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ltwilliammowett · 2 months

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The Legend of the Princess Augusta or the Palatine Ship

The legend goes back to the historic shipwreck of the Princess Augusta at Block Island in 1738. The ship is known from several contemporary accounts and from statements made by the surviving crew after the sinking, which were discovered in 1925 and reprinted in 1939. The British merchant ship Augusta sailed from Rotterdam in August 1738 under Captain George Long and a crew of fourteen, carrying 240 immigrants to the English colonies in America. The passengers were German Palatines who came from the Palatinate, which is why the ship was referred to as the "Palatine Ship" in contemporary documents, which explains the later confusion about the name. The ship was on its way to Philadelphia, from where the passengers were possibly travelling to a German-owned settlement on the James River in Virginia.

The Burning Ship, by Albert Bierstadt 1869

The Princess Augusta's voyage was ill-fated: The water supply was contaminated, causing a "fever and flux disease" that killed 200 passengers and half the crew, including Captain Long. First Officer Andrew Brook took command when severe storms forced the ship off course to the north, where the survivors were exposed to extreme weather conditions and dwindling supplies for three months. According to the crew, Brook forced the passengers to pay for the remaining rations. Apparently he tried different routes to Rhode Island and Philadelphia, but the storms drove the damaged and leaking Augusta to Block Island. She ran aground in a snowstorm at Sandy Point at the northernmost end of the island at 2 p.m. on 27 December 1738.

According to reports, Brook rowed to shore with the entire crew and abandoned the passengers on board. The Block Islanders apparently did what they could to help. They convinced Brook to let the passengers disembark the next day, and later retrieved their belongings when he left them on board. They also buried about 20 people who died after the shipwreck; the Block Island Historical Society erected a memorial plaque at the site of the "Palatine Graves" in 1947.

The authorities took statements from the crew, but what happened afterwards is unclear. Apparently the crew was not charged for their actions, and they and most of the surviving passengers made it to the mainland, from where little is known about them. Two survivors remained on Block Island and settled there. Most reports indicate that the ship was deemed unsalvageable and was forced out to sea to sink. It may have been set on fire to sink it. According to some reports, a woman, sometimes referred to as Mary Van Der Line, was driven mad by her suffering; she was forgotten and sank with the ship, according to these reports. However, no remains of the wreck have ever been found, and there are indications that the Augusta may have been repaired and sent on to Philadelphia.

There is a rich oral tradition of this event, and numerous sightings were reported in the late 18th and 19th centuries. The legend was immortalised by the poet John Greenleaf Whittier in "The Palatine", which faithfully reproduces the traditional story in verse. Which gave the Legend it's name. On Saturdays between Christmas and New Year's Eve, locals still sporadically report seeing a burning ship pass by. Folklorist Michael Bell, investigating the legend, found that almost a year after the incident, two versions of the night's events were circulated.

The Palatine Graves

The Block Islanders insisted that their citizens had made a valiant attempt to rescue the crew, while the New England mainlanders suspected the islanders of having lured the ship to them in order to seize their cargo. Both legends agreed that a female passenger had refused to abandon ship when it sank, and those who claim to have witnessed her reappearance say that her screams were heard from the ship.

Today, a plaque at the Mohegan Bluffs where the ship is said to have run aground reads: Palatine Graves - 1738. Some claim that those who died that night are buried underground. However, Charlotte Taylor of the Rhode Island Historical Preservation and Heritage Commission has stated that no physical evidence has ever been found to support either this claim or the legend itself.

#naval history #naval mythology #princess augusta #palatine light #ghost ship #18th century #19th century #20th century #age of sail #age of steam

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aeide-thea · 1 year

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beautiful & also terrible to have the sort of brain where you find yrself at 4:30 AM looking up intersections between jewishness & arthuriana. like. fucking amazing rabbit hole but. why am i not asleep. my head hurts and my eyes are sandy.

however. some cool things (that probably some of you knew abt already, but i did not!):

King Artus – "a 'Hebrew Arthurian Romance of 1279… Judaized and transformed.' […] Although the story in 'King Artus' is fairly straightforwardly Arthur’s as we know it today, there are little touches that tie it to Jewish literature. When, for example, Arthur’s mother, the Duchess, learns that her husband is dead and she has been deceived by the shape-shifting Uther Pendragon, she tries to figure out how that could be possible. 'No sooner had he gone more than a bow-shot’s distance away from the castle than the messenger came straight to my chamber.' That bow-shot’s distance comes not from Arthurian legend but from the story of Hagar, who sits a bow-shot’s distance away from her son Ishmael when Abraham casts them out and she does not want to see her son die."

Bovo-Bukh – "a chivalric romance adapted in 1507 by Elye Bokher (Elijah Baḥur *Levita) into 650 ottava rima stanzas in Yiddish from a Tuscan version (Buovo d'Antona) of the early 14th-century Anglo-Norman original, Boeuve de Haumton. This tale of the heroic adventures of the noble Bovo, exiled from his homeland by the machinations of his murderous mother, his wanderings through the world (as far as Babylon), and the love story of Bovo and Druzyana, their separation, his triumphant return home, and the final reunion with Druzyana and their two sons, proved to be one of the most beloved tales in the Yiddish literary tradition over the course of more than two centuries."

Vidvilt – "anonymous 15th–16th-century Yiddish epic. This Arthurian romance of the chivalric adventures of Sir Vidvilt (and his father Gawain), based on Wirnt von Gravenberg's 13th-century Middle High German Wigalois, proved to be one of the most enduringly popular secular narratives in Yiddish literary history, with numerous manuscript recensions, printings (the first in an extensively expanded version by Joseph b. Alexander Witzenhausen, Amsterdam 1671), and reprintings, in rhymed couplets, ottava rima (Prague 1671–79), and prose, over the course of three and a half centuries. The anonymous poet of the earliest Yiddish version composed more than 2,100 rhymed couplets (probably in northern Italy), following Wirnt's plot rather closely through the first three-quarters of the narrative (abbreviating much and generally eliminating specific Christian reference), before offering quite a different conclusion."

Sir Gabein – "from 1788-89, a tale in which the Arthurian knight Gabein does not return to Camelot but – via Russia and Sardinia – reaches China and ultimately ascends to the Chinese imperial throne as the new emperor." slow blink.

also this is getting beyond arthuriana into just epic poetry generally but. literally all of this sounds fascinating.

anyway. literary scholar manqué.e hrs as always here at k dot tumblr dot edu obviously! however. my ear is open like a greedy shark, &c.

#me like 'i know i didn't actually properly learn german despite taking literally years of it at c— but what if i learned yiddish'#this will not happen but. 🤔#that said: does seem like ppl have produced translations of most of this stuff altho like. i admit i DO hate reading in translation #…despite loving translation. this may sound nuts but like. i always want to be familiar with both ends of the process! /o\#ok no really the birds are chirping. enough. hit post.#bookblogging #(i guess)

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adarkrainbow · 6 months

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One very interesting to note when comparing the "literary" fairytales and the "folkloric" fairytales - the fairytales actually rewritten or entirely written by authors for a literate public versus the oral folktales and "countryside" or "simple folks" fairytales collected by folklorists.

The latter tend to be very conservative, the former much more progressive than you think. Or rather... when you've got crazy nationalist and xenophobes and discriminators of all kinds, they'll turn towards the "folkloric" fairytales - but when you want to research queer, society-questioning, gender-norms-breaking, eerily modern fairytales, you'll go with the literary fairytales rather.

Don't get me wrong, do NOT get me wrong - both kind of fairytales are usually very racist in one way or another because they are from ancient times. The Pentamerone, madame d'Aulnoy's fairytales and the brothers Grimm fairytales all are very not-Black-people-friendly and always depict having dark skin as being ugly, being wicked or being a laughingstock. Because they were written by Renaissance-era Italians and French people, and by 19th century German men, so casual racism is just there.

BUT... Folkloric countrysides tend to play the cards of the casual European racism, and the common antisemitism, and the ingrained misogynistic views, much more plainly, openly and directly, because they were literaly collected among the folks that thought that, among the common population with the "common" views of the time. For example in a lot of French folkloric fairytales (not reprinted for children today) the role of the ogre or the devil or the murder in the woods will often be "the Moor" or "the Mooress", because it was okay to depict Moors are humanoid, devilish monsters used to eat the flesh of Christian children. The casual racism and antisemitism in good handfuls of the Grimm fairytales also prove the point (NOT HANSEL AND GRETEL THOUGH! I think I made my point clear). And the same way, in the Grimm you have the absolute "heterosexual-happiness" structure that was reinforced by Disney movie and is the reason why people think fairytales are inherently homophobic.

However, when it comes to literary fairytales, you have an entirely different song. Because they were LITERARY works, and as with a lot of literature pieces, you often get more progressive things than you think. Everybody knows of Andersen's fairytales queerness today that make them beautiful allegories for things such as coming out of the closet or transitioning or living in an homophobic setting, but if we take less "modern" and "invented", more traditional fairytales, we can be in for quite a surprise...

Take the Italian fairytales classics - the Pentamerone and the Facetious Nights. These works were originally satirical and humoristic adult works. Crude satire, dark humor - they were basically the South Park of their time. Slapstick gore out of an Itchy and Scratchy show, very flowery insults the kind of which you except to come of a Brandon Rogers video, poop and piss everywhere (yet another common trait with Brandon Rogers video, in fact I realized the classic Italian literary fairytales have actually a LOT in common with Brandon's videos...), and lot of sexual innuendos and jokes involving the limits of what was accepted as tolerable (extra-marital affairs, homosexuality, incest, gerontophilia, zoophilia). This was one big crude joke where everybody got something for their money and everyone, no matter the skin color, the religion, the gender or the social status, got a nasty little caricature. It does come off as a result as massively racist, antisemitic, ageist and misogynistic tales today... But it also clearly calls out the bad treatment of women, and takes all kings for fools, and completely deconstructs the "prince charming" trope before it even existed because they're all horny brutes, and it encourages good people to actually go and KILL wicked people who abuse others and commit horrid deeds... These tales inherited the "medieval comedy style" of the Middle-Ages, where it was all about showing how everybody in the world is an asshole, all "goodness" and "purity" is just foolishness and hypocrisy, how the world is just sex and feces, and how everybody ended up beaten up in the end.. (See the Reynard the Fox stories for example - which themselves spawned an entire category of "animal fairytales" listed alongside traditional "magical fairytales" in the Aarne-Thompson Catalogue.

But what about the French classical literary fairytales? Charles Perrault, and madame d'Aulnoy, and all the other "précieuses" and salon fairytale authors - mademoiselle Lhéritier, madame de Murat, the knight of Mailly, Catherine Bernard, etc etc...

The common opinion that was held by everyone, France included, for a very long tale, was that their fairytales were the "sweet and saccharine-crap and ridiculous-romance" type of fairytales. They were the basis of several Disney movies afterall, and created many of the stereotyped fairytale cliches (such as the knight in shiny armor saving a damsel in distress). People accused these authors - delicate and elegant fashionable women, upper-class people close to the royal court and part of the luxurious and vain world of Versailles, "proper" intellectuals more concerned with finding poetic metaphors and correct phrasing - they were accused of removing the truth, the power, the darkness, the heart of the "original" folkloric fairytales to dilute them into a syrupy and childish bedtime story.

But the truth is - a truth that fairytale authorities and students are rediscovering since a dozen of years now, and that is quite obvious when you actually take time to LEARN about the context of these fairytales and actually read them as literary products - that they are much more complex and progressive than you could think of. Or rather... subversive. This is a word that reoccurs very often with French fairytales studies recently: these tales are subversive. Indeed on the outside these fairytales look like everything I described above... But that's because people look at them with modern expectations, and forget that A) fairytales were generally discredited and disregarded as a "useless, pointless child-game" by the intellectuals of the time, despite it being a true craze among bookish circles and B) the authors had to deal with censorship, royal and state censorship. As a result, they had to be sly and discreet, and hide clues between the lines, and enigmas to be solved with a specific context, and references obscure to one not in the known - these tales are PACKED with internal jokes only other fairytale authors of the time could get.

These fairytales were mostly written by women. This in itself was something GRANDIOSE because remember that in the 17th century France, women writing books or novels or even short stories was seen as something indecent - women weren't even supposed to be educated or to read "serious stuff" else their brain might fry or something. Fairytales were a true outlet for women to epxress their literary sensibilities and social messages - since they were allowed to take part in this "game" and nobody bothered looking too deep into "naive stories about whimsical things like fairies and other stupid romances".

But then here's the twist... When you look at the lie of the various fairytale authors (or authoresses) oh boy! Do you get a surprise. They were bad girls, naughty girls (and naughty boys too). They were "upper-class, delicate, refined people of the salons" true. But they were not part of the high-aristocracy, they usually were just middle or low nobility or not even true nobility but grand bourgeois or administrative nobility - and they had VERY interesting lives. Some of them went to prison. Others were exiled - or went into exile to not be arrested. You had people who were persecuted for sharing vies opposing the current politico-status of France ; you had women who had to live through very hard and traumatic events (most commonly very bad child marriages, or tragic death of their kids). And a lot of them had some crazy stories to tell...

Just take madame d'Aulnoy. Often discredited as the symbol of the "unreadable, badly-aged, naive, bloated with romance, uninteresting fairytale", and erased in favor of Perrault's shorter, darker, more "folkloric" tales - and that despite madame d'Aulnoy being the mother of the French fairytale genre, the one that got the name "fairytale" to exist in the first place, and being even more popular than Perrault up until the 19th century. Imagine this so called "precious, delicate, too-refined and too-romantic middled aged woman in her salon"... And know that she was forced into a marriage with an alcoholic, abusive old man when she as just a teenager, that things got so bad she had to conspire with family members of her (and some male friends, maybe lovers, can't recall right now) to accuse her husband of a murder so he would get death sentence - but the conspiracy backfired, madame d'Aulnoy's friends got sentenced to death, and she had to exile herself it her mother in England to not get caught too. And she only returned to France and became known as a fairytale writer there after many decades of exile in other European countries the time the case got settled down. Oh, and when escaping France's justice she even had to hide under the frontsteps of a church. Yep.

Now I am reciting it all out of memory, I might get some details wrong, but the key thing is: madame d'Aulnoy was a woman with a crazy criminal life, and in fact she got such a reputaton of a "woman of debauchery" the British people reinvented her and her fairytales around the folk/fairytale figure of Mother Bunch (Madame d'Aulnoy's fairytales became "Mother Bunch" fairytales in England to match Perrault's "Mother Goose" fairytales, and Mother Bunch was previously in England a stereotype associated with the old wise woman, kind of witchy, that girls of the village went to to get love potions and aphrodisiacs or some advice on what to do once in bed with a guy - think fo Nanny Ogg from Discworld).

And many other fairytale authors of this "classical era of fairytales" had just as interesting, wild or marginal lives. The result? When you look at their tales you find... numerous situations where a character has to dress up and pass off as the opposite gender, resulting in many gender-confusing emotion and situations just as queer as Shakespeare's Twelfth Night. Several suspiciously close and intimate friendships between two girls or two men. Various dark jokes at all the vices and corruption underlying in the "good society". Discreet sexual references hinting that there's more than is told about those idyllic romances. And lots of disguised criticism of the monarchic government and the gender politics of the society of their time - kings being depicted as villains or fools, princes either being villains or behaving very wrongly towards women, many of the typical fairytale love stories ending in tragedies (yes there's a lot of those fairytales where, because a prince loved a princess, they both died), numerous courtly depictions of rape and forced and abusive marriages, and of course - supreme subversion of all subversions - people of lower class ending up at the same level as kings (Puss in Boots' moral is that all you need to be a prince is just to look the part), and other mixed-class marriages (which was the great terror of the old nobility of France, for whom it was impossible to marry below their rank - if a king married a common peasant girl, the Apocalypse would arrive and it was the End of times).

So yeah, all of that to say... All the literary fairytales I came across with had subversive or progressive elements to it ; and this is why they are generally so easier to adapt or re-adapt in more queer or democratic or feminist takes, because there's always seeds here and there, even though people do not see it obviously. Meanwhile folkloric fairytales tend to be much more conservative and reflective of past (or present) prejudices, but people tend to forget it because these stories simple format and shortness allows them to "break" into pieces more easily like Legos you rearrange.

All I'm going to say is that there's a reason wy the Nazis very easily re-used the Grimm brothers fairytales as part of their antisemitic and fascist propaganda ; and why Russian dictators like Putin also love using traditional Russian fairytales in their own propaganda, while you rarely see Italian or French political evils reuse Perrault, d'Aulnoy, Basile or Straparole fairytales.

#fairytale analysis #fairy tales #fairytales #literary fairytales #folkloric fairytales #french fairytales #madame d'aulnoy #d'aulnoy fairytales #brothers grimm #grimm #queerness in fairytales #subversion in fairytales #queer fairytales #racism in fairytales #antisemitism in fairytales #politics and fairytales

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veronicaleighauthor · 1 month

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Tears In A Bottle

Two posts in one week? I’m on a roll. J/K

Last week, I revised an old story entitled, “Tears In A Bottle.” It was originally published in 2021 at McCoy’s Monthly and maybe five people read it. Special thanks to the five of you who always read my stuff – you’re the best! Unfortunately, in 2022 the publication went defunct and my story was out of print. I considered submitting it out to publications that accept reprints. Unfortunately, many of those don’t pay for reprints. I did a little brainstorming, which means my mind was wandering when I doing dishes or laundry, and decided to republish “Tears in a Bottle” via Kindle Publishing. If this goes well, I may try to publish some of my other out-of-print works. Maybe even one of my novels.

Yeah, I know, I’m not an artist. I’m a writer. But that’s the best I could come up with. Anyway, here’s a little synopsis of the story:

Father Josef Wasilewski is suicidal…until he gets the chance to save a life. Unfortunately for him, he becomes a suspect for a young German soldier’s murder. He – and two friends – must escape Krakow before they are caught. To his surprise, help comes from the most unlikely place.

It’s historical fiction, based in Poland during WWII. If you’re interested and you’re willing to shell out .99 for short story/eBook, you can buy it now. I’ll receive a little royalties from it. Pretty please leave a review, because reviews are love.

Click Here to buy “Tears In A Bottle.”

I hope you like it. Now excuse me while I go run and hide.

#historical fiction #mystery fiction #tears in a bottle #christian fiction #poland #wwii #short stories #short fiction #holocaust

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seeingteacupsindragons · 23 days

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So I heard that in the official English translation of Yuumori, they changed the iconic line “you’ve bested me, Sherly” to “Sherlock” 😒😒😒😒😒 do you think there’s a chance they’ll correct it down the road? I really want to buy that particular volume but I need it to be faithful to the original script 🥲

They did change it, and I don't think it's very likely they're ever going to reprint it with it fixed. That's a lot of money/effort for something I don't think they really care about, and they've made a number of translations mistakes that are similarly rough on the original story.

But no translation is faithful to the original, entirely. It's not possible. These ones are particularly egregious because they change the story pretty wildly for no apparent reason (they don't seem to be trying to change the story).

Anyway, you can pester them about it, if you like, but there are also other options if you don't want to buy it in English with that error: it's also translated in German, French, Spanish, and possibly other languages, and there's always the original Japanese, too.

#Yuukoku no Moriarty #Moriarty the Patriot

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uwmspeccoll · 2 years

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Typography Tuesday

Towards the end of his life, the notable German painter and printmaker Albrecht Dürer (1471-1528) published Underweysung der Messung mit dem Zirckel und Richtscheyt (Instructions for Measuring with Compass and Ruler), commonly called the Four Books on Measurement in English, printed in Nuremberg by Hieronymus Andreas Formschneider in 1525. Specifically intended for practicing artists but equally useful for the applied arts, this was the first of Dürer's theoretical writings to be published. The treatise synthesized a number of classical and contemporary mathematical texts with the knowledge of geometry Dürer had accumulated over a lifetime of artistic practice, in order to train German artists in precision drawing and, by extension, precision thinking.

In Book III, Of the Just Shaping of Letters, Dürer details the geometric construction of the Latin alphabet, relying on Italian precedent. The last section of the book provides directions for the construction of Gothic majuscules and minuscules based on an entirely different modular system. In 1917, the Grolier Club of New York produced a limited-edition English translation, of which we only have an inexpensive Dover reprint. However we are showing pages from it because a 3D Concepts class is using it to construct 3D models based on Dürer’s instructions and we will be producing an exhibition of these explorations along with the book later this semester.

View more Typography Tuesday posts.

#Typography Tuesday #typetuesday #Typography Tuesday #Albrecht Dürer #Of the Just Shaping of Letters #lettering manuals #Latin letters #Roman letters #Gothic letters #Grolier Club #Dover Publications #reprints #16th century type

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historical-babes · 4 months

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Seweryna Szmaglewska - Polish writer.

Seweryna Szmaglewska was born on February 11, 1916 in Przygłów near Piotrków Trybunalski. She studied psychology and literature to become a teacher. After the beginning of German occupation of Poland, she worked in one of the hospitals in Piotrków Trybunalski as a volunteer nurse and was engaged in illegal education. In 1940 she joined a student resistance organization that run an underground library of Polish literature. For her involvement in the resistance she was arrested by the Gestapo. On October 6, 1942, she became a prisoner of the Auschwitz camp.

Immediately after escaping from an evacuation transport near Wodzisław Śląski on January 18, 1945, she began to write her memoirs which became one of the first – if not the first – personal books about the experience of Auschwitz.

Since 1945, Smoke over Birkenau has been reprinted frequently and widely translated. “Smoke over Birkenau is not a book about death or hatred,” one critic wrote. “It is a powerful act of the will to live and a profession of the noblest humanism. The victorious idea of life is woven through every page. Maintaining, cultivating, and instilling in oneself the imperative: You must endure! You must live! – a plan carried out unswervingly despite everything.”

#history #historicalcrush #historicalbabe #historicalhottie #historycrush #submission

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resurrectionsadamwarlock · 1 year

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Reprints (Warlock #10)- Die offizielle Marvel-Comic-Sammlung #32 - Warlock, Teilt Eins

- 2016 German Reprint

The official Marvel Comics Collection #32 - Warlock Part One

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batmanonthecover · 3 months

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Superman (und Batman) #20 - October 1968 (Egmont Ehapa - Germany)

German reprint series

#comics #dc comics #german comics #reprints #batman #robin #1968

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officialyourdailyinspiration · 5 months

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Argula von Grumbach: Mother Courage of the Reformation

Martin Luther’s re-discovery of the Scriptural concept of the priesthood of all believers encouraged women to get more involved in the Reformation.

Argula von Grumbach (1492–1554) was the Reformation's first woman writer. Although It was not initially her intent to be a pamphleteer, von Grumbach was upset that an 18-year old student at Ingolstadt University in Bavaria, who she had known, had been forced to recant his Protestant beliefs or die. So she wrote a flaming letter challenging the theologians at the university to a public debate.

She was livid, “My heart and all my limbs tremble,“ she wrote. “How in God’s name can you and your university expect to prevail, when you deploy such foolish violence against the word of God….You may imagine that you can defy God, cast down his prophets and apostles from heaven, and banish them from the world. This shall not happen….neither the pope, nor the Kaiser, not the princes have any authority over the Word of God. You need not think you can pull God, the prophets and the apostles out of heaven with papal decretals drawn from Aristotle, who was not a Christian at all. . . . I would be willing to come and dispute with you in German.”

“Von Grumbach’s challenge was unheard of. Theologians didn’t lower themselves to debate with lay people, and still less with women, not to mention in German rather than Latin,” said biographer Peter Matheson. “They tried to ignore her, but friends had her letter to them published by the new medium of the time: the printing press. Publishers all over Germany and into Switzerland then raced to reprint it, no less than 15 times. It was a huge sensation: a mere woman challenging a university! “She continued to write pamphlets for several years afterward. She felt compelled to make a stand. “I cannot see any man who is up to it, who is either willing or able to speak,” she said, “I claim for myself Isaiah 3: ‘I will send children to be their princes; and women, or those who are womanish, shall rule over them.” The public enjoyed hearing Reformation ideas from her simple language and from a woman’s perspective.

With Luther’s Biblical stance on the priesthood of the believer, she could boldly challenge the authorities. “What doctor [of theology] could be so learned that his vow is worth more than mine? The Spirit of God is promised to me as much as to him. As God says in Joel 2: “I will pour out my Spirit upon all flesh, and your sons and daughters will prophesy.”

She worked to bring the Zwingli and Lutheran parties together and was in correspondence with Luther and several key reformers. According to Mattheson, evangelical churches in little rural villages in Franconia, Germany, still trace their foundation back to her.

God’s spirit is within you, read, Is woman shut out, there, indeed? While you oppress God’s word, Consign souls to the devil’s game I cannot and I will not cease To speak at home and on the street. – Argula von Grumbach

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tintenspion · 1 year

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Ullstein contracts regarding MvR’s Autobiography

Translation(s):

Contract

Between Oberleutnant (First Lieutenant) Freiherr Manfred von Richthofen and the company Ullstein & co, Berlin, the following deal has been made:

§1 Mr. von Richthofen transfers the sole and exclusive publishing rights of his work to the company Ullstein the sole and exclusive publishing rights of his work in progress about his flying experiences (the determination of the title remains subject to mutual agreement).

The company Ullstein & Co includes this work in their library „War-Books“.

The company dictates the publishing date of the book.

The assignment of the work to be printed in newspapers and magazines is only allowed with the permission of by the publishing house Ullstein & Co, and only for fragments of the text. If fees are received for such reprints, half of these fees are to be paid to the author. The manuscript should be in the publisher's possession by the end of April this year.

§2 The author will receive a royalty of 8pf (8% of retail price) from each copy sold which is priced at M1 retail. The author is guaranteed a royalty of 8,000 (aight thousand) marks. [Handwritten Note: 10000 Marks, changed with the permission of the company E. v. Salzmann] This guarantee is payable after the approval of censorship is given.

Further billing for copies subject to royalties is made for each calendar year by April 15 of the following year at the latest. Upon request, Ullstein & Co will have the correctness of this bonus statement for the past calendar year confirmed by a court auditor.

§3 If the scope of the work exceeds the space of 256 pages in the format of the war books, the author undertakes to make appropriate cuts or, in the event that he does not make them in time or not in full, grants the publisher approval to have these cuts effected by a personality who seems suitable to them.

§3 Mr. Hauptmann von Salzmann is authorized to agree on the final determination of the text with the publisher.

§4 The publisher is entitled to sell the copyright of the work to foreign-language countries and to grant printing rights to the German text abroad, but is obliged to pay half of the fees received for this to the author.

§5 The author has the right to include his value in a complete edition of his works 10 years after the conclusion of this contract; however, the retail price of the volume in question may not be set below M-,2.

§6 The author is entitled to thirty free copies.

§7 The author grants Berlag Ullstein & Co the right of first refusal for his next 3 works related to the war under the conditions stipulated in this contract. The publisher has to decide no later than 4 weeks after receipt of the manuscript whether he wants to make use of this sales right or not.

Frhr. v. Richthofen, Rittmeister

Power of Attorney

Power of attorney for Mr. Hauptmann a. D. Erich von Salzmann, Berlin W., Weineckestrasse 16.

I hereby authorize Mr. Hauptmann a. D. Erich von Salzmann, to make any changes or improvements that he deems necessary to Ullstein and Co. independently and without consulting me beforehand in matters relating to the book "Der rote Kampfflieger" to be published by his company, as well as represent my own interests towards the company Ullstein & Co. or such persons who come into question with regard to the completion of the book.

Herr von Salzmann is authorized to do everything on my behalf concerning the book, to regulate independently.

Frhr. v. Richthofen

Rittmeister and commander of Jagdstaffel 11

_______

OP/N: Thanks for Ullstein Buchverlage for providing me with those scans.

#manfred von richthofen #ww1 #ww1 aviation #red baron #history #der rote kampfflieger

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duckprintspress · 11 months

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Celebrate the End of May by Meeting Us!!

The US is celebrating Memorial Day this weekend, and all around the northern hemisphere, we’re enjoying the warming weather and the end of a lovely May!

And what better way to enjoy the end of the month than getting your book on?

For only the second time ever, people involved with Duck Prints Press – the independent press founded by fandom folks to publish the original work of fancreators, with an emphasis on works featuring LGBTQIA+ characters – will be attending cons and book events to (officially and unofficially) share more information about the Press!

Interested in learning more by meeting folks involved with the Press? Well, if you’re going to either of these events this weekend, you can!

The Hay Festival, Hay-on-Wye, Wales, UK

Rachael L. Young, Press staff editor, will be attending The Hay Festival today, tomorrow, and Sunday! We have no official presence at the Festival, but you’ll know Rachael by her awesome Press swag, including several of our books, our pins, our bookmarks, and this amazing Dux tote bag she got custom printed! If you see her, stop by and say hi – and don’t forget to grab one of our business cards before you leave!

Balticon, Baltimore, Maryland, USA

Author Tris Lawrence is attending Balticon tomorrow, Sunday, and Monday, where she’ll be promoting her own work and her work with the Press, including participating in multiple panels and doing a reading from her novel Commit to the Kick. She’s also got several of our anthologies for you to take a look at, a pile of business cards, the last unsold print copies of the first print run of Commit to the Kick (we’ve got a reprint in the works, though…) and the debut of our first-ever entirely free Duck Prints Press zine, assembled by author and editor Alec J. Marsh!

Want to meet Tris? Here’s her panel schedule:

Sunday 11:30am – Spear Carriers and Background Characters

Sunday 2:30pm – Works I Wasn’t Ready to Write

Sunday 4:00pm – How to succeed as an ND (NeuroDiverse) creative

Sunday 5:30pm – Reading (with Elektra Hammond)

Monday 11:30am – Small press or self-publish?

If you’re going to either of these events, we really hope to meet you there!

Not able to attend either of these events? You’ll have other chances! We’re still fleshing out our 2023 convention schedule, but we know for sure we’ll have people – and tables! – at these events:

NordCon, Hamburg, Germany – June 2nd – 4th: Alessa Riel and possibly other German Press folks will be attending NordCon! We’ll have a table there, along with cards, stickers, and some other fun freebies.

FlameCon, New York City, New York, USA – August 12th – 13th: we might be attending FlameCon! We are on the waitlist for a small table, and if we’re able to get a table, we’ll be there with bells on (possibly literally). If not, we’ll skip this year, but we’re definitely going to try to make it next year!

FandomFest, Schenectady, New York, USA – August 26th – 27th: I (Nina Waters/unforth), Tris Lawrence, Catherine E. Green, Shea Sullivan, Willa Blythe, Nova Mason, and possibly other Press authors and contributors will be attending this convention, local to where the Press is based! We’ll have a vending table with merch and books for sale, and we’ll also be hosting a panel about transitioning from writing fanfiction to original fiction. We’ll post more about that, including scheduling, once the con organizers formally announce the schedule.

Albacon, Albany, New York, USA – September 8th – 10th: Tris Lawrence and I will be at Albacon in Albany, and we’ll be vending too! We don’t yet know about panels and readings, but we’re definitely looking to get involved. When the event is closer, we’ll absolutely be sharing more information.

We’re looking to expand our con attendance in the future, so be on the look out! And if you know a local con you think would suit us, do let us know!

What about y’all – attending any fun cons or book-related events this summer?

#duck prints press #balticon #hay festival #book events #cons #tris lawrence #rachael l. young #nordcon #flamecon #fandomfest #albacon

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