The "Evangelical Lutheran Hymn-book: Abridged edition" was published in 1912 as the first official English-language hymnal of the Lutheran Church–Missouri Synod. This historic collection marked a pivotal transition from German to English worship for the denomination. Compiled by Professor August Crull and initially containing 543 hymns, it became affectionately known as the "old green hymnal" for its distinctive binding. The work served congregations until 1941, bridging traditional Lutheran worship with America's English-speaking communities. (This is an automatically generated summary.)

"Toikan Kaaperin muistelmia" by Konstu Pellikka is a novel written in the late 19th century. It portrays the early life of a poor working-class boy, Kaaperi, growing up in a Finnish town, capturing hardship, small joys, and sharp social contrasts through a child’s candid voice. Expect vivid domestic scenes, humor edged with hunger, and the push-and-pull between thrift and temptation in a tight-knit family. The opening of the novel follows Kaaperi’s childhood in a cramped back room behind a manor amid foul yards and crowded outbuildings. He revels in new boots, plays with neighbor children, and returns to ruisporridge, even inventing a tale about a rat to cover his own eating; later he breaks a window while throwing at a wagtail and receives a mild whipping, after which his mother promises to sew him proper trousers from an old coat. Through meal prayers, tears, and talk of absent butter and sahti, we see the family strain, a protective mother, and a quick-tempered father. As summer comes, debts press, an uncle arrives with a horse (leading to a scuffle with a neighbor boy), and Kaaperi naively feeds his prized bread to the dog and is scolded. At the start of autumn, market day brings a treasured coin, a modest pastry spree, Pekka’s cigar-selling to fund shoes, Kaaperi’s grand dreams of America and a fine horse, and finally the father’s return with a drunken friend, a brush with a policeman, and tense, contentious hospitality that lays bare poverty, pride, and friction at home. (This is an automatically generated summary.)

"Morgue kadun kauhu" by Edgar Allan Poe is a short story published in 1841. In Paris, two women are found brutally murdered in a locked room—one with her throat cut, the other strangled and stuffed up a chimney. Witnesses heard two voices but cannot agree on the language spoken. Amateur detective C. Auguste Dupin investigates the baffling crime, discovering clues that suggest something shocking: the killer may not be human at all. (This is an automatically generated summary.)

"The glad lady" by Amy Ella Blanchard is a novel written in the early 20th century. Set in northern Spain, it follows spirited American Patience “Patty” Blake, her sister Doña Martina, and their Spanish family and friends as they spend a summer in Asturias. Through fiestas, village customs, seaside rambles, and visits to ancient houses, the tale mixes travel color, gentle romance, and cross‑cultural comedy—especially around Patty’s flirtatious banter with Don Tomás and a homesick American engineer, Robert Lisle. It promises a warm, picturesque story of manners, friendship, and light-hearted intrigue rather than high drama. At the start of the story, a small party gathers in San Sebastián: Dr. Juan Estradas and his American wife Martina, his brother Tomás, and Martina’s sister Patty with her schoolmate Paulette. Patty’s teasing charm and halting Spanish lead Tomás to dub her “the glad lady,” and the group moves on to a mountain town, where a clean but primitive inn, the lively plaza, and village routines set the scene. They visit a peasant weaver and a venerable old house, stroll to a cave-fringed beach, and lunch in style at Don Felipe’s antiquity-filled palacio, leaving with souvenir cups and later bouquets. A reserved traveler reappears as Robert Lisle, an American with Kentucky roots, who bonds with Patty over homesickness. The party then settles into the Estrada family home, and St. John’s Eve and Day bring local traditions: decking streams and the fountain with flowers, villagers bringing gifts—including a lamb from Perdita—and preparations for music and dancing as the community arrives singing a song in honor of Don Juan. (This is an automatically generated summary.)

"25: Being a young man's candid recollections of his elders and betters" by Beverley Nichols is a memoir written in the early 20th century. It offers spry, often irreverent portraits of prominent figures the author met while young—statesmen, poets, critics, society leaders—told with wit, candor, and an eye for revealing detail. Expect lively travel impressions, literary and political sketches, and a self-aware narrator measuring his youthful enthusiasms against the reputations of his “elders and betters.” The opening of this memoir follows a 19-year-old Nichols on a British Universities Mission to the United States near the end of the war, mixing shipboard vignettes and first impressions of New York with brisk encounters: a precise, weary Woodrow Wilson; a jovial, crowd-pleasing Taft; and the principled Elihu Root. He contrasts Harvard’s wealth with Britain’s austerity, witnesses premature Chicago Armistice celebrations, and notes the color of American media and millionaires—highlighted by J. P. Morgan handing him a strand of Keats’s hair and a Detroit paper inventing an interview. Back at Oxford, he sketches a cluster of literary greats: Masefield’s generosity and humility, Bridges’s leonine severity, Yeats’s dreamy otherworldliness, and the Sitwells’ sharp modernist mischief. He then captures G. K. Chesterton’s paradox-strewn stance on marriage, the Asquiths’ contrasting temperaments at a Liberal rally, Winston Churchill’s disciplined advice on writing and post-speech anxieties, and Horatio Bottomley’s raw, irresistible oratory. The section closes as he begins an exuberant, waspish portrait of Mrs. Patrick Campbell. (This is an automatically generated summary.)

"The new terror" by Gaston Leroux is a novel written in the early 20th century. It appears to be a romantic-psychological mystery with occult overtones, in which a devoted young man, Hector, sees his lifelong love for his cousin Cordélia undermined by an enigmatic English painter whose art exerts an uncanny influence. Themes of hypnotic suggestion, auras, and the idea of a “stolen heart” drive the tension as love, jealousy, and belief collide. The opening of the novel follows Hector from childhood betrothal to Cordélia through his American sojourn and return, where he senses a troubling change in her tied to her art and a mysterious painter. Summoned to the gloomy estate of Vascoeuil, he learns Cordélia and her father have been abroad, sees a shadowy man at Hennequeville, and then hastily marries Cordélia upon their return. At the wedding an unsigned gift arrives: a luminous portrait of Cordélia, clearly by the English painter “Patrick,” which radiates a strange power. That night Cordélia claims she is “as cold as the portrait,” speaks fervently of auras and suggestion, gazes on the painting, and falls into a rigid hypnotic sleep; a local doctor fails, but the specialist Dr. Thurel identifies hypnotic influence and, after blowing on the portrait’s eyes, rouses her. She wakes speaking as if she has shared a moonlit walk and a “golden chamber,” memories that do not match Hector’s reality. The next day she is loving yet altered, and on the second night she is again drawn to the moonlit park, asks Hector to recite Byron as if replaying another man’s words, begs him to save her, and collapses once more into rigidity—leaving Hector terrified that an unseen rival is directing her soul. (This is an automatically generated summary.)

"L'hereu Noradell: Estudi de família catalana" by Carles Bosch de la Trinxeria is a novel written in 1889. Set in rural Catalonia's Alt Empordà region, it follows Marçal Noradell, who inherits his family's wealthy vineyard estate but abandons his roots for political life in Madrid. As gambling debts mount and the devastating phylloxera plague destroys his lands, Marçal faces ruin. The novel blends realist techniques with rural customs, portraying traditional Catalan family life against the dramatic agricultural crisis of the late nineteenth century. (This is an automatically generated summary.)

"Mary Russell Mitford and her surroundings" by Constance Hill is a literary biography written in the early 20th century. It presents a warm, anecdote-rich portrait of the author of Our Village, emphasizing her rural imagination, theatrical ambitions, friendships, and brilliant letters. Drawing on Mitford’s own recollections and contemporary voices, it maps the places, people, and social worlds—English villages, Reading, Lyme Regis, and circles of French émigrés—that shaped her life and writing. The opening of the book offers a preface praising Mitford’s sunny temperament, keen eye for nature, and charm as dramatist and letter-writer, then moves into her early life: a loving childhood at Alresford with garden, orchard, and the Newfoundland dog Coe; vivid portraits of village characters like Jacob Giles the cobbler and Will Skinner the barber; and rustic scenes such as a blacksmith-escorted wedding. It follows the family to Reading amid her father’s financial imprudence, includes the child’s first dazzled visit to London, and then a richly detailed sojourn at Lyme Regis—its Great House, panelled chamber, gardens and spring, coastal storms, fossil-collecting walks, and even a dining-room ceiling collapse. After a hasty retreat to London within the “rules” and a sudden lottery win on her tenth birthday, the narrative returns to Reading’s markets and mentors (notably Dr. Valpy), before shifting to Mary’s schooling: the Abbey School’s move to Hans Place, her initial shyness, guidance by the beloved Miss Rowden, a comic French disciplinarian episode, and her secret awakening to theatre and Molière. Supper-table sketches of French émigrés animate the social backdrop, while brief letters and scenes show her voracious reading and early Latin, and introduce Mlle Rose, a Bretonne orphan, and “Betsy,” a new pupil guarded from French influences by her blustering father. (This is an automatically generated summary.)

"The sea girl : A tale of Nantucket in the clipper ship days" by Aspinwall is a historical adventure novel written in the early 20th century. Set on pre–Civil War Nantucket, it follows spirited Erica Folger, a captain’s daughter who yearns to go to sea amid clippers and whalers. When her twin cousin Lister disappears in Canton and a powerful Chinese patron enters the picture, the tale points toward a maritime mystery entwined with family loyalty and a young girl’s courage. The opening of the story introduces Erica atop her aunt’s house in October, boldly cutting her hair short and dreaming of the ocean, while her cousins—twins Lister and Tommy—debate which will ship out as a cabin boy. After Tommy wins the chance, Erica entrusts him with a jade seal from her Chinese “godfather,” Sun Li; but a moonlit rescue on the wharf leaves Tommy with a broken leg, and Lister takes the berth instead. Visits with a genial Quaker captain, preparations for the voyage, and Lister’s departure give way to a wintry Christmas season—and the arrival of two orphaned cousins, sullen Milly and sunny little Barbee, who unsettle the household. Through the winter Milly keeps apart while Barbee charms everyone, and the family anxiously awaits the clipper’s return. Then the captain comes back without Lister: the boy vanished in Canton, and Sun Li—revealed as a powerful official—promises a thorough search and swift justice. Erica and Tommy must help break the news to Lister’s mother, and in that moment Milly shows unexpected tenderness. (This is an automatically generated summary.)

"A short history of architecture" by Arthur Lyman Tuckerman is a concise architectural history written in the late 19th century. It sketches the origins, principles, and hallmark features of major building traditions across cultures—moving from prehistoric stoneworks through Egypt, Asia, Greece, Rome, and on to medieval and Renaissance Europe—aimed at general readers and students, with minimal technical jargon. The beginning of this volume sets its purpose: to give the main facts of architectural development plainly, defining architecture as the union of utility and beauty, rooted in construction and decoration, and outlining the periods to be covered. It then surveys early evidence—Celtic megaliths (menhirs, dolmens, cromlechs like Stonehenge) as the first clear post‑and‑lintel thinking—and turns to Egypt’s tombs and temples (the Gizeh pyramids, the Sphinx, mastabahs and Beni Hassan “proto‑Doric” columns, Theban rock tombs, Karnak’s hypostyle hall, and Nubian rock temples), praising technical mastery while noting a rigid conventionality. Next come India’s stupas, rock‑cut caves, and monolithic temples (Ellora’s Kylas) and pagodas; China’s largely wooden tradition, great bridges, taas towers, and the Great Wall; and Mesopotamia–Persia: Assyrian palaces with winged bulls, early true arches and glazed bricks, staged temple‑towers (ziggurats), and Persepolis with its bull‑headed columns, followed by Sassanian elliptical vaults. The narrative briefly treats the Temple of Jerusalem and Lycian tombs that bridge wood and stone, then shifts to Greece—from Cyclopean Tiryns and Mycenae to the codified Doric, Ionic, and Corinthian orders and the monuments of the Athenian Acropolis (Propylæa, Parthenon, Erechtheion’s caryatids, Temple of Nike), with notes on theatres, houses, and colonial temples—before opening the section on Etruria and Rome’s adaptation of Greek orders to the arch and vault. (This is an automatically generated summary.)

"Tykkimiehen muistelmia Karjalan rintamalta" by Aarno Karimo is a war memoir written in the early 20th century. It chronicles a Finnish artilleryman’s experiences on the Karelian front during the civil war, blending gritty combat, makeshift ingenuity, and dry humor. The narrative follows the narrator and his small gun crew as they stumble into gunnery, fight Red and Russian units, and draw vivid portraits of comrades—especially the hapless yet steadfast horseman Jussi. It offers a ground-level view of skirmishes, deprivation, and morale among White forces. The opening of the memoir states it is not a formal history but a set of frontline recollections, then plunges into the narrator’s scramble to join the artillery, improvised training in Sortavala with a mechanic, and chaotic first test firings. He is rushed to the Antrea sector, where an audacious, roughly plotted shot toward Ora becomes the first artillery salvo on that front, followed by a tense winter night defending the Vuoksi crossings with scant men and almost no firearms. Early actions around Noskua feature a dramatic mishap—a shell stuck in the barrel due to a bad casing—solved by firing it out, and culminate in driving the enemy from stone cowsheds and capturing machine guns. A comic-sympathetic portrait of Jussi (“Sven Dufva”) showcases blunders, loyalty, and rough camaraderie. Life at Ora is depicted as crowded and lice-ridden yet resilient, with constant patrols, gramophone interludes, captured diaries, and grim accounts of Red atrocities, as reinforcements trickle in and green recruits struggle even to stay awake on guard. (This is an automatically generated summary.)

"Folkhumor : Skämtsagor och historier från olika länder för ung och gammal" by Grip is a collection of humorous folktales written in the early 20th century. It gathers comic, trickster-rich stories from various countries for readers young and old, spotlighting quick-witted underdogs who outsmart bullies, trolls, and pompous authority. Themes include the ridicule of folly, greed, and pretension, with clean retellings meant for family reading. Expect nimble heroes, playful contests, and sharp, good-natured satire. The opening of the collection begins with a preface praising folk humor’s age-old appeal and noting that coarse elements have been removed, then launches into lively tales. First, a resourceful gypsy lad, Kuno, learns in heaven where his troll-abducted father is held, frees him, and also rescues a princess by outwitting trolls in a string of contests, earning marriage and a crown. Next, in a Danish skit, a gullible couple try to make a talking-calf heir; a crafty bell-ringer pockets their money and meat, and the couple later mistake a random merchant, “Stuut,” for their grown “calf” and endow him. A German tale follows: a prince raised by a wildman wins a princess by herding a hundred hares with a magic pipe and, when ordered to “talk a sack full,” fills it by recounting how he made the royal family kiss a donkey’s tail and turn somersaults. Then come Tumpel’s episodes (from Russia), where a lovable fool mangles phrases, misdiagnoses by “deduction,” loses a cow to a prank, and is fleeced by a wily soldier. Finally, in “Prosit!” a herdsman who refuses to bless a king’s sneeze survives beasts and a death-pit, spurns bribes, and secures the princess; the scene cuts off just as the wedding feast prompts another royal sneeze. (This is an automatically generated summary.)

"Der Hafen" by Norbert Jacques is a novel written in the early 20th century. It centers on Baptist Biver, a sensitive, wayward young man in a small city, caught between music, illicit temptations, and the rigid expectations of his domineering father, with his loyal sister Jeanne as his moral and emotional anchor. The story appears to probe small‑town mores, class pretenses, and the yearning for inner change, with the fairground and an Italian performer amplifying Baptist’s conflict between desire and self‑respect. The opening of the novel presents an intimate household: Jeanne plays piano while Baptist drifts between reverie and resentment, their father Alois intruding with harsh discipline and scorn. Baptist confesses exam anxiety, hints at a secret fascination with Rosa, a tambourine player at the Schobermesse, and then impulsively steals gold coins from his father’s safe before dinner. Later he slips out to the fair, sits with two acquaintances, lavishes champagne on the Italian band, and is both soothed and inflamed by the music, even taking the violin himself. A notorious brawler, Heng, insults him and his family’s money, triggering a fight in which Baptist is struck and bloodied; the crowd disperses, and a few tough schoolmates hustle him away and help him search fruitlessly for the Italians. Near dawn, tired and chastened, he rides home through the empty streets, wavering between lust and restraint and thinking of Jeanne’s regard. (This is an automatically generated summary.)

"Sämtliche Werke 19 : Die Erniedrigten und Beleidigten" by Fyodor Dostoyevsky is a novel written in the mid-19th century. It unfolds as a Petersburg tale of love, pride, and humiliation, narrated by the young writer Ivan Petrovich as he looks back on a tragic year. The story centers on his bond with Natascha Ichmenyeva, her devoted but embattled parents, and their entanglement with the calculating Prince Valkovsky and his impressionable son Alyosha. Expect intimate psychology, social cruelty, and the aching vulnerability of people poised between tenderness and ruin. The opening of the novel follows Ivan’s search for a new room, his fascination with a decrepit old man and his ancient dog in a German confectionery, and a silent confrontation that ends with the dog’s sudden death and, moments later, the old man’s collapse and demise in a nearby alley. Ivan helps identify the man as Jeremias Smitt, finds his stark poverty, and then rents his cheap garret, framing his tale from a hospital bed as he prepares to recount the last, hardest year. He sketches his past: orphaned and raised with Natascha by the kind Ichmenyev family, idyllic childhood memories, and the rise and souring of their ties to Prince Valkovsky, including the prince’s biography, the banishment of Alyosha to the estate, slanders, a lawsuit, and the family’s move to Petersburg. He recalls his first literary success and a tender, tacit engagement with Natascha, before hinting that, a year later, he returns shattered, as if an unseen catastrophe has opened an abyss between them. (This is an automatically generated summary.)

"Der Schatz der Sierra Madre" by B. Traven is an adventure novel published in 1927. In 1920s Mexico, two destitute American drifters team up with an experienced prospector named Howard to search for gold in the remote mountains. As they pursue their fortune, Howard warns them that discovering gold in quantity corrupts men's souls and awakens insatiable greed. Dobbs insists he would be content with modest wealth, but the old prospector quietly doubts him. Their expedition unfolds against a backdrop of exploitation, revolution, and legendary mines cursed by bloody histories. (This is an automatically generated summary.)

"What is truth? by W. D. Wattles" is a metaphysical-philosophical treatise written in the early 20th century. It explores the nature of reality—time, space, substance, consciousness, motion—and argues that a single conscious, divine substance underlies all things, shaping the world through will; its central topic is how aligning with this reality leads to human health and abundance. The book proceeds step by step: time and space are real, boundless frameworks; the many “materials” are forms of one fluid substance that can become solid or ethereal by pressure and motion. Consciousness belongs to substance itself, not to empty space or mere brain activity; in humans it can expand toward completeness. Motion is substance shifting in space and time, and every “force” reduces to pressure of substance—there is no attraction across a vacuum. The origin of motion is the will of Original Conscious Substance (God), whose will-pressure produces light, heat, gravity, and chemical affinity, and whose motive is the happiness of all. Man, as conscious substance in a human form, can cooperate with this will; by persistently recognizing divine life and abundance—through affirmation, prayer, and alignment—he becomes whole in health and supplied in all needs, while the habitual recognition of disease or lack perpetuates them. (This is an automatically generated summary.)

The story of Chanukah by Benjamin Sacks is a brief historical and religious account written in the early 20th century. The book explains the origins and meaning of the Jewish festival of Chanukah, focusing on the Maccabean revolt and the rededication of the Temple in Jerusalem. The narrative traces events from the breakup of Alexander the Great’s empire through Seleucid rule over Judea, highlighting the corruption of the High Priesthood under Jason and Menelaus and the brutal persecutions of Antiochus IV. It recounts the attempted plunder of the Temple by Heliodorus, the decrees banning Jewish practice, and the martyrdoms of Eleazar and of Hannah’s seven sons. Resistance begins with Mattathias and his five sons, especially Judas Maccabeus, who leads daring victories over Apollonius, Seron, Nicanor, and Gorgias, forcing Lysias to retreat. The rebels purify and rededicate the defiled Temple, and the Talmudic miracle of the single cruse of oil burning eight days affirms divine favor. The account concludes with the establishment of the eight-day festival of dedication, marked by lights and thanksgiving. (This is an automatically generated summary.)

"Mantegna and Francia" by Julia Cartwright is an illustrated art-historical biography written in the late 19th century. It traces the lives, works, and influence of the Renaissance painters Andrea Mantegna and Francesco Francia, setting their art within the culture, patrons, and workshops of Northern and Central Italy. The opening of the book focuses on Mantegna: it sketches the rise of the Paduan school, his training under Squarcione, and the bold innovations of his Eremitani frescoes—sculptural forms, exacting perspective, classical detail, and close study of nature—shaped by Donatello, Paolo Uccello, and his ties to the Bellini family. It follows his move to Mantua, key commissions such as the San Zeno altarpiece, the Uffizi triptych, the celebrated St. Sebastian and Dead Christ, and the courtly portraits and illusionistic oculus of the Camera degli Sposi. Letters reveal Gonzaga patronage and the artist’s irascible temperament, alongside his major Roman venture (now lost) and his engravings, which extend his range from sacred drama to classical themes. A detailed account of the Triumphs of Julius Caesar highlights his learned classicism, rhythmic composition, and refined colour. The narrative then surveys late works—the Parnassus and Wisdom over the Vices, the Madonna della Vittoria, other altarpieces and drawings, and an unrealized Virgil monument—before turning to his final years: mounting debts, family troubles, yet undimmed invention in works like the later St. Sebastian and the Triumph of Scipio, ending with him seeking aid from Isabella d’Este. (This is an automatically generated summary.)

"Sir William Flower" by Richard Lydekker is a scientific biography written in the early 20th century. It profiles the eminent comparative anatomist and museum reformer Sir William Henry Flower, tracing his path from a nature‑obsessed boy and army surgeon to Conservator of the Royal College of Surgeons’ museum and Director of the Natural History Museum. The work highlights his research on mammals (notably whales), his anthropological studies, and his pioneering ideas on museum display and scientific nomenclature. The opening of the book sketches Flower’s early life, self‑propelled love of natural history, and medical training, followed by his Crimean War service and return to London, where he combined hospital duties with research, married into a scientifically connected family, and began publishing. It then moves to his decisive shift from medical practice to the Royal College of Surgeons, his rise to Hunterian Professor, and his growing public presence—honours, society leadership, and advocacy on animal welfare and conservation—alongside a portrait of his character and final years. The narrative next details his museum achievements: enlarged and clearer human anatomy displays, exemplary preparation and mounting of skeletons, a comparative “homologous bones” series, and catalogues that integrated recent and fossil material, together with firm, commonsense views on stabilising nomenclature and resisting needless generic splitting. His Hunterian lectures—on mammalian osteology and dentition, cetaceans, digestive organs, and the physical anthropology of diverse peoples—are summarized, including the influential textbook that grew from them. Finally, it introduces his Directorship of the Natural History Museum and the creation of the educational Index Museum with realistic taxidermy, lucid labels, and distribution maps, and signals his push to bridge the divide between biology and paleontology, leading into his reorganisation of the mammal gallery. (This is an automatically generated summary.)

"Kuolevan laulun mailta : ynnä Pohjan saloilta" by Lauri Hannikainen is a collection of travel sketches and folkloric vignettes written in the early 20th century. It evokes the landscapes, rituals, and voices of Viena Karelia and the Far North, blending lyrical observation with brief narrative scenes. A Finnish youth immerses himself in a Karelian village, meeting hunters, healers, and famed runo singers, while the book reflects on the beauty and fragility of traditions facing modern change. The opening of the work moves from an enchanted arrival in Viena’s backwoods to a haunting night on the ice when a swan—felt as a Tuonela omen—passes untouched. Wedding laments and a maiden’s final sauna ritual speak in heightened verse, while the narrator, revealed as educated, addresses the village about homeland and God before a fervent dance and bittersweet farewell. Brief portraits dwell on kantele music at dusk, a wary sage-singer who opens up to recite epics and spells, and a visit to the renowned Pedri Shemeikka: his kantele gone to collectors, a new one carved, but he can no longer tune it—soon followed by his elegiac funeral. The tone is elegy and love letter at once, as customs and song seem to fade. The scene then shifts north: a taciturn Lapland boy reveals, in one tender line, the loss of his mother, and a gently comic camp tale shows a guileless logger taking seriously a prank about “turning the moon,” slipping away to set things right. (This is an automatically generated summary.)