literature

1y

<p>The Post-Millennial Poe, or, Edgar Allan Holmes?</p><p>In life, Edgar Allan Poe was best known as a literary critic. Today, he’s best remembered for his disquieting tales…but that may be changing.</p><p>By: Matthew Wills </p><p><a href="https://daily.jstor.org/the-post-millennial-poe-or-edgar-allan-holmes/" rel="nofollow" class="ellipsis" title="daily.jstor.org/the-post-millennial-poe-or-edgar-allan-holmes/"><span class="invisible">https://</span><span class="ellipsis">daily.jstor.org/the-post-mille</span><span class="invisible">nnial-poe-or-edgar-allan-holmes/</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/literarycriticism/" rel="tag">#literarycriticism</a></p>

Edgar Allan Poe, June 1849. Daguerreotype "Annie", given to Poe's friend Mrs. Annie L. Richmond; probably taken in June 1849 in Lowell, Massachusetts, photographer unknown.

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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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72d

<p>“It is a bold move to be so morally unflinching, especially in the face of a perceived aesthetic orthodoxy that so often privileges distance and irony, but in Glyph we see a major British writer answering the call of the day when so many others have equivocated or turned away.”</p><p>—GLYPH by Ali Smith: bearing witness to the war in Gaza</p><p><a href="https://www.theguardian.com/books/2026/jan/27/glyph-by-ali-smith-review-bearing-witness-to-the-war-in-gaza" rel="nofollow" class="ellipsis" title="www.theguardian.com/books/2026/jan/27/glyph-by-ali-smith-review-bearing-witness-to-the-war-in-gaza"><span class="invisible">https://</span><span class="ellipsis">www.theguardian.com/books/2026</span><span class="invisible">/jan/27/glyph-by-ali-smith-review-bearing-witness-to-the-war-in-gaza</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/gaza/" rel="tag">#Gaza</a> <a href="/tags/alismith/" rel="tag">#AliSmith</a> <a href="/tags/womenwriters/" rel="tag">#womenwriters</a></p>

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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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72d

<p>“If these children need me in days of sunshine,<br>how much more do they need me in days of darkness?”<br>—Jane Haining</p><p>You rose each day at 5 a.m. to go<br>to market for their food, sliced your leather<br>luggage into strips they’d use for soles<br>on worn-out shoes…</p><p>“In Days of Darkness”, a poem by Stuart A. Paterson for Holocaust Memorial Day</p><p><a href="https://www.scottishpoetrylibrary.org.uk/poem/days-darkness/" rel="nofollow" class="ellipsis" title="www.scottishpoetrylibrary.org.uk/poem/days-darkness/"><span class="invisible">https://</span><span class="ellipsis">www.scottishpoetrylibrary.org.</span><span class="invisible">uk/poem/days-darkness/</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/holocaust/" rel="tag">#Holocaust</a> <a href="/tags/holocaustremembrance/" rel="tag">#HolocaustRemembrance</a> <a href="/tags/holocaustmemorialday/" rel="tag">#HolocaustMemorialDay</a></p>

The poem is too long for ALT text. The full text is available via the link

https://www.scottishpoetrylibrary.org.uk/poem/days-darkness/

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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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66d

<p>The Wigtown Poetry Prizes offer awards for poetry in all three of Scotland’s languages. The 2026 competitions are open for submission from today (2 Feb) until 6 May</p><p><a href="https://www.wigtownpoetryprize.com/poetry-competition" rel="nofollow" class="ellipsis" title="www.wigtownpoetryprize.com/poetry-competition"><span class="invisible">https://</span><span class="ellipsis">www.wigtownpoetryprize.com/poe</span><span class="invisible">try-competition</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/competition/" rel="tag">#competition</a> <a href="/tags/writing/" rel="tag">#writing</a> <a href="/tags/gaidhlig/" rel="tag">#Gaidhlig</a> <a href="/tags/gaelic/" rel="tag">#Gaelic</a> <a href="/tags/scots/" rel="tag">#Scots</a> <a href="/tags/scotslanguage/" rel="tag">#Scotslanguage</a></p>

Wigtown Poetry Prizes

Founded in 2005, the Wigtown Poetry Prizes are some of the UK's best established writing competitions, offering awards in all three of Scotland’s languages with a prize pot of over £3000. The 2026 prizes mark 21 years of Wigtown Poetry Prizes and over £50,000 awarded to emerging and established poets.

The competition opens on 2 February and closes on 6 May 2026, with a prize-giving at Wigtown Book Festival in the autumn. We hope to see you there.

Wigtown International Prize: £1500
Runner-up: £200

Wigtown Scots Prize: £500
Runner-up: £200
Supported by Saltire Society

Wigtown Scottish Gaelic Prize: £500
Runner-up: £200
Supported by The Gaelic Books Council

Dumfries & Galloway Fresh Voice Award
Professional support including mentoring by Wigtown Festival Company and a retreat at Moniack Mhor Creative Writing Centre

Alastair Reid Pamphlet Prize
30 copies of a pamphlet of your work set by Gerry Cambridge
Supported by The Dark Horse Magazine

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1y

<p><a href="/tags/otd/" rel="tag">#OTD</a> in 1851.</p><p>The first performance of Rigoletto by Giuseppe Verdi takes place in Venice. The Italian libretto was written by Francesco Maria Piave based on the 1832 play Le roi s'amuse by Victor Hugo.</p><p><a href="https://en.wikipedia.org/wiki/Rigoletto" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Rigoletto"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Rigolett</span><span class="invisible">o</span></a></p><p>Le Roi s'amuse at PG:<br><a href="https://www.gutenberg.org/ebooks/29549" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/29549</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>

Set design for act "IV" (III as normally counted) of Giuseppe Verdi's Rigoletto. (For the production of the Théâtre national de l'Opéra at the Palais Garnier that opened 27-02-1885).

A rustic, slightly decrepit inn or house by a lakeside or riverbank, surrounded by dense trees. The building is shown in a cross-section, revealing two levels.

A warmly lit bedroom where a woman stands holding a torch or candle near a reclining figure on a bed—suggestive of the characters Maddalena and the Duke in Rigoletto.

A dimly lit interior room with a few figures around a table—possibly representing Sparafucile (the assassin) and other characters in the plot’s unfolding.

The scene is bathed in moonlight with dark clouds, creating a dramatic chiaroscuro between the natural night and the warm indoor light.

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1y

<p>10 Myths About the Greek Goddess Artemis</p><p>Fascinating stories about the goddess Artemis from Greek myth. The twin sister of Apollo, the chaste goddess, represents the wild wilderness and the hunt.</p><p> by Daniel Soulard</p><p><a href="https://www.thecollector.com/myths-about-artemis-greek-goddess/" rel="nofollow" class="ellipsis" title="www.thecollector.com/myths-about-artemis-greek-goddess/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/myths-abo</span><span class="invisible">ut-artemis-greek-goddess/</span></a></p><p>There are two interesting books about Artemis at PG:<br><a href="https://www.gutenberg.org/ebooks/14576" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/14576</a><br><a href="https://www.gutenberg.org/ebooks/9283" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/9283</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/mythology/" rel="tag">#mythology</a></p>

Scene from sacrifice in honour of Artemis-Diana who is accompanied by a deer. Fresco from the triclinium of the house of Vettii in Pompeii, Italy, between 62 CE and 79 CE (Destruction of Pompeii).

An ancient Fourth-Pompeian-Style Roman wall painting depicting a scene of sacrifice in honor of the goddess Diana; she is seen here accompanied by a deer. The fresco was discovered in the triclinium of House of the Vettii in Pompeii, Italy.

As with the other frescoes in this house, the painting dates between the time of the earthquake of Pompeii in 62 AD and the eruption of Mount Vesuvius in 79 AD that destroyed Pompeii, killing its inhabitants, but preserved many ancient works of art.

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329d

<p>"I look upon literature as an art, and I believe that if you misuse it or abuse it, it will leave you. It is not a thing that you can nail down and use as you want. You have to let it use you, too."<br>Conversations</p><p>Happy birthday Katherine Anne Porter!</p><p>More information:<br><a href="https://en.wikipedia.org/wiki/Katherine_Anne_Porter" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Katherine_Anne_Porter"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Katherin</span><span class="invisible">e_Anne_Porter</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

This black-and-white portrait of Katherine Anne Porter presents the American author with a composed and introspective demeanor.

Her face is framed by neatly styled hair, parted in the center and swept back, lending a classical elegance to her appearance.

Porter wears a simple, dark garment accented by a double-strand metallic necklace, adding a subtle touch of sophistication.

Her gaze is directed slightly off-camera, creating a reflective, distant expression that conveys both poise and intellectual depth.

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

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1y

<p>"Yet each man kills the thing he loves<br> By each let this be heard.<br>Some do it with a bitter look,<br> Some with a flattering word.<br>The coward does it with a kiss,<br> The brave man with a sword!"</p><p><a href="/tags/otd/" rel="tag">#OTD</a> in 1898.</p><p>The Ballad of Reading Gaol by Oscar Wilde was published by Leonard Smithers, under the name "C.3.3.", which stood for cell block C, landing 3, cell 3.</p><p><a href="https://en.wikipedia.org/wiki/The_Ballad_of_Reading_Gaol" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/The_Ballad_of_Reading_Gaol"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/The_Ball</span><span class="invisible">ad_of_Reading_Gaol</span></a></p><p>Ballad of Reading Gaol at PG:<br><a href="https://www.gutenberg.org/ebooks/301" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/301</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>

Cover of The Ballad of Reading Gaol (1904).

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66d

<p>Today, 2 February, is Candlemas. As well as being a Christian holy day, it is one of the four Scottish Quarter Days, when rents were due.</p><p>The Scots poem “At Candlemas” by Marion Angus (1865–1946) is a typically unsentimental look at how swiftly youth turns to old age:</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/candlemas/" rel="tag">#Candlemas</a> <a href="/tags/scots/" rel="tag">#Scots</a> <a href="/tags/scotslanguage/" rel="tag">#Scotslanguage</a> <a href="/tags/womenwriters/" rel="tag">#womenwriters</a> <a href="/tags/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/aging/" rel="tag">#aging</a></p>

At Candlemas
Marion Angus

Lang syne at Candlemas
At first cam o’ the mune,
I, a bit lassie,
Hame-gaun fae the toon,
Fell in wi’ a stranger
Frail as ony reed,
Wi’ a green mantle
Hapt aboot her heid.

Haste, I wad haste me,
The whinny road along,
Whinny, crookit road
Faur the grey ghaists gang.
Wi her een fu’ o’ spells,
Her broo runkled sair,
She micht weel be the witch
O’ the Braid Hill o’ Fare.

Here cams Candlemas,
A wan deein’ mune,
Eh! bit I’m weary.
Cauldrife wis the toon!

Yon’s a blythe bairnie
Soople as a reed,
Rinnin’ wi’ a hankey
Tied aboot her heid,
Hastin’, hastin’,
Limber-licht fit,
Doon the crookit road
Faur the grey moths flit.

Quo’ she, ‘Ye’r sma’-bookit,
Yer broo’s runkled sair,
Er’ ye the auld witch
O’ the Braid Hill o’ Fare?’

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66d

<p>The haill clanjamfrie: What’s so braw aboot Scots<br>13 March, Royal Society of Edinburgh & online – free, ticketed</p><p>Through live readings of poetry & prose, alongside open conversation, this RSE Investigates event explores Scots as a powerful tool for creative expression & social commentary – with writers Len Pennie, Chris McQueer, & Michael Pedersen</p><p><a href="https://rse.org.uk/event/the-haill-clanjamfrie-whats-so-braw-aboot-scots/" rel="nofollow" class="ellipsis" title="rse.org.uk/event/the-haill-clanjamfrie-whats-so-braw-aboot-scots/"><span class="invisible">https://</span><span class="ellipsis">rse.org.uk/event/the-haill-cla</span><span class="invisible">njamfrie-whats-so-braw-aboot-scots/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/scots/" rel="tag">#Scots</a> <a href="/tags/scotslanguage/" rel="tag">#Scotslanguage</a> <a href="/tags/writing/" rel="tag">#writing</a> <a href="/tags/creativewriting/" rel="tag">#creativewriting</a></p>

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66d

<p>"Secrets, silent, stony sit in the dark palaces of both our hearts: secrets weary of their tyranny: tyrants, willing to be dethroned."<br>ch. 2: Nestor page 28</p><p>Ulysses by James Joyce was partially serialised in the American journal The Little Review from March 1918 to December 1920, the entire work was published in Paris by Sylvia Beach <a href="/tags/otd/" rel="tag">#OTD</a> in 1922.</p><p>Ulysses at PG:<br><a href="https://www.gutenberg.org/ebooks/4300" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/4300</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Picture of first edition of Joyce's Ulysses.

Cover design:
Simple, elegant design in blue-green/teal color
Greek-inspired lettering for "ULYSSES"
Minimal decoration, emphasizing the classical connection
The color was chosen to match the Greek flag (blue and white)

https://en.wikipedia.org/wiki/Ulysses_(novel)#/media/File:JoyceUlysses2.jpg

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1y

<p>"They cannot scare me with their empty spaces<br>Between stars—on stars where no human race is.<br>I have it in me so much nearer home<br>To scare myself with my own desert places."</p><p>'Desert Places'</p><p>~Robert Frost (March 26, 1874 – January 29, 1963) </p><p>Robert Frost at PG:<br><a href="https://www.gutenberg.org/ebooks/author/1091" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/1091"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/1091</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>

"Robert Frost, head-and-shoulders portrait, facing front", c. 1910.

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