#Literary Landmarks

[melikemmm]

Explore Famous Literary Landmarks

Imagine stepping into the very places that sparked the creation of some of the world’s greatest literary works. Our journey includes Shakespeare’s Globe in London. It also takes you to Hemingway’s haunts in Paris. It will transport you into the heart of literary history and inspiration. 1. Shakespeare’s Globe, London Step into the world of the Bard at Shakespeare’s Globe in London. This…

[circuitmouse]

Literary historic markers across the United States

1. Jack Kerouac 2. Mark Twain 3. Alex Manly 4. Toni Morrison 5. Tennessee Williams 6. Bahia Mar 7. Algonquin Hotel 8. Burritt Alley 9. Jack London

[theorlandohome]

The Beat Road Less Traveled: Jack Kerouac's Orlando Odyssey

In the heart of Florida, where the pulse of theme parks beats like a relentless drum, lies a quiet street that harbors a secret history. This is the story of 1418 Clouser Ave, College Park, Orlando—a modest abode that once cradled the restless spirit of Jack Kerouac, the iconic beacon of the Beat Generation.

The year was 1957, a time when America was poised on the cusp of cultural revolution. Kerouac, already a whisper on the lips of the nation after the publication of "On the Road," sought refuge from the dizzying whirl of fame. He found solace in Orlando, a place far removed from the smoke-filled jazz clubs and the frenetic streets that fueled his wanderlust. Here, in a small house nestled among the orange groves and under the expansive Florida sky, Kerouac embarked on a new journey—a journey inward.

As the world buzzed outside, Kerouac penned "Dharma Bums" within these walls, his typewriter keys tapping out the rhythm of a soul in search of meaning. The novel, a testament to his exploration of Buddhism and the counterculture of the time, was birthed in the tranquility of Orlando, a stark contrast to the vibrant chaos that characterized his earlier works.

This house, a silent witness to the creation of a literary masterpiece, has since transformed into The Kerouac Project. It stands as a beacon to writers and artists from around the globe, offering them the same sanctuary it provided Kerouac. Here, the legacy of a man who once roamed the vast American landscape in search of freedom and authenticity continues to inspire.

The story of Jack Kerouac in Orlando is a vivid reminder that amidst the clamor and the glamour, there are pockets of serenity that have the power to fuel creativity. It challenges the narrative of Orlando as merely a tourist haven, revealing a city with a rich cultural tapestry woven with threads of literary significance.

As the sun sets over College Park, casting long shadows on the pavement outside the Kerouac house, one can almost hear the ghost of a typewriter, echoing through the years. This is where a road less traveled by the Beats wound its way through Orlando, leaving behind a legacy that continues to inspire and captivate.

So, to the wanderers, the dreamers, and the rebels at heart, Orlando holds a piece of hidden history, a testament to the journey of a man who dared to live fully, deeply, and authentically. It's a story that beckons us to explore, to discover, and to dream beyond the confines of the mapped and the known.

This is the tale of Jack Kerouac's Orlando odyssey. A chapter in the book of the Beat Generation that whispers the possibility of finding inspiration in the most unexpected places.

[kingsbridgelibraryteens]

Literary NYC: Poe Park, February 2024

I visited Poe Park on a recent gray and cloudy day. My timing wasn't great, because Poe Cottage was closed, and the Visitor Center appeared to be open because people were inside, but the door was locked (???) So instead, I photographed these structures from the outside, as well as the historic bandstand.

I do recommend this park as a good place to visit if you're a fan of Poe, and since the park is only a few blocks long, you can see everything in one visit. But because different websites list different times when these buildings will be open or closed, I'd recommend calling ahead to make sure the places you want to enter are definitely open when you visit!

If you'd like to take a deeper dive into the world of one-time Bronx resident Edgar Allan Poe, here are some links to explore:

The New York Public Library

Where to Start With Edgar Allan Poe

Poetry Foundation

The Poe Museum

National Park Service

Project Gutenberg

Edgar Allan Poe & the Historic Poe Park (NYC Parks)

Poe Park Visitor Center (Toshiko Mori Architect)

Edgar Allan Poe Cottage (Historic House Trust)

[thegeorgehathersage]

Must-Visit Historic Sites Around Hathersage

Explore the rich history of Hathersage, from medieval churches and castles to literary landmarks and industrial heritage. Discover Little John’s grave, North Lees Hall, and more. Plan your visit now and uncover the timeless charm of this Derbyshire village.

[quirkycatsfatstacks]

Review: The Last Murder at the End of the World by Stuart Turton

Author: Stuart TurtonPublisher: Sourcebooks LandmarkReleased: May 21, 2024Received: Own (Aardvark)Find it on Goodreads | Aardvark | More Sci-Fi Book Summary: The world has shrunk to one small island for all intents and purposes. On this island are the last survivors on earth: twenty-two villagers and three scientists. It may not sound like much, but they have hope for the…

[rocklandhistoryblog]

Happy Birthday Helen Hayes!

In 2022, Pretty Penny (The Home of Hayes and husband Charles MacArthur) was designated as a “Literary Landmark.” The dedication was held on her birthday, October 10, 2022. A group of Nyack library friends sang Happy Birthday and enjoyed cake! A lovely memory of a great celebration of Helen Hayes- a generous and dedicated Rocklander.

1: Hayes at Pretty Penny

2. The marker on the exterior privacy wall at Pretty Penny in Nyack.

3. The children and grandchildren of Hayes and MacArthur.

4. The unveiling of the marker.

5. Helen Hayes

6.Singing Happy Birthday with Joel Vig and Joyce Bulifant.

[lilibetbombshell]

[kerryweaverlesbian]

Allegedly. According to my cursory research. There was an alleyway in London called Holywell street in the mid 1800s which had. Allegedly. 27 pornography shops. And one Lord was so pissed off with convicting this one guy so many times (the guy was dubbed "the ogre of holywell street") that the street and the ogre sparked off the creation of The Obscenity Act. And I found a newspaper article from a year later of someone going to Holywell street and they said the Act hadn't done anything and in fact even MORE shops featured erotic art and books now bc (the article posits, author information unavailable) the law wasn't very clearly defined so people were like oh okay so if my INTENT isn't to be corrupting then it's okay? Cool!

The law was eventually clarified in a case where the appropriately named Lord Cockburn stated that all published materials (for profit or not) must be appropriate. For a man to read out to his family. Which is a wild thing to expect. But this was the case until around 1960.

[perfectalpacacollector-f543cd03]

52 Ancestors: Strieby Church, Randolph County, North Carolina, Family Reunion

Another look back at Strieby's 2022 Homecoming as we get ready for this year's Homecoming and Open House on the 26-27 August.

Strieby Congregational United Church of Christ in Asheboro, North Carolina, has held Homecoming (Reunion)/Revival services on the fourth Sunday in August, for all of its 144 years so far as we have been able to ascertain. Over the past 10 years we, the descendants of the original community who grew up around the church, established in 1879, have made a concerted effort to preserve, share, and…

[xyywrites]

Subtle Foreshadowing: Leaving Breadcrumbs

Foreshadowing is like seasoning—too much, and it overpowers the dish; too little, and the story feels bland. When done subtly, it’s a literary breadcrumb trail that readers can follow and later admire when they realize everything was right under their noses.

1. Use Everyday Details

The best foreshadowing hides in plain sight. Something that seems unimportant now can hold major significance later.

Example: A character mentions that they always lock their bedroom door at night. Later, it becomes crucial when someone tries to break in but fails.

2. Leverage Symbolism

Objects, colors, or recurring imagery can subtly point to future events.

Example: A withering plant in the protagonist’s room mirrors their deteriorating mental state, foreshadowing a breakdown.

3. Play With Dialogue

A seemingly casual line can become significant in hindsight.

Early in the story: “You’d have to be crazy to hike that trail alone.” Later: The protagonist ventures down the same trail, setting up a tense, isolated confrontation.

4. Introduce Red Herrings

Foreshadowing doesn’t mean making the ending obvious. Throw in details that distract or mislead while keeping the real clues subtle.

A character keeps looking at their phone nervously, making readers suspect they’re hiding something. The twist? They’re planning a surprise party, not plotting betrayal.

5. Use Minor Characters

Minor characters can be the perfect vessels for foreshadowing. Their insights or actions may seem trivial but later connect to the main plot.

A street vendor tells the protagonist, “Storm’s coming,” as they pass by. Later, this line doubles as both literal and metaphorical foreshadowing for the chaos ahead.

6. Drop Inconsistencies

Small contradictions in a character’s story or behavior can hint at hidden truths.

A character says they’ve never been to a certain city, yet they recognize its landmarks in a photo. This inconsistency later ties into their secret past.

7. Use Setting Details

The environment can hint at future events.

A creaky floorboard that annoys the protagonist early in the story becomes critical later when they use it to detect an intruder.

8. Plant Emotional Seeds

Foreshadow not just plot twists but emotional arcs as well.

A character who lashes out at small inconveniences foreshadows a larger anger issue that causes them to make a catastrophic decision later.

9. Utilize Themes

Tie foreshadowing into the story’s overarching themes for subtle yet powerful hints.

In a story about trust, repeated mentions of locked doors, broken promises, and hidden diaries all build to the climax where a betrayal occurs.

10. Trust Your Readers

The key to subtle foreshadowing is restraint. Trust your readers to connect the dots without spelling it out for them.

Instead of saying, “The cracked photo frame symbolized their fractured relationship,” simply describe the frame and let readers infer the connection.

Foreshadowing is an art of balance. It should enrich your story without pulling readers out of the narrative. Think of it as a game with your audience—leave just enough breadcrumbs so that when the twist hits, they’ll gasp and say, “Of course!”

[makingqueerhistory]

300,000 Kisses: Tales of Queer Love from the Ancient World

Seán Hewitt (Author) Luke Edward Hall (Author)

A landmark illustrated anthology of queer Greek and Roman love stories that reclaim and celebrate homosexual love and sensuality, from artist Luke Edward Hall and award-winning poet Seán Hewitt.

For centuries, evidence of queer love in the ancient world has either been ignored or suppressed. Even today, only a few narratives are widely known: the wild romance of Achilles and Patroclus; the yearning love of Sappho's lyrics; and the three genders introduced in

Plato's Symposium. Yet there is a rich literary tradition of queer Greek and Roman love that extends far beyond the prudish translations of these familiar handful of stories. In 300,000 Kisses, award-winning poet Seán Hewitt and renowned designer Luke Edward Hall collect these stories--including some of the most beautiful and moving in the classical canon--and bring them to vivid life. Alongside celebrated works by Homer, Sappho, Ovid and Catullus, they include a wide range of rarely anthologized sources: raunchy poems, thoughtful dialogues, philosophical treatises, and even a graffiti text salvaged from the ruins of Pompeii. Through Hewitt's contemporary translations and Hall's vibrant illustrations, we encounter relationships that are by turns heartfelt and nourishing, unrequited and lustful, toxic and crude, tender and fulfilling. A groundbreaking anthology that seeks to change the way we see the ancient world, 300,000 Kisses is a fascinating journey through love in all its forms.

(Affiliate link above)

[mariacallous]

“If it should be, and he came to London, with his teeming millions. … There may be a solemn duty; and if it come we must not shrink from it.”—Bram Stoker, Dracula

A vampire must avoid direct sunlight to avoid crumbling into ash, yet few folk horrors have been subject to more scrutiny than the transformative bloodsuckers who dominate the night. A new and absolutely terrific cinematic take on the myth, Robert Eggers’ Nosferatu, has hit theaters, and its most notable element, in addition to outstanding performances, dialogue, and production design, is that this new version really amps up the lusty goth quotient. (So much hallucinatory writhing and moaning!) However, its release so close to the inauguration of a U.S. president who has stoked fears of immigrants draws out xenophobic elements inherent to the text, and an inner tension with its own reactionary origin is part of the genius of this new film.

If you aren’t a subscriber to Fangoria magazine, you may not know the Nosferatu backstory. The first version, released in 1922, is a landmark of German filmmaking that plundered intellectual property as if it were the grave of a Victorian noblewoman buried with her jewels—a fate some of the characters in Dracula think has befallen poor Lucy Westenra, before it is revealed she is actually an accursed undead demon!

Unlike his most famous literary creation, though, Irish-born writer Bram Stoker does not walk the earth a century after his death. As such, the theater manager who wrote books on the side would likely be surprised at the strength of his legacy. Dracula, published in 1897, was only a modest success at the time. It was not even the first book about vampires published in English; how it became the wellspring for vampire iconography—to the point that is used to sell breakfast cereal—is perhaps due to vivid, dueling film interpretations.

In 1921, a German film producer with an interest in the occult created a new studio (Prana) with an eye toward making supernatural-themed films, and kicked things off with an adaptation of Dracula. He hired Henrik Galeen, who co-wrote the outstanding expressionist The Golem: How He Came Into the World, to write the screenplay, and F. W. Murnau—who would later make Sunrise: A Song of Two Humans, one of the undisputed masterpieces of silent cinema—to direct. But he did not pay for the rights to Bram Stoker’s book. Instead, Galeen changed the names of the characters (Count Dracula to Count Orlok) and the location (London to Wisborg, a fictional German city), and made some additional tweaks to the narrative. The title, Nosferatu, is a word used in Dracula to categorize vampires, meaning undead. (The etymology of this word remains debated, but it may have its roots in the Greek nosophoros, meaning “disease-bearing.”)

Nosferatu: A Symphony of Horror was released to significant acclaim, but one person who wasn’t happily chomping on popcorn was Florence Balcombe, Bram Stoker’s widow. An anonymous informant sent her a handbill from the movie’s lavish premiere at the Marble Hall of the Berlin Zoological Gardens. The promotional material boasted that the film was “freely adapted” from Dracula. Balcombe took this to court, won her case, and bankrupted Prana, which was ordered to destroy every copy of Nosferatu. Clearly, this did not happen, as you can still watch the movie today—and, despite the iffy ethical origins, you should; it’s terrific.

But what Balcombe did next was key. Springboarding off the increased interest in the story (and to guarantee proper payment on copyrighted material), she greenlit a stage production. The show ended up being a hit in London in 1927, then moved to New York later the same year. That version starred Bela Lugosi. Four years later, Lugosi reprised the role for Tod Browning’s film version for Universal Pictures, the first talkie in the Universal Monsters series. It was a sensation, and Lugosi’s sharp-toothed Transylvanian is now an early screen icon on par with Chaplin’s Little Tramp.

Other Dracula movies were soon in the works—a Spanish-language version was actually shot concurrently with Browning’s, using the same sets—and have never stopped. Hammer Studios in Britain made several classics starring Christopher Lee; there’s the Andy Warhol-presented Blood for Dracula; the disco era’s comedy Love at First Bite; Francis Ford Coppola’s stylistic version from the 1990s; and then there’s Adam Sandler’s Hotel Transylvania cartoons. Moreover, Lugosi knew a good gig when he saw it. The actor reprised his role for comedy (Abbott and Costello Meet Frankenstein—and also the Count!) and special appearances (a gig on Fred Allen’s top rated Texaco Star Theater radio show is just one example), and also starred in several Dracula-esque horror titles like The Devil Bat. While Lugosi’s lines from Dracula were instantly quotable (“I never drink … wine” is certainly my favorite), behind it all was the less hokey, dreamlike silent film version of Nosferatu, sprung from illicit origins and filled with striking sinister imagery.

Shadow of the Vampire, released in 2000, imagines that the original production was cursed because actor Max Schreck, who played Count Orlok, was truly a vampire. (Willem Dafoe was nominated for an Oscar for his performance of Schreck in this behind-the-scenes comedy, which is especially amusing because he plays the part of Prof. von Frantz, a spin on Stoker’s Dr. Van Helsing, in the new film.) Shadow of the Vampire’s premise—the cover up of an unsettling (fictional) aspect of the original Nosferatu—works because, while the intentions of Murnau and company are hard to know, it is easy to see how German audiences of the 1920s could read Nosferatu as antisemitic.

The film and its source material read like a laundry list of antisemitic tropes: The Count comes from “the East,” a backwards, superstitious land. (Transylvania, while certainly a real place, means “beyond the woods.”) He has somehow amassed a fortune despite living apart from the villagers who fear and despise him. He is a non-metaphorical bloodsucker. When he gets to civilization, he immediately starts preying on women. In most versions of the story, the first woman he assaults turns into a vampire herself, then starts draining the blood of babies and children, recalling the many examples of supposed blood libel used to excuse antisemitic violence throughout the previous centuries. When the character of Mina Harker (called Ellen Hutter in Nosferatu) is finally penetrated by the count, she declares that her blood is “unclean.” The Count’s curse demands that he sleep each night in the earth of his origin, but he comes up with a sneaky loophole by packing several coffins filled with Transylvanian dirt. One way to interpret the Count’s actions is metaphorical: The immigrants are unwilling to assimilate and they taint our family lines and drag their traditions along with them from the old country. But on a much more literal level, it is quite bluntly blut und bloden, blood and soil, a Nazi rallying cry since the 1920s that, unfortunately, persists to this day.

While these symbolic plot elements exist in the 1897 novel, it was the 1922 German film that dialed them up, adding some undeniable antisemitic visual tropes. Count Orlok, compared to the Spirit Halloween-ready Count Dracula, has a hooked nose and rodent-like clutching hands, an exaggerated reinterpretation of the Count’s features compared to how they are described in Stoker’s book. (Lugosi’s Dracula from 1931 eases up on the visual stereotypes considerably, but he does wear a six-pointed star the first time we see him.)

Murnau also added a plague element to Nosferatu’s storyline. When the Count’s ship comes to Wisborg, it arrives with rats and a rapidly spreading sickness. This “verminization” goes hand-in-hand with the notion of the “dirty Jew.” It is believed that Julius Streicher, editor-in-chief of the Nazi mouthpiece Der Stürmer, was a fan of the film, and Hitler himself, in Mein Kampf, compared Jews to vampires.

So hold on a second, you are telling me that a major motion picture studio has released a work of antisemitic propaganda, and it’s in theaters right now? Do I need to send an angry letter? No, not at all. Please do not cancel Robert Eggers, one of the more brilliant directors on the scene today, whose take on Nosferatu tamps down the antisemitism. (This is his fourth film, following The Witch, The Lighthouse, and The Northman, all very sharp plays on genre storytelling, and all worth watching.). Now, Count Orlok just has a weird and striking nose, not a hook nose. He is also less of a schemer. He is compelled to come to Wisborg, as if it is part of his burdensome curse. If one were to ask, “Why make this movie again?” I’d say that, apart from the exemplary sets and performances and cinematography, Eggers emboldens the supernatural, psychosexual connection between the Count and Ellen. Yes, the town leaders of Wisborg—ostensibly the heroes—remain understandably xenophobic. But Eggers adds a top layer of tragedy, by making the subtext text: The Count and Ellen should be able to get their telepathic freak on, but the social codes of the 1830s are so stifling that even the Prince of Darkness can’t fight them. This creates a tension to the story (and its anti-immigration strain) that feels entirely new.

Considering that hardly anyone watching the new Nosferatu will be unfamiliar with vampire tropes, Eggers is well within his rights to essentially copy-paste elements from the more problematic version and build on it. The added shading, leaving the audience wondering if maybe the Count isn’t such a villain, is enough nuance to keep this from feeling like a definitive political statement. After all, the first thing you’ll likely talk about after seeing it is Ellen’s (Lily-Rose Depp) several moments of bed-ridden, prurient murmuring “he’s coming!” from a dream-like haze. For a director who has made three sharp movies dealing with the supernatural or fantastic, this story is in Eggers’ blood.

10 Vampire Streaming Recommendations

Nosferatu: A Symphony of Horror (1922), dir. F.W. Murnau: The original nightmare.

Dracula (1931), dir. Tod Browning: The birth of a franchise. Warning: Though there are many classic moments, much of this movie is dull.

Dracula Has Risen from the Grave (1968), dir. Freddie Francis: The third Christopher Lee Dracula picture, and one that likely influenced the new one—as it was, for its time, a bit on the randy side.

Blacula (1972), dir. William Crain: An 18th century African prince is transformed into a vampire by Count Dracula himself, and ends up in 1970s Los Angeles. Released during the first wave of blaxploitation films, this was the first one to get supernatural.

Love at First Bite (1979), dir. Stan Dragoti: The Count comes to groovy New York and is faced with nonstop schtick. Richard Benjamin plays the famed vampire hunter Van Helsing’s grandson, a neurotic shrink named Dr. Jeffrey Rosenberg.

Nosferatu the Vampyre (1979), dir. Werner Herzog: Before Eggers, there was this German-language take focusing on Count Orlok. A slow-paced film that goes heavy on the plague storyline, featuring a substantial number of rats.

Bram Stoker’s Dracula (1992), dir. Francis Ford Coppola: Gen X Dracula, with Winona Ryder, Gary Oldman, and Keanu Reeves.

Thirst (2009), dir. Park Chan-wook: Not a Dracula film, but an unpredictable spin on the vampire myth from one of South Korea’s great filmmakers.

Only Lovers Left Alive (2013), dir. Jim Jarmusch: Cinema’s king of deadpan cool presents artists and rock musicians as vampires eternally on the fringes of society. (A documentary?)

El Conde (2023), dir. Pablo Larraín: Perhaps of particular interest to Foreign Policy readers, this Spanish-language picture, available on Netflix, suggests that Augusto Pinochet was actually a vampire, and takes it from there.

[uwmspeccoll]

Milestone Monday

Poetry in Punk

On this day, December 30th, 1946, Patti Smith, a singer, songwriter, author, poet, photographer, and painter, was born in Chicago, Illinois. Often referred to as the "Godmother of Punk," Smith is known for her influential music that blends rock and poetry. Her debut album, Horses, released in 1975, is considered a landmark work in the punk rock genre. Beyond her music career, Patti Smith has written several books, including the acclaimed memoir Just Kids, which explores her relationship with photographer Robert Mapplethorpe and their experiences within the New York City artistic scene. Throughout her life, she has been a prominent cultural figure, advocating for artistic freedom and social change.

Images featured come from:

Our first edition of A Useless Death, a poem by Patti Smith that was published as a chapbook and distributed by Gotham Book Mart and Gallery in New York in 1972.

Ha! Ha! Houdini!, a poem written by Patti Smith and published as a chapbook. It was distributed by Gotham Book Mart and Gallery in New York in 1977.

Robert Mapplethorpe, released by Peter Weiermair and published by Robert Wilk in 1981. The contexts come from a catalogue of an exhibition sponsored by the Frankfurter Kunstverein, April 10-May 17, 1981, and features an introduction by Sam Wagstaff, the artistic mentor and benefactor to Robert Mapplethorpe and Patti Smith.

Some Women by Robert Mapplethorpe that features an introduction by one of the pioneers of New Journalism, Joan Didion. Our first edition was published in Boston by Bulfinch Press in 1989.

Robert Mapplethorpe by Richard Marshall with essays by American poet, literary critic essayist, teacher, and translator Richard Howard, and South African-born American writer and editor Ingrid Sischy. Our copy is the first cloth edition, published in New York: Whitney Museum of American Art; Boston: in association with Bulfinch Press: Little, Brown and Company in 1988.

Mapplethorpe prepared in collaboration with the Robert Mapplethorpe Foundation with an essay by American art critic, philosopher, and Professor Arthur C. Danto. This first edition was published in 1992 by Random House in New York.

-View more Milestone Monday posts

-Melissa, Special Collections Graduate Intern

[winterdaphne2]

Gay Easter Eggs in BBC Sherlock

(I trust the above requires no explanation.)

Perhaps someone has done this before, but I wanted to put together a compilation of gay easter eggs in the show that I’ve seen other people point out and/or have thoughts on myself. So here it is!

When I say “easter eggs,” I’m thinking of small clues that the show creators included in the set designs, music choices, and other details of the show to reference that Sherlock and John are in love. I’m thinking of things you could miss at first, especially little clues that often require a bit of extra information or require observations across episodes to understand.

Of course, there’s also lots of subtext woven into the show, moments where interpreting the dialogue or visuals in a certain way tells us something about Sherlock, John, and/or the state of their feelings for one another. I’m not sure if I can clearly define “subtext” versus “easter eggs” and explain what distinguishes them, but at least to me, several of the things I’ve listed here seem a bit different from what people often refer to as subtext. Maybe subtext is about uncovering the layers to a piece of dialogue or an action that takes place in plain sight and seeing how that impacts our interpretation of the story, but easter eggs are about spotting smaller, hidden details. I’m not trained in literary or film studies, though, and I’m not trying to be doctrinaire about this at all! This list is just for fun, anyway. (The above image might not actually count as an easter egg, but I couldn’t resist including it here. Indulge me.)

The more I read about this show and the harder I look, the more I think that hardly anything is there on accident. All these easter eggs must have been included on purpose. The creators knew they were telling a love story all along.

I’ve linked to the posts where I initially saw people point these out or to other good sources, and for some of these I’ve added my own commentary/observations/interpretations. I’m sure there are many other easter eggs that I’ve missed! What have you spotted?

John’s PIN in TBB – When John tries to pay for his groceries at the beginning of the episode, we see that his PIN is 743. In ASIB, Irene’s code to unlock her phone is SHER, which would be 7437 on a phone keypad. So, John’s PIN is a clue that he is or will be in love with Sherlock. Source: @loudest-subtext-in-tv, here.

Shaftesbury Avenue, 20m from Piccadilly Circus in TBB – While investigating in Chinatown, Sherlock and John bump into each other at what used to be a cruising spot for gay men in London. Source: @the-signs-of-two, here.

Archer the American in ASIB – In the scene where the American CIA agents try to get Sherlock to open Irene’s safe, the head CIA agent pressures Sherlock by threatening to have one of his men shoot John. The agent says: “Mr. Archer, on the count of three, shoot Dr. Watson.” Ordering someone named “Archer” to shoot John could be a reference to Arthur Conan Doyle’s poem “The Blind Archer,” which is about Cupid and describes Cupid shooting two men who sound an awful lot like Sherlock and John. Source: couldntpossiblycomment, here.

“¿Dónde Estás, Yolanda?” in TEH – The song that plays during the scene with John and Sherlock’s disastrous reunion at the Landmark restaurant is a cover of the song “¿Dónde Estás, Yolanda?” performed by the band Pink Martini. The Spanish lyrics to this song are about searching for a long-lost lover, which is fitting for the scene where John sees Sherlock again for the first time since his fall. Notably, the creators didn’t use the first of the two versions of this song that Pink Martini has released. The band’s first version appears on their 1997 studio album Sympathique and features a man singing about a woman. Instead of using that version, the creators used the version from Pink Martini’s 2011 compilation album A Retrospective, in which China Forbes performs most of the vocals. So, the creators deliberately chose a remade version of the song in which a woman sings about a woman. They chose a gay song about searching for a long-lost lover for Sherlock and John’s reunion. abrae (@tea-and-liminality on tumblr) has a meta with more to say about the use of this song here.

John’s “oscillation on the pavement” in TEH – In TSOT, John observes a potential client standing outside 221B and trying to make up her mind as to whether to come in. Sherlock tells John “I’ve seen those symptoms before. Oscillation on the pavement always means there’s a love affair.” In the previous episode, John came to visit Sherlock at 221B but hesitated on the pavement outside, staring at the door and trying to decide whether to go in. Sherlock’s comment, “I’ve seen those symptoms before,” is a hint that we, the audience, have also seen those symptoms before—with John in the previous episode. Source: @bidoctor, here. (I saw someone else point out that last part about Sherlock’s hint to the audience, but I can’t find that post, sorry!)

Lilac dresses in TSOT – While planning John and Mary’s wedding, Sherlock chooses lilac-colored dresses for the bridesmaids. When John tells Sherlock that he likes the bridesmaids in purple, Sherlock pointedly corrects him by stating that the dresses are lilac. Apparently, “In Victorian times, giving a lilac meant that the giver is trying to remind the receiver of a first love.” So by dressing the bridesmaids in lilac, Sherlock is trying to remind John of his first love: himself, Sherlock. My heart breaks. Source: @asherlockstudy, here.

Putting the horns on Mary and Janine in TSOT and HLV – In TSOT, there’s a shot where Mary gives Sherlock and John a thumbs up before they head out on a case. The way Mary is standing, the horns on Sherlock’s cow skull thing on the wall behind her are placed right over her head. (I always thought this shot looked pretty weird, but now I see that it must have been intentional!) In the HLV scene with Janine at 221B, there’s a moment when Janine steps in front of John in the frame to kiss Sherlock, and her movement positions the horns right over her head. “Putting the horns” on someone means cheating on them. So in both cases, placing the horns right above Mary’s and Janine’s heads indicates to the audience that Sherlock and John are the real relationship in this show. Source: this post from multiple users on the @sherlockmeta blog.

The architecture of Sherlock’s mind palace in HLV – In the mind palace scene after Mary shoots Sherlock, the architecture of Sherlock’s mind palace is based on locations from ASIP. Sherlock literally built his mind palace out of places from his first case with John, illustrating that his relationship with John is what grounds him and that it means everything to him. abrae has some very helpful screencaps of this here (and I would recommend that whole meta, btw!)

The glasshouse scene in TAB – In TAB, the Victorian John tries to ask Sherlock about his sexuality and sexual history while they’re sitting in a glasshouse. In Victorian Britain, “glasshouse” was another term for a military prison. So John, a military veteran, asks Sherlock about his sexuality in a setting that represents where he would have been sent if he had acted upon his homosexual desires at a time when homosexuality was criminalized. Source: @haffieliesel, here.

What do we say about coincidences? The universe is rarely so lazy.