Moby Dick

Hans Christian Anderson, the creater of fairy tales, was actually word-blind. He was never able to spell correctly. His publishers had to correct his errors.

Donald Duck comics were once banned from Finland because he/it didn’t wear pants.

During his entire lifetime, Herman Melville’s timeless classic of the sea, Moby Dick, only sold 50 copies.

The song Twinkle Twinkle Little Star is a combination of an English poem “The Star” and a French tune “Ah! vous dirai-je, Maman”. In the French tune, the original lyrics told the story of a girl telling her mother that she was being seduced by a man called “Silvandre”

The 100 Best English-Language Novels of the 20th Century

The Board of the Modern Library, a division of Random House, published its selections in July 1998.

1. Ulysses, James Joyce (1922)
2. The Great Gatsby, F. Scott Fitzgerald (1925)
3. A Portrait of the Artist as a Young Man, James Joyce (1916)
4. Lolita, Vladimir Nabokov (1958)
5. Brave New World, Aldous Huxley (1932)
6. The Sound and the Fury, William Faulkner (1929)
7. Catch-22, Joseph Heller (1961)
8. Darkness at Noon, Arthur Koestler (1941)
9. Sons and Lovers, D. H. Lawrence (1913)
10. The Grapes of Wrath, John Steinbeck (1939)
11. Under the Volcano, Malcolm Lowry (1947)
12. The Way of All Flesh, Samuel Butler (1903)
13. 1984, George Orwell (1949)
14. I, Claudius, Robert Graves (1934)
15. To the Lighthouse, Virginia Woolf (1927)
16. An American Tragedy, Theodore Dreiser (1925)
17. The Heart Is a Lonely Hunter, Carson McCullers (1940)
18. Slaughterhouse-Five, Kurt Vonnegut (1969)
19. Invisible Man, Ralph Ellison (1952)
20. Native Son, Richard Wright (1940)
21. Henderson the Rain King, Saul Bellow (1959)
22. Appointment in Samarra, John O'Hara (1934)
23. U.S.A. (trilogy), John Dos Passos (1937—trilogy completed)
24. Winesburg, Ohio, Sherwood Anderson (1919)
25. A Passage to India, E. M. Forster (1924)
26. The Wings of the Dove, Henry James (1902)
27. The Ambassadors, Henry James (1903)
28. Tender Is the Night, F. Scott Fitzgerald (1934)
29. The Studs Lonigan Trilogy, James T. Farrell (1935)
30. The Good Soldier, Ford Madox Ford (1915)
31. Animal Farm, George Orwell (1946)
32. The Golden Bowl, Henry James (1904)
33. Sister Carrie, Theodore Dreiser (1900)
34. A Handful of Dust, Evelyn Waugh (1934)
35. As I Lay Dying, William Faulkner (1930)
36. All the King's Men, Robert Penn Warren (1946)
37. The Bridge of San Luis Rey, Thornton Wilder (1927)
38. Howards End, E. M. Forster (1910)
39. Go Tell It on the Mountain, James Baldwin (1953)
40. The Heart of the Matter, Graham Greene (1948)
41. Lord of the Flies, William Golding (1954)
42. Deliverance, James Dickey (1969)
43. A Dance to the Music of Time (series), Anthony Powell (1975—series completed)
44. Point Counter Point, Aldous Huxley (1928)
45. The Sun Also Rises, Ernest Hemingway (1926)
46. The Secret Agent, Joseph Conrad (1907)
47. Nostromo, Joseph Conrad(1904)
48. The Rainbow, D. H. Lawrence (1915)
49. Women in Love, D. H. Lawrence (1921)
50. Tropic of Cancer, Henry Miller (1934)
51. The Naked and the Dead, Norman Mailer (1948)
52. Portnoy's Complaint, Philip Roth (1969)
53. Pale Fire, Vladimir Nabokov (1962)
54. Light in August, William Faulkner (1932)
55. On the Road, Jack Kerouac (1957)
56. The Maltese Falcon, Dashiell Hammett (1930)
57. Parade's End, Ford Madox Ford (1950)
58. The Age of Innocence, Edith Wharton (1920)
59. Zuleika Dobson, Max Beerbohm (1911)
60. The Moviegoer, Walker Percy (1961)
61. Death Comes for the Archbishop, Willa Cather (1927)
62. From Here to Eternity, James Jones (1951)
63. The Wapshot Chronicles, John Cheever (1957)
64. The Catcher in the Rye, J. D. Salinger (1951)
65. A Clockwork Orange, Anthony Burgess (1962)
66. Of Human Bondage, W. Somerset Maugham (1915)
67. Heart of Darkness, Joseph Conrad (1902)
68. Main Street, Sinclair Lewis (1920)
69. The House of Mirth, Edith Wharton (1905)
70. The Alexandria Quartet, Lawrence Durrell (1960—series completed)
71. A High Wind in Jamaica, Richard Hughes (1929)
72. A House for Mr. Biswas, V. S. Naipaul (1961)
73. The Day of the Locust, Nathanael West (1939)
74. A Farewell to Arms, Ernest Hemingway (1929)
75. Scoop, Evelyn Waugh (1938)
76. The Prime of Miss Jean Brodie, Muriel Spark (1961)
77. Finnegans Wake, James Joyce (1939)
78. Kim, Rudyard Kipling (1901)
79. A Room with a View, E. M. Forster (1908)
80. Brideshead Revisited, Evelyn Waugh (1945)
81. The Adventures of Augie March, Saul Bellow (1953)
82. Angle of Repose, Wallace Stegner (1971)
83. A Bend in the River, V. S. Naipaul (1979)
84. The Death of the Heart, Elizabeth Bowen (1938)
85. Lord Jim, Joseph Conrad (1900)
86. Ragtime, E. L. Doctorow (1975)
87. The Old Wives' Tale, Arnold Bennett (1908)
88. The Call of the Wild, Jack London (1903)
89. Loving, Henry Green (1945)
90. Midnight's Children, Salman Rushdie (1981)
91. Tobacco Road, Erskine Caldwell (1933)
92. Ironweed, William Kennedy (1983)
93. The Magus, John Fowles (1966)
94. Wide Sargasso Sea, Jean Rhys (1966)
95. Under the Net, Iris Murdoch (1954)
96. Sophie's Choice, William Styron (1979)
97. The Sheltering Sky, Paul Bowles (1949)
98. The Postman Always Rings Twice, James M. Cain (1934)
99. The Ginger Man, J. P. Donleavy (1955)
100. The Magnificent Ambersons, Booth Tarkington (1918)

The first book published is thought to be the Epic of Gilgamesh, written at about 3000 BC in cuneiform, an alphabet based on symbols.

Johannes Gutenberg is often credited as the inventor of the printing press in 1454. However, the Chinese actually printed from movable type in 1040. Gutenberg was unaware of the Chinese printing methods.

Sumerians invented writing in the 4th century BC.

William Shakespeare wrote his first play The Taming of the Shrew in 1593.

The first illustrated book for children was published in Germany in 1658.

The first novel sold through a vending machine—at the Paris Metro—was Murder on the Orient Express.

The largest web bookshop, Amazon.com, stores almost 3 million books.

When Jonathan Swift published Gulliver’s Travels in 1726, he intended it as a satire on the ferociousness of human nature. Today it is enjoyed as a children’s story.

The Best-selling Novelist of All Time

Dame Barbara Cartland (7/1/1901 - 5/21/2000) completed a novel every two weeks, publishing more than 723 novels, which sold more than 1 billion copies in 36 languages, making her the best-selling novelist of all time.

The word millionaire was first used by Benjamin Disraeli in his 1826 novel Vivian Grey.

"The pen is mightier than the sword."
English novelist and dramatist Edward George Earle Lytton Bulwer-Lytton (1803–1873)

Orhan Pamuk’s Speech

Orhan Pamuk’s Speech at the Nobel Banquet, December 10, 2006

Why do you write? This is the question I’ve been asked most often in my writing career. Most of the time they mean this: What is the point, why do you give your time to this strange and impossible activity? Why do you write... You have to give an excuse, an apology for writing... This is how I have felt every time I’ve heard this question. But every time I give a different answer... Sometimes I say: I do not know why I write, but it definitely makes me feel good. I hope you feel the same when you read me! Sometimes I say that I am angry, and that is why I write. Most of the time the urge is to be alone in a room, so that is why I write. In my childhood I wanted to be a painter. I painted every day. I still have that childish feeling of joy and happiness whenever I write. I write to pursue that old childish happiness and that is why for me literature and writing are inextricably linked with happiness, or the lack of it... unhappiness. In my childhood, I felt happy, painted a lot, and all the grown ups were constantly smiling at me. Everybody was gentle, polite and tender. I wrote all about this in my autobiographical book, Istanbul. After the publication of Istanbul, some people asked me this question: Aren’t you a bit young to write your autobiography? I kept my silence. Literature is about happiness, I wanted to say, about preserving your childishness all your life, keeping the child in you alive... Now, some years later, I’ve received this great prize. This time the same people begin asking another question: Aren’t you a bit young to get the Nobel Prize? Actually the question I’ve heard most often since the news of this prize reached me is: How does it feel to get the Nobel Prize? I say, oh! It feels good. All the grown ups are constantly smiling at me. Suddenly everybody is again gentle, polite and tender. In fact, I almost feel like a prince. I feel like a child. Then for a moment, I realize why sometimes I have felt so angry. This prize, which brought back to me the tender smiles of my childhood and the kindness of the strangers, should have been given to me not at this age (54) which some think is too young, but much much earlier, even earlier than my childhood, perhaps two weeks after I was born, so that I could have enjoyed the princely feeling of being a child all my life. In fact now... come to think of it... That is why I write and why I will continue to write. (The Nobel Foundation 2006)

Gothic Literature

The origins of Gothic literature can be traced to various historical, cultural, and artistic precedents. Figures found in ancient folklore, such as the Demon Lover, the Cannibal Bridegroom, the Devil, and assorted demons, later populated the pages of eighteenth-and nineteenth-century Gothic novels and dramas. In addition, many seventeenth-and eighteenth-century works are believed to have served as precursors to the development of the Gothic tradition in Romantic literature. These works include plays by William Shakespeare, such as Hamlet (c. 1600–01) and Macbeth (1606), which feature supernatural elements, demons, and apparitions, and Daniel Defoe’s An Essay on the History and Reality of Apparitions (1727), which was written to support religion and discourage superstition by providing evidence of the existence of good spirits, angels, and other divine manifestations, and by ridiculing delusions and naive credulity. However, while these elements were present in literature and folklore prior to the mid-eighteenth century, when the Gothic movement began, it was the political, social, and theological landscape of eighteenth-century Europe that served as an impetus for this movement. Edmund Burke’s treatise A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757) introduced the concept of increasing appreciation for the nature of experiences characterized by the “sublime” and “beautiful” by depicting and then engaging (vicariously) in experiences comprised of elements that are contrary in nature, such as terror, death, and evil. Writers composed Gothic narratives during this period largely in response to anxiety over the change in social and political structure brought about by such events as the French Revolution, the rise in secular-based government, and the rapidly changing nature of the everyday world brought about by scientific advances and industrial development, in addition to an increasing aesthetic demand for realism rather than folklore and fantasy. The Gothic worlds depicted fears about what might happen, what could go wrong, and what could be lost by continuing along the path of political, social, and theological change, as well as reflecting the desire to return to the time of fantasy and belief in supernatural intervention that characterized the Middle Ages. In some cases Gothic narratives were also used to depict horrors that existed in the old social and political order—the evils of an unequal, intolerant society. In Gothic narratives writers were able to both express the anxiety generated by this upheaval and, as Burke suggested, increase society's appreciation and desire for change and progress.

It is Horace Walpole’s novel The Castle of Otranto (1764) that is generally acclaimed as the original work of Gothic literature—despite the fact that some of the Gothic trappings found in Walpole’s work were present in works such as Tobias Smollett’s The Adventures of Ferdinand Count Fathom (1753)—because in his narrative Walpole brings together elements of the supernatural and horrific, and models his ruined castle setting after his real-life residence, Strawberry Hill, a modern version of a medieval castle. The characters in the novel try to succeed in the modern world and to adhere to the optimism and forward-looking agenda they have been asked to advance, but a dark, ancient evil from the distant past dooms them to failure. While the literary merits of Walpole’s novel were challenged by many critics, the work inspired the reading public and authors alike, and works imitative of Otranto, written in what became known as the Gothic style, became extremely popular. Brother and sister John Aikin and Anna Laetitia (Aikin) Barbauld, in their Miscellaneous Pieces in Prose (1773), represent the intellectual and psychological mechanics of Gothic literature, and offer “Sir Bertrand, A Fragment”, a story written in Gothic style, to illustrate their assertions. Ann Radcliffe, like Walpole, is considered one of the founders of the Gothic genre. Radcliffe began her career as a Gothic writer with the publication of her well-received novel The Castles of Athlin and Dunbayne in 1789, and quickly followed up with the novels A Sicilian Romance and The Romance of the Forest published in 1790 and 1791, respectively. Radcliffe’s 1794 novel, The Mysteries of Udolpho, is regarded by many as the quintessential example of eighteenth-century fiction at its finest, and it is for this work that she is best known. Mrs. Eliza Parsons’s Castle of Wolfenbach (1793) is an example of the melodramatic popular “shilling shocker” or “penny dreadful” type of Gothic fiction, a debased imitation of Radcliffe’s style, characterized by gross excess and lack of literary skill, that was parodied by Jane Austen in Northanger Abbey (1818). Parsons was one of many novelists, including Edward Bulwer-Lytton—held as an author of a more “elevated” or skilled example of the popular Gothic melodrama—who produced works of this kind. Other works considered classic examples of the Gothic novel are Matthew Gregory Lewis’s The Monk (1796) and Charles Robert Maturin’s Melmoth the Wanderer (1820), both of which epitomize the stock Gothic character of the outsider or social outcast, who must face the consequences of committing mortal sin.

The great Romantic poets Percy Bysshe Shelley, Lord Byron, John Keats, and Samuel Taylor Coleridge also contributed to the Gothic tradition in literature and, according to critic Fred Botting, produced “major innovations, or renovations of the genre” that “drew it closer to aspects of Romanticism.” The Romantic writers, asserts Botting as well as other commentators, while utilizing the settings and devices developed by Walpole, Radcliffe, and others, focused and expanded upon the psychological, internal qualities of the protagonists, and dealt with such themes as the search for identity, desire versus duty, social alienation, and the search for truth. William Godwin and his daughter, Mary Shelley, are the Romantic writers most closely associated with the Gothic tradition. Godwin’s Things as They Are or The Adventures of Caleb Williams (1794) utilizes the Gothic tradition to indict political repression and protest the tyrannical rule of the day, while Shelley’s Gothic in Frankenstein (1818) urges personal integrity and social responsibility in an age of scientific progress and represents the anxiety produced by the disruption of the traditional, known natural world order.

While English writers are credited with founding the Gothic novel, Scottish writers such as James Hogg contributed heavily to the genre, and many English-language works were influenced by German literary traditions, particularly the works of such writers as Johann Wolfgang von Goethe and E.T.A. Hoffmann. Sir Walter Scott’s works reflect a German sensibility and works such as his Waverly (1814)—as well as the works of others, including Walpole, Radcliffe, Shelley, Maturin, and Lewis—in turn inspired Charles Brockden Brown, Edgar Allan Poe, and James Fenimore Cooper, some of the most notable authors who developed what became the American Gothic tradition in literature. In addition, the English Gothic tradition influenced French authors, including Gaston Leroux, and Russian authors, including Fyodor Dostoevsky and Anton Chekhov. Since its inception, the Gothic genre in literature has undergone numerous changes and adaptations, but its essential role as a means of depicting humanity’s deepest, darkest fears, and otherwise unspeakable evils—both real and imagined—has endured. (Quoted from www.enotes.com)

Lewis Carroll

Lewis Carroll is the pseudonym of the English writer and mathematician Charles Lutwidge Dodgson. Carroll was born in Cheshire, England, on Jan. 27, 1832. As a young boy, puzzles, logic, and mathematics fascinated him and this interest continued throughout his life. His pen name, in fact, is an anglicized form of the Latin translation of his first and middle names, “Carolus Lodovicus.”

In 1855, while working toward becoming a priest, Carroll met Henry Liddell and his family, which included Alice Liddell, the young girl who provided the inspiration for both Alice in Wonderland and its sequel, Through the Looking-Glass and What Alice Found There. By 1861, Lewis Carroll had already published a few volumes on mathematics and some short poetry. However, his most famous works were still ahead of him. He conceived of the Alice stories during a few boat rides with the Liddell children, when he would actually tell the stories aloud, making them up on the journey.

In 1865, Alice’s Adventures in Wonderland was printed and it immediately became quite popular, providing Carroll with a substantial income. Six years later, he published Through the Looking-Glass and What Alice Found There.

Over the next thirty years, Lewis Carroll wrote numerous other books, including The Hunting of the Snark and Sylvie and Bruno, in addition to some discourses on mathematics and logic, but none ever quite matched the appeal and popularity that his stories of Alice did.

Carroll died on Jan. 14, 1898, from complications of either bronchitis or pneumonia. (Quoted from www.enotes.com)