#torchbook

[basicallyanotherwitchesthing]

Erich Neumann - Depth Psychology and a New Ethic - Harper Torchbooks - 1973 (cover deisgn by Russ Patrick)

[chuckbbirdsjunk]

[victusinveritas]

no pressure but do you have any book recommendations for medieval art that are widely available? have already ordered Gombrich's book for a Western art history overview (European history is most of my interest)

Thanks for asking. I'm a massive book nerd (and art nerd, nerd in general), and one of my favorite things to do is give out reading recommendations (I miss working in a used bookstore for this reason, but being able to afford food and that sort of thing makes up for it). So, some of them will be dated, because a) I am old and do not keep up with The Scholarship in the Field because...well, I have a job and a life outside of Medieval Studies now (the pay is great, the work is doable, it's not what I imagined doing, but it is where I am). These are in no specific order and by no means exhaustive. Art History/Medievalist folks/others, feel free to add to the list. The Waning/Autumn of the Middle Ages (Johan Huizinga), I recommend the 1996 translation over the older one, though there's a 2020 translation that is supposed to be even better (if you speak Dutch you can just go with the original, I guess, but I don't speak Dutch). The Merchant of Prato (Iris Origo). More a microhistory of an Italian merchant, but worth a read. NYRB Classics published an edition of it and just about everything they publish is solid and worth checking out. The Italian Renaissance by JH Plumb (this was also published as a Harper Torchbook, and I highly recommend EVERYTHING by Harper Torchbooks, they're a goddamn boon to historians everywhere).--not just art, but also not-not art.

Painting and Experience in Fifteenth Century Italy by Michael Baxandall Art in Renaissance Italy by Evelyn Welch Giovanni and Lusanna by Gene Brucker. Not art, but good microhistory, like The Merchant of Prato, this was assigned in a Renaissance Italy course. The Italian Renaissance Reader. (a collection of documents related to the Renaissance, good for background) Bernini (Howard Hibbard). Hibbard also has books on Michelangelo and Caravaggio. I've read the Caravaggio and have it somewhere (it's good, but Bernini stands out).

[dailyanarchistposts]

Bibliography for FAQ

Non-Anarchist Works

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Eisler, Rianne, Sacred Pleasure,

Ellerman, David P., Property and Contract in Economics: The Case forEconomic Democracy, Blackwell, Oxford, 1992.

The Democratic Worker-Owned Firm: A New Model for Eastand West, Unwin Hyman, Boston, 1990. as “J. Philmore”, The Libertarian Case for Slavery, available at: http://cog.kent.edu/lib/Philmore1/Philmore1.htm

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Fantasy Island: Waking Up to the Incredible Economic, Political and Social Illusions of the Blair Legacy, Constable, London, 2007. The Gods That Failed: Now the Financial Elite have Gambled Away our Futures, Vintage Books, London, 2009.

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Kautsky, Karl, The road to power: political reflections on growing intothe revolution, Humanities Press, Atlantic Highlands, 1996.

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Kohn, Alfie, No Contest: The Case Against Competition, Houghton Mufflin Co.,New York, 1992.

Punished by Rewards: The Trouble with Gold Stars, Incentive Plans, A’s, Praise and Other Bribes, Houghton Mifflin Company, Boston, 1993.

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Krugman, Paul and Wells, Robin, Economics, W. H. Freeman, New York, 2006.

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Lange, Oskar and Taylor, Fred M., On the Economic Theory of Socialism, Benjamin Lippincott (ed.), University of Minnesota Press, New York, 1938.

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Lazonick, William, Business Organisation and the Myth of the Market Economy, Cambridge University Press, Cambridge, 1991.

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Zinoviev, Grigorii, History of the Bolshevik Party: A Popular Outline, New Park Publications, London, 1973.

[rj-anderson]

🚨 EXCITING NEWS! 🚨 Ever since I announced the publication of TORCH, the long-awaited final book in the trilogy that began with SWIFT and NOMAD, readers have been asking me if TORCH would ever be available as an audiobook. Today I can finally announce that the answer is ✨YES ✨! Thanks to my hard-working publisher @EnclavePublishing and their partnership with @Oasis_Audio, I’m delighted to say that not only will TORCH be coming in audio format, but ALL my previous books with Enclave (KNIFE, REBEL, ARROW, SWIFT and NOMAD) — plus many more great fantasy and SF titles too. I’m thrilled that Oasis Audio has picked up the #NoOrdinaryFairyTale and #FlightandFlameTrilogy books, and I look forward to hearing the finished products. Stay tuned for release dates and buy links — I don’t have that info yet, but I’ll share more details as soon as I can! . . . #swift #swiftbook #nomad #nomadbook #torch #torchbook #speculativefiction #audiobookstagram #audiobook #rjandersonwriter #rjanderson #faerie #fae #fairybooks #faeriebooks #fantasybooks #piskey #cornishpiskies #cornishpisky #cornishfolklore #spriggan #yafantasy #fantasybooklover #fantasyforlife #christianfantasy #IreadYA https://www.instagram.com/p/CULUEY5rT-Z/?utm_medium=tumblr

[triste-le-roy]

Cover to Henri Bergson’s Time and Free Will—Harper Torchbooks Edition (unknown designer/artist, mid 20th century).

(via Medium)

[caffeinesam]

Don't waste your time there's not a single fashion tip in there, zero stars

[jellobiafrasays]

works of love (1964 ed., cover design by jane larson)

[jasper-pagan-witch]

XVIX for the dark academia askmeme!

Hello hello!

Dark Academia Asks

XVIX - history - oldest book you own?

If we're talking oldest story, I have a copy of the Iliad around here...somewhere...that's really big and dramatic and cool.

But if we're talking literally the oldest by publishing date, then it would be the First Harper Torchbook edition of Henri Frankfort's "Ancient Egyptian Religion", which is from 1961 (the copyright date is 1948!) - not sure about the quality and very iffy about the accuracy of it, since I haven't read it, I just found it in a convenience store and took it when I was younger.

Thanks for dropping by!

~Jasper

[rabenschnabel]

harper torchbook TB 104 by Kyle K St. Paul by Arthur Darby Nock. 1963. Cover design by Joseph Low. https://flic.kr/p/4ktBmb

[rolliinformation]

Perry miller errand into the wilderness

#Perry miller errand into the wilderness driver

The title of this book by Perry Miller, who is world-famous as an interpreter of the American past. Taking as his basic text Winthrops lay sermon, 'A Model of Christian Charity,' de-livered on the Arbella in 1630, Miller argues that the Bay Colony sought to execute 'a flank attack' on the unfinished reformation in the Mother.

#Perry miller errand into the wilderness driver

By braiding the development of the modern intelligence agency with the story of postwar American religion, Errand into the Wilderness of Mirrors delivers a provocative new look at a secret driver of one of the major engines of American power. : Errand into the Wilderness (9780674261518) by Miller, Perry and a great selection of similar New, Used and Collectible Books available now at great prices. The title essay, 'Errand into the Wilderness,' is fascinating in its central thesis, and deserves special attention. 46, America 24/7 : 24 hours, 7 days : extraordinary. As Graziano makes clear, these misconceptions often led to tragedy and disaster on an international scale. 45, Errand into the wilderness, Perry Miller, Belknap Press of Harvard University Press, 1956. But more tellingly, Graziano shows, American intelligence officers were overly inclined to view powerful religions and religious figures through the frameworks of Catholicism. In a practical sense, this was because the Roman Catholic Church already had global networks of people and safe places that American agents could use to their advantage. Graziano argues that the religious approach to intelligence by key OSS and CIA figures like “Wild” Bill Donovan and Edward Lansdale was an essential, and overlooked, factor in establishing the agency’s concerns, methods, and understandings of the world. Fittingly, Errand into the Wilderness of Mirrors investigates the dangers and delusions that ensued from the religious worldview of the early molders of the Central Intelligence Agency. By braiding the development of the modern intelligence agency with the story of postwar American religion, Errand into the Wilderness of Mirrors delivers a provocative new look at a secret driver of one of the major engines of American power.Michael Graziano’s intriguing book fuses two landmark titles in American history: Perry Miller’s Errand into the Wilderness (1956), about the religious worldview of the early Massachusetts colonists, and David Martin’s Wilderness of Mirrors (1980), about the dangers and delusions inherent to the Central Intelligence Agency. As Graziano makes clear, these misconceptions often led to tragedy and disaster on an international scale. I am grateful to Nicholas Rogers for helping me on my. But more tellingly, Graziano shows, American intelligence officers were overly inclined to view powerful religions and religious figures through the frameworks of Catholicism. It was given wide currency by Perry Millers book Errand into the Wilderness (Cambridge, MA, 1956). In a practical sense, this was because the Roman Catholic Church already had global networks of people and safe places that American agents could use to their advantage. Errand into the Wilderness (Torchbooks) : Miller, Perry: Amazon.es: Libros Selecciona Tus Preferencias de Cookies Utilizamos cookies y herramientas similares que son necesarias para permitirte comprar, mejorar tus experiencias de compra y proporcionar nuestros servicios, según se detalla en nuestro Aviso de cookies. Michael Graziano’s intriguing book fuses two landmark titles in American history: Perry Miller’s Errand into the Wilderness (1956), about the religious worldview of the early Massachusetts colonists, and David Martin’s Wilderness of Mirrors (1980), about the dangers and delusions inherent to the Central Intelligence Agency. Errand into the wilderness by Perry Miller, 1964, Harper & Row edition, in English.

[ejbarnes]

Book review: _The Forge and the Crucible: The Origins and Structures of Alchemy_ by Mircea Eliade, translated from the French by Stephen Corrin, Harper Torchbooks 1971

Prolific Romanian-born writer Mircea Eliade (1907-1986) wrote Forgerons et Alchimistes (Smiths and Alchemists) in the 1950s, and Flammarion published it in 1956. It’s a good thing that, by the time I read the 1962 translation by Stephen Corrin, I’d done a great deal of reading on the theory and history of Western alchemy and the occult, not to mention both popular and scholarly history in general – or I’d have been much more easily impressed by Eliade’s ostentatious displays of erudition.

These displays consist of piling on examples meant to demonstrate his theses, all too rarely bothering to step through the logic (even the emotional logic). This pattern is especially marked in the early chapters, where he illustrates various cultural concepts associated with metallurgy by listing various peoples who hold them; but it crops up in other chapters as well, most stultifyingly in the chapter on Chinese alchemy, in which he quotes a range of Chinese sources vouching for the exact same idea or practice. This is a very old-fashioned – as in pre-Enlightenment – way of framing an argument (as noted by Wayne Shumaker in his book The Occult Sciences in the Renaissance). Many peoples are mentioned without mentioning where they are, what their general technological state is (other than the implication that they are “primitive”), or how much contact they have with neighboring cultures; many ancient, mediaeval, and early-modern writers on alchemy are cited without noting the threads of influence between them. In an ostensibly historical cultural study such as this, it is not enough to note that a person or culture embraces an idea; the why is a critical part.

In a few places, Eliade complains that he doesn’t have the space to go into depth on certain matters that would help him construct his argument more clearly and logically. This beggars belief, coming from someone who had previously written a 500-page book on shamanism – and cites himself in the current work (Le Chamanisme et les techniques archaïques de l’extase, 1951). Who set the terms under which the new book was to be written?

Where metallurgy fits into the history of material culture in general is only waved at; Eliade declares at the outset that there is less known about the spiritual significance of other crafts. Considering that material culture, as a subject of historical study, was in its infancy at the time he was writing, it’s hard to tell whether the blind spot here was his, or that of the entire field. Eventually, Eliade admits there’s not much known about the cultural history of metallurgy, either.

As he was writing in the 1950s, Eliade can be somewhat forgiven for using the word “primitive” (only sometimes in quotes) to describe cultures and communities that have not (yet) been overtaken by industrial methods of production. However, after chapter upon chapter of describing the metallurgy-related cultural practices of pre-industrial peoples – within historical times – belatedly, he admits that looking at modern “primitives” is not necessarily a reliable way to determine the by-definition-unwritten prehistory of cultural practices surrounding ancient technologies. Unfortunately, even if this is the best we can do, it really isn’t good enough for the purposes he wishes to serve.

It is easier to forgive Eliade for using ethnic terminology that has fallen out of fashion since the book was written, such as applying the term “Hamitic” to the Ma[a]sai. Alas, the translator, Stephen Corrin, stumbles in rendering the French versions of various ethnonyms into English, such as not realizing that the Achanti are the Ashanti, or that “Tziganes” are the French exonym for what English speakers would have called Gypsies (who call themselves, as Eliade points out, “Rom” or variations of the same).

Eliade makes interesting points about mythological significance of smelting and smithing, including the smith as both a heroic and a threatening figure. However, he implies that these themes are universal, when almost all of his examples are positive rather than negative; no effort seems to be made to explain why some metal-using cultures might not share in these themes. Critics over the years have accused Eliade of cherry-picking his data when writing cultural history, and Forgerons et Alchimistes may have been one example. In addition, almost all of the cultures he cites are Old World. “Metallurgy as such,” he writes, “in Central and South America, is probably Asiatic in origin.” The evidence he gives for this is grossly anachronistic, at least by modern research – although the source he cites, a German article from 1954, is the likely source of the problem. Other than this, he has little to say about indigenous/traditional New World cultures except in reference to their shamanic, rather than metallurgic, practices.

More importantly, the only universal that could apply to his argument about the history of metallurgy is the pre-industrial enchantment of the world, and with it both nature and all of material culture. The best parts, early in the book, address how ideas of organic growth, as well as sex and sexual reproduction, are applied to what we moderns would consider non-living matter, either natural or human-made. The disenchantment of the modern world encourages drawing a sharp line between living and non-living matter, whereas in the pre-modern view that line is often either nonexistent or highly permeable.

Smiths (and alchemists) are “Masters of Fire”, as one chapter puts it; but there are other members of any human culture who are. At the very least, they stand at the hearth instead of the forge – but who cared, in the 1950s, about how women use fire in traditional cultures?

The significance of gold in early Chinese culture, where it was too rare to use for coinage, is fluffed off in one of the appendices. (Interestingly, China is ranked, as of 2016, as the world’s top producer of gold.) Eliade never mentions that the Chinese knew, even in ancient times, that cinnabar was toxic, so the significance of tales of adepts ingesting it for “immortality” is not put in proper socio-mythic context. Is this a result of his stated decision to completely avoid discussing practical aspects of chemistry/alchemy because his focus is on the mystical aspects? The physical properties of materials drive their spiritual significance, not the other way around. For example, gold would not be “noble” if it corroded as easily as iron.

Illustrations from Michael Maier’s Atalanta Fugiens (reprinted under the title Scrutinium chymicum, the version Eliade references) are strewn through the book, but the only reference to Maier in the text quotes an entirely different work, Symbola aureae mensae duodecim nationem. In addition, none of the illustrations (including from another work, Rosarium philosophorum) have captions giving anything more than author, title of work, date and place of publication, and a brief translation of the text from the source. Thus, while many of the illustrations definitely reference ideas described in the book, there is no direct connection, and thus the reader is left to wonder why this illustration was selected until the text mentions the  idea -- without referencing the illustration – a circle that badly needed to be completed.

I do not know enough about the history of history of science to say whether it was known, at the time Eliade wrote, that all attributions of alchemical texts to Arnaud de Villeneuve and Ramon Llull were spurious. Certainly the “Geber problem” was well known by then, but he manages to skirt around it by only specifically referencing works definitely known to be by Geber (Jābir ibn Hayyān).

Once he gets to Western alchemy, Eliade in several places cites Baron Julius Evola, who wrote the influential but historically questionable The Hermetic Tradition. I’ve read too little anthropology from the 1950s to know if Evola was generally radioactive in European scholarship during this period, but his political leanings would not have been much of a secret. Unlike Eliade, Evola never distanced himself from his fascist past; he criticized the Fascist party from the right, and, after the war, continued to produce polemics for the Italian radical right, including calls for political violence. Evola’s scholarly interest in Hindusim was to no small degree colored by its karmic justification of caste society, a stratification he hoped would be re-embraced by the decadent, democratic West; there’s no reason for me to believe that Evola’s study of hermeticism was untainted by his personal politics, prescriptive for all civilization as they were. Can we trust what a misogynist such as Evola, who openly advocated the forcible subjection of women, would have made of the alchemical Hermaphrodite, or the female alchemical assistant depicted in Mutus Liber?

Ultimately, I came away from The Forge and the Crucible feeling snookered by false advertising. The book groups together smiths and alchemists as major topics in one ~200-page volume – and the English subtitle implies that the origins of alchemy are the main topic of the book. I was thus led to believe that a case would be made that the cultural practices surrounding early metallurgy evolved directly into alchemy as both a technical and mystical practice. Yet, when the time came, the process of tracing from one to the other was fudged with “probablys” and “must-have-beens.” This is the book’s single greatest weakness.

Toward the end of the book, Eliade can’t resist lamenting the sorry state of modernity and what was lost with the disenchantment of the world. Treating this topic with anything more rigorous than sentimentality would require acknowledging that our experience of the numinous is necessarily filtered through our subjective mindset, whether our cultural background or our personal psychology. Such a treatment would require a book of its own, one which would be incomplete without positing a non-sectarian methodology by which the external reality of our spiritual experiences could be judged. As I’m not a professional theologian, I am unaware of whether any such methodology is possible, let alone whether anyone has proposed one.

The standard format of historical or anthropological bibliographies may have changed since this book was published, or it may be (or have been) different in the Francophone circles for which it was originally written. As it stands, the bibliographical information is concentrated in several appendices rather than a single bibliography arranged in a format familiar to me – i.e. a list or group of topic-based lists alphabetized by surname of author or editor. In these appendices, works on related topics are clustered in paragraphs, making scanning for authors or titles a huge pain. The best appendix of the lot is the last, his essay on Jung.

An online blurb for the 1978 edition claims an updated appendix including more recent works on Chinese alchemy, as well as “the importance of alchemy in Newton’s scientific revolution.” I should probably have a look at this, as Newton’s alchemical work was little acknowledged until the 1970s.

The index is sparse, to the point of being nearly useless. Despite Eliade’s name-dropping numerous ethnic groups, only some ethnonyms make it into the index. Geber/Jābir (written by Eliade as Jâbîr) appears at least twice (at least once in the main text as well as in one of the appendices), yet, despite being a major figure in the history of alchemy, he does not appear in the index at all under either G or J. Other alchemists, such as Zosimos and Michael Maier, though mentioned in the text, are similarly omitted from the index. Whether the shameful carelessness of composing the index is a function of the original Francophone publisher or the Anglophone publisher is not something I am in a position to pinpoint.

Overall, I would not recommend this ~60-year-old book for anyone who is just starting out in the study of alchemy, as understanding it correctly requires a background in history of science, and perhaps more background than I have in the history of material culture. I would prefer to direct such readers to Lawrence M. Principe’s 2013 book The Secrets of Alchemy, in which he demonstrates that first and foremost, alchemy was (and, according to its modern adherents, apparently still is) a physical discipline which was capable of yielding observable results, regardless of whether the “gold” produced was real.

[rgr-pop]

I believe both of these editions were designed by Riki Levinson, as referenced in her obituary. I can’t find a lot of her cover designs online, but I have a handful myself, she did work for Macmillan and Harper Torchbooks at the very least.*

Her case proves my previous broad statement wrong, and that’s one of many reasons I’m fascinated by her: trained as a calligrapher, yes, but under a Bauhuaus calligrapher; principally known for children’s books but also a publisher and art director herself... for children’s books! The obit suggests that she left jacket** design mostly by 1970, which makes sense.

*Harper Torchbooks seemed to hire a lot of women cover designers? I dunno if this is like a statistical illusion (I am sitting with eight sixties HT books with women cover designers, most of which I bought because their covers were designed by women) or if it was structural but I need to figure it out **not really used to referring to “jackets” because I never and would never pick up a “”hardcover””

[rj-anderson]

Do you enjoy reading non-fiction books? Or would you rather just lose yourself in a story? . Some people think fantasy authors don’t have to do research because they can just make everything up, but those people usually don’t know much about writing or fantasy. All the best authors I know do lots of research to make their worlds feel rich and well-grounded, and bring in those little concrete details (what Tim Clare calls “crunchy specificity” - isn’t that a delightful phrase?) that can make all the difference between a setting that pulls the reader in and one that seems shallow and evanescent. . So even though the Flight and Flame trilogy is set in present-day Cornwall rather than some imaginary fantasy kingdom, and even though I wanted to put some original twists on the local folklore rather than simply retelling it, I read a lot of folk tales, books and articles about Cornwall during the writing process to make sure my flights of fancy had a solid foundation. Here are three of the most important ones I used for reference — the one on the right is a very specific walking guide to a pretty small area, which just goes to show there’s a book about practically everything if you know where to look for it! . All that being said, I admit to not really loving research. I do it because I feel it’s the right and responsible thing as an author, but I’d much rather read a historical novel than an actual book of history any day! What about you? . . . #writersofinstagram #writingfantasy #research #researching #swift #swiftbook #nomad #nomadbook #torch #torchbook #flightandflametrilogy #enclavepublishing #speculativefiction #fairies #fairy #faery #fae #fairybook #fairybooks #faeriebooks #faeriebook #piskey #pisky #pixie #piskie #cornishpiskies #cornishpisky #cornishfolklore #cornishmining #spriggan https://www.instagram.com/p/CDKZG8BgvG9/?igshid=xijgacvgyap0

[ecotone99]

[FN] A prologue for a story I plan to write. Thoughts?

Prologue

I believe I finally figured out how to end this unbearable gift they call immortality. As such, this will be my last torch book entry. It will also be my longest, as it shall retell every detail that led me, and therefore us to this point. I first start this history lesson with an apology, as it has taken me this long to fulfill a promise that, should I went through with it earlier, could have made the world a better place. Why I didn’t, I don’t know. Perhaps I was worried about the backlash that may have been caused, as in doing this I admit that I am the reason magic is no longer being gifted to those born into the new generations. Or, perhaps at one point I found it best that the whole war be forgotten entirely. No matter the reason, the conclusion, the now, remains the same. So for better or for worse, I’m now releasing the truth. One that, for all those more fortunate than I, died along with them before they themselves could even believe it. So without further ado, we begin how we end, with a fire. Or perhaps more accurately, The Fire. This, is the story of Everburn.

It was at the top of the lowest of the mountains, appropriately named The Peak of Entry. This would be the stage for the most important event in modern history, perhaps even since the very formation of Foa forest. The Peak of Entry was not home to any major battle, nor was it the site of a treaty signing. The Peak of Entry was home to a single interaction between two people who had never previously met. A man named Situs, and a woman named Sarah. Both came from opposite sides, those being The Mages of Vitans and The Republic of Starke respectively. Although they had never met previously, the two did unfortunately know more than what was obvious about each other. They knew that only one of them, and therefore only one army would be left standing. But perhaps more importantly to the two, they knew only one of them would be able to tell the story of whatever happened there that day.

Situs had been assigned to sit at the top of the peak, anxiously waiting for this moment to come. Yet once it had, he had no clue what to do. Everyone else that had been part of The Battle for The Peak had died within it. Everyone but them. Sarah eventually made the first move, as she walked over toward Situs. Instead of drawing her rapier though, she instead sat down next to him and gestured for him to sit too. Equally surprisingly to both of them, he did so without question. The two sat in silence for a few moments as they thought about everything they had just been part of. For Sarah, the goal of the entire army, their entire country, was meer meters behind her now. For Situs, he had just been told to stand watch and guard the entrance, and instead he was left to watch everyone he had ever called family die in a fight he could not join. Both of them had every reason to immediately kill the other and yet, here they were. The two sat together at the edge of the mountain, staring over a blazing field of corpses. The interaction somehow still bread more surprises still, with the first words spoken between the two. “You forest people really know how to defend a mountain”. Sarah said these words in a surprisingly serious tone, getting a rather grim chuckle out of both of them.

“‘Dulce et decorum est pro patria mori’ as our old tongue says. But we apparently don’t defend mountains nearly as well as you futurists can burn a field” Situs said back as lightly as possible in a situation as grim as this. Surprisingly, this did get another laugh out of the two. After the chuckles had ended, the two began to feel the weight of the situation setting in. Situs begins to reach for his dagger slowly, brushing his torchbook by mistake. However, he instead played it off as if it had been his real intention to grab the book. The reasoning behind it, no one will ever really know. However, it was because of this, or rather his next action that I am able to write this here and now. He asked Sarah a simple question. “You still use yours?”

Understandably, this caught her off guard. Yet nonetheless, she answered as if the situation were entirely normal. “Of course I do! It uses such little magic but is by far the most important thing to use it for. All you have to do is light a little candle and it provides more than enough energy for even beginners to manipulate into burning letters into the pages. Then once you’re as skilled as I am, you can have…”. She stopped abruptly with her hand over the pendant she wore around her neck. She then took it off, clenching it in her hand. “You can have other sources of this energy that come seemingly from nowhere'' she finishes, “Quite frankly it’s too useful not to use. But clearly you would already know all that, so why do you ask?”

“Until now, I thought I was the only one at my level who saw their use. Thank you for proving me wrong. Although, I see more in it than just its usefulness. I use it as a tool to keep track of-”

“History” The two said in unison.

Situs had been caught off guard by her correct assumption, yet he continued swiftly after. “Sometimes I think about what would happen if all of us just stopped existing, leaving only our belongings behind. If anyone or anything ever found our belongings in the ruins of a world long forgotten, what would they think of us? Our people? Me? These questions fuel my desire, or rather my need to write what I can of what is happening in this world we call home. Because if I don’t, then who would?”

Sarah let out a small chuckle before she responded to Situs’s rhetorical question. “I would do it. Hell, I do it now!” The sudden yell from Sarah echoed across the otherwise silent field, only for the silence to eventually return, continuing to drown the two. With nothing left for them to focus on, the knowledge that only one of them would leave this mountain alive began to set in. It was probably about this time that Sarah had an idea. “So what if I do exactly that? What if we did that? Face it, we both know only one of us is leaving the victor, and as we both know history is written by the victors… so what if we could change that?”

“You’re suggesting we write each others stories? You're... non compos mentis!” He paused, as if to compose himself. Then, after clearing his throat, he continued. “I apologize for my outburst, but we don't even know each others names.” Situs stopped for a moment to contemplate his next statement. He then took out his torchbook, and began reading aloud. “My name is Situs Oturae, Guardian of the Foa Forest,” He broke momentarily to glance at the torchbook in his hands as Sarah frantically opened her own, “ and this is the story of the people of Vitans. This is the story is the story of me ”

submitted by /u/PartyPigman [link] [comments] via Blogger https://ift.tt/2L7QrNK

[ultrasoundandfury]

Painting in Florence and Siena after the Black Death (1951) 1964 Printing

The Arts, Religion and Society in the Mid-Fourteenth Century

Millard Meiss (1904-1975)

American Art Historian specializing in Gothic Architecture

Professor of Art History at Columbia, Harvard and Princeton

Harper Torchbooks – The Academy Library

Harper & Row Publishers, NY

  Brattle Booksellers Dollar Grab

  Comprehensive List of TorchBooks in The Back….OH, YEAH!!!!