Todd Webb, Alesia, Paris, 1950. Gelatin silver photograph. © Estate of Todd Webb / Todd Webb Archive. Source: Todd Webb
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First-edition dust jacket of Flann O’Brien’s At Swim-Two-Birds (London: Longmans, Green & Co., 1939). Its black-and-green wrapper carries Graham Greene’s
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What freedom remains to a mortal when Zeus lifts the scale above battle, the spear carries a name heavier than
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Dear reader, The essay below forms Chapter Thirteen—near the book’s midpoint—of Bell-Metal and Bog-Light: Irish Gothic from Sídh to Sacrament
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Which creature returned from every road with its own tail between its teeth, and by chewing that circle kept a
The book lies on the table like a clot of dried blood: a red square, almost monochrome, the title Plemię
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The colossal railway clock, suspended in the chill atmosphere of the worn-out platform, announced the terminus of hope, a specific
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The wind that scours the basalt shoulder of Edinburgh’s New Town carries more than coal grit and North Sea salt;
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“Philosophy is the art of dying. In learning how to die, one learns how to live.”¹ Simon Critchley’s sentence rises
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Der Mensch spielt nur, wo er in voller Bedeutung des Worts Mensch ist, und er ist nur da ganz Mensch,
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