A Roof Against the Rain \ a Roof

Total Page:16

File Type:pdf, Size:1020Kb

A Roof Against the Rain \ a Roof Class _P^3_ Book ,3 9SVS Gojpglit N° ~R v COPYRIGHT DEPOSIT. o o pf 2 A Roof Against the Rain \ A Roof Against the Rain by ~Y> ELIZABETH HIGGINS Lothrop, Lee & Shepard Company Boston 1938 New York Copyright, 1938, by ELIZABETH HIGGINS SULLIVAN All rights reserved. No part of this book may be re¬ produced in any form without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in magazine or newspaper. First Edition PRINTED IN THE UNITED STATES OF AMERICA (&Clfc 115880;(V OO to 6 4 f\ C. C. L. a life as rich in achievement as it was brief in years A Roof Against the Rain First Book Chapter One Old Simeon Goodrich knew it was the end when he saw them deployed about his bedside—Dr. Newton, two nurses, Judge Ramsey, Mrs. Crowley, Bob Otis. Ramsey was his lawyer; Crowley, the housekeeper. Bob was his dead niece’s husband, one of these static widowers. Bob looked concerned. He had plenty to concern him, now that he was about to become the whole works and head of the Goodrich chain of ten-cent stores. Over the shoulders of fat little Newton and a stocky nurse, Simeon’s eyes rested on two oil portraits on the opposite wall—Junior and Ada, his children, killed in a car crash, fifteen years ago. Their mother’s picture, Meenie’s, was between them; but tall Judge Ramsey was planted in the line of vision and Simeon only saw an edge of the frame that inclosed Meenie’s fret¬ ful little face and drooping apologetic pose. Twenty years since Meenie had lain on this same bed—and went out, holding Junior and Ada close to her. As he thought back, Simeon recalled his own feelings at his wife’s deathbed—an outsider, not in the picture at all. 3 4 A ROOF She was a sickly woman, always telling him that he’d be married before the grass was green on her grave. Well, he hadn’t married—he’d fooled Meenie. She had it all wrong —no grave, no grass—a marble mausoleum instead. A lot of women had tried to get him, for his money, but he fooled them, too. After losing Junior and Ada, others bobbed up, then, avaricious relatives with an eye to his will —cousins, dozens of cousins, swarms of them! He fooled them, too; and saw to it that they couldn’t fool him in the end with a bunch of shyster lawyers to prove he was crazy and break his will. Not a red sou markee could any of his kin get hold of now. He wasn’t leaving a will. He was leaving everything tied up in trust funds for the Goodrich Memorial. The Memorial was one of these welfare centers in the slums, founded soon after he had lost Junior and Ada. In fact, there were two welfare centers—the Memorial proper and the branch house, the Annex. Simeon smiled at the thought of such secure repository. Absolutely safe. Popular opinion is behind a thing like that, the sentimental idealism of John Q. Public, who enjoys seeing the ten-cent profits go back to the poor,—and the relations whistling for them. Almost finished now, Simeon thought. He was going to the mausoleum, with no expectant heirs rejoicing at his exit. No crocodile tears on his coffin. Everybody, kin included, knew damned well where the Goodrich wad was already located. Of course, Cornelia Cromwell was in for the time of her life from now on, cock-of-the-walk at the Goodrich Me¬ morial. Great God, that woman, Cornelia! She was presi¬ dent of the Memorial Executive Board. Simeon hated her and respected her. In his life’s experience, she was the one thing he had never been able to master. Nothing mastered AGAINST THE RAIN 5 her. The Executive Board members were just so many planks for Cornelia to walk on. She had the back of a Tammany sachem, the front of a Methodist bishop. And clever as hell. The man for the job ahead of her. There was another, too, of like stripe, Annie Elliot at the Annex. The two god- damnedest females that ever got hold of power, and each hating the other. Imagine Elizabeth Tudor, with Catherine the Great her rival across the border. Well, let them go to it. Both hellions. What did he care so long as the Memorial and Annex accomplished his objec¬ tive, the satisfaction of going to the grave with the say-so of who wasn’t to have his money. Bunk, all this social work and uplift business. It had bored him from the start, round¬ ing up the tenement crowds for clean wholesome recreation and self-improvement. All he had ever cared to see of their doings was the shows they put on in the Memorial Theatre. The dramatic stuff was fun, so rotten he liked it. One of the actresses had amber hair—like Ada’s, his daughter’s, hair. The tenement girl was very appealing, not much of an actress, but damned decorative. Nothing like catchy decorations. Get the eye of the public, and the public is yours. He had learned that, long ago—it was the show in the Goodrich store windows that sold the goods over the counters behind them. By George, thinking of that girl now, he was going to leave her something! Simeon looked around his bed and met a battery of eyes, fixed, staring at him. In for the kill, were they? Giving them a show, was he? Just for that, they’ll get no show— he’d die in private. “Get out,” he told them; “get out of here, every jack of you! Ramsey, get them away—I’ve had enough of this ante-mortem inquest!” 6 A ROOF As the room cleared, Simeon beckoned his lawyer to him. "Ramsey,” he said weakly, "hand me my checkbook. There’s a little girl at the Memorial that reminds me of Ada. I’ll leave a check for her, a thousand dollars. That’s not enough to spoil the kid, but it can get her set up in house¬ keeping when she marries a chauffeur or a clerk. She’s a smart little girl, the kind that should pick a good man for herself.” "I’ll fill out the check,” the Judge told him, "and you can sign it. What’s her name?” "The name’s Mary.” "Her last name?” "That’s slipped me. But you can place her—light brown hair and eyes,—blondish—very pretty, the theatre you know—she takes part in. .” The voice failed to a murmur, and old Simeon Goodrich met death with a twisted smile that told his lawyer nothing. Ramsey laid the checkbook back on the bedside table and called in Dr. Newton for a final service to a patient whose death had the same brittle quality as his living. A vision of tomorrow’s obituaries rose before the lawyer. The press, he knew, would chronicle the passing of a great philanthropist—a big heart that had ceased its benevolent beating! What bunk would be printed at old Simeon’s exit—padded, bolstered, synthetic! Downstairs, in the library, the Judge found them as¬ sembled: Bob Otis standing in front of the mantel; Cor¬ nelia Cromwell posted by a window, looking out absently on Riverside Drive; Old Abner Johnson, asleep in Simeon’s chair at the roll-top desk that clashed harshly with the colonial pieces poor Meenie had collected. Of the three, old Abner was the only one who really cared. When he AGAINST THE RAIN 7 woke up, he would cry and shed a few honest, senile tears. Before the old fellow had become a doddering, repetitious chatterer, he had been a crony of Simeon’s. But Goodrich friendship was as peculiar as all Goodrich attributes—too brittle to be bored with Abner in his failing years. "Is it all over?” asked Mrs. Cromwell, turning from the window at Ramsey’s entrance. "Yes, Cornelia, all over; Simeon has just passed away.” At that, she crossed the room, wakening the sleeper. The old man was her uncle, and very much under her thumb. Abner, too, must soon pass on and leave a goodly portion of the world’s goods. His heirs-at-law were Cornelia and her cousin, Herbert Johnson. The blood be¬ tween them was thin as water—but turbulent water, boil¬ ing, poisonous. At present, Herbert was in the discard. The Judge knew. Only last week, he had drawn up Ab¬ ner’s last will, entirely in Cornelia’s favor. The legal man’s lips straightened at the recollection—this business of piling up a tower of money! It seemed so grim, so ghastly com¬ ical—money, this short tenure of possession. "They’re all gone now,” Johnson sobbed. "Alone, left all alone, the last of my generation.” Ramsey noted the woman’s pose, an attitude of sym¬ pathy, one hand on the old man’s shoulder, the other with handkerchief in seemly gesture. But behind it the lawyer detected no tears. From now on, the Goodrich Memorial was Cornelia’s realm, hers to govern without interference. Bob Otis’s hands dug deeper into his pockets, his gaze fall¬ ing to the tiles about the mantel. Ramsey wished he could have caught what was behind the Otis eyes. This was Bob’s great day too; he was no longer a big man’s man; he was the big man himself now, sole head of the Goodrich 8 A ROOF system of ten-cent stores.
Recommended publications
  • Buster Keaton Film Locations: a Silent Echoes Tour of Los Angeles
    BUSTER KEATON FILM LOCATIONS: A SILENT ECHOES TOUR OF LOS ANGELES Copyright 2005 John Bengtson. All rights reserved. The following self-guided tour directions have been provided as a special bonus to John Bengtson’s “Touring Los Angeles Through the Films of Buster Keaton” presentation at the UCLA Film and Television Archive. (You can also download this document from the Archive’s website at www.cinema.ucla.edu.) New locations have been added here to the ones discussed in Bengtson’s acclaimed book, Silent Echoes: Discovering Early Hollywood Through the Films of Buster Keaton (www.SilentEchoes.net, Santa Monica Press: 800-784-9553). Happy navigating your way around town! Hollywood Tour The Hollywood tour begins, symbolically, at the corner of Hollywood and Vine (1). Here Keaton jumped onto a fire truck in The Cameraman. Proceed west down Hollywood Boulevard past Highland, to Mann’s (formerly Grauman’s) Chinese Theater. There, across the street between Highland and Orange, at 6904 Hollywood Blvd., is the former Mary Moll Building (2), which appeared briefly during the film-editing sequence from Sherlock Jr. Turn back east down Hollywood Blvd., and turn right (south) onto Cahuenga, stopping near the corner. The alley on the east side of Cahuenga (3) is the alley from Cops where Keaton grabs a passing car one- handed. Proceed south down Cahuenga a few yards until you reach the parking lot at 1622 Cahuenga (4), the lot where Brown Eyes was kept safe in Go West. This parking lot also appears in The Cameraman. Across the street from the parking lot (5) is the site of the former fire station that appears in Three Ages and The Cameraman.
    [Show full text]
  • “The Spice of the Program” Educational Pictures and the Small-Town Audience
    3 “The Spice of the Program” Educational Pictures and the Small-Town Audience “What the hell’s educational about a comedy?” asked slapstick producer Jack White in an interview toward the end of his life. “Something that was very offen- sive to me,” he continued, “was [the slogan] . ‘This is an Educational Comedy.’ There’s no such thing as educating yourself with a comedy. It’s a stupid name.”1 The object of White’s ire? The company for which he had produced and directed two- reel shorts for over a decade—the comedy distributor with the most unlikely of names: Educational Pictures. The company had been formed in 1915 as the Educational Films Corporation by real-estate man Earle W. Hammons, with the intent indicated by its name: to provide educational subjects for school, church, and other nontheatrical pur- poses. But by the late 1910s Hammons had realized little profit from this idea and began to target the commercial field, setting in motion a process of expan- sion that would see Educational become the dominant short-comedy distributor of the late silent era. “It did not take me long to find out that the demand [for educational films] did not exist and that we could not survive by doing that alone,” Hammons later recalled.2 As early as the 1918–1919 season, Educational had begun to diversify its product lines, adding Happy Hooligan and Silk Hat Harry cartoons to its weekly program of travelogues and informational sub- jects.3 In April 1920, Hammons signed director Jack White and comedian Lloyd Hamilton from Fox’s Sunshine Comedies to produce two-reel comedies under the brand name Mermaid Comedies, and began immediately taking further strides into the comedy market.4 The program for Educational’s 1920–1921 season, which represented the company’s first year of general commercial release, included four comedy series: the Mermaids, produced by White; C.
    [Show full text]
  • The Last Days of Buster Keaton John C. Tibbetts
    Fall 1995 79 The Hole in the Doughnut: The Last Days of Buster Keaton John C. Tibbetts In the Fall of 1995 Eleanor Norris Keaton will come to Kansas to celebrate the 100th birthday of her late husband.1 Part of an extensive itinerary that also takes her to other centenary observances in New York, Muskegon, Michigan, and Los Angeles, the Kansas trip is particularly poignant. Keaton was born on October 4,1895, in the tiny farm community of Piqua, in southeast Kansas, while his parents were performing with a medicine show.2 Although he may have been a Kansan only through sheer accident of circumstances—the baby and his mother remained in Piqua only two weeks before rejoining the troupe on the road—he returned there many times as a child on tour with his parents.3 Later, the classic slapstick comedian paid tribute to his home state in many of the themes and situations of his best films, most notably in the cyclone sequence in Steamboat Bill, Jr. (1928). To my mind, even his trademark "deadly horizontal" hat (as James Agee described it) evokes the stark flatness of the Kansas prairies.4 While the Keaton phenomenon will be fully explored throughout the centenary year, Eleanor herself should not be forgotten. By all accounts, she was an important force in Buster's later years. "She has seen Buster Keaton through a long period of painful adjustment, relapse, and readjustment and a dozen partial comebacks," wrote Rudi Blesh, shortly before Buster's death on February 1,1966. "She has carried him, content and at times happy, across the threshold of his seventies.
    [Show full text]
  • Spite Marriage
    Spite Marriage (1929) By John Bengtson, © 2004 Buster meets Dorothy in front of the east end of the Museum of Natural History at Exposition Park facing the Rose Garden. A vintage photo of the museum and Exposition Park. The cast and crew take a break filming the art museum scene in front of the Rose Garden in Exposition Park. Leila Hyams (seated , far left) appears in a fox hunting outfit, although she does not appear in the scene filmed here. She may have been dressed for a country club scene that was cut from the final film. To her right is Edward Earle, who plays Lionel Benmore. Director Ed Sedgwick is in the center. Between him and Buster is Ernie Orsetti, an outfielder for the St. Louis Cardinals who had returned from the World Series to work for Buster. Notice Norman MacNeil, the musician on the silent film set, with an accordion, behind Buster. 1 The hand placing the wedding ring in this shot is a hand double standing in for Buster. Buster lost the tip of his right index finger in a childhood accident, and his shortened finger is plainly visible in other shots. Buster used a hand double for a similar wedding ring shot in his earlier feature film Battling Butler. Hand doubles were often used to film insert shots in order to allow the stars to go home a bit early, but in this case it may have been an artistic decision. Lionel confronts Buster outside of the Hotel Carmel, located at 1451 Second Street in Santa Monica, on the corner of Broadway.
    [Show full text]
  • 1 Introducing American Silent Film Comedy: Clowns, Conformity, Consumerism
    Notes 1 Introducing American Silent Film Comedy: Clowns, Conformity, Consumerism 1. This speech has often been erroneously quoted (not least by Adam Curtis in his 2002 documentary The Century of the Self ) as ‘You have taken over the job of creating desire and transformed people into constantly moving happi- ness machines’ – a tremendously resonant phrase, but not one which actually appears in the text of Hoover’s speech. Spencer Howard of the Herbert Hoover Presidential Library attributes the corrupted version to a mis-transcription several decades later. 2. The title of his 1947 essay. His key writings in the 1920s were Crystallizing Public Opinion (1923) and Propaganda (1928). 3. Of course, not all responded sympathetically to the film’s vicious racist message. The NAACP mounted a particularly effective campaign against the film, which was banned in several states and sparked mass protests in others. For the full story see Melvyn Stoke, D.W. Griffith’s ‘The Birth a Nation’, Oxford: Oxford University Press, 2008. 4. CPI titles made in 1917/18 include America’s Answer, Under Four Flags and Pershing’s Crusaders – distributors who wanted the new Fairbanks or Pickford picture would be forced to take a CPI release as well. 2 A Convention of Crazy Bugs: Mack Sennett and the US’s Immigrant Unconscious 1. The temptation, here, is to regard Sennett’s name and the Keystone brand as being broadly synonymous, but one should remember that Sennett started off, first, as an actor and then, as a director at Biograph in 1909; the Key- stone Company was set up by Adam Kessel and Charles Baumann in 1912 (Sennett was never the owner).
    [Show full text]
  • British Film Institute Report & Financial Statements 2006
    British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society.
    [Show full text]
  • 'DJ.M~ ~ WORLD's GREATEST SELECTION of THINGS to SHOW
    WINTER 1984 SUPPLEMENT I -'DJ.m~ ~ WORLD'S GREATEST SELECTION OF THINGS TO SHOW SCROOGE 2 (1935) SEYMORE HICKS, DONALD CALTHROP, ROBERT COCHRAN, MARY GLYNNE It's the one and only "Bah­ Humbug" story as told by Charles Dickens. From the irascible old Scrooge, through Bob Crotchet's misery, old Marlye's ghost and the new and loveable Scrooge, we and Tiny Tim again enjoy that most wonderful spirit of Christmas. 77 min . BW We are pleased to present the classic version of this Dickens Christ­ mas classic to all our customers. Merry Christmas to you all! 506-30-0599 - Beta 525-30-0599 - VHS. .. .. .. .................... $29.98 BLACKHAWK CHRISTMAS PRICE ....... ... $23.88 (Sale ends December 31, 1983) A CHRISTMAS CAROL, here called SCROOGE, was the first of Charles Dickens "Christmas Books" written' in 1845 and we are pleased to announce on page 3 his third "Book" called THE CRICKET ON THE HEARTH. (order blank p. 33) 1983 Blackhawk f ilms, Inc ., One Old Eagle Brewery, Davenport, Iowa 52802 Special Delivery Services United States: Guarantee 16mm Film - Special Order Most 16mm format film is special order. Please UPS BLUE LABEL $2 .00 per item POSTAL EXPRESS OVERNITE $8.00 (1 only) If after receivin!;l an item you are not allow 12 weeks for printing and delivery. satisfied, return 11 to us within 10 days. {Limit 1 tape or 1 Disc only) We'll allow full credit on some other Running Time Conversion Table UPS NEXT DAY AIR $10.00 per item FEDERAL EXPRESS $28.00 per item purchase or give you a full refund.
    [Show full text]
  • SHSU Video Archive Basic Inventory List Department of Library Science
    SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films.
    [Show full text]
  • Congratulations to the 2018 Kirkus Prize Finalists from the Editor’S Desk
    Featuring 239 Industry-First Reviews of Fiction, Nonfiction, Children'sand YA Books KIRKUSVOL. LXXXVI, NO. 20 | 15 OCTOBER 2018 REVIEWS Congratulations to the 2018 Kirkus Prize finalists from the editor’s desk: Chairman The 2018 Kirkus Prize Finalists HERBERT SIMON President & Publisher BY CLAIBORNE SMITH MARC WINKELMAN # Chief Executive Officer MEG LABORDE KUEHN [email protected] Photo courtesy Michael Thad Carter courtesy Photo Congratulations to the writers, illustrators, and translators chosen as finalists Editor-in-Chief CLAIBORNE SMITH for the 2018 Kirkus Prize! This year’s finalists were chosen from 604 young read- [email protected] ers’ literature titles, 295 fiction titles, 294 nonfiction titles, and 90 Indie titles. The Vice President of Marketing SARAH KALINA three winning books will be announced in Austin, Texas, on Thursday, Oct. 25. [email protected] Winners in the three categories will receive $50,000 each, making the Kirkus Managing/Nonfiction Editor Prize one of the richest annual literary awards in the world. Books become eligible ERIC LIEBETRAU [email protected] by receiving a starred review from . Three panels of judges, com- Kirkus Reviews Fiction Editor posed of nationally respected writers and highly regarded booksellers, librarians, LAURIE MUCHNICK and Kirkus critics, select the Kirkus Prize finalists and winners. Thanks to the [email protected] Children’s Editor judges for their hard work! VICKY SMITH Claiborne Smith [email protected] The finalists for the 2018 Kirkus Prize are: Young Adult Editor LAURA
    [Show full text]
  • HOW SOUND CINEMA ARRIVED in ECUADOR: Case Study of Quito in the Late 1920S and Early 1930S
    HOW SOUND CINEMA ARRIVED IN ECUADOR: Case Study of Quito in the Late 1920s and Early 1930s Bolivia Erazo TURUN YLIOPISTON JULKAISUJA – ANNALES UNIVERSITATIS TURKUENSIS SARJA - SER. B OSA - TOM. 468 | HUMANIORA | TURKU 2018 HOW SOUND CINEMA ARRIVED IN ECUADOR: Case Study of Quito in the Late 1920s and Early 1930s Bolivia Erazo TURUN YLIOPISTON JULKAISUJA – ANNALES UNIVERSITATIS TURKUENSIS SARJA - SER. B OSA - TOM. 468 | HUMANIORA | TURKU 2018 30971293_Thesis_book_Bolivia_Erazo_Humanistinen_tdk_sisus_20_12_2018_2.indd 1 20.12.2018 12.37 ,University of Turku Faculty of Humanities School of History, Culture and Arts Studies Cultural History Janus Hall January 12, 2019 12:00 Supervised by Hannu Salmi, Ph.D. Marjo Kaartinen, Ph.D. Academy Professor Professor of Cultural History Professor of Cultural History Head of the School of History, University of Turku, Finland Culture and Arts Studies University of Turku, Finland Reviewed by Kimmo Laine, Ph.D. Jukka Kortti, Ph.D. Docent Docent Cinema Studies Department of Political and University of Oulu, Finland Economic Studies University of Helsinki, Finland Opponent Kimmo Laine, Ph.D. Docent Cinema Studies University of Oulu, Finland The originality of this publication has been checked in accordance with the University of Turku quality assurance system using the Turnitin Originali- tyCheck service. ISBN 978-951-29-7536-5 (PRINT) ISBN 978-951-29-7537-2 (PDF) ISSN 0082-6987 (Print) ISSN 2343-3191 (Online) Grano Oy - Turku, Finland 2018 30971293_Thesis_book_Bolivia_Erazo_Humanistinen_tdk_sisus_20_12_2018_2.indd 2 20.12.2018 12.37 To Seppo, Eliel and Rodrigo (+) 30971293_Thesis_book_Bolivia_Erazo_Humanistinen_tdk_sisus_20_12_2018_2.indd 3 20.12.2018 12.37 4 Acknowledgements There are many people I would like to thank but there is not enough space to do it in just one page, that is why I would like to send a warm general thanks to everyone who has contributed time to my research.
    [Show full text]
  • The Trumpet-Major
    The Trumpet−Major Thomas Hardy The Trumpet−Major Table of Contents The Trumpet−Major.................................................................................................................................................1 Thomas Hardy................................................................................................................................................2 PREFACE......................................................................................................................................................3 I. WHAT WAS SEEN FROM THE WINDOW OVERLOOKING THE DOWN.......................................4 II. SOMEBODY KNOCKS AND COMES IN.............................................................................................8 III. THE MILL BECOMES AN IMPORTANT CENTRE OF OPERATIONS..........................................12 IV. WHO WERE PRESENT AT THE MILLER'S LITTLE ENTERTAINMENT....................................16 V. THE SONG AND THE STRANGER.....................................................................................................18 VI. OLD MR. DERRIMAN OF OXWELL HALL.....................................................................................22 VII. HOW THEY TALKED IN THE PASTURES.....................................................................................28 VIII. ANNE MAKES A CIRCUIT OF THE CAMP...................................................................................30 IX. ANNE IS KINDLY FETCHED BY THE TRUMPET−MAJOR..........................................................34
    [Show full text]
  • + Vimeo Link for ALL of Bruce Jackson's and Diane Christian's Film
    Virtual February 2, 2021 (42:1) Buster Keaton and Clyde Bruckman: THE GENERAL (1927, 72 min) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries + Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the Spring 2021 BFS Vimeo link for our introduction to The General Zoom link for all Fall 2020 BFS Tuesday 7:00 PM post-screening discussions: Meeting ID: 925 3527 4384 Passcode: 820766 National Film Preservation Board, USA 1989 Directed by Buster Keaton, Clyde Bruckman, Written by Buster Keaton, Clyde Bruckman, (written by), Al Boasberg, Charles Henry Smith (adapted by), William Pittenger (book, memoir "The Great BUSTER KEATON (b. Joseph Frank Keaton VI on Locomotive Chase") (uncredited) and Paul Girard October 4, 1895 in Piqua, Kansas—d. February 1, Smith (uncredited) 1966 in Los Angeles, CA) was born in a boarding Produced Buster Keaton, Joseph M. Schenck house where his parents, Joseph Hallie Keaton and Music Joe Hisaishi Myra Cutler Keaton, were touring with a medicine Cinematography Bert Haines, Devereaux Jennings show. He made his debut at the age of nine months Film Editing Buster Keaton, Sherman Kell when he crawled out of the dressing room onto the Art Direction Fred Gabourie stage, and he became part of the act when he was three. The young Keaton got his nickname within the Cast first two years of his life when he fell down a flight of Buster Keaton…Johnnie Gray stairs and landed unhurt and unfazed.
    [Show full text]