I met the Love-Talker one eve in the glen,

He was handsomer than any of our handsome young men,

His eyes were blacker than the sloe, his voice sweeter far

Than the crooning of old Kevin’s pipes beyond in Coolnagar.

I was bound for the milking with a heart fair and free—

My grief! my grief! that bitter hour drained the life from me;

I thought him human lover, though his lips on mine were cold,

And the breath of death blew keen on me within his hold.

I know not what way he came, no shadow fell behind,

But all the sighing rushes swayed beneath a faery wind

The thrush ceased its singing, a mist crept about,

We two clung together—with the world shut out.

Beyond the ghostly mist I could hear my cattle low,

The little cow from Ballina, clean as driven snow,

The dun cow from Kerry, the roan from Inisheer,

Oh, pitiful their calling—and his whispers in my ear!

His eyes were a fire; his words were a snare;

I cried my mother’s name, but no help was there;

I made the blessed Sign; then he gave a dreary moan,

A wisp of cloud went floating by, and I stood alone.

Running ever through my head, is an old-time rune—

“Who meets the Love-Talker must weave her shroud soon.”

My mother’s face is furrowed with the salt tears that fall,

But the kind eyes of my father are the saddest sight of all.

I have spun the fleecy lint, and now my wheel is still,

The linen length is woven for my shroud fine and chill,

I shall stretch me on the bed where a happy maid I lay—

Pray for the soul of Mairé Og at dawning of the day!

Ethna Carbery. The Love-Talker.

Anthology of Irish Verse. Boni and Liveright. 1922.

My daughter bought a virtually complete Modern Library set of about 350 hard-cover books via Craig's list about a year ago. That's what you are seeing on her mantel.

The Modern Library is an American publishing company. Founded in 1917 by Albert Boni and Horace Liveright as an imprint of their publishing company Boni & Liveright, it was purchased in 1925 by Bennett Cerf and Donald Klopfer. Random House began in 1927 as a subsidiary of the Modern Library but eventually overtook its parent to become the parent company of what then only became an imprint of Random House.

The Modern Library originally published only hardbound books. In 1950, it began publishing the Modern Library College Editions, a forerunner of its current series of paperback classics.

In 1992, on the occasion of the Modern Library's seventy-fifth anniversary, Random House embarked on an ambitious project to refurbish the series. We revived the torchbearer emblem that Cerf and Klopfer commissioned in 1925 from Lucian Bernhard. The Promethean bearer of enlightenment (known informally around the old Modern Library offices as the "dame running away from Bennett Cerf") was redesigned several times over the years, most notably by Rockwell Kent.

In 1998, novelist David Ebershoff became the Modern Library's new Publishing Director. Ebershoff managed the imprint until 2005, when he resigned to concentrate on his own writing and to become editor-at-large at Random House.

In September 2000, the Modern Library initiated a newly designed Paperback Classics series. Six new titles are published in the series on the second Tuesday of each month.

Source: Wikipedia

Conly, C. F.,, photographer.

[Frederick Douglass]

[between 1884 and 1890, from negative taken in 1876]

1 photograph : albumen print on card mount ; mount 17 x 11 cm (cabinet card format)

Notes:

Photograph shows portrait by George Kendall Warren taken in 1876, printed by C.F. Conly, who took over Warren's studio in 1884.

Title devised by Library staff.

Picturing Frederick Douglass / John Stauffer. New York: Liveright Publishing Corporation, 2015, 99

Gift; Tom Liljenquist; 2016; (DLC/PP-2017:171, formerly deposit D072)

Forms part of: Liljenquist Family Collection of Civil War Photographs (Library of Congress).

Subjects:

Douglass, Frederick,--1818-1895.

Format: Portrait photographs--1880-1890.

Albumen prints--1880-1890.

Cartes de visite--1880-1890.

Rights Info: No known restrictions on publication.

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Part Of: Liljenquist Family collection (Library of Congress) (DLC) 2010650519

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ppmsca.56175

Call Number: LOT 14043-2, no. 647

Panko-Crusted Baked Salmon

Prep time: 10 minutes

Cook time: 12 minutes

Yield: Serves 4

INGREDIENTS

4 teaspoons olive oil

4 pieces thickly cut, boneless salmon (each 6 oz)

Salt and pepper to taste

2 Tbsp honey mustard or sweet-hot mustard

2 teaspoons chopped fresh thyme

2/3 cup panko bread crumbs

2 Tbsp chopped Italian parsley

1/2 teaspoon Hungarian sweet paprika

METHOD

1 Preheat the oven to 400°F (convection or regular). Set the salmon on a foil-lined baking sheet skin side down. Sprinkle with salt and pepper.

2 In a small bowl, combine the honey mustard and 1 teaspoon of the thyme. In another small bowl, mix the panko with the remaining 1 teaspoon of thyme, 4 teaspoons of olive oil, parsley, and paprika. Add salt and pepper (a light sprinkle).

3 Using a small spoon, spread the mustard mixture on the salmon; top with the bread crumb mixture.

4 Roast the salmon for 12-14 minutes (test at 10) or until it is almost completely firm to the touch and flakes when poked with a fork. Serve at once.

#RigsRocks #RigsRecipesRocks #PankoCrusted #Salmon #Delicous #Omega1 #EatHealthy #LiveRight #WhyGoToJoes #YouCanCookToo

Cover artist is unknown - Digest paperback.

Born - Maxwell Bodenheimer

May 26, 1892

Hermanville, Mississippi, US

Died February 6, 1954 (aged 61)

Bodenheim and Ruth Fagin (his third wife) were murdered February 6, 1954, at a flophouse at 97 Third Avenue in Manhattan, by a 25-year-old dishwasher, Harold "Charlie" Weinberg. They had befriended him on the streets of the Village and he offered to let them spend the night in his room a few blocks from the Bowery. Weinberg and Ruth had sex near the cot where the 62-year-old drunken Bodenheim appeared to be sleeping. Bodenheim arose, challenged Weinberg, and they began fighting. Weinberg shot Bodenheim twice in the chest. He beat Ruth and stabbed her four times in the back. Weinberg confessed to the double homicide, but said in his defence, "I ought to get a medal. I killed two Communists. Weinberg was judged insane (sociopathic) and sent to a mental institution.

Writer & friend Ben Hecht offered to pay for Bodenheim's funeral. Bodenheim's ex-wife, Minna Schein, made arrangements to have him buried in her family plot in Cedar Park Cemetery, Emerson, New Jersey.

Manhattan, New York City, US

Originally published in hardback in New York by 'Horace Liveright' in 1930 (with alternative sleeve art)

Published in hardback again (1949) by Frederick Fell in New York with alternative sleeve art!

2nd publication in paperback & using the same art as the Diversey publication appeared in 1950 by Novel Library # 46 (see below)

Hungarian postcard. Photo: Angelo, Budapest. Collection: Didier Hanson.

Hungarian actor Béla Lugosi (1882 –1956) is best known as the vampire Count Dracula in the horror classic Dracula (1931). He started his film career in the silent Hungarian cinema and also appeared in German silent films. In the last phase of his career, he became the star of several of Ed Wood's low-budget epics and other poverty row shockers.

Béla Lugosi was born as Béla Ferenc Dezső Blaskó in 1882, the youngest of the four children of Paula de Vojnich and István Blaskó, a banker. His hometown was Lugos, in Austria–Hungary (now Lugoj in Romania), near the western border of Transylvania. Later, he would base his last name on this town. At the age of 12, Lugosi dropped out of school. He began his acting career probably in 1901 or 1902. His earliest known performances are small roles in plays and operettas in provincial theatres in the 1903–1904 season. He moved on to Shakespeare plays and played several major roles. In 1911, he moved to Budapest, where he worked for the National Theatre of Hungary from 1913 to 1919. Although Lugosi would later claim that he "became the leading actor of Hungary's Royal National Theatre", most of his roles were small or supporting parts. During World War I, he served as an infantry lieutenant in the Austro-Hungarian Army from 1914 to 1916. There, he rose to the rank of captain in the ski patrol and was awarded a medal for being wounded at the Russian front. In 1917, Lugosi married Ilona Szmick. The couple divorced in 1920, reputedly over political differences with her parents. In 1917, he made his film debut in Az ezredes/The Colonel (1917, Mihály Kertész a.k.a. Michael Curtiz). In two year,s Lugosi made 12 films in Hungary, credited as Arisztid Olt, including Nászdal/The Wedding March (1917, Alfréd Deésy) and Lulu (1918, Michael Curtiz). After the collapse of Béla Kun's Hungarian Soviet Republic in 1919, leftists and trade unionists became vulnerable. Due to his participation in the formation of an actors’ union, Lugosi was proscribed from acting and so had to leave his homeland. He first went to Vienna, Austria, and then settled in Berlin, where he continued acting. In Germany, he appeared in 18 films, including Der Fluch der Menschheit/The Curse of Man (1920, Richard Eichberg), Der Tanz auf dem Vulkan/Dance on the Volcano (1920, Richard Eichberg), Hypnose/Hypnosis (1920, Richard Eichberg) and Ihre Hoheit die Tänzerin/Her Highness the Dancer (1922, Richard Eichberg), all with Lee Parry and Violetta Napierska. Der Januskopf/The Head of Janus (1920, F.W. Murnau) was an uncredited and apparently lost version of Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, which featured Conrad Veidt. Well received films were also the Karl May adaptations Die Teufelsanbeter/The Devil Worshippers (1920, Marie Luise Droop), Auf den Trümmern des Paradieses/On the Brink of Paradise (1920, Josef Stein), and Die Todeskarawane/The Caravan of Death (1920, Josef Stein), starring Carl de Vogt as Kara Ben Nemsi and also with the ill-fated Jewish actress Dora Gerson. Lugosi then left Germany as a crewman aboard a merchant ship. He had decided to emigrate to the United States.

On his arrival in America in 1921, Béla Lugosi worked for some time as a labourer, then entered the theatre in New York City's Hungarian immigrant colony. With fellow Hungarian actors, he formed a small stock company that toured Eastern cities, playing for immigrant audiences. In 1922, he acted in his first Broadway play, The Red Poppy. Three more parts came in 1925–1926, including a five-month run in the comedy-fantasy The Devil in the Cheese. His first American film role came in the melodrama The Silent Command (1923, J. Gordon Edwards) with Edmund Lowe. Several more silent roles followed, as villains or continental types, all in productions made in the New York area. In the summer of 1927, Lugosi was approached to star as a sophisticated vampire in a Broadway production of Dracula (1927-1928) adapted by Hamilton Deane and John L. Balderston from Bram Stoker's novel. The Horace Liveright production was successful, running 261 performances before touring. He declared his intention to become a U.S. citizen in 1928, and in 1931, he was naturalised. Lugosi was soon called to Hollywood for character parts in early talkies, such as Prisoners (1929, William A Seiter) and The Thirteenth Chair (1929, Tod Browning). He took his place in Hollywood society and scandal in 1929 when he married wealthy San Francisco widow Beatrice Weeks, but she filed for divorce four months later. Weeks cited actress Clara Bow as the ‘other woman’. Despite his critically acclaimed performance on stage, Lugosi was not Universal Pictures’ first choice for the role of Dracula when the company optioned the rights to the Deane play and began production in 1930. A persistent rumour asserts that director Tod Browning's long-time collaborator, Lon Chaney, was Universal's first choice for the role, and that Lugosi was chosen only due to Chaney's death shortly before production. Wikipedia writes that this is questionable because Browning was only a last-minute choice as director of Dracula after the death of the original director, Paul Leni. Lugosi appeared in Dracula (1931, Tod Browning) with minimal makeup, using his natural, heavily accented voice. With the instant and worldwide success of the film, Universal Studios had found its new Horror star. As his son Bela Lugosi Jr. writes on his father’s official website: “His slicked hair, clean-shaven and handsome face, burning eyes, and courtly manner are the appearance of what Dracula will forever be.”

In 1933, Béla Lugosi married 19-year-old Lillian Arch, the daughter of Hungarian immigrants. All seemed to go well. He appeared as Dr. Mirakle in Murders in the Rue Morgue (1932, Robert Florey), as Sayer of Law in Island of the Lost Souls (1932, Erle C. Kenton) opposite Charles Laughton, and as Ygor in Son of Frankenstein (1939, Rowland V. Lee) all for Universal, and as Murder Legendre in the independent White Zombie (1932, Victor Halperin). Five films at Universal — The Black Cat (1934, Edgar G. Ulmer), The Raven (1935, Lew Landers), The Invisible Ray (1936, Lambert Hillyer), Son of Frankenstein, Black Friday (1940, Arthur Lubin) plus minor cameo performances in Gift of Gab (1934, Karl Freund) and two at RKO Pictures, You'll Find Out (1940, David Butler) and The Body Snatcher (1945, Robert Wise) — paired Lugosi with Boris Karloff. Despite the relative size of their roles, Lugosi inevitably got second billing, below Karloff. Lugosi himself perpetuated the myth that he had quit the role of the monster in Frankenstein (1931, James Whale), which is untrue. Originally, director Robert Florey wanted him to play Dr. Frankenstein, but producer Carl Laemmle Jr. didn't want Lugosi in that role, so he was relocated to the monster part. Lugosi was unhappy with playing the clodding, mute monster under heavy make-up and complained. He had filmed some screen tests with Florey, but Laemmle Jr. didn't like what he saw and fired both Florey and Lugosi. In interviews, Karloff suggested that Lugosi was initially mistrustful of him when they acted together, believing that the Englishman would attempt to upstage him. When this proved not to be the case, Lugosi settled down and they worked together amicably. Through his association with Dracula, Béla Lugosi found himself typecast as a horror villain. His accent, while a part of his image, limited the roles he could play. He attempted to break type by auditioning for other roles, and he did play the elegant, somewhat hot-tempered Gen. Nicholas Strenovsky-Petronovich in International House (1933, A. Edward Sutherland). Universal tried to give Lugosi more heroic roles, as in The Black Cat, The Invisible Ray, and a romantic role in the adventure serial The Return of Chandu (1934, Ray Taylor), but his typecasting problem was too entrenched for those roles to help. A number of factors worked against Lugosi's career in the mid-1930s. Universal changed management in 1936, and because of a British ban on horror films, dropped them from their production schedule; Lugosi found himself consigned to Universal's non-horror B-film unit, at times in small roles where he was obviously used for ‘name value’ only. Lugosi experienced a severe career decline despite his popularity with audiences. He accepted leading roles in low-budget thrillers from independent producers like Nat Levine, Sol Lesser, and Sam Katzman. The exposure helped Lugosi financially but not artistically. Lugosi tried to keep busy with stage work, but had to borrow money from the Actors' Fund to pay hospital bills when his only child, Bela George Lugosi, was born in 1938. It illustrates why he helped to organise the Screen Actors Guild in the 1930s.

Béla Lugosi’s career was given a second chance by Universal's Son of Frankenstein (1939, Rowland V. Lee), when he played the character role of Ygor, who uses the Monster for his own revenge, in heavy makeup and beard. The same year, he played a straight character role as a stern commissar in Ninotchka (1939, Ernst Lubitsch), starring Greta Garbo. This small but prestigious role could have been a turning point for the actor, but within the year, he was back on Hollywood's Poverty Row, playing leads for Sam Katzman. These horror, comedy and mystery B-films were released by Monogram Pictures. At Universal, he often received star billing for what amounted to a supporting part. Ostensibly due to injuries received during military service, Lugosi developed severe, chronic sciatica, for which he was treated with opiates. The growth of his dependence on morphine and methadone was directly proportional to the dwindling of screen offers. In 1943, he finally played the role of Frankenstein's monster in Universal's Frankenstein Meets the Wolfman (1943, Roy William Neill) opposite Lon Chaney Jr.. He also came to recreate the role of Dracula a second and last time on film in Abbott and Costello Meet Frankenstein (1948, Charles Barton). It was his last ‘A’ movie. For the remainder of his life, he appeared in obscure, low-budget features. While in England to play a six-month tour of Dracula in 1951, he co-starred in a lowbrow film comedy, Mother Riley Meets the Vampire/Vampire over London (1951, John Gillin). Late in his life, Bela Lugosi again received star billing in movies when fan Ed Wood (nicknamed ‘Worst Director of All Time’), offered him roles in his films, such as Glen or Glenda (1953, Edward D. Wood Jr.) and as a Dr. Frankenstein-like mad scientist in Bride of the Monster (1955, Edward D. Wood Jr.). During the post-production of the latter, Lugosi decided to seek treatment for his drug addiction. Following his treatment, Lugosi made one final film, The Black Sleep (1956, Reginald Le Borg), which was released in the summer of 1956 through United Artists with a promotional campaign that included several personal appearances. To his disappointment, however, his role in this film was that of a mute, with no dialogue. Béla Lugosi and his wife Lilian had divorced in 1953. Béla was jealous of Lillian taking a full-time job as an assistant to Brian Donlevy on the sets and studios for Donlevy's radio and television series Dangerous Assignment. Lillian eventually did marry Brian Donlevy in 1966. In 1955, Lugosi married fan Hope Lininger, his fifth wife. A year later, Lugosi died of a heart attack in 1956, while lying on a couch in his Los Angeles home. He was 73. Lugosi was buried wearing one of the Dracula Cape costumes, per the request of his son. Ed Wood's Plan 9 from Outer Space (1959, Edward D. Wood Jr.), with a few minutes of silent footage of Lugosi in his Dracula cape, was released posthumously. In 1994, Lugosi was played by Martin Landau in Tim Burton's Ed Wood (1994), for which Landau received an Academy Award for Best Supporting Actor. Johnny Depp, who starred as Wood in the film, purchased Lugosi's Los Angeles home.

Source: Bela Lugosi, Jr. (Official Bela Lugosi website), Michael Brooke (IMDb), Wikipedia and IMDb.

Cover art by 'Darcy' Ernest Chiriaka.

Originally used on Avon Book cover 'Shameless' by James M. Cain in 1958 (see below)

Originally published by Boni & Liveright, New York in hardback in 1928 with alternative sleeve art!

the former Shakespeare & Co bookshop, Rue de l'Odéon, Paris

James Joyce can never have been an easy author to publish, and he generally seems to have treated any money that came his way as an excuse to live the high life until it was quickly exhausted. But if it were not for the American Sylvia Beach, proprietress of the English language bookshop Shakespeare & Co in Rue de l'Odéon, then Ulysses would never have seen the light of day. She was also a champion of Ernest Hemingway, who lived in the same street.

As well as publishing, Beach promoted authors in a much more practical way than fellow Parisian saloniste Gertrude Stein. On 3rd January 1922 she engineered an extraordinary dinner at which James Joyce, TS Eliot and Ezra Pound met the young American publisher Horace Liveright. Over brandy, Liveright secured American publishing rights to Pound's Poems 1918/1921, Eliot's The Waste Land and Joyce's Ulysses, all as yet unpublished, despite not having read any of them even in manuscript form.

The plaque above the shop reads En 1922, dans cette maison, Mlle Sylvia Beach publia "Ulysses" de James Joyce. ('In 1922, in this house, Miss Sylvia Beach published Ulysses by James Joyce.') Opposite was a French language bookshop run by Adrienne Monner, Beach's lover. Monner was also a champion of authors she admired, particularly André Gide.

Shakespeare & Co remained open after the Germans invaded Paris in 1940, Beach being an American, but when the States entered the War after the attack on Pearl Harbour in December 1941 the shop closed, and Beach was interned as an enemy alien. She was released after appeals from French literary intellectuals who had stayed in the capital, and spent the rest of the War in the upstairs flat at 12 Rue de l'Odéon with the remaining stock of the shop's books. In 1944, when Paris was liberated, Ernest Hemingway symbolically liberated the shop, but it never reopened.

The building is now a ladies' clothes shop, although there is an interesting collection of Joyce and Hemingway memorabilia on show inside. They don't mind you going in to take a look.

The modern bookshop called Shakespeare & Company on the Left Bank opposite Notre Dame, opened by City Lights Publishing in the 1950s, has no connection with the original beyond a strong admiration for Miss Beach and all that she did.