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10 Famous Writers’ Houses Worth Visiting

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A writer’s home is a kind of autobiography, and visiting the place where a great work of literature was written gives you a deeper understanding of both the book and the person who wrote it. Here are some notable writers’ houses to check out.

1. Jack London’s Ranch, Glen Ellen, California

Besides being one of the most successful writers of his day, Jack London was also a dedicated rancher. London bought 1400 acres near Sonoma, California and set up an experimental farm. He planted spineless cacti to feed his livestock, put in grain silos, and built a piggery so grand he called it the “pig palace.” You can visit the house where London lived and died, as well as the ruins of the three-story mansion that burned down just before he was set to move in. (The rock walls still stand in a redwood grove, not far from London's grave.)

2. John Steinbeck’s House, Salinas, California

Steinbeck grew up in this Victorian home and lived here as an adult in 1934 to care for his ailing mother. During that time, his successful novella The Red Pony was published. A restless child, Steinbeck never seemed comfortable with his middle-class upbringing and empathized with the migrant workers he saw in the vegetable fields around Salinas. The town appeared as the setting in many of his works, most notably East of Eden. Today, in addition to taking a tour, you can eat lunch in a restaurant located in what used to be Steinbeck’s parlor.

3. Mark Twain’s House, Hartford, Connecticut

Twain spent the happiest years of his life in this house with his wife and three daughters. He wrote seven major works here, including The Adventures of Huckleberry Finn. The house, which feels reminiscent of a Mississippi steamboat, cost a great deal of money and contributed to Twain’s financial problems late in life. The interior was designed by Louis Comfort Tiffany and has more than 10,000 objects from the Victorian era. There’s even a pool table in the study, right by Twain’s writing desk.

4. Ralph Waldo Emerson’s House, Concord, Massachusetts

Emerson lived in this house for 46 years until his death in 1882, and it acted as a transcendentalist headquarters. Visitors like Henry David Thoreau went in and out, sometimes staying in the guest room nicknamed the “Pilgrim’s Chamber.” Emerson wrote his essays Nature and Self-Reliance in a study on the first floor, although his son later said that Emerson’s “real study” was nearby Walden Woods.

5. Emily Dickinson House, Amherst, Massachusetts

Emily Dickinson was known as a recluse whose poetry was largely discovered after her death. But the house where she spent her life is a pleasant and bright one, with big windows and high ceilings. While most of the poet’s activities remain a mystery even today, you can see her bedroom where she wrote many of her nearly 2000 poems.

6. Edith Wharton’s Estate, Lenox, Massachusetts

Edith Wharton was rich. Very rich. The Mount, her palatial home, has 35 rooms, four floors, and acres of lush gardens. Wharton designed the house herself according to the principles she laid out in her best-selling book The Decoration of Houses. Her good friend Henry James was a frequent guest. Wharton wrote The House Of Mirth at The Mount, usually working in the morning while lying in bed.

7. Margaret Mitchell’s Apartment, Atlanta, Georgia

The ultimate pilgrimage for Gone With The Wind fans has to be Margaret Mitchell’s house. Mitchell moved into Apartment Number 1 of this building—which she called "The Dump"—as a newlywed in 1926 and lived there for six years. She worked on her epic novel on a table in the livingroom alcove that overlooks Crescent Avenue. Few people knew she was writing a book, which she considered a personal project. She worked on it sporadically until it was accepted for publication in 1935,forcing her to finish it up. The novel was a runaway hit.

8. Flannery O'Connor’s Andalusia Farm, Milledgeville, Georgia

Flannery O’Connor wanted to move away from the South, but when she was diagnosed with lupus, she moved to her mother’s dairy farm in 1951 and lived there until her death in 1964 at age 39. Since it was difficult for her to climb stairs, she slept in the downstairs living room, where she also wrote most of her published work. You can still see her manual typewriter and her crutches in the house. The 544 acres, with their ever-present peacocks, served as the setting for many of her short stories.

9. William Faulkner’s Rowan Oak, Oxford, Mississippi

Few authors are as known for evoking place as Faulkner is for writing about Oxford, Mississippi. Rowan Oak, his home for over 30 years, is where he wrote many of his major works, including Light in August. When Faulkner bought the house, it didn’t have running water or electricity. He spent many afternoons on home improvement projects, wiring the house himself and building the brick terrace outside. In his study, he sometimes wrote his complicated plot structures on the wall, then painted over them when he finished the book. In fact, you can still see the plot for his novel A Fable penciled on the wall right where he left it.

10. Ernest Hemingway’s House, Key West, Florida

Ernest Hemingway lived in this house from the time he married his second wife, Pauline, to when he ran off to Cuba with his third wife, Martha. It was the most productive eight years of his life. He wrote most of his major works in his office, which you could only get to by walking across a bridge that extended from the upstairs bedroom. Almost everything in the house had a story, from the urinal garden fountain to the monastery gate he used as a headboard to the six-toed cats he collected because he thought they were good luck. Today, over 40 cats still live on the estate, all descendants of Hemingway’s original pets.

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Charles Dickens Museum Highlights the Author's Contributions to Science and Medicine

Charles Dickens is celebrated for his verbose prose and memorable opening lines, but lesser known are his contributions to science—particularly the field of medicine.

A new exhibition at London’s Charles Dickens Museum—titled "Charles Dickens: Man of Science"—is showcasing the English author’s scientific side. In several instances, the writer's detailed descriptions of medical conditions predated and sometimes even inspired the discovery of several diseases, The Guardian reports.

In his novel Dombey and Son, the character of Mrs. Skewton was paralyzed on her right side and unable to speak. Dickens was the first person to document this inexplicable condition, and a scientist later discovered that one side of the brain was largely responsible for speech production. "Fat boy" Joe, a character in The Pickwick Papers who snored loudly while sleeping, later lent his namesake to Pickwickian Syndrome, otherwise known as obesity hypoventilation syndrome.

A figurine of Fat Boy Joe
Courtesy of the Charles Dickens Museum

Dickens also wrote eloquently about the symptoms of tuberculosis and dyslexia, and some of his passages were used to teach diagnosis to students of medicine.

“Dickens is an unbelievably acute observer of human behaviors,” museum curator Frankie Kubicki told The Guardian. “He captures these behaviors so perfectly that his descriptions can be used to build relationships between symptoms and disease.”

Dickens was also chummy with some of the leading scientists of his day, including Michael Faraday, Charles Darwin, and chemist Jane Marcet, and the exhibition showcases some of the writer's correspondence with these notable figures. Beyond medicine, Dickens also contributed to the fields of chemistry, geology, and environmental science.

Less scientifically sound was the author’s affinity for mesmerism, a form of hypnotism introduced in the 1770s as a method of controlling “animal magnetism,” a magnetic fluid which proponents of the practice believed flowed through all people. Dickens studied the methods of mesmerism and was so convinced by his powers that he later wrote, “I have the perfect conviction that I could magnetize a frying-pan.” A playbill of Animal Magnetism, an 1857 production that Dickens starred in, is also part of the exhibit.

A play script from Animal Magnetism
Courtesy of the Charles Dickens Museum

Located at 48-49 Doughty Street in London, the exhibition will be on display until November 11, 2018.

[h/t The Guardian]

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12 Facts About James Joyce
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June 16, 1904 is the day that James Joyce, the Irish author of Modernist masterpieces like Dubliners and A Portrait of the Artist as a Young Man, and who was described as “a curious mixture of sinister genius and uncertain talent,” set his seminal work, Ulysses. It also thought to be the day that he had his first date with his future wife, Nora Barnacle.

He was as mythical as the myths he used as the foundations for his own work. So in honor of that June day in 1904—known to fans worldwide as “Bloomsday,” after one of the book’s protagonists, Leopold Bloom—here are 12 facts about James Joyce.

1. HE WAS ONLY 9 WHEN HIS FIRST PIECE OF WRITING WAS PUBLISHED.

In 1891, shortly after he had to leave Clongowes Wood College when his father lost his job, 9-year-old Joyce wrote a poem called “Et Tu Healy?” It was published by his father John and distributed to friends; the elder Joyce thought so highly of it, he allegedly sent copies to the Pope.

No known complete copies of the poem exist, but the precocious student’s verse allegedly denounced a politician named Tim Healy for abandoning 19th century Irish nationalist politician Charles Stewart Parnell after a sex scandal. Fragments of the ending of the poem, later remembered by James’s brother Stanislaus, showed Parnell looking down on Irish politicians:

His quaint-perched aerie on the crags of Time
Where the rude din of this century
Can trouble him no more

While the poem was seemingly quaint, young Joyce equating Healy as Brutus and Parnell as Caesar marked the first time he’d use old archetypes in a modern context, much in the same way Ulysses is a unique retelling of The Odyssey.

As an adult, Joyce would publish his first book, a collection of poems called Chamber Music, in 1907. It was followed by Dubliners, a collection of short stories, in 1914, and the semi-autobiographical A Portrait of the Artist as a Young Man (in which Clongowes Wood College is prominently featured) in 1916.

2. HE CAUSED A CONTROVERSY AT HIS COLLEGE’S PAPER.

While attending University College Dublin, Joyce attempted to publish a negative review—titled “The Day of the Rabblement”—of a new local playhouse called the Irish Literary Theatre in the school’s paper, St. Stephen’s. Joyce’s condemnation of the theater’s “parochialism” was allegedly so scathing that the paper’s editors, after seeking consultation from one of the school’s priests, refused to print it.

Incensed about possible censorship, Joyce appealed to the school’s president, who sided with the editors—which prompted Joyce to put up his own money to publish 85 copies to be distributed across campus.

The pamphlet, published alongside a friend’s essay to beef up the page-count, came with the preface: “These two essays were commissioned by the editor of St. Stephen’s for that paper, but were subsequently refused insertion by the censor.” It wouldn’t be the last time Joyce would fight censorship.

3. NORA BARNACLE GHOSTED HIM FOR THEIR PLANNED FIRST DATE.

By the time Nora Barnacle and Joyce finally married in 1931, they had lived together for 27 years, traveled the continent and had two children. The couple first met in Dublin in 1904 when Joyce struck up a conversation with her near the hotel where Nora worked as a chambermaid. She initially mistook him for a Swedish sailor because of his blue eyes and the yachting cap he wore that day, and he charmed her so much that they set a date for June 14—but she didn’t show.

He then wrote her a letter, saying, “I looked for a long time at a head of reddish-brown hair and decided it was not yours. I went home quite dejected. I would like to make an appointment but it might not suit you. I hope you will be kind enough to make one with me—if you have not forgotten me!” This led to their first date, which supposedly took place on June 16, 1904.

She would continue to be his muse throughout their life together in both his published work (the character Molly Bloom in Ulysses is based on her) and their fruitful personal correspondence. Their notably dirty love letters to each other—featuring him saying their love-making reminded him of “a hog riding a sow” and signing off one by saying “Goodnight, my little farting Nora, my dirty littlef**kbird!"—have highlighted the NSFW nature of their relationship. In fact, one of Joyce’s signed erotic letters to Nora fetched a record £240,800 ($446,422) at a London auction in 2004.

4. HE HAD REALLY BAD EYES.

While Joyce’s persistent money problems caused him to lead a life of what could be categorized as creative discomfort, he had to deal with a near lifetime of medical discomfort as well. Joyce suffered from anterior uveitis, which led to a series of around 12 eye surgeries over his lifetime. (Due to the relatively unsophisticated state of ophthalmology at the time, and his decision not to listen to contemporary medical advice, scholars speculate that his iritis, glaucoma, and cataracts could have been caused by sarcoidosis, syphilis, tuberculosis, or any number of congenital problems.) His vision issues caused Joyce to wear an eye patch for years and forced him to do his writing on large white sheets of paper using only red crayon. The persistent eye struggles even inspired him to name his daughter Lucia, after St. Lucia, patron saint of the blind.

5. HE TAUGHT ENGLISH AT A BERLITZ LANGUAGE SCHOOL.

In 1904, Joyce—eager to get out of Ireland—responded to an ad for a teaching position in Europe. Evelyn Gilford, a job agent based in the British town of Market Rasen, Lincolnshire, notified Joyce that a job was reserved for him and, for two guineas, he would be told exactly where the position was. Joyce sent the money, and by the end of 1904, he and his future wife, Nora, had left Dublin for the job at a Berlitz language school in Zurich, Switzerland—but when they got there, the pair learned there was no open position. But they did hear a position was open at a Berlitz school in Trieste, Italy. The pair packed up and moved on to Italy only to find out they’d been swindled again.

Joyce eventually found a Berlitz teaching job in Pola in Austria-Hungary (now Pula, Croatia). English was one of 17 languages Joyce could speak; others included Arabic, Sanskrit, Greek, and Italian (which eventually became his preferred language, and one that he exclusively spoke at home with his family). He also loved playwright Henrik Ibsen so much that he learned Norwegian so that he could read Ibsen's works in their original form—and send the writer a fan letter in his native tongue.

6. HE INVESTED IN A MOVIE THEATER.

There are about 400 movie theaters in Ireland today, but they trace their history back to 1909, when Joyce helped open the Volta Cinematograph, which is considered “the first full-time, continuous, dedicated cinema” in Ireland.

More a money-making scheme than a product of a love of cinema, Joyce first got the idea when he was having trouble getting Dubliners published and noticed the abundance of cinemas while living in Trieste. When his sister, Eva, told him Ireland didn’t have any movie theaters, Joyce joined up with four Italian investors (he’d get 10 percent of the profits) to open up the Volta on Dublin’s Mary Street.

The venture fizzled as quickly as Joyce’s involvement. After not attracting audiences due to mostly showing only Italian and European movies unpopular with everyday Dubliners, Joyce cut his losses and pulled out of the venture after only seven months.

The cinema itself didn’t close until 1919, during the time Joyce was hard at work on Ulysses. (It reopened with a different name in 1921 and didn’t fully close until 1948.)

7. HE TURNED TO A COMPLETELY INEXPERIENCED PUBLISHER TO RELEASE HIS MOST WELL-KNOWN BOOK.

The publishing history of Ulysses is itself its own odyssey. Joyce began writing the work in 1914, and by 1918 he had begun serializing the novel in the American magazine Little Review with the help of poet Ezra Pound.

But by 1921, Little Review was in financial trouble. The published version of Episode 13 of Ulysses, “Nausicaa,” resulted in a costly obscenity lawsuit against its publishers, Margaret Anderson and Jane Heap, and the book was banned in the United States. Joyce appealed to different publishers for help—including Leonard and Virginia Woolf’s Hogarth Press—but none agreed to take on a project with such legal implications (and in Virginia Woolf’s case, length), no matter how supposedly groundbreaking it was.

Joyce, then based in Paris, made friends with Sylvia Beach, whose bookstore, Shakespeare and Company, was a gathering hub for the post-war expatriate creative community. In her autobiography, Beach wrote:

All hope of publication in the English-speaking countries, at least for a long time to come, was gone. And here in my little bookshop sat James Joyce, sighing deeply.

It occurred to me that something might be done, and I asked : “Would you let Shakespeare and Company have the honour of bringing out your Ulysses?”

He accepted my offer immediately and joyfully. I thought it rash of him to entrust his great Ulysses to such a funny little publisher. But he seemed delighted, and so was I. ... Undeterred by lack of capital, experience, and all the other requisites of a publisher, I went right ahead with Ulysses.

Beach planned a first edition of 1000 copies (with 100 signed by the author), while the book would continue to be banned in a number of countries throughout the 1920s and 1930s. Eventually it was allowed to be published in the United States in 1933 after the case United States v. One Book Called Ulysses deemed the book not obscene and allowed it in the United States.

8. ERNEST HEMINGWAY WAS HIS DRINKING BUDDY—AND SOMETIMES HIS BODYGUARD.

Ernest Hemingway—who was major champion of Ulysses—met Joyce at Shakespeare and Company, and was later a frequent companion among the bars of Paris with writers like Wyndham Lewis and Valery Larbaud.

Hemingway recalled the Irish writer would start to get into drunken fights and leave Hemingway to deal with the consequences. "Once, in one of those casual conversations you have when you're drinking," Hemingway said, "Joyce said to me he was afraid his writing was too suburban and that maybe he should get around a bit and see the world. He was afraid of some things, lightning and things, but a wonderful man. He was under great discipline—his wife, his work and his bad eyes. His wife was there and she said, yes, his work was too suburban--'Jim could do with a spot of that lion hunting.' We would go out to drink and Joyce would fall into a fight. He couldn't even see the man so he'd say, 'Deal with him, Hemingway! Deal with him!'"

9. HE MET ANOTHER MODERNIST TITAN—AND HAD A TERRIBLE TIME.

Marcel Proust’s gargantuan, seven-volume masterpiece, À la recherche du temps perdu, is perhaps the other most important Modernist work of the early 20th century besides Ulysses. In May 1922, the authors met at a party for composer Igor Stravinsky and ballet impresario Sergei Diaghilev in Paris. The Dubliners author arrived late, was drunk, and wasn’t wearing formal clothes because he was too poor to afford them. Proust arrived even later than Joyce, and though there are varying accounts of what was actually said between the two, every known version points to a very anticlimactic meeting of the minds.

According to author William Carlos Williams, Joyce said, “I’ve headaches every day. My eyes are terrible,” to which the ailing Proust replied, “My poor stomach. What am I going to do? It’s killing me. In fact, I must leave at once.”

Publisher Margaret Anderson claimed that Proust admitted, “I regret that I don’t know Mr. Joyce’s work,” while Joyce replied, “I have never read Mr. Proust.”

Art reviewer Arthur Power said both writers simply talked about liking truffles. Joyce later told painter Frank Budgen, “Our talk consisted solely of the word ‘No.’”

10. HE CREATED A 100-LETTER WORD TO DESCRIBE HIS FEAR OF THUNDER AND LIGHTNING.

Joyce had a childhood fear of thunder and lightning, which sprang from his Catholic governess’s pious warnings that such meteorological occurrences were actually God manifesting his anger at him. The fear haunted the writer all his life, though Joyce recognized the beginnings of his phobia. When asked by a friend why he was so afraid of rough weather, Joyce responded, “You were not brought up in Catholic Ireland.”

The fear also manifested itself in Joyce’s writing. In Portrait of the Artist as a Young Man, the autobiographical protagonist Stephen Dedalus says he fears “dogs, horses, firearms, the sea, thunderstorms, [and] machinery.”

But the most fascinating manifestation of his astraphobia is in his stream of consciousness swan song, Finnegans Wake, where he created the 100-letter word Bababadalgharaghtaka-mminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk to represent a symbolic biblical thunderclap. The mouthful is actually made up of different words for “thunder” in French (tonnerre), Italian (tuono), Greek (bronte), and Japanese (kaminari).

11. HE’S THOUGHT OF AS A LITERARY GENIUS, BUT NOT EVERYONE WAS A FAN.

Fellow Modernist Virginia Woolf didn't much care for Joyce or his work. She compared his writing to "a queasy undergraduate scratching his pimples," and said that "one hopes he’ll grow out of it; but as Joyce is 40 this scarcely seems likely."

She wasn't the only one. In a letter, D.H. Lawrence—who wrote such classics as Women in Love and Lady Chatterley’s Loversaid of Joyce: “My God, what a clumsy olla putrida James Joyce is! Nothing but old fags and cabbage stumps of quotations from the Bible and the rest stewed in the juice of deliberate, journalistic dirty-mindedness.”

“Do I get much pleasure from this work? No," author H.G. Wells wrote in his review of Finnegans Wake. “ ... Who the hell is this Joyce who demands so many waking hours of the few thousand I have still to live for a proper appreciation of his quirks and fancies and flashes of rendering?”

Even his partner Nora had a difficult time with his work, saying after the publication of Ulysses, “Why don’t you write sensible books that people can understand?”

12. HIS SUPPOSED FINAL WORDS WERE AS ABSTRACT AS HIS WRITING.

Joyce was admitted to a Zurich hospital in January 1941 for a perforated duodenal ulcer, but slipped into a coma after surgery and died on January 13. His last words were befitting his notoriously difficult works—they're said to have been, "Does nobody understand?"

Additional Source: James Joyce

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