Jethro Tull’s Horse-Hoeing Husbandry

February 1, 2025

You might think Horse-Hoeing Husbandry is a little-known album by the 20th-Century progressive rock band Jethro Tull – but no. It is, in fact, a well-known book (in agricultural circles) by the 18th-Century progressive agriculturalist Jethro Tull, after whom the band was named. (Ian Anderson, leader of the rock band, once said that his agent, a history buff, came up with the name. Anderson had no idea it was “a dead guy who invented the seed drill” and wished he had changed it to “something less historical”). The volunteers at Distributed Proofreaders and Project Gutenberg have now made it possible for you to tell the difference.

Jethro Tull (the agriculturalist) was born in Berkshire, England, in 1674. He read law at Oxford and became a barrister. After he married, he and his wife settled on his father’s farm in Oxfordshire, where he became an avid gentleman farmer. Tull then traveled to the Continent to improve his health. He was struck by the similarity between his agricultural ideas and those actually in operation in the vineyards of France and Italy. He had theorized, and to his mind the success of the vineyards proved, that fertilizing the soil with manure was unnecessary – frequently tilling the soil was not only enough, but was also much more cost-effective.

On his return to England, Tull moved to the aptly named Prosperous Farm near Hungerford, where he put his farming ideas into practice. He invented a seed drill that automatically sowed and planted seeds, a method that was far more productive than hand-broadcasting. He also found that hoeing the soil with a device pulled by a horse was much more effective and less labor-intensive than hand-hoeing by individual workers. He expanded on his ideas about tilling in Horse-Hoeing Husbandry (subtitled “An Essay on the Principles of Vegetation and Tillage. Designed to introduce a New Method of Culture; Whereby the Produce of Land will be increased, and the usual Expence lessened”), first published in 1731.

In addition to finding fertilization with manure to be unnecessary, Tull railed against the use of it in growing food for human consumption. In a chapter entitled “Of Dung,” he writes, “’Tis a Wonder how delicate Palates can dispense with eating their own and their Beasts Ordure, but a little more putrefied and evaporated; together with all Sorts of Filth and Nastiness, a Tincture of which those Roots must unavoidably receive, that grow amongst it.” Later it was proven that some fertilization with manure is still necessary for the best results, but Tull’s innovative methods revolutionized agriculture in Europe and America, and are still in use today, albeit with more sophisticated machinery.

Tull died in 1741, but Horse-Hoeing Husbandry continued in print for many years afterward. The edition that Distributed Proofreaders contributed to Project Gutenberg is the fourth, published in 1762.

This post was contributed by Linda Cantoni, a Distributed Proofreaders volunteer.


Project Gutenberg Celebrates 75,000 Titles

December 30, 2024

Distributed Proofreaders is proud to have contributed Project Gutenberg’s 75,000th title, Folk Tales from Tibet, collected and translated by Captain W.F. O’Connor, and published in 1906.

Captain (later Sir William) O’Connor was an Irish diplomat and British army officer who served from the 1890s until his retirement in 1925. He spent many years on military missions in India, Tibet, and other South Asian countries, as well as Iran and Siberia, and was even a captive of the Persian army for a time. He was first posted to Tibet in 1903 as part of the Younghusband Expedition, which was essentially a military invasion designed to prevent the Dalai Lama from allying Tibet with Russia.

In his preface, O’Connor doesn’t mention this invasion, recounting only that he spent two years in Tibet, where he “made many friends amongst all classes of Tibetans – high and low, rich and poor” from whom he “learned that there exists amongst this fascinating and little-known people a wealth of folk-lore, hitherto inaccessible to the outside world.” He included 22 stories in Folk Tales from Tibet, and did his best to include only those that he believed were genuinely Tibetan, rather than those that had been “imported bodily” from Indian or Chinese sources.

Illustration for “How the Hare Got His Lip Split”

The stories are filled with folk wisdom very similar to that in Western stories, serving as cautionary tales about hubris, foolhardiness, greed, and other human foibles. Many of the stories feature anthropomorphized animals, as is common in folklore the world over. In one, “How the Hare Got His Lip Split,” a wily hare plays a series of nasty tricks on a tiger, a man and his horses, some ravens, and a shepherd boy and his sheep. Among the human characters are a quarreling king and queen, a set of thieves, an old Lama and his servant, and a deformed boy. O’Connor tantalizingly notes in the preface that “some of the very best and most characteristic stories are unfit for publication in such a book as this,” leading one to wonder if there might have been an Arabian Nights quality to them. (He does assure the reader that he has separately preserved omitted stories that “possess any scientific interest.”)

The collection’s subtitle notes that it includes “illustrations by a Tibetan artist and some verses from Tibetan love-songs.” The Tibetan artist is not named, but his or her artwork is richly colored and quite striking, despite O’Connor’s misgivings that the illustrations are “somewhat weak in details” because he was “unable personally to superintend their execution.” But O’Connor does not spare himself; he modestly apologizes for the “crudeness and lack of artistic finish” of his translations of the love songs, which are rendered in a very English rhyme-scheme.

Congratulations to the volunteers at Distributed Proofreaders and Project Gutenberg who made this 75,000th Project Gutenberg title possible!

This post was contributed by Linda Cantoni, a Distributed Proofreaders volunteer.


Millions of Cats

December 1, 2024

One of the great things about Public Domain Day is that every year, a treasure trove of “new” old books enters the public domain in the U.S., allowing the volunteers at Distributed Proofreaders and Project Gutenberg to turn them into free e-books. Among the gems that entered the public domain in 2024 is Wanda Gág‘s delightful children’s book, Millions of Cats.

The book, which Gág both wrote and illustrated, was published in 1928 and has never been out of print. In fact, it’s considered to be the oldest American picture book still in print. In 1929, it won a Newbery Honor award, given for distinguished contributions to American children’s literature.

Millions of Cats tells the story of a lonely old couple who want to adopt a cat. The husband goes in search of one and finds a hill covered in “Millions and billions and trillions of cats.” He can’t decide which one he likes best, so he winds up taking all of them home. Without spoiling the ending, let’s just say that a cat-astrophe ensues…

Gág’s charming illustrations, reminiscent of European folk-art woodcuts, were no doubt influenced by her ethnic background. She was born in 1893 to German immigrants who had settled in Minnesota. She was 15 when her father, an artist and photographer, died of tuberculosis, leaving the family impoverished. Despite pressure to quit school and get a job to support her family, she finished high school and became a teacher for a time. Then, with the help of scholarships, friends, and a wealthy patron, she studied at various art schools, including the Art Students League of New York. The practical education she received there enabled her to earn a living as a commercial artist. Soon, Gág’s art was being featured in public exhibits, published in national magazines, and sold through prominent art galleries.

Millions of Cats wasn’t Gág’s only award-winning foray into children’s literature. The ABC Bunny (1933), written for her nephew, also won a Newbery Honor; Snow White and the Seven Dwarfs (1938) and Nothing at All (1941) received Caldecott Honors. Although those books are not yet in the public domain, you can now enjoy her unique and enchanting artwork in Millions of Cats thanks to the volunteers at Distributed Proofreaders and Project Gutenberg.


Lost at Sea

November 1, 2024

“Of all the heavy afflictions incident to a seafaring-life, shipwreck is the most disastrous. For what can afford a more affecting spectacle than those poor way-worn mariners, who, on their joyful return from a long voyage to the bosom of their families, are unhappily cast away at the very mouth of the harbour! To behold them, in this perilous situation, conflicting with the merciless waves; clinging to the broken planks, or with uplifted hands and piercing shrieks imploring aid with all the eloquence of ineffable woe!”

The Shipwreck
The Shipwreck, by J.M.W. Turner (1805)

These impassioned words begin the sobering report, An Essay on the Preservation of Shipwrecked Mariners, written in 1799 by English physician Anthony Fothergill. It was awarded a prize by the Royal Humane Society, whose directors noted that it was “a very able and scientific performance, happily enlisting Philosophy in the cause of Humanity.”

Fothergill began his Essay with accounts of shipwrecks that happened near the shore. One was the wreck of the Britannia in the West Indies in 1792. A laconic entry in the Marine List of September 11, 1792, issued by Lloyd’s of London, the famous insurance market, drily states: “The Britannia, Woodyear, from St. Kitts to London, is lost at St. Kitts.” Fothergill recounts the real horror of it. The ship, with 30 people aboard, struck a sandbar near the shore and “soon broke to pieces.” Most of the people were washed overboard, but Captain Woodyear – who could have saved himself by swimming to shore – remained on the wreckage trying to save two women, a child, and several men. An attempt to send a rescue boat failed, so relatives of the victims had to watch helplessly from the shore as the captain and the others drowned. “Next morning,” Fothergill concludes, “the beach was covered with dead bodies that had been cast on shore in the night!”

According to Fothergill, there were several problems leading to shipwrecks in the first place: storms, unseaworthy (“crazy”) vessels, and human error. He suggested ways to predict hurricanes and other storms. He made many recommendations to improve the seaworthiness of ships and new safety features such as lifeboats (which had only begun to come into use in the 1780s). He also expounded upon the proper conduct of the captain and crew in preventing shipwrecks in the first place, and the critical importance of maintaining discipline and order during a disaster in order to increase the chances of survival.

Fothergill noted that most shipwrecks occurred near the shore, but often potential rescuers on land could not get to the ship. He posited a number of different ideas to accomplish this, such as a long rope fired toward the ship using a skyrocket, a large bow and arrow, or a musket. He even suggested, “Might not Dr. Franklin’s experiment, with a large paper-kite, deserve a trial, especially in the direction of a fair wind and lee-shore?” (Fothergill was apparently a great admirer of Benjamin Franklin; he mentions Franklin several times in the Essay.) Fothergill also emphasized the importance of being able to swim, a skill that, surprisingly, even many sailors of the time did not have. And he urged the establishment of temporary asylums for “distressed mariners of all nations” who survive shipwrecks.

Shipwrecks continued to be a serious problem well into the 19th Century, but improvements in shipbuilding and technology eventually made sea voyages far safer. Thanks to the volunteers at Distributed Proofreaders and Project Gutenberg, you can get a glimpse into early modern efforts to prevent these disasters and save lives.

This post was contributed by Linda Cantoni, a Distributed Proofreaders volunteer.


Distributed Proofreaders Outage

October 6, 2024

Our site is now back online! Thanks to our admin and technical volunteers for helping us deal with this hardware problem

I am sorry to announce that Distributed Proofreaders is experiencing hardware issues and the site will be unavailable while we fully investigate and repair the problem. It is very important that we correct the problem in order to avoid data corruption. 

I will keep you updated as we investigate further. 

Thank you for your patience. 

Linda Hamilton,

General Manager, Distributed Proofreaders 

Updates:

10 Oct. 2024 3:40pm Server Time: The site is now back online. Thank you for your patience.

10 Oct. 2024 2:30pm Server Time: The checking continues, however the forums and wiki are now online and available.

10 Oct. 2024 1:30pm Server Time: We are currently carefully checking the site before hopefully making it live.

9 Oct. 2024 8:37pm Server Time: We have installed the new hardware and are copying over and verifying the data.

8 Oct. 2024 10:45pm Server Time: We have purchased required hardware and plan to install it tomorrow.

7 Oct. 2024 11:55pm Server Time: Our technical team has investigated the hardware issue and we have created a plan that we believe will deal with it.

7 Oct. 2024 4:14pm Server Time: Our technical team continue to work on the problem


Sanditon

October 1, 2024

My name perhaps—tho’ I am by no means the first of my Family, holding Landed Property in the Parish of Sanditon, may be unknown at this distance from the Coast—but Sanditon itself—everybody has heard of Sanditon,—the favourite—for a young & rising Bathing-place, certainly the favourite spot of all that are to be found along the coast of Sussex;—the most favoured by Nature, & promising to be the most chosen by Man.” – Mr. Parker in Sanditon, by Jane Austen

Nowadays, if you’ve heard of Sanditon, it’s possibly because of the recent television adaptation of Jane Austen‘s last novel, left unfinished at her untimely death in 1817. Sanditon has spawned a host of posthumous “continuations” of varying forms since the first transcription of the manuscript was published in 1925. Thanks to the volunteers at Distributed Proofreaders and Project Gutenberg, you can now enjoy that first transcription in Fragment of a Novel Written by Jane Austen, edited by Austen scholar R.W. Chapman.

Jane Austen
Sketch of Jane Austen by her sister Cassandra, c. 1810

Austen’s most famous novels, Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814), and Emma (1816), were published anonymously in her lifetime but were not huge successes at the time. They endure today, however, because of the brilliance of Austen’s mordant commentary on the British landed gentry and the social position of women, particularly those who, like Austen, were unmarried and therefore had limited options for an independent life.

Sanditon continues Austen’s interest in the quirks and foibles of the gentry, this time viewing them through the lens of business speculation. Mr. Thomas Parker has invested heavily in developing Sanditon as a fashionable seaside resort and is obsessed with making it a success. “He could talk of it forever … it was his Mine, his Lottery, his Speculation & his Hobby Horse; his Occupation his Hope & his Futurity.” Plenty of comedy is provided not only by the overeager Mr. Parker, but also by his siblings, the voluble and officious Diana, and the hypochondriacs Susan and Arthur.

Against this background, Austen begins the intertwined stories of Charlotte Heywood, daughter of a prosperous family and a visitor at Sanditon; and Clara Brereton, a poor relation of and companion to Lady Denham, the wealthy grande dame of Sanditon. Mr. Parker’s “very good-looking” younger brother Sidney may or may not become a romantic interest for Charlotte. Meanwhile Clara is courted by Lady Denham’s impecunious and pretentious nephew by marriage, Sir Edward, whose interest in Clara is strictly financial, as she is a potential heir to Lady Dedham’s estate. But Lady Dedham wants Sir Edward to court Miss Lambe, a very wealthy but sickly “half-mulatto” heiress from the West Indies who has come to Sanditon from a London finishing school.

We don’t know how these romantic entanglements work out because Austen, who had begun Sanditon in January 1817, abandoned it after only 12 chapters due to a “fever and bilious attack” in March 1817. She died in July 1817, possibly of lymphoma, at the age of 41.

Part of the first page of the Sanditon manuscript

The manuscript of Sanditon passed down to her niece’s granddaughter, who made it available for the transcription and later donated it to Kings College, Cambridge. (You can view images of the manuscript pages here.) The transcription, as explained in the Preface, is as close as possible to the original, including misspellings, abbreviations, and inconsistent punctuation. But it also has the great value of a Notes section revealing what she changed in the manuscript. In the Project Gutenberg edition, the HTML and mobile e-book formats contain links to individual notes on Austen’s deletions and additions.

This post was contributed by Linda Cantoni, a Distributed Proofreaders volunteer.


Music after the Great War

September 1, 2024

In 1913, Igor Stravinsky‘s groundbreaking ballet, The Rite of Spring, premiered in Paris. The dissonant music and strange choreography caused near-riots at the first two performances. The young American music critic Carl Van Vechten recalled: “Three ladies sat in front of me [in a box] and a young man occupied the place behind me… The intense excitement under which he was laboring, thanks to the potent force of the music, betrayed itself presently when he began to beat rhythmically on the top of my head with his fists. My emotion was so great that I did not feel the blows for some time. They were perfectly synchronized with the beat of the music… We had both been carried beyond ourselves.”

So began Van Vechten’s love for Stravinsky’s music, as he recounts in Music after the Great War, a collection of seven lively essays on the performing arts scene of the early 20th Century. The book was published in 1915, when World War I was still in full swing, and in the title essay, “Music after the Great War,” Van Vechten speculates on which contemporary composers will prove to have the most lasting impact after the war. His picks: Stravinsky and Arnold Schoenberg – as well as a teenaged prodigy named Erich Korngold, who later became an Oscar-winning film composer.

As the assistant music critic for The New York Times, Van Vechten had the opportunity to travel to Paris and observe the avant-garde cultural scene first hand, and to meet some of its most important proponents. Indeed, two of the ladies in his box at the Rite of Spring performance were none other than Gertrude Stein and her partner Alice B. Toklas. Van Vechten doesn’t name them in his book, but Stein recounts in The Autobiography of Alice B. Toklas that Van Vechten, who became a lifelong friend, was there.

The essays in Music after the Great War include not only Van Vechten’s predictions in the title essay, but also extended appreciations of Stravinsky and of the Ballets Russes, which produced The Rite of Spring and several other Stravinsky ballets. “The music [of The Rite of Spring] is not descriptive, it is rhythmical,” Van Vechten writes. “All rhythms are beaten into the ears, one after another, and sometimes with complexities which seem decidedly unrhythmic on paper, but when carried out in performance assume a regularity of beat which a simple four-four time could not equal.”

Rite of Spring score excerpt
The first eight bars of the Sacrificial Dance in The Rite of Spring, showing the complex meter changes.

The remaining essays demonstrate the breadth and depth of Van Vechten’s interest in the performing arts. In “Music for Museums?” he decries the “fossilization” of symphonic concerts through constant recycling of familiar works while new music goes unperformed. Surprisingly for one so enamored of new music, however, in another essay Van Vechten expresses a fondness for Jules Massenet‘s florid and decidedly Romantic operas. The last two essays in the book set forth Van Vechten’s well-informed opinions on stage decoration in opera, ballet, and drama.

Thanks to the volunteers at Distributed Proofreaders and Project Gutenberg, this fascinating slice of cultural history is available to all.

This post was contributed by Linda Cantoni, a Distributed Proofreaders volunteer.


Celebrating 48,000 Titles

July 19, 2024

This post celebrates the 48,000th unique title Distributed Proofreaders has posted to Project Gutenberg: The Reign of King Oberon. Congratulations and thanks to all the Distributed Proofreaders and Project Gutenberg volunteers who worked on it!

The Victorian era marked a turning point in literature for children. In earlier eras, the primary goal was to provide children with moral and religious instruction, based on the puritanical idea that children are born with sin and must constantly be warned of its consequences. But a sea-change began to occur during the 19th Century. Childhood began to be seen more as a time of innocence and joy, and children’s literature began to reflect that. There were, of course, still moral lessons to be learned, but they could be taught in more entertaining ways, accompanied by eye-catching illustrations.

The Reign of King Oberon (subtitled The True Annals of Fairyland) is an excellent example of the Golden Age of children’s literature. Published around 1902, it is a collection of fairy tales from various sources, edited by English journalist Walter Jerrold and illustrated by his frequent collaborator, Charles Robinson.

The framing story takes place at the court of King Oberon and Queen Titania. These age-old royal personages are best known today as the King and Queen of the Fairies in Shakespeare’s comedy A Midsummer Night’s Dream. Jerrold borrows from Shakespeare the quarrel between Oberon and Titania over a changeling child whom each wants as a servant. They reconcile, and all the denizens of Fairyland gather at Oberon’s court to celebrate and tell stories. The changeling child listens carefully and later writes these stories down for our enjoyment.

Among the over two dozen stories in the collection are familiar tales by Hans Christian Andersen, the Brothers Grimm, and Charles Perreault, as well as Norse, Irish, French, and Eastern European folk tales. Thumbelina is here, as are Rumpelstiltskin, Hansel and Gretel, and many other beloved characters. The book has a beautiful, colorful cover, and there are numerous lovely pen-and-ink illustrations throughout.

The volunteers at Distributed Proofreaders are proud to have The Reign of King Oberon as their 48,000th unique title for Project Gutenberg!

This post was contributed by Linda Cantoni, a Distributed Proofreaders volunteer.


The Wizard of Window Dressing

July 1, 2024

In 1900, L. Frank Baum published The Wonderful Wizard of Oz, the first of 14 novels in his classic series on the magical land of Oz. But did you know that in the same year, he published a distinctly non-magical treatise, The Art of Decorating Dry Goods Windows and Interiors? Thanks to the volunteers at Distributed Proofreaders and Project Gutenberg, you can learn all about window dressing from one who was a wizard at it.

A millinery shop window design with a mechanical fan.

Baum was born near Syracuse, New York, into a wealthy family. He dabbled in writing from an early age, and his first efforts were on nonfiction topics like stamp collecting and chicken breeding. He also dabbled in drama, writing and acting in plays in a theater his father built for him, until the theater burned down, along with many of his scripts. He and his wife decided to try their luck out West. He opened a store in South Dakota, but it failed. He edited a newspaper there, and that failed. Then it was off to Chicago to become a newspaper reporter and traveling china salesman. In 1897, he founded a magazine on store window dressing, The Show Window, which is still in existence today as VMSD (visual marketing and store design).

Three years later, Baum wrote The Art of Decorating Dry Goods Windows and Interiors, which was published under the auspices of The Show Window. In his introduction, he points out:

Merchants of olden times stood in front of their shops and cried “buy!—buy!” in imploring tones. Modern merchants still cry “buy!—buy!” but they do it in a different way. They advertise in newspapers and display their wares in their show windowsThe last mode of inducing trade is the modern one, and therefore the best. More goods are sold through window display than through newspaper advertising. It is more direct. The newspaper advertisement says: “We have goods to sell.” The show window says: “Here they are!”

Baum’s book focuses on the practical rather than the theoretical, as he believed that the “simplest and easiest way of accomplishing any work is always the best.” It is filled with diagrams and photos showing designs for storefront windows, frameworks, fixtures for displaying merchandise, draperies, and backgrounds. Baum also gives detailed advice on creating eye-catching show cards, right down to the calligraphy and what brushes and paints to use for it. He even covers how to create proper order slips. A firm believer in modern methods, he includes several chapters on electric lighting and motorized displays, with numerous examples.

The success of the Oz series meant that Baum would be a window dresser no more. But The Art of Decorating Dry Goods Windows and Interiors gives us a glimpse of the breadth of his creative talents.

This post was contributed by Linda Cantoni, a Distributed Proofreaders volunteer.


Mapping Cholera

June 1, 2024

“Oxygen! nobody knows what that may be—is it any wonder the cholera has got to Dantzic? And yet there are people who say quarantine is no good!”

This 19th-Century speculation about cholera from George Eliot’s Middlemarch shows how little anyone knew, not just about oxygen, but more significantly about the terrible cholera epidemic that first hit Europe in the 1830s. Doctors and scientists struggled to find its cause, and most believed that it was carried by “miasma,” or foul air. But in the 1850s, the English physician John Snow was the first to use disease mapping to prove that cholera is transmitted not through the air, but through water. His findings, published in Cholera and the Water Supply (1854) and On the Mode of Communication of Cholera (2nd ed. 1855), revolutionized the water and sanitation systems of London and many large cities worldwide. These important works were turned into e-books by Distributed Proofreaders and are available for free download at Project Gutenberg.

Soho cholera map from John Snow’s On the Mode of Communication of Cholera

No one yet knew that cholera is caused by a bacterial infection of the small intestine; the Vibrio cholerae bacterium was not identified as the cause until 1884. But Snow was all too familiar with its symptoms: profuse diarrhea and vomiting that caused severe dehydration, which in turn often led to death by organ failure. The first known cholera pandemic began in India in 1817. The rise of international trade and travel soon brought cholera to North America and Europe in waves of outbreaks.

A two-year outbreak in England beginning in 1848 prompted Snow to publish the first edition of On the Mode of Communication of Cholera in 1849. He rejected the miasma theory. His research showed that men who worked in London’s sewers, which were full of foul air, were no more prone to contracting cholera than the average citizen. Moreover, Snow himself was frequently exposed to patients with cholera, but he never caught the disease. He concluded that there must be some other medium – most likely water contaminated by feces.

Snow was able to put his theory to the test in 1854, when an outbreak in the Soho district of London killed 600 people in one week alone. Research by another scientist had already shown that cholera cases in another district plunged after the local water company changed its source to a cleaner part of the Thames River. Encouraged by this, Snow set out to test the waterborne theory. He used government death records to identify the cholera victims’ residences in Soho. He conducted house-to-house interviews of their families and learned that they drew their water from a particular well on Broad (now Broadwick) Street, as did a number of local businesses, including pubs and restaurants that some of the victims frequented. Rich and poor alike were affected; poverty and overcrowding were clearly not the cause. His map of the outbreak (above), with black bars indicating cholera deaths, vividly proves his point.

So what was the deadly problem with the Broad Street pump? Snow learned that the well was within just a few yards of a sewer. He took a sample of the water and saw “impurities of an organic nature.” And the water developed a foul odor when stored – a hallmark of water contaminated with sewage. He concluded that cholera was spread by evacuations from cholera patients entering the sewer and permeating into the nearby well. On that basis, he convinced the local authorities to disable the pump.

Snow’s cholera study went beyond Broad Street. He also mapped the different water supplies throughout London, which showed far fewer cholera deaths in areas where the water company sourced its water from a clean part of the Thames. And he provided detailed statistics as to where cholera deaths occurred.

Cholera killed millions all over the world in the 19th Century. The mortality rate was drastically reduced in developed countries once Snow’s and other scientists’ discoveries led to changes in sanitation systems. Unfortunately, cholera remains a problem today in developing countries that still have poor sanitation, as the European Centre for Disease Prevention and Control reports. But likelihood of death is much lower than it once was, thanks to modern hydrating treatments.

Snow’s diligent research and the unique and compelling way he presented it are key events in the early development of modern epidemiology. Thanks to the volunteers at Distributed Proofreaders and Project Gutenberg, you can be present at the birth of a vital, life-saving science.

This post was contributed by Linda Cantoni, a Distributed Proofreaders volunteer.