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Amerikali ressam ve karikaturist James Guilford Swinnerton’in dogum yildonumu (13 Kasim 1875)
Monument Valley Thunderstorm, 20th century
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Smoke Tree and Cloud Shadow, 20th century
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Italya dogumlu Arjantinli sair Antonio Porchia'nin dogum yildonumu (13 Kasim 1885)
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"Dolu bir kalpte her seye yer vardir; bos bir kalpte ise hicbir seye yer yoktur. / En un corazón lleno hay espacio para todo, y en un corazón vacío no hay espacio para nada."
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"Aci cekmeyen insan, guclukle var olur. / Man, when he does not grieve, hardly exists."
Brezilyali ressam José Ferraz de Almeida Júnior'un olum yildonumu (13 Kasim 1899)
Leitura, 1892
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O Importuno (The Inopportune, 1898)
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Polonya asilli Ingiliz yazar (Józef Teodor Konrad Korzeniowski) Joseph Conrad, Karanligin Yuregi (Heart of Darkness - Cuore di tenebra) romani 13 Kasim 1902 tarihinde Edinburgh'da William Blackwood araciligiyla bir cilt halinde yayimladi.
“Aslinda pek oyle onemli adamlar da degillerdi bunlar. Somurgeci falan degildiler. Yonetimleri bir baski aracindan baska bir sey degildi, sanirim. Birer fatihtiler, bu da kaba gucten baska bir seyi gerektirmiyor. Ovunulecek bir sey de degil bu, cunku senin gucun yalnizca baskalarinin gucsuzlugunden dogan bir kazadir. Yalnizca elde etmis olmak ugruna, ellerine geceni kaptilar. Yaptiklari siddetli bir soygundan, genis capta bir kiyimdan baska bir sey degildi, ustelik gozu kapali yapiyorlardi bu isi. Karanlikla kapisanlarin boyle yapmalari da dogaldir.”
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“But these chaps were not much account, really. They were no colonists; their administration was merely a squeeze, and nothing more, I suspect. They were conquerors, and for that you want only brute force—nothing to boast of, when you have it, since your strength is just an accident arising from the weakness of others. They grabbed what they could get for the sake of what was to be got. It was just robbery with violence, aggravated murder on a great scale, and men going at it blind—as is very proper for those who tackle a darkness.”
Danimarka asilli Fransiz ressam (Jacob Abraham) Camille Pissarro’nun olum yildonumu (13 Kasim 1903)
Raccolta delle mele a Eragny-Sur-Epte (Apple Picking at Eragny-sur-Epte, 1888)
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La Briqueterie Delafolie ŕ Éragny (The Delafolie Brickyard at Éragny, 1886)
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Italyan ressam Lorenzo Delleani’nin olum yildonumu (13 Kasim 1908)
Autunno dorato o Tramonto a novembre (effetti di luce), 1904
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Pellegrinaggio ad Oropa, XX secolo (Palazzo Mazzetti, Asti)
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Isvecli aktor ve yazar (Knut Gunnar Johanson) Gunnar Björnstrand'in dogum yildonumu (13 Kasim 1909)
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"Yaratici yok. Hayati devam ettiren yok. Bir tasarim yok. / There is no creator, no sustainer of life, no design. / Non c'č nessun creatore, nessun reggitore del mondo, nessun pensiero vertiginoso ed immenso."
Kis Isigi (Winter Light, 1963) Ingmar Bergman
Amerikali yazar Hector Hugh Munro’nun (Saki) olum yildonumu (13 Kasim 1916)
"Sicak bir aksamustuydu, bu nedenle vagon fazlasiyla bunalticiydi ve siradaki istasyon Templecombe'a neredeyse bir saat vardi. Vagonda biri digerinden daha buyuk iki kiz, bir de oglan vardi. Cocuklarin teyzesi, kosedeki koltuga yerlesmisti, diger kosedeki koltukta da onlara yabanci olan yalniz bir adam oturuyordu, ama kucuk kizlarla kucuk oglan, kompartimani kesinlikle ele gecirmislerdi. Hem teyze hem de cocuklarin sohbeti sinirli, israrci bir sekilde suruyor, pes etmeyi reddeden bir karasinegin tacizleri misali, bitmek bilmiyordu. Teyzenin iki lafindan biri 'Yapma'yla basliyor gibiydi, cocuklarin laflari da “Neden?”le. Adam bir sey soylemiyordu. Kucuk oglan, koltugun minderlerine vurmaya, her vurdugunda da bir toz bulutu olusmaya baslayinca teyze, 'Yapma Cyril, yapma!' diye bagirdi.
'Gel de pencereden disari bak,' diye ekledi.
Cocuk, pencereye isteksizce yanasti. 'O koyunlari neden tarladan disari cikariyorlar?' diye sordu.
'Daha fazla ot olan baska bir tarlaya goturulduklerini zannediyorum,' dedi teyze belirsizce.
'Ama o tarlada bir suru ot var,' diye diretti cocuk; 'orada ottan baska bir sey yok ki. Teyze, o tarlada bir suru ot var.'
'Muhtemelen diger arazideki ot daha iyi,' diye one surdu teyze caresizce.
'Neden daha iyi?' diye ani, kacinilmaz soru geldi.
'Ah, su ineklere bakin!' diye bagirdi teyze. Yol boyunca neredeyse her tarlada inek veya okuz vardi ama teyze, ender bir seye dikkat cekiyormuscasina konusmustu.
'Neden diger tarladaki ot daha iyi?' diye usteledi Cyril."
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“It was a hot afternoon, and the railway carriage was correspondingly sultry, and the next stop was at Templecombe, nearly an hour ahead. The occupants of the carriage were a small girl, and a smaller girl, and a small boy. An aunt belonging to the children occupied one corner seat, and the further corner seat on the opposite side was occupied by a bachelor who was a stranger to their party, but the small girls and the small boy emphatically occupied the compartment. Both the aunt and the children were conversational in a limited, persistent way, reminding one of the attentions of a housefly that refuses to be discouraged. Most of the aunt's remarks seemed to begin with "'Don't,' and nearly all of the children's remarks began with "Why?" The bachelor said nothing out loud. 'Don't, Cyril, don't,' exclaimed the aunt, as the small boy began smacking the cushions of the seat, producing a cloud of dust at each blow.
'Come and look out of the window,' she added.
The child moved reluctantly to the window. 'Why are those sheep being driven out of that field?' he asked.
'I expect they are being driven to another field where there is more grass,' said the aunt weakly.
'But there is lots of grass in that field," protested the boy; "there's nothing else but grass there. Aunt, there's lots of grass in that field.'
'Perhaps the grass in the other field is better,' suggested the aunt fatuously.
'Why is it better?' came the swift, inevitable question.
'Oh, look at those cows!' exclaimed the aunt. Nearly every field along the line had contained cows or bullocks, but she spoke as though she were drawing attention to a rarity.
'Why is the grass in the other field better?' persisted Cyril."