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Arturo Serrano

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Ignyte-winning, Hugo-winning reviewer at Nerds of a Feather. Also member of Strange Horizons and Galactic Journey. Judge at the British Fantasy Awards. Black belt in 積ん読. Alignment: 🇺🇦🇵🇸🇹🇼🏳️‍🌈🇺🇳☮️♾️ Buy my book: mybook.to/ToClimatesUnknown kobo.com/ebook/to-climates-unknown books2read.com/u/3J6KYX arturoserrano.site

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Karl Sigmund: Exact thinking in demented times (2017)
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Daniel F. Stone: Undue Hate (2023, MIT Press)
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Ben Ansell: Why Politics Fails (2023, PublicAffairs)

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Greg Egan: Sleep and the Soul (2023, Egan, Greg)
Allie Therin: Liar City (Paperback, 2023, Harlequin Enterprises ULC)
Leo T. S. Ching: Anti-Japan (2019)

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Namina Forna: The Gilded Ones (Hardcover, 2021, Delacorte Press)
Silvia Moreno-Garcia: Prime Meridian (2018, Innsmouth Free Press)
Michael H. Payne: Neighbors (Paperback, CreateSpace Independent Publishing Platform)

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Italian poet, writer, and philosopher Dante Alighieri died in 1321.

Dante is known for establishing the use of the vernacular in literature at a time when most poetry was written in Latin, which was accessible only to educated readers. His use of the Florentine dialect for works such as The New Life and Divine Comedy helped establish the modern-day standardized Italian language.

https://en.wikipedia.org/wiki/Dante_Alighieri

Books by Dante Alighieri at PG:
https://www.gutenberg.org/ebooks/author/507

Purgatorio, Canto XXX, 60-146 Beatrice Addressing Dante: Beatrice speaks to Dante from her carriage - by William Blake
Andrea del Castagno, Dante Alighieri, ne Ciclo degli uomini e donne illustri, affresco, tra il 1448 e il 1451, Galleria degli Uffizi, Firenze The painting of Dante Alighieri by Andrea del Castagno, part of the Ciclo degli uomini e donne illustri (Cycle of Famous Men and Women), is a fresco created between 1448 and 1451. It is housed in the Galleria degli Uffizi in Florence. The portrait honors Dante as one of the most prominent literary figures in Italian history. In this fresco, Dante is depicted as a tall, solemn figure, wearing a traditional red robe with a matching cap (a zucchetto), which was associated with scholars and intellectuals. The red color symbolizes Dante's prominence and the honor bestowed upon him in Florence's cultural history. Dante’s face is dignified and contemplative, reflecting his status as a thinker and poet. His face is slightly turned to the side, emphasizing his prominent nose and thoughtful gaze. He is shown standing in a stately posture, holding a book in his hand, most likely representing The Divine Comedy. The book signifies his contribution to literature and his intellectual achievements.
Illustration for Paradiso (of The Divine Comedy) by Gustave Doré
Sandro Botticelli, The Map of Hell, between 1480 and 1490, Biblioteca Apostolica Vaticana. The division of the Inferno and the other two realms of the Underworld are indebted to Aristotelian ethics
Sandro Botticelli, The Map of Hell, between 1480 and 1490, Biblioteca Apostolica Vaticana. The division of the Inferno and the other two realms of the Underworld are indebted to Aristotelian ethics
Andrea del Castagno, Dante Alighieri, ne Ciclo degli uomini e donne illustri, affresco, tra il 1448 e il 1451, Galleria degli Uffizi, Firenze The painting of Dante Alighieri by Andrea del Castagno, part of the Ciclo degli uomini e donne illustri (Cycle of Famous Men and Women), is a fresco created between 1448 and 1451. It is housed in the Galleria degli Uffizi in Florence. The portrait honors Dante as one of the most prominent literary figures in Italian history. In this fresco, Dante is depicted as a tall, solemn figure, wearing a traditional red robe with a matching cap (a zucchetto), which was associated with scholars and intellectuals. The red color symbolizes Dante's prominence and the honor bestowed upon him in Florence's cultural history. Dante’s face is dignified and contemplative, reflecting his status as a thinker and poet. His face is slightly turned to the side, emphasizing his prominent nose and thoughtful gaze. He is shown standing in a stately posture, holding a book in his hand, most likely representing The Divine Comedy. The book signifies his contribution to literature and his intellectual achievements.
The illustration of Purgatorio, Canto XXX, 60-146 by William Blake, titled Beatrice Addressing Dante, is a vivid and emotional representation of the moment when Beatrice confronts Dante in the Earthly Paradise near the summit of Mount Purgatory. In this scene from Dante’s Purgatorio, Beatrice appears in a triumphal chariot, symbolizing divine grace, to address Dante for the first time, offering him spiritual guidance and chastising him for straying from the path of righteousness. At the center of the composition is Beatrice, standing in her chariot. She is depicted as a radiant and almost otherworldly figure, with an aura of divine authority. Blake often emphasizes Beatrice’s spiritual purity by portraying her with soft, flowing robes and a serene expression, which contrasts with the darker tones of the surrounding environment. Her posture is commanding but graceful, reflecting her role as a guide and embodiment of divine love. Below or to the side of Beatrice, Dante is shown kneeling or standing in awe, gazing upward toward Beatrice with a look of intense emotion. His posture and expression reflect a mixture of reverence, penitence, and shock. The chariot in which Beatrice stands is a key symbol in this illustration, representing divine authority and grace. Blake’s illustration blends heavenly and earthly elements, reflecting the liminal space of the Earthly Paradise.
Illustration for Paradiso (of The Divine Comedy) by Gustave Doré. The illustration of Paradiso from The Divine Comedy by Gustave Doré is a breathtaking and ethereal portrayal of Dante's ascent into Heaven. Doré’s illustrations for The Divine Comedy, completed in the 19th century, are renowned for their dramatic use of light and shadow, as well as their grand, visionary style. His illustrations for Paradiso stand out for their portrayal of divine beauty, light, and celestial order. In typical illustrations of Paradiso, Doré masterfully captures the overwhelming presence of divine light. This light, emanating from the center of the illustration, symbolizes the presence of God. The radiance fills the entire composition, with Dante and Beatrice often depicted as tiny figures in comparison to the vast, celestial brightness. The light represents purity and divine truth, essential themes of Dante's journey through Heaven. Surrounding the light, Doré often illustrates ranks of angels or blessed souls arranged in celestial circles or spheres. These figures are frequently portrayed in intricate, flowing robes, with wings outstretched, creating a sense of motion and harmony. The angelic beings are shown in concentric circles, as Dante describes in Paradiso, reinforcing the structured, ordered nature of Heaven according to medieval cosmology.
Andrea del Castagno, Dante Alighieri, ne Ciclo degli uomini e donne illustri, affresco, tra il 1448 e il 1451, Galleria degli Uffizi, Firenze The painting of Dante Alighieri by Andrea del Castagno, part of the Ciclo degli uomini e donne illustri (Cycle of Famous Men and Women), is a fresco created between 1448 and 1451. It is housed in the Galleria degli Uffizi in Florence. The portrait honors Dante as one of the most prominent literary figures in Italian history. In this fresco, Dante is depicted as a tall, solemn figure, wearing a traditional red robe with a matching cap (a zucchetto), which was associated with scholars and intellectuals. The red color symbolizes Dante's prominence and the honor bestowed upon him in Florence's cultural history. Dante’s face is dignified and contemplative, reflecting his status as a thinker and poet. His face is slightly turned to the side, emphasizing his prominent nose and thoughtful gaze. He is shown standing in a stately posture, holding a book in his hand, most likely representing The Divine Comedy. The book signifies his contribution to literature and his intellectual achievements.
Botticelli’s "The Map of Hell" is a detailed and dramatic representation of Dante’s Inferno. The painting is structured around a massive funnel or pit, which spirals downward toward the Earth’s core. These circles narrow as they descend, representing Dante’s journey through Hell, where the severity of sin increases the deeper one goes. Each ring or layer corresponds to a specific category of sin, following the structure Dante outlined in Inferno. The first circle represents Limbo, where virtuous non-Christians and unbaptized souls reside in a less tormented, shadowy existence. The second circle shows those punished for lust, buffeted by strong winds. The third circle depicts gluttons suffering in a filthy, icy slush. The fourth circle portrays the misers and spendthrifts, forced to push heavy weights against one another. The fifth circle illustrates the wrathful fighting each other in the River Styx, while the sullen are submerged beneath it. The sixth circle shows heretics trapped in flaming tombs. The seventh circle is divided into three sub-circles, where violent sinners are punished, including those who commit violence against others, against themselves, and against God. The eighth circle depicts the fraudsters suffering in ten ditches, each with a unique punishment based on the type of fraud. The ninth and final circle is the frozen lake of Cocytus, where traitors are encased in ice, and Lucifer himself resides at the center, holding the ultimate traitors in his jaws.
The illustration of Purgatorio, Canto XXX, 60-146 by William Blake, titled Beatrice Addressing Dante, is a vivid and emotional representation of the moment when Beatrice confronts Dante in the Earthly Paradise near the summit of Mount Purgatory. In this scene from Dante’s Purgatorio, Beatrice appears in a triumphal chariot, symbolizing divine grace, to address Dante for the first time, offering him spiritual guidance and chastising him for straying from the path of righteousness. At the center of the composition is Beatrice, standing in her chariot. She is depicted as a radiant and almost otherworldly figure, with an aura of divine authority. Blake often emphasizes Beatrice’s spiritual purity by portraying her with soft, flowing robes and a serene expression, which contrasts with the darker tones of the surrounding environment. Her posture is commanding but graceful, reflecting her role as a guide and embodiment of divine love. Below or to the side of Beatrice, Dante is shown kneeling or standing in awe, gazing upward toward Beatrice with a look of intense emotion. His posture and expression reflect a mixture of reverence, penitence, and shock. The chariot in which Beatrice stands is a key symbol in this illustration, representing divine authority and grace. Blake’s illustration blends heavenly and earthly elements, reflecting the liminal space of the Earthly Paradise.
Illustration for Paradiso (of The Divine Comedy) by Gustave Doré. The illustration of Paradiso from The Divine Comedy by Gustave Doré is a breathtaking and ethereal portrayal of Dante's ascent into Heaven. Doré’s illustrations for The Divine Comedy, completed in the 19th century, are renowned for their dramatic use of light and shadow, as well as their grand, visionary style. His illustrations for Paradiso stand out for their portrayal of divine beauty, light, and celestial order. In typical illustrations of Paradiso, Doré masterfully captures the overwhelming presence of divine light. This light, emanating from the center of the illustration, symbolizes the presence of God. The radiance fills the entire composition, with Dante and Beatrice often depicted as tiny figures in comparison to the vast, celestial brightness. The light represents purity and divine truth, essential themes of Dante's journey through Heaven. Surrounding the light, Doré often illustrates ranks of angels or blessed souls arranged in celestial circles or spheres. These figures are frequently portrayed in intricate, flowing robes, with wings outstretched, creating a sense of motion and harmony. The angelic beings are shown in concentric circles, as Dante describes in Paradiso, reinforcing the structured, ordered nature of Heaven according to medieval cosmology.