Five books from the 19th century that will help you understand modern America better



Harriet Jacobs, writer of Incidents in the Life of a Slave Girl.
Wikimedia

Jillian Spivey Caddell, University of Kent

There’s a reason why one of the most important American novels of the twentieth century, Ralph Ellison’s Invisible Man (1952), begins with an epigraph by the writer Herman Melville and an allusion to the ghosts who haunted Edgar Allan Poe.

If you want to understand anything about the US in the 20th and 21st centuries, you need to know 19th-century American literature. The 19th century was when many, if not most, of the problems and ideologies that define American culture were codified, and literature of the period shows creative responses to this change.

For the first half of the 19th century, a lot of ink was spilt worrying whether the US would ever have a literature of its own. Many famous writers, including Ralph Waldo Emerson and Walt Whitman, urged Americans to leave English literature behind and take up specifically American themes, peoples and spaces.

At the same time, indigenous and enslaved Americans such as Harriet Jacobs, William Apess and Frederick Douglass used their pens and their rhetorical might to urge the US government to end race and ethnicity-based persecution and genocide.

After the American Civil War (1861-1865), writers rarely worried about whether the country had a literature and whether it was any good (it quite obviously was). They had innovated new genres (think of Emily Dickinson’s spare and searing verses) and turned their attention to issues of inequality embedded in American culture, as in Kate Chopin’s proto-feminist novella The Awakening and Charles Chesnutt’s exposure of racism and white supremacy in the post-Reconstruction South.

The following five works embody both the beauty of 19th-century American literature as well as its ability to change hearts and minds.

1. Incidents in the Life of a Slave Girl by Harriet Jacobs (1861)

Jacobs’ slave autobiography may not be the earliest written or the most famous, but it’s a devastatingly effective piece of storytelling that reads like a novel. Jacobs’ story of surviving slavery is so remarkable a narrative that sheds a rare light on the female experience of slavery.

Written under a pseudonym (Linda Brent), for a long time scholars assumed it must be fiction written by a white abolitionist. It wasn’t until African-American and feminist scholars unearthed the true identity in 1987 of Harriet Jacobs that the truth of her life story was accepted. Her narrative has since become a classic text of resistance, and it’s an essential read for understanding how white supremacy continues to function in America today.

2. Leaves of Grass by Walt Whitman (1855; last new edition 1881)

Engraving of Walt Whitman from Leaves of Grass.
Wikimedia

Walt Whitman was a virtually unknown journalist and printer when the first edition of Leaves of Grass thundered upon the American literary world. The strange book listed no author and contained a casual engraving of Whitman with hand on hip and head cocked to the side. Most importantly, it included poems like the world had never seen before. Poems with long cascading lines and little rhyme or metre to be found. Whitman continually added to and edited Leaves of Grass over the course of his life, crafting his biography in poetry that we now recognise as revolutionary in both form and content. It made Whitman a touchstone for 20th-century poets like Allen Ginsberg and Adrienne Rich.

3. Little Women by Louisa May Alcott (1868-69)

If you’ve seen the most recent movie adaptation of Little Women (or any of the many previous adaptations), you’ll know that there’s something about Alcott’s novel (originally two novels, now published as one) that strikes a chord. Written in the shadow of the Civil War, Little Women draws upon Alcott’s own remarkable family life among famous Transcendentalist writers and thinkers in Concord, Massachusetts. It’s a skillfully crafted book about how the dreams of childhood do and, more often, do not come to fruition.

4. The Conjure Woman by Charles Chesnutt (1899)

First edition book cover of The Conjure Woman.
Wikimedia

In the late 19th centuries, a genre called “local color” dominated American literary magazines. These stories introduced areas of the increasingly expanding United States to those living in urban centres. African-American writer Charles Chesnutt turned this genre on its head in his series of “conjure” stories – tales of magic and cunning told by a formerly enslaved man named Julius to entertain a white northern businessman. Julius’ stories weave together African-American folklore and Southern Gothic ambience to expose white supremacy in the south before the Civil War. These stories indirectly comment on the racism that continued to haunt the post-Civil War US under a different guise.

5. Benito Cereno by Herman Melville (1855)

While these days Melville’s gargantuan 1851 novel Moby-Dick may be more famous (and
you should definitely read that too, when you have a few months to spare), nothing packs a punch quite like the novella Benito Cereno. Based on the story of a real slave revolt on board a ship, the text is paced like a horror story and full of ambivalences and doubled meanings. It reveals the true horror of race-based chattel slavery and anticipates the eruption of violence that would tear apart the United States within a few short years.The Conversation

Jillian Spivey Caddell, Lecturer in nineteenth-century American literature, University of Kent

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Five books from the 19th century that will help you understand modern America better



Harriet Jacobs, writer of Incidents in the Life of a Slave Girl.
Wikimedia

Jillian Spivey Caddell, University of Kent

There’s a reason why one of the most important American novels of the twentieth century, Ralph Ellison’s Invisible Man (1952), begins with an epigraph by the writer Herman Melville and an allusion to the ghosts who haunted Edgar Allan Poe.

If you want to understand anything about the US in the 20th and 21st centuries, you need to know 19th-century American literature. The 19th century was when many, if not most, of the problems and ideologies that define American culture were codified, and literature of the period shows creative responses to this change.

For the first half of the 19th century, a lot of ink was spilt worrying whether the US would ever have a literature of its own. Many famous writers, including Ralph Waldo Emerson and Walt Whitman, urged Americans to leave English literature behind and take up specifically American themes, peoples and spaces.

At the same time, indigenous and enslaved Americans such as Harriet Jacobs, William Apess and Frederick Douglass used their pens and their rhetorical might to urge the US government to end race and ethnicity-based persecution and genocide.

After the American Civil War (1861-1865), writers rarely worried about whether the country had a literature and whether it was any good (it quite obviously was). They had innovated new genres (think of Emily Dickinson’s spare and searing verses) and turned their attention to issues of inequality embedded in American culture, as in Kate Chopin’s proto-feminist novella The Awakening and Charles Chesnutt’s exposure of racism and white supremacy in the post-Reconstruction South.

The following five works embody both the beauty of 19th-century American literature as well as its ability to change hearts and minds.

1. Incidents in the Life of a Slave Girl by Harriet Jacobs (1861)

Jacobs’ slave autobiography may not be the earliest written or the most famous, but it’s a devastatingly effective piece of storytelling that reads like a novel. Jacobs’ story of surviving slavery is so remarkable a narrative that sheds a rare light on the female experience of slavery.

Written under a pseudonym (Linda Brent), for a long time scholars assumed it must be fiction written by a white abolitionist. It wasn’t until African-American and feminist scholars unearthed the true identity in 1987 of Harriet Jacobs that the truth of her life story was accepted. Her narrative has since become a classic text of resistance, and it’s an essential read for understanding how white supremacy continues to function in America today.

2. Leaves of Grass by Walt Whitman (1855; last new edition 1881)

Engraving of Walt Whitman from Leaves of Grass.
Wikimedia

Walt Whitman was a virtually unknown journalist and printer when the first edition of Leaves of Grass thundered upon the American literary world. The strange book listed no author and contained a casual engraving of Whitman with hand on hip and head cocked to the side. Most importantly, it included poems like the world had never seen before. Poems with long cascading lines and little rhyme or metre to be found. Whitman continually added to and edited Leaves of Grass over the course of his life, crafting his biography in poetry that we now recognise as revolutionary in both form and content. It made Whitman a touchstone for 20th-century poets like Allen Ginsberg and Adrienne Rich.

3. Little Women by Louisa May Alcott (1868-69)

If you’ve seen the most recent movie adaptation of Little Women (or any of the many previous adaptations), you’ll know that there’s something about Alcott’s novel (originally two novels, now published as one) that strikes a chord. Written in the shadow of the Civil War, Little Women draws upon Alcott’s own remarkable family life among famous Transcendentalist writers and thinkers in Concord, Massachusetts. It’s a skillfully crafted book about how the dreams of childhood do and, more often, do not come to fruition.

4. The Conjure Woman by Charles Chesnutt (1899)

First edition book cover of The Conjure Woman.
Wikimedia

In the late 19th centuries, a genre called “local color” dominated American literary magazines. These stories introduced areas of the increasingly expanding United States to those living in urban centres. African-American writer Charles Chesnutt turned this genre on its head in his series of “conjure” stories – tales of magic and cunning told by a formerly enslaved man named Julius to entertain a white northern businessman. Julius’ stories weave together African-American folklore and Southern Gothic ambience to expose white supremacy in the south before the Civil War. These stories indirectly comment on the racism that continued to haunt the post-Civil War US under a different guise.

5. Benito Cereno by Herman Melville (1855)

While these days Melville’s gargantuan 1851 novel Moby-Dick may be more famous (and
you should definitely read that too, when you have a few months to spare), nothing packs a punch quite like the novella Benito Cereno. Based on the story of a real slave revolt on board a ship, the text is paced like a horror story and full of ambivalences and doubled meanings. It reveals the true horror of race-based chattel slavery and anticipates the eruption of violence that would tear apart the United States within a few short years.The Conversation

Jillian Spivey Caddell, Lecturer in nineteenth-century American literature, University of Kent

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Imperfect and absurd, the modern literary heroine is a woman of our times



File 20190307 82684 qxgya4.jpg?ixlib=rb 1.1
Unapologetically experimental yet utterly captivating, this new type of heroine has become a reader favourite.
JL-Pfeifer/Shutterstock

Sally O’Reilly, The Open University

The way women are portrayed is changing. In film, The Favourite has won numerous awards and features three women, variously wild and untameable, as joint protagonists. Other movies such as The Wife and Can You Ever Forgive Me? show older or unlovely women as sympathetic leads. Brava! But what’s happening in fiction? What are readers looking for in their modern, made-up women?

In this period of widening gender equality, it seems the time is right for new portrayals of women in fiction. Readers are diverse, and want many different things, and various female “archetypes” have existed since storytelling began. Early tales included murderesses and proxy witches such as the Greek figure Medea and Grendel’s mother – who is nameless – from the Old English poem Beowulf.

There were deceiving femme fatales, such as the Sirens who lured sailors to shipwreck, tragic mistresses, including Dido and Cleopatra and poor, resourceful girls like Gretel in traditional fairy-tales.

These enduring archetypes have been customised and reimagined by each succeeding generation. Chaucer’s Wife of Bath is full of worldly wisdom and Shakespeare presented women who were wily and devious like Portia and Lady Macbeth as well as tricked and deceived like Juliet and Desdemona.

Victorian heroines like George Eliot’s Dorothea Brooke claimed their right to passion and equality – and in the 20th century female characters engaged with the world of work as well as matters of the heart, battling for self-determination. The eponymous heroine of Muriel Spark’s The Prime of Miss Jean Brodie is one example, setting out to impose her will on her impressionable students, though she is ultimately betrayed.

Unpredictable women

So where do we find ourselves now? One notable characteristic of the modern heroine is that her flaws are not only centre stage, they are celebrated. Jane Austen wondered if anyone but herself would like domineering Emma Woodhouse – but now every heroine worth her salt has as many vices as virtues. Women behaving badly fill the pages of books in every genre – from Katniss Everdene, the rebellious heroine of Suzannne Collins’ The Hunger Games to Frances Wray and Lilian Barber, the unlikely conspirators in Sarah Waters’ page-turning novel The Paying Guests.

There is also a recognition that female experience is as universal as male experience. The heroines of contemporary fiction reflect the rich diversity of female lives. Examples include Hortense Roberts, one of the main characters in Andrea Levy’s seminal novel Small Island who finds tenderness in her bleak new homeland, and Elizabeth Strout’s astonishing Olive Kitteridge, whose true complexity is revealed in a narrative that spans decades. Their everyday experiences are compelling and heartrending.

Genres are blending and heroines are complicated. They are morally ambiguous and their behaviour is unpredictable. The doomed mistress is fighting back and taking on the characteristics of the proxy witch. This is demonstrated by the typical heroine of the new crime sub-genre domestic noir which focuses on women’s experience and emotions in the home and workplace. She may find herself married to the modern equivalent of Bluebeard, but he is unlikely to get away with murder. This is exemplified in novels like Gone Girl – Amy Dunne outsmarts her husband and excels in trickery, cunningly creating mantraps while seeming to be the perfect wife.

Scarred, imperfect or absurd

Publishing’s latest passion is for redemptive, feel-good fiction, known as “up-lit”, and this also reinterprets existing tropes. Gail Honeyman’s lonely Eleanor Oliphant hits the vodka behind closed doors and attempts to conceal her dysfunctionality and traumatic childhood from the world, but is stronger and more able to grow than we first realise. One of the reasons for Eleanor’s wide appeal may be that she springs from a line of literary heroines – that of the spirited outsider.

Honeyman draws parallels between Eleanor and Jane Eyre, another abandoned child who finds her own path. Readers are engaged not only by Eleanor’s predicament, but by her determination to transcend disaster. Her most recent antecedent is Helen Fielding’s Chardonnay-swilling Bridget Jones, who is herself the direct descendant of Jane Austen’s best-loved heroine, Elizabeth Bennet.

Women who make their own rules are selling well in literary fiction too. In Conversations with Friends, Sally Rooney’s young Bohemians Frances and Bobbi are brimming with anarchic attitude, sharing “a contempt for the cultish pursuit of male physical dominance” and luxuriating in “shallow misery”. They lead unapologetically experimental lives, creating ripples of sexual confusion.

Following the various cases of male bullying and sexual harassment that have hit the headlines, it seems that fictional heroines reflect a mood of noncompliance with the world that men have organised. The 21st-century heroine may be scarred, imperfect or absurd. True love may be on the cards, but so might illicit sex. And while she may change in the course of the narrative, revealing strengths and strategies that surprise us, conformity is optional. Here’s to the good/bad heroine, long may she remain unredeemed.The Conversation

Sally O’Reilly, Lecturer in Creative Writing, The Open University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

John W. Campbell – The Father of Modern Science Fiction


The link below is to an article that looks at John W. Campbell, considered the father of modern science fiction.

For more visit:https://lithub.com/the-man-who-made-science-fiction-what-it-is-today/

Seven academic books that helped to shape modern Britain


Diarmaid MacCulloch, University of Oxford; Ian Kershaw, University of Sheffield; Richard English, Queen’s University Belfast; Ruth Lister, Loughborough University; Simon Frith, University of Edinburgh, and Veronika Fikfak, University of Cambridge

To celebrate the diversity, innovation and influence of academic books over the course of modern history, seven specialists share the book they believe has been most influential on modern British culture and society, as part of Academic Book Week.

1. The Law of the Constitution, by A.V Dicey

Veronika Fikfak, lecturer and fellow in law, University of Cambridge

It is a measure of A.V.Dicey’s influence that more than 132 years after the first publication, the relevance of his writing is at the core of the UK’s departure from the European Union.

While students and scholars have read Dicey for more than a century as a basic constitutional text, the general public will have become familiar with his arguments on parliamentary sovereignty and the primacy of parliament only recently – with Gina Miller, the lead claimant in the legal fight to get parliament to vote on whether the UK can start the process of leaving the EU.

Dicey argued that the British parliament is an “absolutely sovereign legislature” and had the “right to make or unmake any law”. His legacy in the UK constitutional sphere is unrivalled, and to this day he is referred to as “the great constitutional lawyer”, whose writings have not only shaped the constitutional landscape of the UK until now but are also very likely to decide our future.

2. The Uses of Literacy: Aspects of Working-Class Life, by Richard Hoggart

Simon Frith, Tovey professor of music, University of Edinburgh

When it was first published in 1957, Richard Hoggart’s book made sense of the upheavals in post-war ways of life by referring back to working-class culture – and Hoggart’s own childhood – in pre-war Britain.

What is clear now though, is how important the book became for our understanding of what came next: consumer culture. The book was both a founding text for the academic fields of media and cultural studies, and an inspiration for a new generation of novelists, dramatists and film makers – not least for the team behind Coronation Street, launched in 1960.

3. Modern Ireland 1600-1972, by Roy Foster

Richard English, professor of politics, Queen’s University Belfast

At a difficult point in Anglo-Irish politics, this book brought to a very wide audience the insights of the latest and most important academic scholarship on Ireland. And it considered “Irishness” in terms of a layered and inclusive sense of identities which was then less widely accepted than it has subsequently become.

As the Northern Irish Troubles began to be transformed into a much more benign peace process, and as relations between the Republic of Ireland and the UK continue to be shaped in ways that are significant for both islands, this book heralded a more inclusive and subtle interpretation of how properly to understand Ireland. Indirectly, it made it possible to know a fuller reality of British experience too.

4. The Invention of Tradition, by Eric Hobsbawm and Terence Ranger

Diarmaid MacCulloch, professor of the history of the church, University of Oxford

As the UK began to come to terms with its retreat from imperial narcissism, Eric Hobsbawm and Terence Ranger’s book was a dose of common sense. These essays edited in 1983 concentrate on the creation of the UK and its empire, and nationalist reactions against those developments. It is still just as relevant now as it was when it was published, posing many questions for the understanding of our history.

5. The English and their History, by Robert Tombs

Ian Kershaw, emeritus professor of modern history, University of Sheffield

As its title suggests, Robert Tombs’ magnificent book published in 2014 focuses on English, not British, history. However, England’s history was – long before the union with Scotland in 1707 – deeply entwined with that of Wales, Scotland and Ireland. Tombs’ book not only incorporates these interrelationships but is greatly enlightening about them. It is a book that cannot be ignored by anyone wishing to know more about the history of the isles.

6. Poverty in the United Kingdom, by Peter Townsend

Ruth Lister, emeritus professor of social policy, Loughborough University

Published in 1979, this is a monumental work, which helped modern Britain better to understand itself. Not only did it provide the most comprehensive in-depth picture of what modern poverty means for those affected, it also represented a milestone in developing our understanding of poverty.

Its opening words provided a relative definition of poverty, rooted in a concept of relative deprivation, which still resonates nearly 40 years later and which has influenced subsequent research and policy. As predicted at the time, it ranks as the modern day successor to the classic works of Charles Booth and Seebohm Rowntree.

7. The General Theory of Employment, Interest and Money, by John Maynard Keynes

John Kay, supernumerary fellow in economics, University of Oxford

In a letter to George Bernard Shaw, Keynes wrote: “I believe myself to be writing a book on economic theory, which will largely revolutionise … the way the world thinks about economic problems.” The author’s assessment of its impact was correct. The analysis of the book was the dominant influence on macroeconomic policies in the 30 years that followed World War II, and we still debate, and employ, Keynesian policies today.

The Conversation

Diarmaid MacCulloch, Professor of the History of the Church, University of Oxford; Ian Kershaw, Emeritus Professor of Modern History, University of Sheffield; Richard English, Professor of Politics, Queen’s University Belfast; Ruth Lister, Emeritus Professor of Social Policy, Loughborough University; Simon Frith, Tovey Chair of Music, University of Edinburgh, and Veronika Fikfak, Lecturer in Law, University of Cambridge

This article was originally published on The Conversation. Read the original article.

Does ‘translating’ Shakespeare into modern English diminish its greatness?


Sheila T Cavanagh, Emory University

An uproar ensued after it was reported that the Oregon Shakespeare Festival (OSF) – southern Oregon’s 80-year-old annual theatrical extravaganza – would be commissioning playwrights to “translate” all of Shakespeare’s plays into modern English.

The project drew jeers from Shakespearean professors, arts practitioners and others who believe passionately in the power of Shakespeare’s original texts, who abhor any attempt to “dumb down” their language.

OSF Director of Literary Development and Dramaturgy Lue Douthit and OSF Artistic Director Bill Rauch maintain that OSF is undertaking a bold, not sacrilegious, experiment. Nevertheless, howls of outrage have followed what Douhit ruefully has deemed a “career-ending” announcement for those involved.

As an educator and lover of Shakespearean drama, I remain committed to the value of presenting Shakespeare’s plays in their original language. I require my students to read Shakespeare’s plays in their original form, and through my work on the World Shakespeare Project, I’ve witnessed undergraduates in places such as Uganda, rural India and Buenos Aires enthusiastically respond to the challenge.

Yet the outrage over the OSF’s new modernization project is misguided. The organization – which is known for experimentation – is simply participating in larger, centuries-long tradition of molding, melding and adapting Shakespeare’s original texts.

Shakespeare for dummies?

Among those criticizing the new project is Columbia University Professor James Shapiro, a prominent Shakespearean scholar who maintains that “by changing the language in this modernizing way…it just doesn’t pack the punch and the excitement and the intoxicating quality of [the original] language.”

Earlier this month, before an audience at Shakespeare’s Globe, he added, “It’s a really bad idea.”

Notably, however, Shapiro (along with many others) responded quite differently to the translation of a different classic text. On Nobel Laureate Seamus Heaney’s oft-praised 1999 rewriting of Beowulf, Shapiro wrote in The New York Times:

Examples like this add up to a translation that manages to accomplish what before now had seemed impossible: a faithful rendering that is simultaneously an original and gripping poem in its own right.

In this instance, at least, Heaney’s talent apparently overcame Shapiro’s objections to the concept.

The playwrights the company has commissioned to “modernize” the language of Shakespeare’s works may or may not achieve the majesty attributed to Seamus Heaney’s Beowulf. But for whatever reason, changing the language of Shakespeare remains an anathema, while the setting, costuming and theoretical conceptualization of his plays are fair game for innovation.

The hottest theater ticket in Britain at the moment, for example, is Benedict Cumberbatch’s Hamlet, which caused similar outrage for opening with the famous “To Be or Not to Be” soliloquy, rather than the traditional “Who’s there?.” By the end of previews, the speech was moved back to (one of) the places it traditionally resides. Cumberbatch’s audiences have been comparatively silent, however, about the production’s addition of modern props, like a phonograph player.

London’s Young Vic Theatre, meanwhile, is currently presenting a strong version of Shakespeare’s Measure for Measure, with a set filled with dozens of naked, anatomically correct, inflatable dolls. Like the phonograph player on the set of Hamlet, it’s unlikely that theatergoers will object to the dolls, nor will they protest the video screens employed during the performance.

But when it comes to changing the language – well, the main objection, it appears, stems from concerns that it will encourage series such as Shakespeare for Dummies or No Fear Shakespeare, which presents original Shakespearean text adjacent to what its editors call “the kind of English people actually speak today.”

Such projects are understandable, if worrisome. Shakespeare does have a reputation for being too dense for ordinary people to easily comprehend.

At the same time, there are many remarkable projects that bring Shakespeare’s plays to even the most unconventional audiences. There’s Curt Tofteland’s Shakespeare Behind Bars, which offers prisoners the opportunities to present full-length Shakespeare plays, while former Royal Shakespeare Company artist Kelly Hunter’s project Shakespeare’s Heartbeat uses Shakespearean drama as the basis for games designed for children with autism.

Play on!

It’s worth noting the OSF is not planning to replace Shakespeare’s original texts during its current presentation of the complete Shakespearean canon, which will take place over the next decade.

While the company hopes that the newly commissioned versions of Shakespeare will be performed in Oregon and elsewhere, they also retain their commitment to presenting the conventional texts, albeit with regular tweaks and cuts.

As Shapiro and many others admit, Shakespearean drama has been altered, rewritten and reimagined repeatedly since the plays were first presented during the reigns of Elizabeth Tudor and James Stuart.

‘Is life even worth living? That’s what I keeping wondering…’
Dylan Martinez/Reuters

During the English Restoration, King Lear was given a happy ending. More recently, the 2001 film Scotland, Pa. offered a modern retelling of Macbeth, set at a fast food restaurant. Henry IV found itself placed among male prostitutes in Oregon in Gus Van Sant’s 1991 film My Own Private Idaho. Even Justin Kurzel’s acclaimed new film Macbeth opens with a twist: the funeral of Macbeth’s toddler.

The best adaptations – West Side Story, the musical Kiss Me, Kate and the Japanese film Throne of Blood – thrive. The bad, silly and unfortunate – Romeo and Juliet: Sealed with a Kiss and Animal Planet’s Romeo and Juliet: A Monkey’s Tale – fall by the wayside.

As poet Andrew Marvell might say, there is “world enough and time” for any number of Shakespearean adaptations and iterations.

While Shakespeare’s original language is remarkably rich and compelling, like Cleopatra, “age will not wither it.” Neither will OSF’s revisionary experimentation.

The Conversation

Sheila T Cavanagh, Professor of English, Emory University

This article was originally published on The Conversation. Read the original article.

Article: Modern Life & the British Library


The link below is to an article that takes a look at how the modern world and the old world of the British Library are clashing.

For more visit:
http://www.independent.co.uk/news/uk/home-news/the-war-of-words-at-the-british-library-8734405.html

Website: Booki.sh


Social networks and web applications are rapidly multiplying all over the web and it should come as no surprise that a large number of such sites are dedicated to books in one way or another – as well as being useful to those that read books, offering ways to save and share quotes, words, etc. At the BookShelf will be bringing these types of sites to the notice of its readers, as I think they can be of tremendous use and benefit. Some will be useful to most and maybe others to very few, but they are all useful to someone, with the possible odd exception of course.

Booki.sh is a site that allows you to store your ebook library in the cloud, meaning that you can access it wherever you are, provided you have Internet access and the necessary device to do so. Your device only needs a modern web browser in order to use Booki.sh. Booki.sh provides it own software, so it will work in your device in a similar way to an ebook reader (the website explains how to use the software when reading a book).

Do you really need Booki.sh? Well that is another question – if you have a Kindle for example, you probably do not as you already have your library handy (or a very large selection of it on your device) and an ebook reader. However, if you do not have an ebook reader as such on your device (lap top, etc), Booki.sh could be very handy and useful. Either way, it won’t hurt to have a look and decide for yourself.

For more, visit:
https://booki.sh/