The true home of Halloween ?

Did you know that Halloween began on the island of Ireland? 🎃 The spooky season began as an ancient Celtic festival called Samhain (pronounced “sow-in”), celebrated over 2,000 years ago. Marking the end of the harvest season and the beginning of winter, Samhain was a time when the Celts believed the veil between the living and the dead was at its thinnest. Bonfires were lit, costumes were worn to ward off spirits, and offerings were made to appease the otherworldly beings. The Púca Festival (31st October- 3rd November) in County Meath reimagines ancient traditions with music, fire displays, storytelling, and food inspired by the Samhain spirit. Whilst in Northern Ireland, Derry Halloween (27th – 31st October) is renowned for being one of the best Halloween festivals in the world! With street parades, haunted trails along the city’s 400-year-old walls and even fireworks🎆 The Bram Stoker Festival (25th October – 28th October) celebrates the legacy of one of Ireland’s most beloved and iconic writers, author of the world-famous Dracula, with outdoor spectacles, choral performances and plays. Who would you bring with you to experience the Home of Halloween? For more information see link in bio or visit https://www.ireland.com/homeofhalloween

via Discover Ireland

 

 

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Magical (not lucky) Charms

The Book of Magical Charms, is a handwritten occult commonplace book composed in England in the seventeenth century and currently in the holdings of the Newberry Library in Chicago, Illinois. Its author is suspected to be London attorney Robert Ashley.

The Book of Magical Charms original volume, that has dos-à-dos binding, has no title, nor any named author. “Book of Magical Charms” is the title assigned to it by the library staff who acquired it in 1988 along with a bundle of medical texts. Its pages were written using iron gall ink and likely a quill pen utilizing Latin and archaic English. The book contains numerous passages regarding charms for things such as healing a toothache or recovering a lost voice as well as how to talk to spirits.

Although the book’s principal author is not named, he was identified in 2017 from his handwriting as a London lawyer, Robert Ashley. Ashley likely composed the book over the course of his lifetime. No copies of the book were ever made.

The Newberry Library has made the book’s pages available for the public to read and transcribe/translate. The library dates the book c.1600–1699, and the subjects covered as: medicine, magic, mysticism, and spagiric magic.

 

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Is it human or is it AI

We have reached the point where the Authors Guild, the professional association representing published novelists and nonfiction writers in North America, is planning to offer  its 15,000 members a new certificate they can place directly on their book covers.

About the size of literary award stickers or celebrity book club endorsements adorning the cover art of the latest bestseller, the certificate is a simple, round logo with two boldfaced words inside: “Human Authored.” As in, written by a human — and not artificial intelligence.

According to author Douglas Preston, a bestselling novelist and nonfiction writer and member of the Authors Guild Council, “It’s also a declaration of how important storytelling is to who we are as a species. And we’re not going to let machines elbow us aside and pretend to be telling us stories, when it’s just regurgitating literary vomitus.”

How we live now.

 

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“The tourist is the other fellow.”

                                               “The tourist is the other fellow.”
                                                          — Evelyn Waugh
The contradictions pile up. The traveler is a paragon of curiosity and generosity of spirit; the tourist is a facile automaton, a constituent of a witless herd. Travel is an expression of democratic freedom and the economic lifeblood for millions; tourism is an instrument of capitalist expropriation, an engine of inequality. The act of travel opens the heart and the mind to the lives of others, but it can equally be regarded as an exercise in selfishness, pursued for the accrual of personal gratification and cultural capital. Travel was better when there were fewer people doing it, but saying so out loud is nothing but snobbery.
from:

Henry Wismayer, “Nice View. Shame About All the Tourists.” Noema (January 9, 2024).

Happy Birthday to New York City’s Rizzoli Bookstore, which is celebrating its 60th anniversary with a series of events that began this fall and will run into 2025. They include conversations with Laurie Anderson, David Godlis, Garth Greenwell, Jhumpa Lahiri, Ira Sachs, Patti Smith, and Chris Stein, among others. In addition, New York ensemble Tredici Bacci pays tribute to Rizzoli’s influential role as a film producer with a concert inspired by the soundtracks Nino Rota composed for Federico Fellini’s films. There will also be limited-run collections of anniversary tote bags and pencils.

The store was founded in 1964 by Italian entrepreneur Angelo Rizzoli, who was a publisher of books, newspapers, and magazines, and owner of a chain of bookstores in Milan, including the Rizzoli flagship store located in the Galleria. He also was a producer of classic films such as Fellini’s Une Parisienne, and La Dolce Vita.

The original store was in Midtown in the Scribner Building at 597 Fifth Avenue. The store later moved to the Henri Bendel Building at 712 Fifth Avenue, and then to 57th Street, where the shop became an institution. Additional stores opened in Chicago, Los Angeles, Boston, San Francisco, and other cities, as well as three additional locations in New York. While the other locations no longer operate, in 2014, Rizzoli Bookstore relocated to its current home on Broadway in the Beaux-Arts Saint James Building in the heart of the NoMad neighborhood.

During its 60 years, the bookstore has had both a screening room and served as the backdrop for many TV shows and movies, including Law & OrderManhattanFalling in LoveThe Room Next Door, and more.

Rizzoli Bookstore specializes in literature, photography, architecture, interior design, culinary, and the fine and applied arts. The store also stocks a selection of Italian-, French-, and Spanish-language fiction and nonfiction. The bookstore regularly hosts a range of events, including book launches, concerts, performances, wine tastings, and creative workshops.

Before Google, reference librarians answered questions via telephone. “We learned not merely how to find information but how to think about finding information. Don’t take anything for granted; don’t trust your memory; look for the context…”

“What it’s like to experience Polar Night in the world’s Northernmost town.”

Cecilia Blomdahl writes about her embrace of the seasonal plunge into total darkness and also posts videos from her eight years in Longyearbyen on the Norwegian archipelago of Svalbard.

LEARNING FROM HISTORY

David Ferry

They said, my saints, my slogan-sayers sang,
Be good, my child, in spite of all alarm.
They stood, my fathers, tall in a row and said,
Be good, be brave, you shall not come to harm.
I heard them in my sleep and muttering dream,
And murmuring cried, How shall I wake to this?
They said, my poets, singers of my song,
We cannot tell, since all we tell you is
But history, we speak but of the dead.
And of the dead they said such history
(Their beards were blazing with the truth of it)
As made of much of me a mystery.

 

 

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“Renaissance Baedeker”

I first learned about the 15th century incunabula Mirabilia Romae while I was researching a magazine article on the history of the travel guidebook. One of the earliest European printed guidebooks, the Mirabilia Urbis Romaea is a geographically arranged inventory of the musts-see sites of Rome. It also covers the city’s architectural heritage, ancient monuments, organizing them by function – temples, baths, bridges, hills, and more. As the book progresses, factual descriptions of the monuments are interwoven with legends and anecdotes. The Incunabula Short Title Catalogue lists eight editions believed printed in the 1470s. All are exceedingly rare, and only two of the eight editions have appeared publicly for sale in modern times.

Recently, a 1475 edition which was beautifully bound in green morocco for the library of Prince Ferdinando of Savoy, first duke of Genoa, with his coat of arms and initials in gilt on the covers has surfaced for sale in London. This is one of the earliest known editions.

Mirabilia Romae (“The marvels of Rome”) was composed about 1140-50 by an anonymous writer, sometimes identified as Benedict, Canon of St Peter’s, as a guide for the pilgrims to the city. First printed in the early 1470s, it was reprinted multiple times over the following century, and translated into Italian, English, Spanish, and German.

This “Renaissance Baedecker” is assigned to the printer Giovanni de Reno, active in Sant’Orso (Valle d’Aosta, Italy), on the basis of the type and watermark.  It can be yours for the paltry sum of £60,000.

 

 

 

 

 

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Spooky Times

It’s that spooky time of the year here in North America. Folks in the U.S. alone will be spending close to $13 billion on holiday decorations, costumes, candy, and parties. I recently spent an afternoon visiting a nearby town that goes all out decorating homes and yards for Halloween. My little village is inundated on Halloween evening with young folks going door to door trick or treating for candy. Some of my neighbors spend hundreds of dollars on candy to distribute to the kids. We’re lucky that we live on the edge of town and have a very long driveway so we don’t get the hordes of costumed holiday makers.

Here’s  a collection of cute and quirky animated GIFs that all bring the Halloween spirit to life. Full of dripping blood, skeletons and ghosts, you’re sure to get a chuckle out of the holiday themed design.

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Airport Affairs

As international airports go, New Zealand’s Dunedin International is a very small affair. I felt quite foolish showing up two hours ahead of time for my flight from Dunedin to Auckland since there was just one other flight that morning and combined check-in and security took all of ten minutes. So, I was tickled by the recent news story about the facility’s crackdown on lingering drop-offs.

A sign erected in the airport’s drop-off zone warns: “Max hug time 3 minutes. For fonder farewells please use the car park.”

Dunedin Airport chief executive Dan De Bono told national broadcaster Radio New Zealand (RNZ) that warning messages at airport drop-off zones can be “quite intense” and include threats to clamp wheels or impose fines – something the airport wanted to avoid.

“We’re trying to have fun with it. It is an airport and those drop off locations are common locations for farewells,” De Bono told RNZ, adding that too many people were taking too long in the drop-off zone.

“There’s no space left for others,” he said. “It’s about enabling others to have hugs.”

 

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Trans-Global Express

If you love train travel as much as I do, I’m certain that you will enjoy this charming, award-winning film about international train travel. Alan Dransfield had an inspiration for “Trans-Global Express” and here is his story:

“A tapestry of clips woven together during a overland journey from Hull to Valdivosko and back – observing and mapping cultural changes step by step as I strut through the cabins of trains. That’s right – I was going to strap a Gopro to my crotch.
Colours, faces, activities, language, attitudes, fashion and even train designs would represent the geographical locations I was to pass through.
As it turned out, the two years and 25000km of filming was only the beginning of this journey – it took a further seven years to pull it all together into the final film, oh la la!
But here we are – and it just won a bloody film festival =D
It’s like some huge loop has been closed – receiving acknowledgment for my efforts from such an awesome event makes it all worth while.”

 

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Frankenstein Season

The Frankenstein Varorium is an online tool which allows the user to explore the iconic Science Fiction novel’s text through its various incarnations, allowing the user to select individual passages and see how they have evolved through different revisions of the work. “In the case of Frankenstein, the substantive changes that MWS made in her revised edition are so extensive that many teachers and students of Frankenstein consider 1818 and 1831 as two different novels.” Scholars do not agree on a single authoritative text, though the 1818 edition became more available from the 1990s onward in teaching editions, reflecting increasing interest in the earlier versions of the text. With this project, we offer a way to explore not just two but five distinct moments in the novel’s writing and re-writing, and they do not proceed in orderly stages. The following diagram summarizes the relationships among the manuscript and published versions of Frankenstein composed between 1816 and 1831 that we worked with for this variorum project.”  One does not need to be an English lit major or Sci-Fi fan to really want to get deep into Frankenstein,

Following are details on the origins of each text represented in this Frankenstein Variorum:

  • MS The manuscript notebooks at the Bodleian Library thought to be a “fair copy” of the novel preparing it for publication, drafted in 1816-1817. Facsimile views and manuscript encoding of each page surface are provided by the Shelley-Godwin Archive (S-GA), and the TEI encoding from this project provides one of the five bases for our machine-assisted collation. The Variorum Viewer provides deep links into each page of the intricate S-GA edition.
  • 1818 The first anonymous publication of the novel, published by Lackington, Hughes, Harding, Mavor, & Jones in London, 1818. We worked with the 1990s HTML code of The Pennsylvania Electronic Edition of the 1818 text, transformed it to XML and corrected it against a photo facsimile of the 1818 edition so its markup would form the basis for locating chapter and paragraph boundaries in our collation.
  • Thomas MWS’s handwritten edits and marginal notes inscribed in a copy of the 1818 edition that MWS left in Italy with Mrs. Thomas nearly a year after the death of Percy Shelley in July 1822 and before she returned to England in August 1823. It is now stored at The Morgan Library & Museum. As we have indicated, since the notes in this book were not available to MWS later, the “Thomas copy” represents a divergence in the version history and raises interesting questions of how much it differs from her later revisions.
  • 1823 Inspired by the success of Presumption! or, The Fate of Frankenstein, the first staged melodrama adaptation of his daughter’s novel, William Godwin prepared a lightly edited version of the 1818 text for publication. Godwin’s 1823 edition, prepared before his daughter returned to England and without her assistance, is the first time the name of the author, “Mary Wollstonecraft Shelley,” appears on the the title page. With the help of Carnegie Mellon library with OCR page images, we prepared the 1823 XML text for incorporation in the Frankenstein Variorum.
  • 1831 MWS heavily revised the novel by 1831, and this revised version was first published in volume 9 of Bentley’s Standard Series of Novels (London: Henry Colburn & Richard Bentley, 1831. As with the 1818 edition, we again worked with the code of The Pennsylvania Electronic Edition for preparing our XML text and corrected that text by consulting a photo facsimile.

You may access and download the texts in various stages of preparation for this edition from the Data page of this website and from our GitHub repository for the project.

 

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“Get on the stick”

While I was watching the new Marvel spin-off TV series “Agatha All Along”, which revolves around a coven of witches, I wondered when witches were first depicted flying on broomsticks. Thanks to the net the answer involved the image pictured above, Witches illustrated in Martin Le Franc’s ‘Le Champion des Dames’ (1451) (via Bibliothèque nationale de France (BNF)/Wikimedia).

The visual of the witch on a broomstick is so ubiquitous as to be benign. Before the Wicked Witch of the West or Harry Potter took flight on the spindly cleaning tool, the image first appeared in the 15th century. Two women in marginal illustrations of the 1451 edition of French poet Martin Le Franc’s Le Champion des Dames (The Defender of Ladies), a manuscript now in the Bibliothèque nationale de France (BNF), are soaring, one on a stick, the other on a broom.

According to Witchcraft in Europe, 400-1700: A Documentary History, edited by University of Pennsylvania history professors Alan Charles Kors and Edward Peters, Le Champion des Dames has “the first such illustration in the pictorial history of witchcraft.” Le Franc’s long poem about virtuous women is interrupted by a discussion of witchcraft, and the covered heads of the two women marks them as Waldensians. This Christian movement emerged in the 12th-century. With its tenet that any member could be a priest, even a woman, and perform sacraments and preach, the bloody ire of the Catholic Church soon followed. That these heretics would also meddle with the supernatural was not a leap, but why the broomstick?

Dylan Thuras at Atlas Obscura wrote that the “broom was a symbol of female domesticity, yet the broom was also phallic, so riding on one was a symbol of female sexuality, thus femininity and domesticity gone wild.” The two women in Le Champion des Dames importantly don’t appear deformed or grotesque, they are ordinary; their corruption cannot be visually perceived. And pagan rituals before the 15th century had involved phallic forms, so the shape of the broomstick between a woman’s legs had both a sexual and spiritually deviant meaning to the Church.

Yet it was racier than that. Richard Cavendish’s 1970 An Illustrated Encyclopedia of the Supernatural cites a man, Guillaume Edelin, who confessed to flying on a broom in 1453 as the first known reference to the act. Just a few years later, in 1456, emerged the mention of “flying ointment.” Either given by the devil or crafted by a witch, the potion allowed a human to take flight, likely for a trip to the Witches’ Sabbath.

But the image of the witch on the broomstick combined anxieties on women’s sexuality, drug use, and religious freedom into one enduring myth.

via Hyperallergic

 

 

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