Read Ebook {PDF EPUB} The Wonder Smith and His Son A Tale from the Golden Childhood of the World by Ella Young The Wonder Smith and His Son: A Tale from the Golden Childhood of the World by Ella Young. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Cloudflare Ray ID: 65876b27fd81f156 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. The Untold Truth Of Jeffrey Dahmer. Jeffrey Dahmer was arrested at his Milwaukee apartment in 1991, and when the full extent of his crimes came to light, everyone was shocked — even the FBI, who described his apartment as "what could have been the set of a horror movie — numerous body parts belonging to multiple victims." It wasn't until 1992 that prosecutors charged him with 15 murders. Remains of 11 of those victims were still in his apartment at the time of his arrest. Dahmer would ultimately be sentenced to life in prison before being shipped off to Ohio, where he was convicted of one additional murder. After his conviction, Dahmer spoke about what drove him to kill. He once told Inside Edition (via Oxygen), "It's a process, it doesn't happen overnight, when you depersonalize another person and view them as just an object. An object for pleasure and not a living, breathing human being. It seems to make it easier to do things you shouldn't do." Dahmer explained at his trial he had always known what he was doing "was sick or evil," and continued — "Now I believe I was sick. The doctors have told me about my sickness and now I have some peace." Jeffrey Dahmer remains one of the most notorious serial killers in US history. So what was never revealed until much later. and how much has the world forgotten? The unspeakable crimes of Jeffery Dahmer. At the heart of the horrors is, of course, Jeffrey Dahmer himself. When it came time for experts to determine if he was fit to stand trial, forensic psychiatrist Dr. George Palermo spent more than 12 hours interviewing him, and concluded (via the Chicago Tribune) he was "highly intelligent, emotionally tranquil, and his thinking processes were logical and rational." And somehow, that makes what they found in his apartment more terrifying. When The Associated Press picked up the story of Dahmer's arrest from The Milwaukee Sentinel in July 1991, they reported law enforcement "found 11 skulls scattered in a file cabinet, a closet, a refrigerator, and a freezer, and three headless torsos in a vat in the man's bedroom." That vat, says History, was a 57-gallon drum filled with chemicals that were contributing to the slow decomposition of the bodies inside. There were three heads in the refrigerator, and "evidence" some of the victims had been cannibalized. When police started emptying the apartment, they took out "boxes filled with body parts," and as neighbors started to realize what was happening, the "sounds of sawing [that came] from the apartment at all hours" and the smells became clear. Dahmer's neighbor, Ella Vickers, said, "We've been smelling odors for weeks, but we thought it was a dead animal [. ]. We had no idea it was humans." Just how many humans it was. that was documented in a dresser drawer full of Polaroids. The harrowing life-and-death struggle that led to Jeffrey Dahmer's arrest. Jeffrey Dahmer's arrest wouldn't have happened. if it weren't for a few Polaroid pictures carelessly left in plain sight. It wasn't until officers got a glimpse of those that they realized something was deeply wrong, as they doubted the man who fled to them for help. Dahmer was originally arrested in 1988, on charges of (via Time) "fondling a 13-year-old Laotian boy." After 10 months in jail, he regularly met with his probation officer who, in turn, never checked his home. That freedom, History says, coincided with Dahmer the first of the victims later found in his apartment, who had vanished in March 1989. Just two months after that disappearance, Dahmer was before a judge — and promised his child-molesting ways were behind him. Fast forward to July 22, 1992. That's when Tracy Edwards escaped from Dahmer's apartment, and he later testified (via the Los Angeles Times), "He put his head on my chest, was listening to my heart, and said he was going to eat my heart." After watching Exorcist III , Edwards was able to hit — and flee from — a distracted Dahmer. Heading out into the city, Edwards found a police car and told officers what had happened — and showed them the handcuffs still around his wrist. When he took the doubting officers back to the apartment, Dahmer originally tried to explain the incident away as a "domestic dispute," but that's when officers spotted the pictures. Dahmer was arrested without incident. Jeffrey Dahmer's childhood was destroyed by a single incident. A 2005 study published in the Journal of Police and Criminal Psychology found childhood abuse — including physical, sexual, and psychological abuse — was present in the history of a high percentage of those people who grew up to become serial killers. When it comes to Jeffrey Dahmer, his case is a little unique in that his father wrote a book about raising his son — and the problems he saw from a young age (via Regis University). In interviews his parents gave after his arrest, they described Dahmer as a toddler: "[he was] a happy young boy who loved animals and nature." But things started changing when Dahmer was just 4-years-old and had surgery to repair a double hernia. Afterwards, he became convinced his genitals had been removed. His father has suggested that was connected to his later habit of castrating his victims, and he's also pointed the finger at other elements of his son's childhood that may have had some severely negative impacts on him. That includes being witness to the side effects his mother suffered from after starting anti-anxiety medication, along with abandonment issues stemming from parents that largely left him — and later, his little brother — to fend for themselves. Father Lionel Dahmer would later write, "It is a portrayal of parental dread. the terrible sense that your child has slipped beyond your grasp, that your little boy is spinning in the void, swirling in the maelstrom, lost, lost, lost." The fetal pig. Research done by Regis University suggests Jeffrey Dahmer's fascination with death started at about the same time as his hernia surgery — and an incident recounted by his father. Lionel Dahmer says 4-year-old Jeffrey was fascinated with a pile of bones under their home, and while Lionel noticed it, he didn't do anything about it — and Jeffrey's interest in the dead and dying only increased. When Jeffrey Dahmer was in the ninth grade, he was given a biology assignment that might sound familiar to those of a certain age: the dissection of a fetal pig. He not only happily completed the assignment but kept the skeleton — and that kicked off an obsession with collecting others. At first, those came from along the roadside; Dahmer spent much of his formative years collecting dead animals and mutilating them further. The Miami Herald says Dahmer also killed the pets of his neighbors, mounting their heads on sticks. Today, animal cruelty is considered one of the warning signs a child might escalate in adulthood. The FBI started maintaining a database to track instances of animal cruelty in 2016, and stress that instances of abuse need to be reported. 'Somebody else's problem' John Backderf says he occasionally wondered what happened to his old school chum Jeffrey Dahmer, but it wasn't until 1991 headlines that he learned what his buddy had been up to. Backderf told The Independent, "There was always a darkness about him that was really kind of repellent. [. ] I was OK with hanging out with him, if there was other people around. I was never going to be alone with him. And I'm pretty happy I had that instinct, because that could have well been me chopped up in the trunk of his car." Backderf was already an established artist when he decided to tell his story in the form of the graphic novel My Friend Dahmer . The 2012 work — which was turned into a movie — tried to shine some light on what it was like going to school with him. Dahmer, he says, started acting out in high school: he would fake seizures, and mock locals with disabilities. Backderf and his friends jokingly formed the Dahmer Fan Club. Backderf wrote: "All those things he perfected when he was very young through our goofball antics, he used them when he was a monster. That's a little hard to live with." And it's also led him to wonder where the adults were. "They didn't care," Backderf says. "They just . figured, 'Well, next year he'll be somebody else's problem.' And of course he was somebody else's problem." The first victim. Jeffrey Dahmer's parents finalized their divorce on July 24, 1978 (via the Los Angeles Times). About a month prior to that, he killed his first victim. Steven Hicks had been hitchhiking to a concert, says The New York Times, and when he didn't come home, his parents didn't think anything of it. They reported him missing six days later, but he was already dead. Months passed. then years. It wasn't until 1991 that law enforcement connected Hicks' disappearance with Dahmer, and it was also then they started taking a close look at Dahmer's 1978 home in Ohio. Hours into the search, they "found more than 50 bone fragments," along with a "'substantial quantity of blood' and a bloody handprint in the crawl space" of the home. That would quickly escalate to 500 bone fragments, and Dahmer would eventually confess to picking up Hicks, inviting him home for a drink, and smashing him first with a barbell, then destroying his remains with a sledgehammer. And he was nearly caught. Dahmer was pulled over by police when he was disposing of Hicks' body, and officers asked him why he had plastic bags in his car. He convinced them he was just getting some air — and, distraught over his parents' impending divorce — he was taking the garbage to the dump while he was out. Officers let him go. Jeffrey Dahmer's time in the military. In 2013, The Independent did a profile on those who had been victims of sexual assault while in the military, and among those were two men who had been victimized by Jeffrey Dahmer. Dahmer enlisted and was sent to Germany in 1979, where he was attached to a medic unit. One of the other men in the unit, Preston Davis, says he was drugged then sexually assaulted by Dahmer: "I was raped by Jeffrey. I am just thankful to be alive to tell the story." After Davis left the Baumholder garrison, he was replaced by a soldier named Billy Joe Capshaw. After being sexually assaulted multiple times, Capshaw jumped from a third-story window, survived, and reported the assaults. Superior officers returned him to the barracks where the abuse continued, and after he left the military, he spent five years locked in his own room. After years of therapy — and a friendship with Dahmer's other victim — he was finally able to talk about what happened. Davis says (via The Wrap) Dahmer liked to boast about how he'd killed a man — Hicks — when he was drunk, and he was ultimately discharged because of his alcohol abuse. Davis continued: "I don't consider myself a victim. I'm a survivor." The boy that raised the alarm. St. Mary's University says Konerak Sinthasomphone was among the 11 victims whose remains were discovered at Jeffrey Dahmer's apartment, and his story starts years prior. The 13-year-old boy Dahmer had been convicted of molesting in 1988 was Konerak's older brother, Keison. The family was told Dahmer was "put away for good," but in 1991, he lured Konerak Sinthasomphone to his apartment with promises he'd pay him for posing for a few photos. Dahmer drugged him, drilled a hole in his skull, and injected him with hydrochloric acid. He was still unconscious when Dahmer left for the store, and Dahmer was still gone when he woke. Sinthasomphone was running down the street when he came across Nicole Childress and Sandra Smith. They called police, but by that time, Dahmer was on the street again to reclaim his victim. Dahmer claimed the boy was his "houseguest," and was ultimately released by police — who escorted them both back to Dahmer's apartment, then threatened to arrest Smith for her continued insistence that something was deeply wrong. Sinthasomphone was dead half-an-hour later. In spite of the fact that Dahmer already had another body in his apartment, the officers testified (via The New York Times) they believed the two had "a caring relationship." Officer Joseph Gabrish said, "We're trained to be observant. I've been doing this for a while, and usually if something stands out, you'll spot it. There just wasn't anything there." Jeffrey Dahmer's desire for 'zombie sex-slaves' Jeffrey Dahmer's crimes weren't actually driven by anything as straightforward as a need to kill and cannibalize; there was something much more complicated at work. When he confessed, it was in a 145-page missive (via Psychology Today) where he shared the fact that unresponsive bodies and dismembering the dead "aroused him." That was just the beginning. Autopsies (via Acad Forensic Pathol) performed on the remains recovered from his apartment revealed he'd drilled holes in the skulls of his victims — while they were alive, based on signs of healing. When detectives confronted Dahmer, he admitted he had been experimenting — by varying the number and size of drill holes, and the liquids he then injected into his victims' brains, he'd hoped to turn them into "zombie sex-slaves." At his trial, jurors were presented with the idea that Dahmer did what he did because he didn't want to be alone (via the Nelson Mandela Metropolitan University): the creation of his zombie slaves would mean he had "people who would be there for him," and claimed it was a similar need that drove him to keep the skulls and eat parts of his victims. That way, they "would become alive again in him." Here's what his parents thought. Jeffrey Dahmer's parents have spoken out about their son, and his father — Lionel — even wrote a book in an attempt to make sense out of what had happened. In it (via Oxygen), he said he "blamed himself for Jeffrey's (severe) flaws," particularly his own "negligent" nature. Jeffrey's mother, Joyce Flint, said in 1993: "I wake up every morning and for a split second, I don't know I'm Jeffrey Dahmer's mother, and then it all floods in." She later told Hard Copy , "I still love my son. I've never stopped loving my son." Flint died of breast cancer in 2000, and in reporting her death, Deseret says she spent much of her life working as a case manager for the Central Valley AIDS team. She also founded an HIV community center called The Living Room, and associates described her as "just this wonderful person." Jeffrey Dahmer's stepmother, Shari, has also spoken about her infamous stepson. She says (via In Touch Weekly), "He was very vulnerable. He needed love and he needed attention." She adds that they did try to get him psychiatric help after he left the military, and when asked why they hadn't changed their names, she adds: "I didn't feel ashamed. We were not guilty. [. ] Because we were not involved, we didn't feel ashamed in that respect." Here's how much Jeffrey Dahmer made while in prison. After Jeffrey Dahmer's confession and conviction, came jail — and while he was there, he started receiving a ton of fan mail. His father wrote (via Oxygen) that he was baffled by it: "Clearly, some of these people believe that in some bizarre way, my son could rescue them from lives in which they felt trapped. It demonstrated a level of sympathy and pity that I simply could not reach. " In 1994, The Associated Press reported that Dahmer had already received a shocking $12,000 in letters that were sent to him from across the globe. Some sent him money to spend on creature comforts, while others sent donations as gifts — with at least one woman hoping that the $350 she sent him would encourage him to learn about Christ. The New Statesman took a look at some of the so-called serial killer fandoms and found a secret Facebook group filled with Dahmer fans. As a play on his cannibalism, they called themselves "McDahmer's," and when the paper spoke with one member (49-year-old "Geri"), she revealed that she felt connected to Dahmer because they shared "a great hobb[y]" of dissecting animals. She explained, "It's not that I agreed with what he did, but I understood the triggers. Society has a lot to answer for in terms of how people turn out." Why Christopher Scarver killed Jeffrey Dahmer. Jeffrey Dahmer was ultimately sentenced to 16 consecutive life terms, says Biography, and at first, he spent some time in protective custody. After a year in jail, he asked to be returned to a more communal area, and he started to spend time — sometimes, unsupervised — with other prisoners. That's where things went sideways. There was an attempt on his life in 1994, at a chapel service the newly-baptized Dahmer was attending. Then, on November 28, 1994, Dahmer was bludgeoned to death by another inmate named Christopher Scarver. Scarver later talked to the NY Post and explained why he'd done it, saying: "He crossed the line with some people — prisoners, prison staff. Some people who are in prison are repentant — but he was not one of them." Scarver wasn't the only one unnerved by Dahmer, he said. Dahmer was well-known for hanging up signs for "Cannibals Anonymous," and reminding guards and fellow inmates alike that, "I bite." He made severed limbs out of his food while in the mess, added ketchup for blood, and taunted those around him. Scarver said that he had gone out of his way to avoid Dahmer, but then he found himself on bathroom-cleaning duty with him. He was poked in the back, and when he confronted Dahmer with his crimes — and Dahmer confirmed that he was guilty — Scarver said, "He ended up dead. I put his head down." Leave Those Kids Alone. Childhood is more than merely a springboard to adulthood. R obert Paul Smith’s Where Did You Go? Out. What Did You Do? Nothing ., a best seller in 1957 and now reissued, crystallizes an idyllic childhood. Lyrical and wry, as organic and rambling in its structure as a kid’s conversation, Smith’s memoir charms with its dead-on descriptions of universal kids’ preoccupations—finding a stone that “they could believe was an axe-head, or a fossil”—and of vanished, yesteryear games like mumblety-peg and immies. Smith remembers—and cherishes—the true, deeply unsentimental kid point of view, full of idiosyncratic and inflexible rules (“Girls could carry their books in both arms across their bellies, but boys had to carry them in one hand against their sides”), and relishes children’s skill at sustaining paradoxical truths. Children can believe wholeheartedly, for instance, that they’ve built a boat, while simultaneously knowing that in fact they’ve just hauled “an orange crate ten blocks and stuck it in a muddy brook and gotten wet up to [their] armpits.” He recognizes that children want facts, but that their facts are not the same as the ones adults insist on. Adults, with their mundane concerns and all- too-real capabilities, with their organizing and explaining, are “the natural enemy of the child.” A child craves magic, Smith maintains, and magic depends on having space where adults will not “butt in.” This includes literal space of the kind long gone from nearly every urban part of this country, like vacant lots and construction sites (not like playgrounds, which reek of adult intentionality), and also metaphorical space. The Nothing of Smith’s title represents both a child’s evasiveness (when communicating with the enemy) and a perfectly accurate description of a child’s activities. A kid needs time to lie on his back, opportunity “to find out whether he breathes differently when he’s thinking about it than when he’s just breathing” and to wonder who she’d be if her parents hadn’t gotten together. A kid needs enough downtime to be bored, yes—bored enough to stare at the sky and study the imperfections in his own eyeball. That’s what makes for a childhood worth remembering for the whole of one’s life. Smith braces his whimsical reverie with a recurring disgust, railing against the likes of summer camp, tree houses built by parents, edifying music featuring “Serpentine the Slide Trombone,” and Little League, in which kids have “a covey of overseeing grownups hanging around and bothering them and putting catcher’s masks on them and making it so bloody important.” A proper childhood, in other words, is a Tom Sawyer childhood. In Tom Sawyer and Huckleberry Finn , Twain (whom the young Smith discovered on his own and read exhaustively without prompting—natch) disposed of pesky parents. In the classic literary evocations of enviable childhoods in the 20th century (those of Beverly Cleary’s Henry Huggins and Ramona and Beezus Quimby, for instance, or Jean Shepherd’s Ralph), children are entirely responsible not only for making their own fun—sitting on the front steps peeling the rubber strings from the core of a golf ball or pounding bricks into rubble with a rock—but also for building their own clubhouses, taking care of their own dogs, figuring out how to make their own spending money, and solving their own problems. They may sometimes be bored, but boredom impels them to find something to do—and from this comes the drama and the fun. Adults in these accounts know their place. They’re loving, they dispense occasional assistance or advice and exercise veto power, but mostly they mind their own business and leave their children alone. They do not check homework, chauffeur to lessons, or organize games. Smith, deriding in 1957 the idea that a game like marbles might attract enough attention from adults that the rules would be written down in a book, declares that rules for such activities should be “written down in kids.” But today, apparently, kids have for so long been deprived of time and space to play that they no longer know how. They’re like those eyeless fish in caves. Now, not only do parents need to teach their little Gradgrinds how to play, but the parents themselves require instruction books. One such book, The Art of Roughhousing , by Anthony T. DeBenedet and Lawrence J. Cohen, actually provides detailed directions for games like “Lumpy Cushions”: when your child is sitting on the couch, sit lightly on him and express surprise over the lumpiness of the cushions, etc. Today’s parents might be surprised by how long children have felt boxed in by adult-imposed structure. So goes a 1945 diary entry written by a 7-year-old girl in Children at Play , in which Howard P. Chudacoff has assembled historical, sociological, and psychological research to trace the changes in play in America since the colonial period. Owing to a wide variety of cultural reasons, the landscape of children’s play began to change dramatically in the second half of the 20th century, and those changes have intensified and accelerated up to the present. Interfering adults are everywhere. Pre-war dolls and trucks needed children to impose meaning on them, but toys now come fully loaded with elaborate personalities and histories created for them by their grown-up purveyors. Playtime has been replaced by lessons with professionals. And, while parents have always constrained children’s activities out of fear for their safety—“kite flying … could frighten horses and cause accidents,” cautions a catalog of games from 1802—the effort to protect children from every possible hazard has intensified so much that kids during recess are no longer allowed to chase, climb high, or hide (and that’s if they’re even lucky enough to get recess at all). These factors have made unstructured play nearly impossible. Even if an individual kid has a moment of free time and is allowed out of the house on his own, his friends are trapped in after-school care, reporting to soccer practice, or feverishly learning Mandarin, portrait painting, or trapeze artistry. Of course, everyone knows this story, which has now reached the chapter about childhood obesity and video games. Can it be true that children no longer know how to play? Chudacoff argues otherwise. Although adults have perennially felt compelled to protect children and guide their play—encouraging board games, for instance, in the 1800s—to play is, intrinsically, to not do exactly what the grown-ups say. A 1981 U.S. Consumer Product Safety Commission study of playground use scolded that children were “walking up and down a slide, climbing onto any aspect of playground apparatus that allowed a grip or foothold, and roughhousing.” That’s play. Children have always taken risks and will continue to do so (which is why some experts argue that restricting them in every way imaginable only pushes them to go farther to find hazards that adults have not yet anticipated); children will always play with objects not intended to be toys; children will always use toys in ways the manufacturers—or the parents—do not recommend. They are driven to experiment and create; that is what developing human beings do. Why make it so hard for them? We seem to have returned to the 18th-century notion that play for its own sake is a waste of time, that children can be allowed to pursue their natural inclinations only if those can be channeled into activities that will prepare them to be orderly and productive (and now, God help us, “creative”) adults—even today’s play movement stresses the uplifting “educational value” of play. But childhood is not just preparation for “real life,” it’s a good portion of life itself. If the golden years of childhood are from age 3 to 12, they encompass more than twice the time people spend in what is generally regarded as a focal point of life: the college years. As Smith’s memoir demonstrates, childhood—those first, fresh experiences of the world, unclouded by reason and practicality, when you are the center of existence and anything might happen— should be regarded less as a springboard to striving adulthood than as a well of rich individual perception and experience to which you can return for sustenance throughout life, whether you rise in the world or not. Children have a knack for simply living that adults can never regain. If they’re allowed to exercise it a bit, perhaps they’ll have childhoods, like Smith’s, worth remembering. Ella Young. Ella Young (26 December 1867 – 23 July 1956) was an Irish poet and Celtic mythologist active in the Gaelic and Celtic Revival literary movement of the late 19th and early 20th century.[1] Born in Ireland, Young was an author of poetry and children's books. She emigrated from Ireland to the United States in 1925 as a temporary visitor and lived in California. For five years she gave speaking tours on Celtic mythology at American universities, and in 1931 she was involved in a publicized immigration controversy when she attempted to become a citizen. Young held a chair in Irish Myth and Lore at the University of California, Berkeley for seven years. At Berkeley she was known for her colorful and lively persona, giving lectures while wearing the purple robes of a Druid, expounding on legendary creatures such as fairies and elves, and praising the benefits of talking to trees. Her encyclopedic knowledge and enthusiasm for the subject of Celtic mythology attracted and influenced many of her friends and won her a wide audience among writers and artists in California, including poet Robinson Jeffers, philosopher Alan Watts, photographer Ansel Adams, and composer Harry Partch, who set several of her poems to music. Later in life she served as the "godmother" and inspiration for the Dunites,[3] a group of artists living in the dunes of San Luis Obispo County. She retired to the town of Oceano, where she died at the age of 88. Early life and work in Ireland. Born in Fenagh, County Antrim, she grew up in Dublin in a Protestant family and attended the Royal University. She was sister to the scholar Rose Maud Young. She later received her master's degree at Trinity College, Dublin. Her interest in Theosophy led her to become an early member of the Hermetic Society, the Dublin branch of the Theosophical Society, where she met writer Kenneth Morris. Her acquaintance with "Æ" (George William Russell) resulted in becoming one of his select group of protégés known as the "singing birds". Russell had been her near neighbour, growing up on Grosvenor Square. Young's nationalist sentiments and her friendship with Patrick Pearsegave her a supporting role in the Easter Rising; as a member of Cumann na mBan, she smuggled rifles and other supplies in support of Republican forces. Young's first volume of verse, titled simply Poems , was published in 1906, and her first work of Irish folklore, The Coming of Lugh , was published in 1909. She became friends with William Butler Yeats' erstwhile flame Maud Gonne, who illustrated both Lugh and Young's first story collection, Celtic Wonder-Tales (1910). Although she continued to write poetry, she became known best for her redactions of traditional Irish legends. Immigration to the United States. Young first came to the United States in the 1920s to visit friends, traveling to Connecticut to meet Mary Colum(Molly) and her husband, Irish poet Padraic Colum.[8] Celtic studies scholar William Whittingham Lyman Jr. left the University of California, Berkeley in 1922 and Young was hired to fill the post in 1924.She immigrated to the United States in 1925; according to Kevin Starr she "had been briefly detained at Ellis Island as a probable mental case when the authorities learned that she believed in the existence of fairies, elves, and pixies."At the time, people suspected to have a mental illness were denied admission to the U.S. While based in California, Young began speaking at various universities in 1925, lecturing first at Columbia University and then at Smith College, Vassar College, and Mills College. According to Norm Hammond, Wherever she went, she was received enthusiastically, especially by the young people of America. They loved this white-haired lady with the eyes of a seer that appeared to be lighted from within. She spoke with a melodious voice; when she spoke everyone listened. She had a thin, wispy quality that made her appear as the apparition of the very spirits she described. Indeed, her skin had an almost translucent quality. Young lived in Sausalito in the mid-1920s. She was the James D. Phelan Lecturer in Irish Myth and Lore at the University of California, Berkeley for approximately a decade. As of 1931 she had not received legal immigration status; Charles Erskine Scott Wood advised her to go to Victoria, British Columbia, in order to restart the process toward American citizenship. Her application for re-entry to the U.S. was declined for months on the grounds that she might become a "public charge". Later life. In 1928 Young's book The Wonder-Smith and His Son , illustrated by Boris Artzybasheff, became a Newbery HonorBook (runner-up). During the 1920s she occasionally visited Halcyon, California, a Theosophical colony near San Luis Obispo. While living in a cabin behind John Varian's house there, Young finished writing The Tangle-Coated Horse and Other Tales , a 1930 Newbery Honor Book. In Halcyon her eclectic circle of friends included Ansel Adams, whom she had first met in 1928 or 1929, in San Francisco through their mutual friend Albert M. Bender. She traveled with Adams and his wife Virginia to Santa Fe, New Mexico, in 1929, spending time with friends, visiting artists at the Taos art colony, and staying with Mabel Dodge Luhan. In Taos, Young also visited with Georgia O'Keeffe.[21] A photograph of Young and Virginia Adams appears in Ansel Adams's autobiography. Adams recalls that Young and fellow writer Mary Hunter Austin did not get along very well together but that conservationist Dorothy Erskine was one of Young's good friends. In 1932 The Unicorn with Silver Shoes was released, illustrated by Robert Lawson. Young published her autobiography, Flowering Dusk: Things Remembered Accurately and Inaccurately in 1945. Later, she found particular affinity in the California Redwoods After battling cancer, Young was found dead in her Oceano home on 23 July 1956. She was cremated, and in October her ashes were scattered in a redwood grove. A grave marker is located in the Santa Maria Cemetery District, Santa Maria, California. Young left the bulk of her estate to the Save-the-Redwoods League. Legacy. Writers John Matthews and Denise Sallee released an annotated anthology of Young's work in 2012, At the Gates of Dawn: A Collection of Writings by Ella Young . Writer Rose Murphy released a biography of Young in 2008. The South County Historical Society of San Luis Obispo County, California, is active in the research and preservation of the history of the Dunites and Ella Young. An archive of her papers is currently held by the Charles E. Young Research Library Department of Special Collections at the University of California, Los Angeles. Selected publications. Poetry. Poems (1906) The Rose of Heaven: Poems (1920) The Weird of Fionavar (1922) To the Little Princess: An Epistle (1930) Marzilian, and Other Poems (1938) Seed of the Pomegranate, and Other Poems (1949) Smoke of Myrrh, and Other Poems (1950) Fiction. The Coming of Lugh: A Celtic Wonder-Tale , illustrated by Maud Gonne (1909) Celtic Wonder-Tales , illus. Gonne (1910) The Wonder-Smith and His Son: A Tale from the Golden Childhood of the World , illus. Boris Artzybasheff (1927) The Tangle-Coated Horse and Other Tales: Episodes from the Fionn Saga , illus. Vera Bock (1929) The Unicorn with Silver Shoes , illus. Robert Lawson (1932) Celtic Wonder Tales and Other Stories , illus. Artzybasheff and Gonne (Edinburgh: Floris Books, 1988) – selected from the four collections. According to John Clute, the so-called tales are "based on Irish material" whereas The Unicorn is "an original tale, though resembling both [Kenneth] Morris and James Stephens in its telling of the trip of an Irish hero to the Afterlife". One library catalogue summary of the 1988 selection, perhaps by its publisher Floris Books, implies that "Young's classic re-telling of Celtic stories" comprises all four earlier collections. According to Ruth Berman, The Unicorn is "her original fantasy". As of 1999 it was long out-of-print but Celtic Wonder Tales , The Wonder- Smith and His Son , and The Tangle-Coated Horse were republished in 1991 by Floris Books and Anthroposophic Press. Childhood classics on Disney+ to share with your kids and grandkids (and new classics they'll share with you) The famed futurist who wanted to build The City of Tomorrow in the swamplands of Florida nevertheless knew the power of looking back. After all, the first place you walk through in Disneyland is a recreation of his beloved childhood home of Marceline, Missouri, complete with a tiny movie theatre that once played the old Keystone Cop and Exploits of Elaine films that mattered so much to him as a child. It's natural to want to show the films of your childhood to others, especially kids and grandkids or nieces and nephews. It was a special time, where anything felt possible, and there was so much wonder in the world. When you share the stories that once ignited your imagination, you get to see it again through their eyes. And now thanks to Disney+, you can. For over a century, Disney has been a key component of childhood memories, going back to the days of Julius the Cat and Oswald the Lucky Rabbit (and that little mouse who drove the steamboat. Pretty sure he had a couple of fans too). And while once it was a race against time to get your cherished childhood films on home video before they returned to the 'Disney Vault', now with Disney+, people of all generations can rediscover the films and shows that shaped them. For only $8 a month, you can share cherished childhood classics with the younger ones in your life. And with new and original shows debuting on the service every week, it's just as worthwhile to let those young folks share some of their own childhood with you. Scroll for some fun 'then and now' double-features you can curate for the next family gathering, exclusively on Disney+: Perri (1957) Squirrels are a constant presence on the Burbank lot the Walt Disney Company has called home for the last 81 years, so it's no surprise that when the studio wanted to use its True-Life Adventure s series to tell a whimsical narrative, they settled on these nimbly little critters full of character. Perri , based on Felix Salten's 1938 Perri: The Youth of a Squirrel , is a work of 'docu-fiction', which the company branded as a 'True-Life Fantasy'. Nevertheless, it won the prestigious Golden Bear for Best Documentary at the Berlin Film Festival, in no small part because of how well this charming little film has us rooting for things to work out for an adorable little squirrel. Comprised mostly of nature documentary footage (but for a very surreal squirrel dream sequence), Perri is the perfect way to make kids feel like there are movie stars in their own backyard. And she pairs perfectly with. Flora & Ulysses (2021) Sure, this story of a super-powered squirrel can't boast a Golden Bear like Perri , but the adorable new feature exclusive to Disney+ truly does have something for everyone. Based on a book by beloved Newbery Medal winner Kate DiCamillo, Flora & Ulysses tells the story of a young girl who loves superheroes, and the super-smart super-powered squirrel who's here to help when she needs him most. Kids love the film's comic book-inspired story and silly squirrel antics. The adults who watch along find a simple little film that really harkens back to the Disney family comedies of their day, with How I Met Your Mother 's Allison Hannigan bringing shades of Sandy Duncan to her role as Flora's overworked mom, and Parks & Recreation 's Ben Schwartz as the seeming heir-apparent to the legacy of Disney Legend Dean Jones, as Flora's fun-loving but under-ambitious dad. Hacksaw (1971) One of the true delights of Disney+ is how its rich collection of vintage titles lets you rediscover some hidden gems you'd forgotten all about. One such title is 1971's Hacksaw , originally broadcast over two nights on The Wonderful World of Disney . Now available on Disney+, you can revisit this sweet and simple story of a young girl and the wild stallion only her gentle soul could tame. Co- starring clean-cut Hollywood heartthrob Tab Hunter (a full decade before his raucous turn in John Waters' Polyester ), Hacksaw is a quintessential 'horse girl' movie, the kind where even the hokiest lines hit just right if you're along for the ride. Black Beauty (2020) If you're looking to follow-up Hacksaw with a more modern story of a girl and the black stallion she bonds with, look no further than the latest retelling of Anna Sewell's immortal classic, Black Beauty . The film, exclusive to Disney+, updates the original 1877 story to the modern day, and most significantly switches the gender of the titular horse so that Academy Award-winner Kate Winslet can provide Black Beauty's heart-wrenching inner monologues for the audience. It's a tender retelling of the tale that has captivated children for over a century, with a human cast including Interstellar 's Mackenzie Foy, Camelot 's Claire Forlani and Game of Thrones ' Iain Glen, that will foster in a new generation an admiration for the gentle nobility of horses, just as the original book, or maybe even Hacksaw , once did for you. DuckTales the Movie: The Treasure of the Lost Lamp (1990) DuckTales is still cherished by many today for its imaginative adventures and incredibly catchy theme song, making Scrooge McDuck, who had only appeared on screens twice before, into an iconic character of Disney animation. Drawing from decades of Donald Duck and Uncle Scrooge comics by Carl Barks and Don Rosa, DuckTales quickly became the crown jewel of the Disney Afternoon syndicated cartoon block, and the massive success encouraged Disney to do the unheard of, and give the show a theatrical film release. The first feature film produced by Walt Disney Television Animation, this 1990 extension of the beloved series lives on in the hearts of Scrooge enthusiasts for its perfect balance of swashbuckling adventure and kids' show whimsy. Bringing in Hollywood stars like Christopher Lloyd and Rip Taylor to round out the cast, DuckTales the Movie: The Treasure of the Lost Lamp gives Scrooge an adventure as epic as that of Indiana Jones, and rightfully so, since Steven Spielberg has admitted to lifting several scenes in Raiders of the Lost Ark (including the famous boulder chase) straight from Uncle Scrooge comics. Ducktales (2017-2021) You may have heard that kids today have a 'new' DuckTales and scoffed. Look, there have been plenty of TV reboots over the last 10 years to make anyone skeptical that these shows can be anything more than cynical nostalgia plays. But this time, trust the kids who swear by the new adventures of Huey, Dewey, Louie, Webby and of course Scrooge McDuck. The new DuckTales did an incredible job over three seasons at not just honoring the legacy of the original series, and paying homage to other shows of the Disney Afternoon -era like Tailspin and Darkwing Duck (also available on Disney+), but finding its own unique voice and building a strong emotional core. With an all-star cast including Bobby Moynihan, Danny Pudi, Ben Schwartz, Kate Micucci and a phenomenal lead performance by Doctor Who 's David Tennant as the richest Scottish duck in pop culture history, DuckTales is a 'don't miss' delight of modern Disney animation, a must-watch even for those who think they left Scrooge & Co. behind with their Teddy Ruxpin and Popples. All three seasons will be available on Disney+ starting April 30th (seasons 1 & 2 are currently available to stream). The Story of the Animated Drawing (1955) If you're a film history fan, particularly animation, there are few artifacts more fascinating on any streaming service than The Story of the Animated Drawing . In this 1955 episode of the TV show then called Disneyland (later to become The Wonderful World of Color and then The Wonderful World of Disney ) Walt Disney walks the viewer through the history of animation. And this isn't some perfunctory talk about flip books and well-known facts. Utilizing footage from landmark animated films like J. Stuart Blackton's Humorous Phases of Funny Faces from 1906 and Winsor McCay's Gertie the Dinosaur from 1914, the man behind Mickey Mouse draws the map from the earliest animated images straight through to his own entertainment empire. There are plenty of films about the history of animation, and even other Disney films that tried to convey how drawings come to life, like The Reluctant Dragon (also on Disney+). But what makes The Story of the Animated Drawing stand out is its host's own standing in the timeline of animation. Here, one of the most significant innovators in the medium personally guides you through the history of how it got to where it is. It's like if Elvis had done a lecture on the history of rock and roll, or Tennessee Williams talked you through theatre from the plays of Aristophanes all the way to Mamma Mia . In other words, an essential viewing for animation fans young and young-at-heart. Into the Unknown: Making Frozen II (2020) Well, the art and craft of animation has changed quite a lot since 1955, so to followup The Story of the Animated Drawing , you can see how an animated story comes together with this six-part docuseries on the making of one of the highest-grossing animated films of all time, Frozen II . Younger viewers will be enthralled by footage of how their favorite scenes went from storyboards to sound studios to the big screen. Older viewers will feel for the animators who are told the little creature or five-second scene they'd spent months working on wouldn't make the final cut. The pressure was on with this much-anticipated sequel, and you certainly feel it in this series that pulls no punches about the intense and exhausting process that goes into crafting the kind of films that define childhoods. Dinosaurs (1991-1994) Just as the aforementioned Walt had ambitions beyond Mickey Mouse, the man behind The Muppets had a million ideas before his untimely death in 1990. One that he developed all the way through his final months was a classic family sitcom in the vein of The Honeymooners or Good Times , but cast entirely with dinosaurs. Requiring incredibly complex animatronics and exhausting full-body puppeteering, the eventual Dinosaurs was, according to actor Stuart Pankin, "the most expensive half-hour TV show". And yet, the weekly adventures of Earl Sinclair, his wife Fran, and their children Robbie, Charlene and the massively merchandised Baby Sinclair drew critical acclaim, won Emmys and gained a devoted audience following. Whether you blurt out "I'm the baby, gotta love me" as soon as you see the logo, or just have a fuzzy memory of big rubber dinos romping around a suburban home, the show's striking visuals and surprisingly poignant sociopolitical commentary hold up remarkably well (the episode where Earl learns to accept that his son is a "herbivore" despite the social stigmas in a carnivore society is impressively poignant for 1990). It's a unique piece of television only Jim Henson Productions could create, perfect to share with kids of any age. Earth to Ned (2020) Through the 90s, even after Jim's passing, Jim Henson Productions was creating televisions shows with incredible creative vigor; imaginative and energetic programs as varied as the beloved children's series Bear in the Big Blue House , the primetime variety show Muppets Tonight and the cult sci-fi series Farscape . But lest you think that singular energy could only exist before the new millennium, get ready, because it's returned in a big way. Though it hasn't gotten the effusive fanfare of fellow Disney+ originals like WandaVision or The Mandalorian , the incredibly charming Earth to Ned deserves just as much acclaim and admiration. An intergalactic talk show hosted by an intricately puppeteered alien named Ned, the extraterrestrial host's childlike wonder (and childlike tendency for tantrums) plays perfectly to younger viewers, while adults will love it's smart humor and copious pop culture references. Come for the interviews with celebrities like Kevin Smith, Sherri Shepherd and Molly Ringwald; stay for those mischievous alien stowaways the CLODs. The Incredible Journey (1963) A story of animal camaraderie enduring through the harshest conditions, The Incredible Journey is a childhood classic that has lasted for generations. Debuting in 1963, the film was remade for a then-modern audience as Homeward Bound: The Incredible Journey (also available on Disney+). But while the latter remake gave the film's animal cast celebrity voices, the original film endears itself to viewers with only a single narration from actor Rex Allen (who also narrated all of Disney's classic True-Life Adventure films). Outside of that narration and a few human scenes, the film asks audiences to empathize with wordless real animals trying to find their way home, to the human family they, like all pets, love unconditionally. Deeply heartfelt, the struggles of of Luath the Labrador Retriever, Bodger the Bull Terrier, and Tao the Siamese cat, and the friends and foes they meet across 250 miles of Canadian wilderness, play perfectly at any age, and its rustic atmosphere and beautiful scenery are still as awe-inspiring on your HD TV as they were in cinemas in 1963. More than just an "animal movie", The Incredible Journey has influenced a wide array of movies since, including partly-inspiring the similar "journey" structure of the Coen Brothers 2013 Cannes Grand Prix winning film Inside Llewyn Davis (which pays tribute to The Incredible Journey by featuring the poster in the background of a pivotal scene). It's A Dog's Life with Bill Farmer (2020) The Incredible Journey is an emotional rollercoaster, so why not follow it up for all your animal-loving loved ones with a show that's purely pleasant. This stealth charmer docuseries that debuted weekly in the summer of 2020 was the perfect soothing salve in those most anxious days of quarantine. Hosted by the longtime voice of Disney dogs Goofy and Pluto, It's A Dog's Life with Bill Farmer showcases dogs with incredible talents, from rescue dogs to show dogs, and even every-day service animals who help make life easier for millions of people in need. The 10-episode series is the epitome of TV comfort food, with Farmer's folksy narration offering kid-friendly facts while giving the adults stressed by. pretty much everything, a chance to decompress by watching cute pups do good work. So don't wait. For just $8 a month , you can pair these great programs on Disney+ for an afternoon of intergenerational fun, or pour through the many other titles from over 90 years of film and television. Mix and match to curate your own double, triple, even quadruple features (it's quarantine, we have the time), and start making new memories that will last a lifetime. Read More from Yahoo Life: Follow us on Instagram , Facebook , Twitter and Pinterest for nonstop inspiration delivered fresh to your feed, every day. Want daily pop culture news delivered to your inbox? Sign up here for Yahoo Entertainment & Life's newsletter.