Works
South Wind remains Douglas's most famous work and has been frequently reprinted. However it has been argued that his best work was in his travel books which combine erudition, insight, whimsicality, and some fine prose. These works include Siren Land (1911), Fountains in the Sand, described as 'rambles amongst the oases of Tunisia' (1912), Old Calabria (1915), Together (Austria) (1923) and Alone (Italy) (1921).
Douglas's early pamphlets on Capri were revised in Capri (privately published, 1930). His last published work was A Footnote on Capri (1952).
In 1928, Douglas published Some Limericks, an anthology of more-or-less obscene limericks with a mock-scholarly critical apparatus. This classic (of its kind) has been frequently republished, often without acknowledgment in pirate editions. A definitive edition has now been published.
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Famous quotes containing the word works:
“We all agree now—by “we” I mean intelligent people under sixty—that a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves. Unluckily, the matter does not end there: a rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.”
—Clive Bell (1881–1962)
“Any balance we achieve between adult and parental identities, between children’s and our own needs, works only for a time—because, as one father says, “It’s a new ball game just about every week.” So we are always in the process of learning to be parents.”
—Joan Sheingold Ditzion, Dennie, and Palmer Wolf. Ourselves and Our Children, by Boston Women’s Health Book Collective, ch. 2 (1978)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)