Mut mit den Mitteln der Technik für die Demokratie zu kämpfen. <a href="/tags/bücherwabe/" rel="tag">#bücherwabe</a> <a href="/tags/chemnitz/" rel="tag">#chemnitz</a> <a href="/tags/bücher/" rel="tag">#bücher</a> <a href="/tags/literatur/" rel="tag">#literatur</a> <a href="/tags/lesen/" rel="tag">#lesen</a> <a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/bookstodon/" rel="tag">#bookstodon</a> <a href="/tags/scifi/" rel="tag">#scifi</a> <a href="/tags/politik/" rel="tag">#politik</a> <a href="/tags/politics/" rel="tag">#politics</a></p>

$Ein Bild der Bücherwabe im Schaufenster der Buchhandlung am Brühl. Es sind neun Bücher zu sehen: Ursula K. LeGuin: The Word for World is Forest, Stefan Heym: Schwarzenberg, Leaf\Lawson: Ferdinand, Norbert Bobbio: Rechts und Links, Arne Semsrott: Machtübernahme, Magdalena Sorger: Ameisen, Hannah Arendt: Menschen in finsteren Zeiten, Cory Doctorow: Little Brother (Aufstand), Mely Kiyak: Werden sie uns mit FlixBus deportieren?$

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