Vaughan’s Vegetable Cook Book: How to Cook and Use Rarer Vegetables and Herbs, by anonymous. Published 1919. 4th edition.

Thanks to Julia Miller for post-processing this project!

Bookp(h)ile

So one of them accepted six or seven observations that were in agreement, except that they could not be regularized, upon a world–planet–satellite–and he gave it a name. He named it “Neith.”

Monstrator and Elvera and Azuria and Super-Romanimus–

Or heresy and orthodoxy and the oneness of all quasiness, and our ways and means and methods are the very same. Or, if we name things that may not be, we are not of lonely guilt in the nomenclature of absences–

But now Leverrier and “Vulcan.”

Leverrier again.

Or to demonstrate the collapsibility of a froth, stick a pin in the largest bubble of it. Astronomy and inflation: and by inflation we mean expansion of the attenuated. Or that the science of Astronomy is a phantom-film distended with myth-stuff–but always our acceptance that it approximates higher to substantiality than did the system that preceded it.

So Leverrier and the “planet Vulcan.”

And we repeat, and it will do us small good to repeat. If you be of the masses that the astronomers have hypnotized–being themselves hypnotized, or they could not hypnotize others–or that the hypnotist’s control is not the masterful power that it is popularly supposed to be, but only transference of state from one hypnotic to another–

If you be of the masses that the astronomers have hypnotized, you will not be able even to remember. Ten pages from here, and Leverrier and the “planet Vulcan” will have fallen from your mind, like beans from a magnet, or like data of cold meteorites from the mind of a Thomson.

Leverrier and the “planet Vulcan.”

And much the good it will do us to repeat.

But at least temporarily we shall have an impression of a historic fiasco, such as, in our acceptance, could occur only in a quasi-existence.

The Reconstructed School, by Francis B. Pearson. Encouraging teachers to make global citizens of their pupils.

Again, today, one company at least–the Essanay, of Chicago–has broken away from the old rule of making pictures run to one, two, or more even reels. They decided to let all their photoplays run on until the story was logically told (with the aid of the printed inserts) and then to end it, regardless of the length to which it had run. Then, instead of announcing in the trade-papers that the picture was in so many reels, or parts, they simply stated that the screen-time of the picture was so many minutes, or an hour and so many minutes. From this, the exhibitor may easily reckon the approximate length of the picture. The important point in this connection is that it would seem that the foolish old custom of making a picture run to an arbitrary length, either by padding it out or by cutting it down, regardless of all reason and logic, will soon be a thing of the past. The harm done to certain productions in the past by forcing them to adhere to a certain number of feet–so many even reels–can hardly be estimated. Imagine stage plays being written to run so many even hours, instead of ending logically when the story is fully and consistently worked out!