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Browse classic literature recommendations from people with great taste on Rec League — the whisper network for great recs.

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An Episode of Sparrows by Rumer Godden

An Episode of Sparrows by Rumer Godden

Octopuses have three hearts and hagfish have four; I am not sure how many this story has—at least two, but maybe five. One is Lovejoy Mason, a little girl growing up between the cracks of society, suddenly and furiously possessed by the impulse to create a garden in her ratty, post-Blitz London neighborhood. But there is also Olivia, middle-aged and muddled, smothered by the efficient morality and complacent prosperity of her sister, Angela, but reaching for some way to make her life make sense. Also Sparkey, small and runny-nosed and bony-legged, and Tip, who can’t help himself from helping. There is Vincent and his empty restaurant, and his wife, Mrs. Crombie, trying to make it work. There is a miniature rosebush. And then there are the plates. I don’t think I’ve ever come across another scene in literature where a plate made me cry. It’s a beautiful, subtle, richly observed story about the possibility and impossibility of change and compromise and love. "I sometimes think," said Olivia, "from watching, of course, because I am not experienced, I think experience can be a—block." Again it was clumsy, but she knew what she meant. "And why?" asked Angela, amused. "Because if you think you know, you don't ask questions," said Olivia slowly, "or if you do ask, you don't listen to the answers." Olivia had observed this often. "Everyone, everything, each thing, is different, so that it isn't safe to know. You—you have to grope."

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The Oceans of Cruelty: Twenty-Five Tales of a Corpse-Spirit  - A Retelling by Douglas J. Penick

The Oceans of Cruelty: Twenty-Five Tales of a Corpse-Spirit - A Retelling by Douglas J. Penick

Brahman dreams; in his dreams, he overhears the twenty-five stories the god Śiva tells his consort Pārvāti. Waking, Brahman speaks to his wife of this dream, and Śiva, enraged, strikes him dead, dooming him to become a vetāla, or corpse-spirit. The vetāla must hang from a tree for eternity, unless a king comes to break the curse. Some time later, a demon ensnares the wise king Vikramāditya, who is sent to bring the vetāla back. But this is no simple task. If Vikramāditya speaks to the vetāla, the vetāla vanishes, returning to the tree, and the task begins again. But speak Vikramāditya must, because each time he lifts the vetāla up, its clammy incorporeality on his back, it whispers a story in his ear, and asks him to judge the people in it. He cannot refuse. Only when Vikramāditya is well and truly stumped will the task be complete and the vetala freed. This book is a beautiful retelling of the Vetala Panchavimshati. Most of the stories involve love and lust, honor and dishonor, cruelty and death, and maintenance of the social order (everyone must do what they are ordained to do). Themes and plots seem to repeat, stories blur and end abruptly. And because I am in the state of mind that I am in, it felt impossible not to see some parallels in Vikramāditya’s plight with where the U.S. is right now, doomed to carry forward a malignant spirit again and again and again until we learn. "There was no end to all this going and going, and no meaning, just a cascade of fragments, all incomplete."

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The Picture of Dorian Gray - Oscar Wilde

The Picture of Dorian Gray - Oscar Wilde

What I would give to be a young, wealthy Victorian dandy during the peak of the Decadence movement “There are few of us who have not sometimes wakened before dawn, either after one of those dreamless nights that make us almost enamored of death, or one of those nights of horror and misshapen joy, when through the chambers of the brain sweep phantoms more terrible than reality itself, and instinct with that vivid life that lurks in all grotesques, and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those whose minds have been troubled with the malady of reverie. Gradually white fingers creep through the curtains, and they appear to tremble. In black, fantastic shapes, dumb shadows crawl into the corners of the room, and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills and wandering round the silent house, as though it feared to wake the sleepers, and yet must needs call forth Sleep from her purple cave. Veil after veil of thin, dusky gauze is lifted, and by degrees the forms and colors of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left them, and beside them lies the half-cut book that we had been studying, or the wired flower that we had worn at the ball, or the letter we had been afraid to read, or that we had read too often. Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known.“

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