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“Athough written many years ago, Lady Chatterley’s Lover has just been reissued by Grove Press, and this fictional account of the day-by-day life of an English gamekeeper is still of considerable interest to outdoor-minded readers, as it contains many passages on pheasant-raising, the apprehending of poachers, ways to control vermin, and other chores and duties of the professional gamekeeper. Unfortunately, one is obliged to wade through many pages of extraneous material in order to discover and savour these sidelights on the management of a Midland shooting estate, and in this reviewer’s opinion this book cannot take the place of J. R. Miller's Practical Gamekeeping.”

- Ed Zern providing probably the greatest review of Lady Chatterley ever written (Field & Stream magazine, 1959).

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Just wait untill my 6 tumblr mutuals hear about this

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Anni Albers

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every time a person who hates 18th century wigs sets their story in the 18th century, an angel loses its wings

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Could any piece of holiday music be more unsettling than this?  This lullaby was written from the point of view of the women of Bethlehem who sang the song to urge their children to be still as the unwilling soldiers of King Herod came to slaughter their infants in Herod’s attempt to eliminate a competitor–the newborn King of the Jews.

In the liturgical calendar, those children are commemorated today, December 28, the Feast of the Holy Innocents.

Annie Lennox could not have done a better job in coming out with this disturbing rendition.

LULLAY LULLAY (COVENTRY CAROL)

Lullay, lullay, my littell tiné child; By, by, lullay, lullay, lullay, lullay, my littell tiné child: By, by, lullay, lullay.

O. sisters too how may we do For to preserve this day This pore yongling of whom we do singe By, by, lullay, lullay.

Herod the king in his raging Chargid he hath this day His men of might in his owne sight, All children yonge to slay.

Then wo is me pore child for thee, And ever morne and say For thi parting nor say nor singe By, by lullay, lullay.

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NOT EVERYTHING FEELS LIKE SOMETHING ELSE

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three person poly relationship made up of two people who are already dating trying to coax someone with horrific self worth issues into a loving relationship. stray cat style

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What does it matter what happened then if we have no life now? Because there is no life here. There is no joy here. There is no love here.

MIRANDA BARLOW | BLACK SAILS VII

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harry callahan quoted in his complete works, pub. 1999.

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If there’s a piece of writing you love, that makes you wish you had the ability to do what it does, the tools you're looking for are inside the story itself. Fiction is rarely mysterious in how it works. All you have to do is pay attention with the right mindset.

What you’re looking for is cause and effect, set-up and pay off. What does that piece of dialogue set up a) within the scene and b) later in the narrative? What purpose does this moment serve for the story as a whole? Can you identify the turning points within the scene and the turning points in the larger narrative? How do they fit together? You’ll find these things tend to fall into general patterns. Don’t get distracted by focusing on character details, analysis, or speculation! Fandom tends to overemphasize character to the exclusion of everything else. You probably already know how to analyze characters, but how much time do you spend thinking about the mechanics of the narrative? If you can figure out what makes the stories you love work, you can teach yourself to do any kind of storytelling you want to.

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second quarter of 2025 in books

31. Speak, Memory, Vladimir Nabokov 32. Dust and Light: On the Art of Fact in Fiction, Andrea Barrett [despite the promising subject this had exactly nothing to say] 33. Architecture in Uniform: Designing and Building for the Second World War, Jean-Louis Cohen [already calling this as one of if not the best WWII reads of the year] 34. The Uptown Local: Joy, Death, and Joan Didion, Cory Leadbeater 35. Fun Home, Alison Bechdel [reread, but not for many years--just as wonderful as remembered] 36. Vertigo, W.G. Sebald (trans. Michael Hulse) 37. The Molly Series, Valerie Tripp [rereads, of course] 38. Five Came Back: A Story of Hollywood and the Second World War, Mark Harris 38. Vertigo: The Rise and Fall of Weimar Germany, Harald Jähner (trans. Shaun Whiteside) 39. Home of the Brave, Arthur Laurents 40. Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, Melissa Müller and Monika Tatzkow (trans. Jennifer Taylor and Tammi Reichel) 41. Sheer Misery: Soldiers in Battle in WWII, Mary Louise Roberts 42. The Kindness of Strangers, Salka Viertel [even in a quarter that included Nabokov's, this was a strong contender for favorite memoir. If you have any interest in Golden Age Hollywood and want to experience the most insane run of name-dropping you ever will, run don't walk etc.] 43. Act of Faith and Other Stories, Irwin Shaw [Irwin Shaw!!] 44. Tomorrow Will Be Better, Betty Smith [A Tree Grows in Brooklyn Betty Smith! bleak but wonderful] 45. The Best of Everything, Rona Jaffe 46. American Comics: A History, Jeremy Dauber 47. Gentleman's Agreement, Laura Z. Hobson 48. Carrying a Big Schtick: Jewish Acculturation and Masculinity in the Twentieth Century, Miriam Eve Mora 49. All-Of-A-Kind Family Uptown, Sydney Taylor [reread] 50. What a Drag: Men As Women and Women As Men in the Movies, Homer Dickens 51. When Books Went to War: The Stories that Helped Us Win World War II, Molly Guptill Manning 52. The Card Catalog: Books, Cards, and Literary Treasures, Peter Devereaux 53. Let Me Tell You: New Stories, Essays, and Other Writings, Shirley Jackson [loved this; the unevenness actually highlighted just how good she is] 54. Summer, Edith Wharton [reread]

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Mini tintypes of a girl, 1870s

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Tagged by @thismoleculeisacomedian a while ago--thank you!

Last song: Paragon Ragtime Orchestra doing "Elite Syncopations"; linking because it is three minutes and seven seconds of mood improvement, if anyone's in need of that.

Favorite color: Purple. To wear, jewel tones, especially dark red.

Currently watching: Thinking about little besides The Gilded Age, from now until at least mid-August. I am also attempting my first time through Mad Men.

Last movie: Life With Father (1947). A deeply frustrating movie, but the Technicolor 1940s-does-1880s aesthetics of it all are unmatched.

Sweet, savory, sour?: Sweet, though also a big savory person. Not much for sour.

Currently reading: I just finished a reread of Edith Wharton's Summer, which I love; I'm now onto Washington Square. To feed to currently-hibernating Band of Brothers obsession, That Winter by Merle Miller.

Current obsession: The Gilded Age has predictably eaten my brain for the duration. Band of Brothers is still there, though, and likely won't leave me fully alone until I finish some more of these goddamn fanfictions.

Last google search: "watch the heiress 1949" (It's on the Internet Archive!)

Currently working on: Fic-wise I'm still Band of Brothers-ing; the main things right now are the stupid drag show fic and the Liebgott postwar fic I've been writing since last summer. As well as a couple of others too dumb to mention. In the three-dimensional world I've discovered the joys of vintage sweater patterns, and I'm currently partway through knitting my way through two of them.

Tagging anyone who would like to do it!

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"Why do flowers have to be for anything? Isn't it enough that they have colour and form, and that they make you feel good?"

— directed by Vincente Minnelli; THE COBWEB (1955) MEET ME IN ST. LOUIS (1944) FATHER'S LITTLE DIVIDEND (1951) LUST FOR LIFE (1956) CABIN IN THE SKY (1943) AN AMERICAN IN PARIS (1951) THE CLOCK (1945) ON A CLEAR DAY YOU CAN SEE FOREVER (1970) ZIEGFELD FOLLIES (1945) TEA AND SYMPATHY (1956)