Plates from Vol. 2 of Fantaisies Florales by Jean Pilters, published in the first decade of the 20th century in Jersey City, New Jersey by H.C. Perleberg
Many of these flower studies were not done by Pilters but by his colleagues. Plates 3, 5, and 9 are copies of plates from Die Pflanze in Kunst und Gewerbe by Anton Seder, published in two volumes in Vienna by Gerlach and Schenck (1886 and 1889).
This volume is in the collection of the Metropolitan Museum of Art’s Watson Library. These images are my own personal scans of the book.
One of 20th Century America’s greatest literary voices, James Baldwin and his work are garnering renewed interest, thanks in part to the Oscar®-nominated documentary, I Am Not Your Negro, which should be opening at a cinema near you soon (if it hasn’t already). The trailer is below a companion volume for the film is now available fom Vintage Books, home to much of the author’s backlist, including Go Tell It on the Mountain, Tell Me How Long the Train’s Been Gone, and The Fire Next Time. Baldwin’s literary work has also been issued by the prestigious Library of America in three essential volumes.
The Firewall team return to earth, and after a brief period of exploration they find a group of survivors hiding in and around a major cave system. They’ve been using scavenged bio-engineering technology to create specialised organisms that replace electronics, presumably to avoid notice by any remaining TITANS. Most of it seems to have been stolen from a nearby lab that had been working on cloning extinct lifeforms.
Culturally, they are emulating mid-to-late 20th century America as closely as possible, possibly seeing it as an “untainted” time compared to the immediatly pre-fall earth. While there are some necessary changes due to the lack of electronics, members ignore them as much as possible
The Firewall team greets the apparent head of the group.
Most literary scholars agree the celebrated Harlem Renaissance poet Langston Hughes was gay, though closeted for the sake of his financial stability and support from black churches and organizations. Others conclude Hughes was asexual, while others still point to a series of unpublished poems that seem to be written to a black male lover he calls “Beauty.”
Regardless, Langston Hughes is remembered for his works’ portrayals of everyday working-class black lives in early 20th century America, filled with both struggle and joy. His body of work exudes a strong sense of pride.
Says playwright Loften Mitchell, “Langston set a tone, a standard of brotherhood and friendship and cooperation, for all of us to follow. You never got from him, ‘I am the Negro writer,’ but only 'I am a Negro writer.’ He never stopped thinking about the rest of us.“
Genre: upmarket, fiction Setting: USA, 1940s-60s # of Pages: 496 Rating: 3/5
The skinny: Three young women screw up their lives with money, prescription drugs, and douchebag men.
The fat: This book is the literary equivalent of a bunch of women at a party giving each other The Look when a man in their midst says something sexist or otherwise idiotic. That quality alone–the sheer, tragic familiarity–makes it worth reading, but after two or three hundred pages it does start to feel repetitive. The point is clear from halfway through: being a woman in 20th century America is a little like being engaged in a never-ending all-out war with men, society, and yourself. But the story has staying power, and continues to (perversely) fascinate. What’s shocking now is not Susann’s frank sex talk or her heroines’ unchecked abuse of prescription pills, however. It’s simply how little, in the 50 years since this book’s publication, things have changed.