#gautier paulin

[opera-ghosts]

Pauline Viardot

Alfred de Musset covered Maria Malibran’s tomb with immortal flowers and he also told us the story of Pauline Garcia’s debut. There is also something about it in Théophile Gautier’s writings. It is clear from both accounts that her first appearance was an extraordinary occasion. Natures such as hers reveal themselves at once to those who know and do not have to wait to arrive until they are in full bloom. Pauline was very young at the time, and soon afterwards she married M. Viardot, manager of the Théâtre-Italien and one of the finest men of his day. She went abroad to develop her talent, but she returned in 1849 when Meyerbeer named her to create the rôle of Fides in Le Prophète.

Her voice was tremendously powerful, prodigious in its range, and it overcame all the difficulties in the art of singing. But this marvellous voice did not please everyone, for it was by no means smooth and velvety. Indeed, it was a little harsh and was likened to the taste of a bitter orange. But it was just the voice for a tragedy or an epic, for it was superhuman rather than human. Light things like Spanish songs and Chopin mazurkas, which she used to transpose so that she could sing them, were completely transformed by that voice and became the playthings of an Amazon or of a giantess. She lent an incomparable grandeur to tragic parts and to the severe dignity of the oratorio.

I never had the pleasure of hearing Madame Malibran, but Rossini told me about her. He preferred her sister. Madame Malibran, he said, had the advantage of beauty. In addition, she died young and left a memory of an artist in full possession of all her powers. She was not the equal of her sister as a musician and could not have survived the decline of her voice as the latter did.

Madame Viardot was not beautiful, indeed, she was far from it. The portrait by Ary Scheffer is the only one which shows this unequalled woman truthfully and gives some idea of her strange and powerful fascination. What made her even more captivating than her talent as a singer was her personality—one of the most amazing I have ever known. She spoke and wrote fluently Spanish, French, Italian, English and German. She was in touch with all the current literature of these countries and in correspondence with people all over Europe.

She did not remember when she learned music. In the Garcia family music was in the air they breathed. So she protested against the tradition which represented her father as a tyrant who whipped his daughters to make them sing. I have no idea how she learned the secrets of composition, but save for the management of the orchestra she knew them well. She wrote numerous lieder on Spanish and German texts and all of these show a faultless diction. But contrary to the custom of most composers who like nothing better than to show their compositions, she concealed hers as though they were indiscretions. It was exceedingly difficult to persuade her to let one hear them, although the least were highly creditable. Once she sang a Spanish popular song, a wild haunting thing, with which Rubinstein fell madly in love. It was several years before she would admit that she wrote it herself.

She wrote brilliant operettas in collaboration with Tourguenief, but they were never published and were performed only in private. One anecdote will show her versatility as a composer. She was a friend of Chopin and Liszt and her tastes were strongly futuristic. M. Viardot, on the contrary, was a reactionary in music. He even found Beethoven too advanced. One day they had a guest who was also a reactionary. Madame Viardot sang to them a wonderful work with recitative, aria and final allegro, which they praised to the skies. She had written it expressly for the occasion. I have read this work and even the cleverest would have been deceived.

But it must not be thought from this that her compositions were mere imitations. On the contrary they were extremely original. The only explanation why those that were published have remained unknown and why so many were unpublished is that this admirable artist had a horror of publicity. She spent half her life in teaching pupils and the world knew nothing about it.

During the Empire the Viardots used to give in their apartment on Thursday evenings really fine musical festivals which my surviving contemporaries still remember. From the salon in which the famous portrait by Ary Scheffer was hung and which was devoted to ordinary instrumental and vocal music, we went down a short staircase to a gallery filled with valuable paintings, and finally to an exquisite organ, one of Cavaillé-Coll’s masterpieces. In this temple dedicated to music we listened to arias from the oratorios of Handel and Mendelssohn. She had sung them in London, but could not get a hearing for them in the concerts in Paris as they were averse to such vast compositions. I had the honor to be her regular accompanist both at the organ and the piano.

But this passionate lover of song was an all-round musician. She played the piano admirably, and when she was among friends she overcame the greatest difficulties. Before her Thursday audiences, however, she limited herself to chamber music, with a special preference for Henri Reber’s duets for the piano and the violin. These delicate, artistic works are unknown to the amateurs of to-day. They seem to prefer to the pure juice of the grape in crystal glasses poisonous potions in cups of gold. They must have orgies, sumptuous ceilings, a deadly luxury. They do not understand the poet who sings, “O rus, quando te aspiciam!” They do not appreciate the great distinction of simplicity. Reber’s muse is not for them.

Madame Viardot was as learned a musician as any one could be and she was among the first subscribers to the complete edition of Sebastian Bach’s works. We know what an astounding revelation that work was. Each year brought ten religious cantatas, and each year brought us new surprises in the unexpected variety and impressiveness of the work. We thought we had known Sebastian Bach, but now we learned how really to know him. We found him a writer of unusual versatility and a great poet. His Wohltemperirte Klavier had given us only a hint of all this. The beauties of this famous work needed exposition for, in the absence of definite instructions, opinions differed. In the cantatas the meaning of the words serves as an indication and through the analogy between the forms of expression, it is easy to see pretty clearly what the author intended in his Klavier pieces.

One fine day the annual volume was found to contain a cantata in several parts written for a contralto solo accompanied by stringed instruments, oboes and an organ obligato. The organ was there and the organist as well. So we assembled the instruments, Stockhausen, the baritone, was made the leader of the little orchestra, and Madame Viardot sang the cantata. I suspect that the author had never heard his work sung in any such manner. I cherish the memory of that day as one of the most precious in my musical career. My mother and M. Viardot were the only listeners to this exceptional exhibition. We did not dare to repeat it before hearers who were not ready for it. What would now be a great success would have fallen flat at that time. And nothing is more irritating than to see an audience cold before a beautiful work. It is far better to keep to one’s self treasures which will be unappreciated.

One thing will always stand in the way of the vogue of Sebastian Bach’s vocal works—the difficulty of translation. When they are rendered into French, they lose all their charm and oftentimes become ridiculous.

One of the most amazing characteristics of Madame Viardot’s talent was her astonishing facility in assimilating all styles of music. She was trained in the old Italian music and she revealed its beauties as no one else has ever done. As for myself, I saw only its faults. Then she sang Schumann and Gluck and even Glinka whom she sang in Russian. Nothing was foreign to her; she was at home everywhere.

She was a great friend of Chopin and she remembered his playing almost exactly and could give the most valuable directions about the way he interpreted his works. I learned from her that the great pianist’s (great musician’s, rather) execution was much simpler than has been generally supposed. It was as far removed from any manifestation of bad taste as it was from cold correctness. She told me the secret of the true tempo rubato without which Chopin’s music is disfigured. It in no way resembles the dislocations by which it is so often caricatured.

I have spoken of her great talent as a pianist. We saw this one evening at a concert given by Madame Schumann. After Madame Viardot had sung some of Schumann’s lieder with the great pianist playing the accompaniments, the two great artists played the illustrious author’s duet for two pianos, which fairly bristles with difficulties, with equal virtuosity.

When Madame Viardot’s voice began to break, she was advised to devote herself to the piano. If she had, she would have found a new career and a second reputation. But she did not want to make the change, and for several years she presented the sorry spectacle of genius contending with adversity. Her voice was broken, stubborn, uneven, and intermittent. An entire generation knew her only in a guise unworthy of her.

Her immoderate love of music was the cause of the early modification of her voice. She wanted to sing everything she liked and she sang Valentine in Les Huguenots, Donna Anna in Don Juan, besides other rôles she should never have undertaken if she wanted to preserve her voice. She came to realize this at the end of her life. “Don’t do as I did,” she once told a pupil. “I wanted to sing everything, and I ruined my voice.”

Happy are the fiery natures which burn themselves out and glory in the sword that wears away the scabbard.

From Musical Memories by Camille Saint-Saëns

[sailorlyoko]

Odd Della Robbia headcanons

Tws for self-harm, odd's sisters, mental illness, homophobia, and homophobic grandmas

: Has ADHD

: Used to self-harm before Ulrich, Yumi, and William found out

: listens to radiohead, backstreet boys, Lou Vega, n'sync, and T.a.t.u

: His sisters, Adele and Louise tend to use him as their punching bag

: His sister, Pauline is very protective of him but doesn't really show it

: He uses jokes as a coping mechanism

: He's Italian on his mother's side of the family

: 100% Bi

: has a very high metabolism

: had a prophetic dream about crashing Laura Gautier's wedding

: He is an Ulumi shipper

: loves puns

: Sissi has feelings for him

: Looks really good in drag

: His cousins are named Alberto, Marco, Orlando, Bruno, Leone, and Lucrezia

: He has dated half of kadic academy's female students except for Yumi, Sissi, Milly, and Tamiya

: Once accidentally released 19 goats into kadic academy while the song September by earth wind and fire played on the p.a system

: Writes Ulumi fanfic

: Is also a Jerlita shipper

: Is currently dating william

: Is a little spoon

: He knew he was bi when he saw ulrich shirtless for the first time

: His rendition of all the things she said by t.a.t.u is a deadly weapon

: Can dance really well

: He dyes his hair

: might be dyslexic

: Once cussed out sissi in italian

: Is a amazing artist

: Writes fluff fics

: Theme song, All-star by smash mouth

: he is a leo

: He is icelandic on his dad's side of the family

: His aunt's a therapist

: He is the token gremlin of the group

: His grandma reacted poorly to him coming out and beat him in an attempt to make him straight

: He has depression

: He is an Esfp

: He had an emotional breakdown in William's arms after kiwi died

: His films are average at best

: He looks peaceful when he sleeps

: He is a theater kid and proud of it

: He loves phantom of the opera

: He is a grass type trainer

: once had a dream about singing opera

: His dreams are weird

: Once spiked the punch with red bull

: MUST have caffeine

: Ships Yolanda With Jim

: He is a multi-shipper

: Is often mistaken for a girl

: Sounds like teddie from persona 4

: Once played final fantasy 7

: Is a gamer

: becomes the second tallest after hitting puberty

: Has a Myspace account

: He is not a pervert despite being a ladies man

: He can't sing for his life

: had long hair in elementary school

: Has connections

: his phone case is a cat

: He read romeo and Juliet

: His worst subject is math

: Once caused a cafeteria riot

: He can speak English

: He gets pissed when you call him short

[wiwsport]

Rallye : Gautier Paulin s'impose sur Africa Eco Race Premier rallye-raid et première vict...

[fabioquartararhoe]

yamahamotoreu: POV. When in EICMA with your mate. 🤟

[zikbitume]

@GautierPaulin @ride100percent #VISIONARIES

[totalmotorcycle]

Solid recovery from a fall for Yamaha at MXGP Lombardia https://www.totalmotorcycle.com/solid-recovery-from-a-fall-for-yamaha-at-mxgp-lombardia/?utm_source=dlvr.it&utm_medium=tumblr

[motocrossaddiction]

New Post has been published on MotocrossAddiction.com

MAGGIORA: Campionato Italiano Epoca e FIM Vintage World Cup

Quello di Maggiora (NO), che si è svolto il 10 e 11 settembre, è certamente uno degli eventi delle due ruote artigliate più atteso e prestigioso organizzato quest’anno nel nostro paese.

[goprocam]

Earning his third MXGP class podium result for the season, Rockstar Energy Husqvarna Factory Racing ‘s Gautier Paulin has moved up to fourth in the MXGP class’ provisional championship standings following two strong performances at the rough and rutted Teutschenthal track.

Taking place at the spectacular hillside circuit in central-east Germany, round eight of the 2018 FIM Motocross World Championship saw Gautier Paulin secure a second consecutive podium finish in the elite MXGP class.

[ridertua]

Gautier Paulin: Sulit Membayangkan MotoGP Tanpa Valentino Rossi

Gautier Paulin: Sulit Membayangkan MotoGP Tanpa Valentino Rossi

RiderTua.com – Valentino Rossi mungkin akan terus membalap hingga usia 42 tahun di MotoGP. Menjadi salah satu pembalap dengan karir yang bertahan cukup lama di Kejuaraan Dunia balap motor. Faktanya dia tetap menjadi acuan bagi banyak atlet olahraga balap di dunia, bahkan Formula-1. Karena semangat Rossi bisa dipakai dalam bidang apapun, Never Too Late (tidak pernah terlalu tua)… Pembalap juara…

[motocrosstv]

Motocross of Nations!

[artwalktv]

Production company : Incendie Films Director : Jean Charles Charavin Casting : Arnaud Binard Romain Levi Aurélie Bancilhon Producer Antoine Olla Liner Producer Marie Brillant Assistant Producer Laura Bougeard 1st assistant director Tanguy Mottin 2nd assistant director Yohanne Bernard Director of photography : Ian Pompeo de Camargo 1AC : Tom Haudry 2nd assistant opérateur caméra Manon Delville Gaffer : Maxime Chastres Electrician : Nathan Jean-François Trainee Clément Schürch Grip : Hugo Rotivel Grip Assistant : Paul Le Coz Grip trainee : Maxence Parquet Location manager : Vincent Decremps Assistant location manager : Bastien Rouillet Assistant location manager : David.depetris Assistant location manager Grégoire Charavin Set Designer : Alexia Paulus Assistant set designer : Solveig Gourmelen Assistant set designer : Lise Lacoue Assistant set : designer Emma Charavin Mask up Artist : Pierre Louis Graizon Drawer : Barthélémy Belle Make-up & Hair : Marie Koleda Stylist : Pauline Robin Assistant Stylist : Gautier Krug Assistant Stylist : Solène Borsatto Editor : Stéphanie Pelissier Assistant editor : Clara Hurtado Colorist : Fernando Lui VFX : Cousin Bizarre, YSF, Adrien Renay Graphist : Nathan Almeras, Quentin Valois, Antonin Wolvs Sound designer Aristide Rosier Assistant writer Astrid Verdun Bodyguard Sylvain Abélard Bodyguard Charles Gebenholtz Arthur Mura’s Daughter Angela Mahmoudi The man with the envelope : Gabriel Greffier Special thanks : Hôtel Saint Marc, Hôtel Garden Inn Orly, Hôtel La Pinte du Nord, Aéroport d’Orly, la ville de Nogent-Sur-Marne, la ville du Perreux-Sur-Marne, Christophe Macary, Cyrille Cuvillier, Thomas Boesch, Etienne Boulanger, Cyril Cannizzo Agnès b, J.M. Weston, Husbands, Victoria Tomas, Emmanuelle Khanh, Vuarnet, Kuboraum, Arbo, Philéo, Steven Passaro, Atelier Nu, Quartier Libre

[fullbirdphilosopher-blog1]

AGV Motorcycle Helmets and their Passionate History

AGV Motorcycle Helmets was founded in 1947 by Gino Amisano, the company name consists of Gino, Amisano and the initials of the city where it is located, Valenza. In 1945, Gino, a young accountant, wanted to start a business in those years when the war was over and he started his first business with two of his friends, but their relationship could only last for 2 years. After leaving the partnership, he started producing saddle and backrest pads, which he learned in the business, only for scooters, namely the vespa and Lambretta brands, which were very popular at the time.

The first AGV motorcycle helmet was manufactured from leather material formed on a wooden mold and dried in the oven at 122 ° F for one hour, with only one coat painted. These helmets were entirely handmade, with production initially limited to five pieces per week. Amisano was a true pioneer in helmet design and had the luxury of experimenting with many materials because the tests and standards of those years had not yet emerged. While Italy was working resolutely to rebuild its economy after the war, Gino and his wife Luciana were also working on the growth of the AGV, living in the factory almost every day.

After various models and trials, the motorcycle helmet known as 160 appeared in 1954. This model was offered in classic pudding-bowl shape with an internal fixing set. The first racer to use this helmet was Carlo Bandirola, who boarded the Italian motorcycle manufacturer MV (Meccanica Verghera) Agusta.

The presentation of the first AGV jet motorcycle helmet at the London International Motor Show in the winter of 1955 took place quite quickly, which accelerated production. In 1956, it started the production of the first AGV jet motorcycle helmet. The basic design of this new AGV helmet model was based on the helmets used by jet fighter pilots and provided more protection as well as eye-catching modern lines.

In 1958, AGV became the first company to use motorcycle racing as an advertising source. Amisano displayed posters decorated with the company's name and products at the cornering points of the race.

Ten years later, the deal with motorcycle racer Giacomo Agostini was inevitable; Motorcycle champion of the world, only one AGV helmets she should wear. The first contract was signed in 1967. The Agostini wore a classic motorcycle helmet, painted white, red and green in its own colors, with a checkered band at the bottom and the MV logo on the obverse. Count Agusta's triumphs on 350cc and 500cc motorcycles have highlighted the AGV brand worldwide.

At that time, Gino Amisano saw the first full face helmets emerging in America. Of course he wanted to promote these helmets at motorcycle racing in Italy. But he had not guessed that a full face helmet would not be desired. While helmet technology has experienced rapid progress over the years, former racers said in interviews that full-faced helmets reduce vision and prevent them from hearing each other, and even thought that real racers should have their faces open and, if necessary, be injured. But in the end, Amisano was the winner, and the first professional rider to wear a full-face AGV motorcycle helmet in an Italian motorcycle race was Alberto Pagani, who competed in Imola in September 1969.

The AGV closed motorcycle helmet was very successful, and from 1971 it was a complete explosion when it went into mass production. Based on Agostini's recommendations, the X-80 and later the X-3000 models were developed; AGV was the first manufacturer to produce a two-color fiberglass full-face closed helmet during this period.

In 1974, there was a historic duel between Agostini and Kenny Roberts. Agostini won the race in front of more than 100,000 crowds. Gino Amisano quickly realized that the future of motorcycle racing was based on these events and that he could bring his helmets to the fastest riders. He later became friends with Checco Costa and sponsored not only riders but also races. At that time, "AGV Imola 200 Miles" was partially sponsored for the main sponsorship of the 1974 race the following year. Over the years many events, riders and pilots have decided to associate their name with AGV: Giacomo Agostini, Barry Sheene, Kenny Roberts, Johnny Cecotto, Angel Nieto, Marco Lucchinelli, Franco Uncini, Fausto Grisi, Niki Lauda, ​​Emerson Fittipaldi, Randy Mamola, Luca Cadalora and most recently Valentino Rossi and Marco Simoncelli. These collaborations AGV '

The history of AGV motorcycle helmets is a story of innovation, racer and passion. In 2007, Agv motorcycle helmets were purchased by Dainese company and two major Italian companies were merged.

Today, Agv motorcycle helmets produce motorcycle helmets for both city users, racers and those looking for functional helmets. The jaw-opening Agv Compact produces Agv half helmets, Agv AX-8 Dual Sport helmets, Agv pista GP and Corsa racing series, as well as Agv K-3 and K-5 series helmets for street riders .

Carbon fiber, fiberglass, security in all of the polycarbonate and thermoplastic helmets are included in the foreground Agva ECE 22:05 and Sharp safety testing. (ECE 22:05 and Sharp Safety on the helmet for Test all blogs you can write us here. )

Agv Pista Gp

Premium full carbon-fiber racing helmet

Pista GP, produced within the scope of the Extreme Standards Helmets project, which AGV started with the aim of providing maximum protection to motorcycle racers, is the last point reached in the project. One of the most innovative and technological models of recent years, the Pista GP has passed the AGV's stringent tests and was also tested by Valentino Rossi himself. Offering unprecedented standards of safety, comfort and ergonomics, this model provides 193% more air flow than the previous model GP-Tech with its internal ventilation system (IVS). The micro-lock system on the front of the visor reduces the risk of spontaneous opening of the helmet in case of an accident and has a wider field of view. The design of the helmet has also greatly increased its aerodynamic performance compared to previous models.

Agv Corsa

Carbon Kevlar racing helmet with unique rear spoiler

AGV Corsa helmets are made of ultra-light SSL (Super-Super-Light) Carbon-Kevlar material and are inspired by the Pista GP model used by Moto GP pilot Valentino Rossi. Brand new shell design with internal ventilation successfully passed aerodynamic tests. The model, which is suitable for daily use as well as sports use, has easily removable and washable hygienic Cool Max inner pads. Double D ventilation system and its clean, flat, anti-scratch visor with Pinlock can be easily removed and replaced thanks to the XQRS (Extra Quick Release System) system.

Agv K-5

Tough-looking, composite fiber structured closed helmet

AGV has added K5 to its creative and innovative models produced with Extreme Standards technology. The outer shell of the model, which is suitable for sportive use, offers both lightness and durability together with its structure of fiberglass and carbon fiber. Its easily adjustable visor, its minimized size as a result of long design studies and internal ventilation channels do not give up comfort even at high speed, and play a major role in the fixed position of the helmet. The K5 is the new favorite of sports helmets.

Agv K-3 SV

Built with built-in sun protection and HIR-TH ultra-durable thermoplastic material, the K-3 SV is one of the most popular models of AGV. Microfiber inner pads made using Dri-Lex fabric are easily removable and washable. Micro-metric adjusted ventilation system, Bluetooth sharing system, Class 1 optics, anti-scratch, anti-fog visor and built-in sun protection make this helmet indispensable.

Agv AX-8 Dual Sport

Multi composite off-road helmet

AX-8 is the new favorite of fiber lined helmets designed for motocross use. This model; AGV was developed in collaboration with famous names such as European Motocross, Enduro and Supermotard season champions David Philippaerts, Deny Philippaerts, Gautier Paulin, Dawid Ciucci, Davide Gozzini, Maurizio Magherini, Andrea Cervellin and American SuperCross stars Travis Pastrana and Davi Millsaps. The AX-8 is a sign that AGV has returned to the professional motocross world with a brand new design and high level of technological features.

Agv Compact

Manufactured with HIR-TH ultra durable thermoplastic material, AGV's specially designed IVS Compact model with internal ventilation system combines many features you are looking for in a single helmet. Its inner pads can be easily removed and washed. Manufactured using breathable Lycra micro-perforated lining and Dry-Comfort fabric. The 1st class anti-scratch and anti-fog optical viewfinder provides 100% protection against UV rays. It also has sun protection. The visor can be easily removed and replaced without the need for any tools thanks to the XQRS system. The helmet also has a Bluetooth-connected communication system and complies with ECE2205, DOT, NBR standards.

Agv Blade Half Helmets

Open helmet with HIR-TH durable outer shell and anti-bacterial inner pads

The Blade model of AGV is preferred by young motor enthusiasts as well as professional drivers with the advantage of being easily portable thanks to its small size. With its excellent design and innovative solutions, Blade is the choice of those who want to experience a safe and comfortable driving experience without sacrificing their style. Its outer shell was produced with HIR-TH durable thermoplastic, and the removable-washable inner pads were produced with anti-allergic fabrics that prevent bacterial growth. The scratch-resistant, easily removable visor and the jaw connection that you can adjust millimetrically are among the other advantages of the model.

[zikbitume]

@GautierPaulin

[totalmotorcycle]

Seewer Remains Consistent at Challenging Swedish Grand Prix http://dlvr.it/RBwRw4 http://dlvr.it/RBwRw4

[motocrossaddiction]

New Post has been published on MotocrossAddiction.com

Prado e Gajser dominano a Teutschenthal e consolidano la loro leadership in campionato

Sempre a cura del nostro Matteo Portinaro, il resoconto dalle seconde frazioni di gara del GP di Germania, sul tracciato di Teutschenthal. Buona lettura.

[weirdletter]

The Big Book of Classic Fantasy, edited by Ann Vandermeer and Jeff VanderMeer, Vintage Books, 2019. Cover art by (Jean Ignace Isidore Gerard) Grandville, info: penguinrandomhouse.com.

Unearth the enchanting origins of fantasy fiction with a collection of tales as vast as the tallest tower and as mysterious as the dark depths of the forest. Fantasy stories have always been with us. They illuminate the odd and the uncanny, the wondrous and the fantastic: all the things we know are lurking just out of sight—on the other side of the looking-glass, beyond the music of the impossibly haunting violin, through the twisted trees of the ancient woods. Other worlds, talking animals, fairies, goblins, demons, tricksters, and mystics: these are the elements that populate a rich literary tradition that spans the globe. A work composed both of careful scholarship and fantastic fun, The Big Book of Classic Fantasy is essential reading for anyone who’s never forgotten the stories that first inspired feelings of astonishment and wonder.

Contents: Introduction by Ann and Jeff VanderMeer “The Queen’s Son” by Bettina von Arnim “Hans-My-Hedgehog” by Jacob and Wilhelm Grimm “The Story of the Hard Nut,” by E.T.A. Hoffmann “Rip Van Winkle” by Washington Irving “The Luck of the Bean-Rows” by Charles Nodier “Transformation” by Mary Wollstonecraft Shelley “The Nest of Nightingales” by Théophile Gautier “The Fairytale About a Dead Body, Belonging to No One Knows Whom” by Vladimir Odoevsky “The Story of the Goblins who Stole a Sexton” by Charles Dickens “The Nose” by Nikolai Gogol “The Facts in the Case of M. Valdemar” by Edgar Allan Poe “The Story of Jeon Unchi” by Anonymous “Feathertop: A Moralized Legend” by Nathaniel Hawthorne “Master Zacharius” by  Jules Verne “The Frost King: Or, the Power of Love” by Louisa May Alcott “The Tartarus of Maids” by Herman Melville “The Magic Mirror” by George MacDonald “The Diamond Lens” by  Fitz-James O’Brien “Goblin Market” Christina Rossetti “The Will-o’-the-Wisps Are in Town” by Hans Christian Andersen The Legend of the Pale Maiden” by Aleksis Kivi “Looking-Glass House” by Lewis Carroll “Furnica, or the Queen of the Ants” by Carmen Sylva “The Story of Iván the Fool” by Leo Tolstoy “The Goophered Grapevine” by Charles W. Chestnutt “The Bee-Man of Orn” by Frank R. Stockton “The Remarkable Rocket” by Oscar Wilde “The Ensouled Violin” by H. P. Blavatskaya “The Death of Odjigh” by Marcel Schwob “The Terrestrial Fire” by Marcel Schwob “The Kingdom of Cards” by Rabindranath Tagore “The Other Side: A Breton Legend” by Count Eric Stanlislaus Stenbock “The Fulness of Life” by Edith Wharton “Prince Alberic and the Snake Lady,” by Vernon Lee “The Little Room,” by Madeline Yale Wynne “The Plattner Story” by H. G. Wells “The Princess Baladina—Her Adventure” by  Willa Cather “The Reluctant Dragon” by Kenneth Grahame “Iktomi Tales” by Zitkala-Ša “Marionettes” by Louis Fréchette “Dance of the Comets: An Astral Pantomime in Two Acts” by Paul Scheerbart “The White People” by Arthur Machen “Blamol” by Gustav Meyrink “Goblins: A Logging Camp Story” by Louis Fréchette “Sowbread” by Grazia Deledda “The Angry Street” by  G.K. Chesterton “The Aunt and Amabel” by E. Nesbit “Sacrifice” by Aleksey Remizov “The Princess Steel” by W. E.B. Du Bois “The Hump” by Fernán Caballero “The Celestial Omnibus” by E.M. Forster “The Legend of the Ice Babies” by E. Pauline Johnson “The Last Redoubt” by William Hope Hodgson “Jack Pumpkinhead and the Sawhorse” by L. Frank Baum “The Plant Men” by Edgar Rice Burroughs “Strange News from Another Star” by Hermann Hesse “The Metamorphosis” by Franz Kafka “The Hoard of the Gibbelins” by Lord Dunsany “Through the Dragon Glass” by A. Merritt “David Blaze and the Blue Door” by E.F. Benson “The Big Bestiary of Modern Literature” by Franz Blei “The Alligator War” by Horacio Quiroga “Friend Island” by Francis Stevens “Magic Comes to a Committee” by Stella Benson “Gramaphone of the Ages” by Yefim Zozulya “Joiwind” by David Lindsay “Sound in the Mountain” by Maurice Renard “Sennin” by Ryūnosuke Akutagawa “Koshtra Pivrarcha” by E. R. Eddison “At the Border” by Der Nister “The Marvelous Exploits of Paul Bunyon” by W.B. Laughead “Talkative Domovoi” by Aleksandr Grin “The Ratcatcher” by Aleksandr Grin “The Shadow Kingdom” by Robert E. Howard “The Man Traveling with the Brocade” by Edogawa Ranpo “A Visit to the Museum” by Vladimir Nabokov “The Water Sprite’s Tale” by Karel Čapek “The Capital of Cat Country” by Lao She “Coyote Stories” by Mourning Dove “Uncle Monday” by Zora Neale Hurston “Rose-Cold, Moon Skater” by María Teresa León “A Night of the High Season” by Bruno Schulz “The Influence of the Sun” by Fernand Dumont “The Town of Cats” by Hagiwara Sakutarō “The Debutante” by Leonora Carrington “The Jewels in the Forest” by Fritz Leiber “Evening Primrose” by John Collier “The Coming of the White Worm” by Clark Ashton Smith “The Man Who Could Walk Through Walls” by Marcel Aymé “Leaf by Niggle” by J.R.R. Tolkien Acknowledgments Permissions About the Translators About the Editors