Coming to Terms with a Transylvanian Heritage

Total Page:16

File Type:pdf, Size:1020Kb

Coming to Terms with a Transylvanian Heritage The Girl Who Never Came Back And Other Essays John Karl C!"#$ P%&'(&') *+ P#(#$ C,!$%! B!!- D#.&)' *+ F$#/ T$%'0&#1/ Copyright © 2021 by John Karl Contents Present at the Creation • 1 Attending the party where your parents fell in love 2e Girl Who Never Came Back • 12 A renegade stepmother’s gift of sport Haunted Homeland • 58 Coming to terms with a Transylvanian heritage 2is Joy, 2is Freedom, 2is Challenge • 87 Re!ections on a lifetime of running In the Ashes of Music Row • 115 A "nal visit to New York’s legendary street of music shops Two Left Hands • 130 Concerning a certain minority 2ere Used to be a Ballpark • 156 Of fan dancers, hog-calling contests, donkey ball, and exploding scoreboards My Name, My Destiny • 209 #e age-old search for divine messages in our names 2e Choice • 229 A mother’s secret suitor emerges in pages from the past Bohemian Rhapsody • 268 Dreaming of Paris on the Upper West Side The Girl Who Never Came Back And Other Essays Present at the Creation Attending the party where your parents fell in love onight, I attended the party where my teenaged T parents met and fell in love. It was a hot July evening in Manhattan, and the art studio was loud, smoky, crowded with college students; tables were cluttered with spent wine bottles and over4ow- ing ashtrays; modern jazz skirled from a record player and drifted outside through large windows 4ung open to the city’s tropical heat. I’d felt a thrill when I pushed on the studio door and it swung away to reveal the revelry within — when I realized that the two pages I held, after searching through boxes of my parents’ papers, were my mother’s memories of the party, written a few weeks later, in August 1956. “I don’t know what it was that brought us together with such violence that night,” she began, and the words set me back a moment. 2eir suggestion of bodice-ripping erotica gave me pause, but more signi5cantly, I saw that these two pages of typed red ink told a story I had long sought. At my dining room table, I read on as my nineteen-year- old mother recounted for her 5fty-year-old son a Dionysian celebration that would lead to my parents’ courtship and 3 T!" G#$% W!& N"'"$ C()" B(*+ (,- O.!"$ E//(0/ marriage, the births of two boys, divorce, remarriages, and all the rest of our shared and separate destinies. 2rough my mother’s pages — and the discovery later in the night of my father’s account of the party — I was given a child’s singular privilege: to be present at his parents’ 5rst kiss. A11 7,&1/$#' %.- (,#&$ 8%$#'(. to tell the story of how they met and married, as awareness dawns that those in their home haven’t always shared a roof. However, children have di9culty believing in a world before their birth or that their parents had once been young and romantic. And I had an additional barrier to imagining my parents’ earlier life: I had no recollection of their living marriage. 2ey had separated before my brother and I were in elementary school and they had soon remarried. I had never, in memory, even seen them together in the same room. 2ey were linked only by telephone, from their new apartments on opposite edges of our island — my father in the Village, near the Hudson River, my mother on the Lower East Side, near the East River. 2ey spoke rarely, and only to arrange their sons’ visits with their father or to discuss his alimony and child-support payments. 2ese conversations, parts of which I sometimes overheard from one apartment or the other, were brief and businesslike, though occasionally their tone turned bitter, and ended with my father shouting or my mother cursing and slamming the receiver. Once, in a rage, she grabbed a vase from a table and 4ung it across our living room, shattering a window, which set me wailing in fear. 2ose months following their separation were a dark period for both of them, and particularly for her. She was a single mother, nearly alone in Manhattan, struggling to emerge 6 P$#.#'( %( (,# C$#%(&!' from the wreckage of a marriage, without a career, without a cohesive family to return to in Ohio, and with two demand- ing, disorderly boys under her wing. I remember her then as often unresponsive, distracted, and withdrawn — qualities quite uncharacteristic of her, though her diary pages con5rm this memory. At the end of one sad, dreary day in 1969, she concluded an entry: “I want to go home, but I don’t know where home is or how to get there. I’d like to put my head down somewhere, but there is nowhere to put it.” Y#( (,#$# ,%/ *##' % (&;#, I knew, when we had been a true family, when we’d all lived together near Gramercy Park, on a quiet street of red-brick townhouses and pre-war apartment buildings. I imagined those unremembered years as our lost golden age, but with only my parents’ overheard phone calls to go by, I couldn’t quite picture that sunlit time, even as I yearned for it. It felt terribly important to possess that story, like something warm and alive held inside my coat while I navigated our bleak new world of weekend visits, apartment moves, strange schools, remarriages, a resisted stepfather, and the muggings which my brother and I were learning to endure in the slum that would later gain notoriety as Alphabet City. 2e story of my parents’ meeting was our Book of Genesis; Gramercy Park was our Garden of Eden before the exile. (I once dragged my reluctant mother to make a pilgrimage to our former home, to prove to myself that this dreamed-of place was real; the ordinary apartment building I confronted was deeply disappointing.) I clung to a fading hope that my mother and father would reunite, despite their marriages. I was ignorant of : T!" G#$% W!& N"'"$ C()" B(*+ (,- O.!"$ E//(0/ how thoroughly my parents’ love had been destroyed by years of rancor, of spiteful acts, of betrayals, of bruising words, of unspoken resentments, and hopeless misun- derstandings. Only the responsibilities owed to their sons compelled them to speak, by telephone. 2ey had embarked on new, divergent paths, while I persisted with tiresome questions about how they had met and married and why they had separated. Still, they were loving parents and no doubt discerned the sense of loss that prompted their son’s interrogations. 2ey answered honestly yet cautiously, creating a sort of cordon sanitaire around their marriage, which, I believe, was the best they could o=er under the circumstances. 2ey would not have gone so far as to coordinate their responses, but these were weirdly similar, so that I had virtually the same, repeated conver- sations in their apartments: “We met at a party,” they said. “How did you meet there? What sort of a party was it?” “It was a college party.” “Did you know that you loved each other right away and that you’d get married?” “Yes, we knew right away. We loved each other very much.” “If you loved each other, why did you get divorced?” “People change,” they said. 2rough such judicious replies my parents thwarted all attempts to form the picture, the story, I sought of their 5rst love, which had created our family, and to fathom their divorce, which had rent it. 2eir unvarying answers acquired a ritualized quality: they knew what I’d ask, I knew what they’d say. Nevertheless, I took some comfort in these < P$#.#'( %( (,# C$#%(&!' exchanges; it reassured me to hear them say “your mother” or “your father” without bitterness, because it allowed me to believe they hadn’t completely forgotten their love. In adolescence, I culled a few more particulars about their early romance. Perhaps my questions became more incisive, or my parents decided I was old enough to hear more of the truth, or the distance of years had made such discussions less emotionally fraught for them, or some combination of all of these. But whatever the reason, by the time I left for college, I‘d gathered these facts: In July 1956, my parents were students at Antioch College, in Ohio. My father was in Manhattan, preparing to travel by freighter to Paris, where he would spend the better part of a year studying French literature at the Sorbonne. My mother, as it happened, was also in the city, working at a medical insurance company for academic credit, through the college’s work-study program. She and three other Antioch girls lived on West Fifty-seventh Street, in Sherwood Studios, a nineteenth-century building which had o=ered spacious, high-ceilinged ateliers for generations of artists. On July 31, my mother turned nineteen. Her roommates threw her a party that evening. My father was among the guests. He and my mother had been aware of each other through mutual friends at college, but it wasn’t until the party that they spoke. All of these facts my parents in time had revealed. But there was one fact that I discovered only when I explored their papers: the night she met my father, my mother was engaged to be married to an Antioch student of Dutch descent named Jan DeVries, who was away in Chicago that summer, working at a theater. > T!" G#$% W!& N"'"$ C()" B(*+ (,- O.!"$ E//(0/ A0(#$ ;+ 8%$#'(.’ /#%(,. — my father died in 2010, my mother three years later — I stowed their papers in a closet.
Recommended publications
  • Leituras Freudianas E Lacanianas Do Espaço Simbólico Hitchcock's Films O
    Universidade de Aveiro Departamento de Línguas e Culturas Ano 2017 Mark William Poole Os Filmes de Hitchcock no Sofá: Leituras Freudianas e Lacanianas do Espaço Simbólico Hitchcock’s Films on the Couch: Freudian and Lacanian Readings of Symbolic Space Universidade de Aveiro Departamento de Línguas e Culturas Ano 2017 Mark William Poole Os Filmes de Hitchcock no Sofá: Leituras Freudianas e Lacanianas do Espaço Simbólico Hitchcock’s Films on the Couch: Freudian and Lacanian Readings of Symbolic Space Tese apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Estudos Culturais, realizada sob a orientação científica do Doutor Anthony David Barker, Professor Associado do Departamento de Línguas e Culturas da Universidade de Aveiro o júri Doutor Carlos Manuel da Rocha Borges de Azevedo, Professor Catedrático, Faculdade de Letras, Universidade do Porto. Doutor Mário Carlos Fernandes Avelar, Professor Catedrático, Universidade Aberta, Lisboa. Doutor Anthony David Barker, Professor Associado, Universidade de Aveiro (orientador). Doutor Kenneth David Callahan, Professor Associado, Universidade de Aveiro. Doutor Nelson Troca Zagalo, Professor Auxiliar, Universidade do Minho. presidente Doutor Nuno Miguel Gonçalves Borges de Carvalho, Reitor da Universidade de Aveiro. agradecimentos Primarily, I would like to thank Isabel Pereira, without whose generosity this entire process would not have been possible. She believes in supporting all types of education and I cannot express my gratitude enough. I express equal gratitude to Marta Correia, who has been the Alma Reville of this thesis. She has had the patience to listen to my ideas and offer her invaluable insights, while proofreading and criticising the chapters as this thesis evolved.
    [Show full text]
  • Papéis Normativos E Práticas Sociais
    Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs.
    [Show full text]
  • Major League Baseball in Nineteenth–Century St. Louis
    Before They Were Cardinals: Major League Baseball in Nineteenth–Century St. Louis Jon David Cash University of Missouri Press Before They Were Cardinals SportsandAmerican CultureSeries BruceClayton,Editor Before They Were Cardinals Major League Baseball in Nineteenth-Century St. Louis Jon David Cash University of Missouri Press Columbia and London Copyright © 2002 by The Curators of the University of Missouri University of Missouri Press, Columbia, Missouri 65201 Printed and bound in the United States of America All rights reserved 54321 0605040302 Library of Congress Cataloging-in-Publication Data Cash, Jon David. Before they were cardinals : major league baseball in nineteenth-century St. Louis. p. cm.—(Sports and American culture series) Includes bibliographical references and index. ISBN 0-8262-1401-0 (alk. paper) 1. Baseball—Missouri—Saint Louis—History—19th century. I. Title: Major league baseball in nineteenth-century St. Louis. II. Title. III. Series. GV863.M82 S253 2002 796.357'09778'669034—dc21 2002024568 ⅜ϱ ™ This paper meets the requirements of the American National Standard for Permanence of Paper for Printed Library Materials, Z39.48, 1984. Designer: Jennifer Cropp Typesetter: Bookcomp, Inc. Printer and binder: Thomson-Shore, Inc. Typeface: Adobe Caslon This book is dedicated to my family and friends who helped to make it a reality This page intentionally left blank Contents Acknowledgments ix Prologue: Fall Festival xi Introduction: Take Me Out to the Nineteenth-Century Ball Game 1 Part I The Rise and Fall of Major League Baseball in St. Louis, 1875–1877 1. St. Louis versus Chicago 9 2. “Champions of the West” 26 3. The Collapse of the Original Brown Stockings 38 Part II The Resurrection of Major League Baseball in St.
    [Show full text]
  • Gloria Swanson
    Gloria Swanson: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Swanson, Gloria, 1899-1983 Title: Gloria Swanson Papers [18--]-1988 (bulk 1920-1983) Dates: [18--]-1988 Extent: 620 boxes, artwork, audio discs, bound volumes, film, galleys, microfilm, posters, and realia (292.5 linear feet) Abstract: The papers of this well-known American actress encompass her long film and theater career, her extensive business interests, and her interest in health and nutrition, as well as personal and family matters. Call Number: Film Collection FI-041 Language English. Access Open for research. Please note that an appointment is required to view items in Series VII. Formats, Subseries I. Realia. Administrative Information Acquisition Purchase (1982) and gift (1983-1988) Processed by Joan Sibley, with assistance from Kerry Bohannon, David Sparks, Steve Mielke, Jimmy Rittenberry, Eve Grauer, 1990-1993 Repository: Harry Ransom Center, University of Texas at Austin Swanson, Gloria, 1899-1983 Film Collection FI-041 Biographical Sketch Actress Gloria Swanson was born Gloria May Josephine Swanson on March 27, 1899, in Chicago, the only child of Joseph Theodore and Adelaide Klanowsky Swanson. Her father's position as a civilian supply officer with the army took the family to Key West, FL and San Juan, Puerto Rico, but the majority of Swanson's childhood was spent in Chicago. It was in Chicago at Essanay Studios in 1914 that she began her lifelong association with the motion picture industry. She moved to California where she worked for Sennett/Keystone Studios before rising to stardom at Paramount in such Cecil B.
    [Show full text]
  • Last Tango in Paris (1972) Dramas Bernardo Bertolucci
    S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 .
    [Show full text]
  • A Subcategory of Neo Noir Film Certificate of Original Authorship
    Louise Alston Supervisor: Gillian Leahy Co-supervisor: Margot Nash Doctorate in Creative Arts University of Technology Sydney Femme noir: a subcategory of neo noir film Certificate of Original Authorship I, Louise Alston, declare that this thesis is submitted in fulfillment of the requirements for the award of the Doctorate of Creative Arts in the Faculty of Arts and Social Sciences at the University of Technology Sydney. This thesis is wholly my own work unless otherwise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the exegesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: 05.09.2019 2 Acknowledgements Feedback and support for this thesis has been provided by my supervisor Dr Gillian Leahy with contributions by Dr Alex Munt, Dr Tara Forrest and Dr Margot Nash. Copy editing services provided by Emma Wise. Support and feedback for my creative work has come from my partner Stephen Vagg and my screenwriting group. Thanks go to the UTS librarians, especially those who generously and anonymously responded to my enquiries on the UTS Library online ‘ask a librarian’ service. This thesis is dedicated to my daughter Kathleen, who joined in half way through. 3 Format This thesis is composed of two parts: Part one is my creative project. It is an adaptation of Frank Wedekind’s Lulu plays in the form of a contemporary neo noir screenplay. Part two is my exegesis in which I answer my thesis question.
    [Show full text]
  • Marketing “Proper” Names: Female Authors, Sensation
    MARKETING “PROPER” NAMES: FEMALE AUTHORS, SENSATION DISCOURSE, AND THE MID-VICTORIAN LITERARY PROFESSION By Heather Freeman Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in English August, 2013 Nashville, Tennessee Approved: Carolyn Dever Jay Clayton Rachel Teukolsky James Epstein Copyright © 2013 by Heather Freeman All Rights Reserved For Sean, with gratitude for your love and unrelenting support iii ACKNOWLEDGEMENTS This dissertation would not have been possible without the influence, patience, and feedback of a number of people, but I owe a particular debt to my committee, Professors Carolyn Dever, Jay Clayton, Rachel Teukolsky, and Jim Epstein. Their insightful questions and comments not only strengthened this project but also influenced my development as a writer and a critic over the last five years. As scholars and teachers, they taught me how to be engaged and passionate in the archive and in the classroom as well. My debt to Carolyn Dever, who graciously acted as my Director, is, if anything, compound. I cannot fully express my gratitude for her warmth, patience, incisive criticism, and unceasing willingness to read drafts, even when she didn’t really have the time. The administrative women of the English Department provided extraordinary but crucial support and encouragement throughout my career at Vanderbilt. Particular thanks go to Janis May and Sara Corbitt, and to Donna Caplan, who has provided a friendly advice, a listening ear, and much-needed perspective since the beginning. I also owe a great deal of thanks to my colleagues in the graduate program at Vanderbilt.
    [Show full text]
  • Tennyson's Poems
    Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]
  • Filming Feminist Frontiers/Frontier Feminisms 1979-1993
    FILMING FEMINIST FRONTIERS/FRONTIER FEMINISMS 1979-1993 KATHLEEN CUMMINS A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN WOMEN’S, FEMINIST AND GENDER STUDIES YORK UNIVERSITY TORONTO, ONTARIO November 2014 © Kathleen Cummins, 2014 ii ABSTRACT Filming Feminist Frontiers/Frontier Feminisms is a transnational qualitative study that examines ten landmark feature films directed by women that re-imagined the frontiers of Canada, Australia, New Zealand, and the U.S through a feminist lens. As feminist feature films they countered Eurocentric and masculinist myths of white settlement and expansionism in the grand narrative tradition. Produced between 1979 and 1993, these films reflect many of the key debates that animated feminist scholarship between 1970 and 1990. Frontier spaces are re-imagined as places where feminist identities can be forged outside white settler patriarchal constructs, debunking frontier myths embedded in frontier historiography and the Western. A central way these filmmakers debunked frontier myths was to push the boundaries of what constitutes a frontier. Despite their common aim to demystify dominant frontier myths, these films do not collectively form a coherent or monolithic feminist revisionist frontier. Instead, this body of work reflects and is marked by difference, although not in regard to nation or time periods. Rather the differences that emerge across this body of work reflect the differences within feminism itself. As a means of understanding these differences, this study examines these films through four central themes that were at the centre of feminist debates during the 1970s, 80s, and 90s.
    [Show full text]
  • This Entire Document
    VOLUME 33, NO. 15. PHILADELPHIA, JULY t, 1893. PRICE, FIVE CENTS. TO MAKE A BRIEF TOUR OF THE HAS TURNED OUT TO BE THE TOITED STATES. RIGHT THING, The "All Cubans" Under the Manage The One-Price Policy Inaugurated For ment ol a Mr, Abel Lenares, ol the Protection of the Retail Dealer Havana, Will, About Aug. 1, Start in Sporting Goods Demonstrated on a Playing Trip to This Country, as Practicable and Successful. Havana, Cuba, June 20. Editor "Sport- New York, June 2*i. Editor "Sporting Ing Life:" Dear Sir: I take pleasure in Life:" Manufactmeis, an 1 parii.ailarly tin* informing .you that about the first of Au dealers throughout the country, lioth ©large gust I will leave for the States with a and small, have been de.eply interested in base ball team, composed of Cuban play the Spalding policy which was aunomieoil ers, with the name or "All Cubans," aud©l some six months ago by Messrs. A. <J. would like to communicate through your Spalding & Bros., a one-price policy and newspaper with the managers of ©clubs a policy that makes it possible for th« having open dates during August and Sep small dealer to sell the Spalding trade- tember, therefore I would thank vou to marked goods at the same pi-ice a* publish in your newspaper a notice on this the largest dealer or the department subject. My address: Abel Linares, P. O. store. The policy has now been in oper Box 709, Havana, Cuba. Thanking you be ation six mouths, and to be able to answer forehand, I have the honor to be, yours numerous inquiries about the working of tha truly, ABEL LINARES.
    [Show full text]
  • Nominative Determinism: Classically Derived Names in the Potter Saga by David Butler and Dr Rebecca R
    Nominative Determinism: Classically Derived Names in the Potter Saga by David Butler and Dr Rebecca R. Butler ominative determinism occurs lupus, a wolf. The idea of men who could The most celebrated of the ancient Nwhen a person’s name reflects what transform into wolves occurs in Latin too, world’s Sybils was perhaps the Cumaean, that person does or is, for instance Mr such creatures being termed by the poet who came to Rome during the reign of Baker making bread or Ms Taylor making Ovid as ambigui. Lupin himself is an Tarquinius Priscus. She sold books of dresses. In the Potter saga J. K. Rowling ambiguous figure, the kindest and gentlest prophecies to the Romans, which could seems to have a particular fondness for of men when himself, a terrifying figure be consulted only on the authority of the nominative determinism. In her case the when transformed. Roman senate. names often derive from Latin and Greek The example of Lupin raises familiar The Sybil had 12 books of language and tradition. if unanswered questions. Was Remus prophecies for sale. When she announced This note will consider those given this first name because he was the price the Romans declined to buy, examples of nominative determinism in infallibly destined to become a werewolf? regarding the price as exorbitant. She the Potter saga with their roots in classical Or did he become a werewolf because his destroyed six books and offered the language and mythology. It thus excludes parents were unwise enough to give him remaining six – at the same price.
    [Show full text]
  • Identifying Author Heritage Using Surname Data: an Application for Russian Surnames
    Identifying Author Heritage Using Surname Data: An Application for Russian Surnames Maria Karaulova Manchester Institute of Innovation Research, Alliance Manchester Business School, University of Manchester, Manchester, M13 9PL, UK. E-mail: [email protected] Abdullah Gök Hunter Centre for Entrepreneurship, Strathclyde Business School, University of Strathclyde, 199 Cathedral Street, Glasgow, G4 0QU, UK. E-mail: [email protected] Philip Shapira Manchester Institute of Innovation Research, Alliance Manchester Business School, University of Manchester, M13 9PL, UK, and the School of Public Policy, Georgia Institute of Technology, Atlanta, GA, 30332-0345, USA. E-mail: [email protected] This research article puts forward a method to identify contribute to advancing research in scientificmobility the national heritage of authors based on the morphol- and migration, patenting by certain groups, publishing ogy of their surnames. Most studies in the field use vari- and collaboration, transnational and scientificdiaspora ants of dictionary-based surname methods to identify links, and the effects of diversity on the innovative per- ethnic communities, an approach that suffers from meth- formance of organizations, regions, and countries. odological limitations. Using the public file of ORCID (Open Researcher and Contributor ID) identifiers in 2015, we developed a surname-based identification method Introduction and applied it to infer Russian heritage from suffix-based morphological regularities. The method was developed One of the uses of bibliometric research is to extricate conceptually and tested in an undersampled control set. information that is not explicitly presented in mainstream Identification based on surname morphology was then databases, such as inferring patterns of new technology complemented by using first-name data to eliminate emergence, the extent of novelty and originality in patents, false-positive results.
    [Show full text]