As Ralph Waldo Emerson once wrote, ‘By necessity, by proclivity, and by delight, we all quote’. Quotations are an essential part of language and are used widely by almost everyone, sometimes out of context and sometimes wrongly attributed.
“He fancied that in a hundred years he would like having young people speculate on whether his eyes were brown or blue.” F. Scott Fitzgerald wrote these words in This Side of Paradise approximately a hundred years ago. While speculation on the eye color of Amory Blaine, Fitzgerald’s protagonist, may not currently be top of mind, the author himself, as well as his debut novel, most assuredly are.
I don’t think it coincidental that, at approximately the same historical moment when online sites and services began (both overtly and covertly) preserving and mining our textual interactions en masse, wider culture evinced a perceptible surge of interest in the lost books of past, pre-digital eras.
It’s a young literature – this body of English writings from the eight states of India’s Northeast. Often evaluated in comparison with the rich tradition of Assamese literature (from the largest state in the region and going back several centuries) and overshadowed by the growing dominance of a ‘mainstream India-centred’ Indian writing in English, it began to emerge into the literary-critical scene at the turn of the 20th century, without a splash and with extreme modesty.
There is a long history of people exploring the relationship between religion and literature. We might go back to sacred texts from different traditions and think, for instance, about why there is such a vast array of literary forms in the Judaeo-Christian Bible.
The title of a research article has an almost impossible remit. As the freely available representative of the work, it needs to accurately capture what was achieved, differentiate it from other works, and, of course, attract the attention of the reader, who might be searching a journal’s contents list or the return from a database query.
Who doesn’t like a centenary? Whether solemn, festive, or celebratory, a centenary can be very instructive, whether conducted individually or collectively. It is a way of acknowledging—often honouring—the past and, at the same time, reassessing the present and imagining the future in the context of the previous event or exemplary person.
Baroness Orczy’s Scarlet Pimpernel (1905) is one of those popular novels that we tend to assume we already know without having read it. This tale of the French Revolution has been adapted many, many times, for the stage, small and large screens, and radio, and it has been frequently parodied over the decades, most famously, perhaps, by the Carry On team with Don’t Lose Your Head (aka Carry on Pimpernel).
Only one birthday is “celebrated” in Wuthering Heights. It doesn’t go well. The young Catherine Linton begins her 16th birthday with a modestly optimistic plan to buck the established family pattern of solitary mourning to mark the date when she came into the world (“a puny, seven months child”), but her mother died two hours later.
Emily Brontë, born 200 years ago on 30 July 1818, would become part of one of the most important literary trinities alongside her sisters, Charlotte and Anne. Emily’s only novel, Wuthering Heights, polarised contemporary critics and defied Victorian convention by depicting characters from “low and rustic life.”
In the late 1870s, when he was still a student, Oscar Wilde gathered his college friends for a late night chat in his Oxford room. The conversation was drifting to serious topics.
“You talk a lot about yourself, Oscar,” one of them said, “and all the things you’d like to achieve. But you never say what you’re going to do with your life.”
Given his near half-century career, the Romantic-era publisher Joseph Johnson (1738-1809) left behind a notably small archive. We know from a letter he wrote on today’s date in 1799 that he destroyed some of his correspondence and business documents while serving a two-year sentence for seditious libel in King’s Bench Prison (imprisonment was a fate that progressive publishers were all too familiar with during the 1790s).
Charlotte Perkins Gilman, author of the semiautobiographical short story, “The Yellow Wall-Paper,” was a first-wave feminist determined to live a fully actualized life of work for the common good. Born in Connecticut in 1860, she was a lecturer on ethics, labor, and feminism, and was also the niece of Harriet Beecher Stowe. Charlotte grew up in poverty and was particularly interested in bettering the economic straits of women. Her family moved so often that she was largely home-schooled and self-taught.
After the 2008 recession, print book sales took a hit, but now BookScan has recorded consistent growth in print book sales year over year for the past five years. What has been driving these sales? Surprisingly, adult nonfiction sales. Covering topics from history, politics and law, nonfiction saw a growth of 13 percent during the last fiscal year.
Zola modeled the characters, plot, and settings of his novel His Excellency Eugène Rougon (1876) on real people and events, drawing on his own experience as a parliamentary reporter in 1869–71 and secretary in 1870 to the Republican deputy Alexandre Glais-Bizoin. But the novel is not a mere chronicle of politics during the French Second Empire (1852–70).
John F. Kennedy stated that “When power narrows the areas of man’s concern, poetry reminds him of the richness and diversity of his existence. When power corrupts, poetry cleanses.” Poetry attempts to reclaim awareness of the world through language, an entirely human construct that can only be pushed so far but one that is pushed repeatedly and necessarily in order to articulate what it means to be human. Throughout American history, LGBTQ poets have explored myriad themes including identity, sexuality, and historical and political landscapes, in order to comprehend and chronicle human experience.