‘L'art gothique’ by Louis Gonse. Cover design by Eugène Grasset, binding by René Wiener, Nancy, ca. 1898.
Source
This is so gorgeous
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Sweet Seals For You, Always

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YOU ARE THE REASON

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let's talk about Bridgerton tea, my ask is open
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Aqua Utopia|海の底で記憶を紡ぐ
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@budsbooks
‘L'art gothique’ by Louis Gonse. Cover design by Eugène Grasset, binding by René Wiener, Nancy, ca. 1898.
Source
This is so gorgeous
Kitty describing Anna's husband as "unpoetic" while also rejecting a poetic suitor for one she thinks is 'nice' is so tragic! Why can't she see what she wants!
This is so pretty!
Nothing will ever replicate the unique comfort of carrying a small book with you everywhere
Girl dinner? Troll breakfast ✨🧌🫖
tumblr is great bc its like a diary where I can take other peoples diary entries and glue them into my own diary
Yup, that's going in the diary.
"She saw that Kitty was in love with him, but consoled herself with the thought that Vronsky was an honest man and therefore would not actually in such a way."
Why do I get the feeling Princess Scherbatskaya is going to regret those words?
The stacks are getting out of hand again
I remember the feeling of - on the one hand, enjoying the stacks and feeling oddly satisfied by them being there - and on the other hand, feeling kinda uncomfortable that these books don't yet have a place. But it's so pretty!
realistically there is no chance i will have time to read, imma still bring a book though
Leo Tolstoy Anna Karenina c. 1873-77
I feel bad that I'm surprised at how readable this book is - it's full of such beautiful writing!
I'm a few chapters into Anna Kerenina, and I'm already rooting for Levin and Kitty and absolutely loving his internal monologue!
Lemony Snicket was so right when he said you never regret bringing a book, but you often regret not having one.
Had the best weekend reading Agatha Christie’s book.
"Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong!"
― Charlotte Brontë, Jane Eyre
Finally, the misfortune can be brought about also by the mere attitude of the persons to one another through their relations. Thus there is no need either of a colossal error, or of an unheard-of accident, or even of a character reaching the bounds of human possibility in wickedness, but characters as they usually are in a moral regard in circumstances that frequently occur, are so situated with regard to one another that their position forces them, knowingly and with their eyes open, to do one another the greatest injury, without any of them being entirely in the wrong. This last kind of tragedy seems to me to be far preferable to the other two; for it shows us the greatest misfortune not as an exception, not as something brought about by rare circumstances or by monstrous characters, but as something that arises easily and spontaneously out of the actions and characters of men, as something almost essential to them, and in this way it is brought terribly near to us... We see the greatest suffering brought about by entanglements whose essence could be assumed even by our own fate, and by actions that perhaps even we might be capable of committing, and so we cannot complain of injustice. Then, shuddering, we feel ourselves already in the midst of hell. In this last kind of tragedy the working out is of the greatest difficulty; for the greatest effect has to be produced in it with the least use of means and occasions for movement, merely by their position and distribution.
On Tolstoy's approach to tragedy, from the introduction of Anna Kerenina.
If you see this you’re legally obligated to reblog and tag with the book you’re currently reading
I appreciated how some "Jane Eyre" adaptations like the 1973, 1997 and 2006 versions included the scene where Jane interacts with Pilot in Thornfield Hall then later in Ferndean Manor. It signifies how Pilot would later recognize and accept Jane as the mistress of Rochester family.
"Jane Eyre" 1973 version:
"Jane Eyre" 1997 version:
2006 version: