Broad-brimmed Hats Research Articles

Management of patients with age-related cataract.

The majority of patients referred because of age-related cataract should be referred when their ability to function in their desired lifestyle is reduced due to poor vision. Generally the decision to refer should not be based on visual acuity, and the referral letter should reflect this. Patients who are not referred should not just be monitored until referral. There are several simple strategies for improving their vision which should be discussed with the patient, such as broad-brimmed hats or caps, typoscopes, anti-reflection coats and UV-blocking tints. There are also several strategies which may delay the progress of their cataract, which include reducing UV exposure and cigarette smoking and taking anti-oxidant vitamin supplements. These could also be discussed with the patient.

The Prevalence and Predictors of Solar Protection Use among Adolescents

Background. Adolescence has been identified as a critical period in the etiology of subsequent melanoma and nonmelanocytic skin cancer. This study examines the prevalence and predictors of solar protection use among adolescents.Methods. A total of 3,642 adolescents between the ages of 11 and 16 years were recruited from a random sample of 27 schools in an Australian state. The participants completed a validated survey that provided information on a range of demographic, knowledge, attitudinal, and behavioral factors. Sun protection practices adopted during the preceding weekend were assessed using a validated self-report diary. A formula that quantifies protection status was then employed to categorize adolescents into those who were using adequate versus low levels of solar protection.Results. Overall 54% of males and 44% of females were classified as adequately protected during the preceding weekend. Logistic regression analyses identified the following as significant predictors of having an adequate level of sun protection—gender (males more likely to be protected), age (11 to 13 year olds more likely to be protected than 14 to 16 year olds), ownership of a broad-brimmed hat or cap, attitudes relating to the discomfort associated with wearing a hat, image to peers, “hassle” associated with the use of sun protective measures, school attended, and sun protective policies of the school.Conclusions. Implications of these findings for future preventive strategies are discussed and include improved targeting of sun protection programs to non-adopters, modification of attitudes relating to suntans and image to peers, reducing the level of perceived difficulty associated with utilizing sunscreen, and the potential role that schools may play in fostering sun protection.

Sunscreens and Sun Protection

Protection from the sun is important to most individuals, especially cosmetic surgery patients. Proper sun protection prevents not only skin cancer, but also premature photoaging of the skin (i.e., wrinkling, solar elastosis, atrophy, telangiectasias, and lentigines). Individuals who have had cosmetic surgery to correct these problems need protection to prevent them from recurring. Patients first should be cautioned to avoid the sun during the peak hours of the day, generally between 10:00 AM and 3:00 PM, if possible. In addition, protective clothing such as long pants, long-sleeved shirts, and broad-brimmed hats should be worn as feasible. Sunglasses that provide protection from ultraviolet (UV) radiation should be worn to protect the periorbital skin, eyelids, corneas, and lens. All areas that cannot be protected as previously described should be covered with a sunscreening agent. Sunscreen formulations contain chemicals …

Receiving Lines and Broad‐Brimmed Hats

Receiving Lines and Broad‐Brimmed Hats

Writers in Residence: American Authors at Home by Glynne Robinson Betts

64 Western American Literature talents as an intelligent reporter to organize a vast wealth of material in a readable style that is oftentimes literate and graceful as well. Admittedly, it is a sadder-but-wiser book that leaves one feeling a bit down at the end — and the ending itself is just what it should be. Rut then, that’s the way it is. Mr. Fradkin has written an admirable book, and all of us who care about the West and its rivers are in his debt. ANN H. ZWINGER Colorado Springs, Colorado Writers in Residence: American Authors at Home. By Glynne Robinson Betts. With an Introduction by Christopher Lehmann-Haupt. (New York: A Viking Press Studio Book, 1981. 159 pages, $16.95.) A modest, serious enough coffee-table book, Glynne Betts’s Writers in Residence is at once fascinating for the scope and diversity of American liter­ ature it communicates, and maddening for the arbitrary nature of its selection of authors and inconsistency of aim. Although Betts admits having chosen writers from her “lifetime list of personal favorites,” there is difficulty in justifying the exclusion of Thoreau, Dickinson, Frost, and Steinbeck (to name a few), and the inclusion of writers like Helen and Scott Nearing, Paul Lau­ rence Dunbar, Maurice Sendak, and Ross Macdonald. Betts feels that her list reflects the “wide variety of personalities and ways of living that is particularly American,” which it does; but what we have is a photo album containing certain authors because of the places (counties, towns, houses) they wrote about, and others because they have interesting houses or apart­ ments, or because their offices are filled with revealing clutter. So there are brilliant photo-essays on Faulkner, Cather, Wolfe, etc., and stylish Sunday supplement-type features on Gordon Parks, John Jay Osborn, Annie Dil­ lard, etc. The book is divided according to regions, taking us from New England to the Mid-Atlantic states, from the South to the Midwest and then the West. Despite this arrangement, frontier-oriented writers like Melville and Faulkner, Flannery O’Connor and Sandburg appear more “western” than, say, Henry Miller, Anais Nin and Ray Bradbury, among those Betts includes in her “West” group. On her visit to the Sandburg home in Flat Rock, N. C., Betts was cautioned by a retired city slicker, “Don’t ever lose the country in you,” which is what the former writers never did. Theirs are among the best pieces in the book, and with those on Wolfe, Cather, Lewis, Waters and Jeffers easily worth $16.95. The eccentricities of the Alcotts’ Orchard House in Concord, the classic elegance of the Longfellow and Wharton mansions, the quiet taste of Irving’s Sunnyside and Stowe's Hartford house, as well as the Reviews 65 Victorian excesses of Twain’s folly next door, contrast dramatically with the “country” settings, with Robinson Jeffers’s rough stone Tor House by the sea in Carmel and the rambling ranch near Taos Frank Waters has filled with artifacts from his extensive collection of Indian art. While the quality and informative nature of Betts’s text are uneven, her black and white photographs are consistently excellent. The writer’s world is a world of things, physical items, yet hardly a physical world because its things suggest realities beyond the physical. Betts’s photograph of the old megaphone radio Sinclair Lewis bought after the publication of Main Street for the father whose unyielding nature drove him from home tells a poignant story, as does the bleak hallway lighted by a single naked bulb in Dixieland, the Asheville, N. C., “great chill boarding house tomb” owned and operated by Thomas Wolfe’s mother. The crude self-portrait of Flannery O’Connor with broad-brimmed hat and pheasant cock in the sitting room of Andalusia tells of an energetic genius whose early departure leaves a definite void in the white farmhouse about which her peafowl strut. Indian artifacts and cowboy memorabilia in Zane Grey’s rambling house in Lackawaxen, Pa., tell of an imaginative home two thousand miles from where the author lived. Betts knows how to speak in photographs, and how to group them; one hopes that she will turn her...

A Complex Fate

If, according to Henry James, “it's a complex fate, being an American,” it is a no less complex fate being an Americanist, especially when you were born in Europe, in a non-English speaking country. Unlike poets (as well as kings and dalai-lamas and humorists too probably), Americanists are not born, but made. For my part, at least, I was made one by very slow stages, and my education, like that of Henry Adams, began quite early. For, though I didn't go to America until I was nearly thirty, America came to me when I was still a very small child. This occurred during World War I, the Great War, as it was called then. I was living at my great-grand-parents' in a village in Berry, while my father was at the front and my mother worked in the post-office at Orléans (my birth-place). Suddenly — it must have been in 1917 or 1918, I was about three at the time-our village was invaded by a troop of Sammies. I was thrilled. I can still see diem very vividly. They looked so smart and martial in their khaki uniforms and broad-brimmed hats or saucy helmets. They were so different from the jaded French soldiers in faded grey-blue uniforms I saw from time to time, and, above all they spoke a language which no one understood. I gaped at them for hours, while they drilled on the village square or played football, occasionally breaking window-panes, but always paying for the damages right away. They broke one at my great-grand-parents, while we were having lunch, and my great-grand-mother was very angry, but they soon pacified her. They were very generous indeed, especially with children. I loved them. They carried me in their arms, took me on walks, gave me large slices of bread and salt butter, a rare delicacy, and even small coins, nickels and pennies with buffaloes and Indian heads, which I still have.

The Quaker in the Dime Novel

108Bulletin of Friends Historical Association THE QUAKER IN THE DIME NOVEL By Thomas Kimber* In my recent study entitled "The Treatment of the Quaker as a Character in American Fiction (1825-1925) "x I examined a considerable number of works of fiction—novels and short stories —in which various authors have portrayed the Quaker as a character . I found that most of these writers, as is shown by Caroline Crew in her article "The Quaker in Fiction,"2 were themselves not members of the Society of Friends. It is only in quite recent years, in fact, that any considerable body of fiction by Quakers has made its appearance. Among the more significant works studied may be mentioned Whittier's Leaves From Margaret Smith's Journal, Hawthorne's "Gentle Boy," Melville's Moby Dick, Weir Mitchell's Hugh Wynne: Free Quaker and Hephzibah Guinness, Mrs. Stowe's Uncle Tom's Cabin, Bayard Taylor's The Story of Kennett, Chauncey Hotchkiss' Betsy Ross: A Romance of the Flag, Max Adler's The Quakeress, Caroline Atwater Mason's A Windflower, and Caroline Dale Snedecker's Downright Dencey. Soon after the close of the Civil War a new popular literary form made its appearance in the United States, a type of fiction later to be known as the "dime novel." Although die term is not entirely accurate, it was soon accepted by the mass of its readers and about 1870 came into general popular usage.3 The dime and nickel novels, dime libraries, half-dime libraries, and similar innovations , with their offering of violence, mystery, heroism, vülainy , and romance—all calculated for popular appeal—rapidly captured the public imagination, performing in the late nineteenth century much the same office which the mystery and detective stories do today. * Professor of English, Pasadena College, Pasadena, California. 1 Doctoral dissertation at the University of Southern California, completed in October, 1953. 2 The Dial, XXXV (October, 1913), 251-253. 3 See Albert Johannsen, The House of Beadle and Adams and its Dime and Nickel Novels (Norman, Oklahoma, 1950), I, 3. Notes and Documents109 It was somewhat surprising to discover the traditional Friend, clad in Quaker drab and broad-brimmed hat, making his way, albeit unwittingly, into the pages of the dime novel. Among the lurid titles of these sensational stories a number refer directly or indirectly to the Quakers. As examples of these may be cited the following: Wide Awake Len, the Quaker City Crook, Quaker City Ferret, Quaker Detective, Quaker Among the Red Skins, and The Fugitives; or, The Quaker Scout of Wyoming.4 Others like Saul Sabberday, the Idiot Spy make interesting use of the Quaker as a character. As examples of this type of fiction employing Quakers in melodramatic roles we may choose Ned Buntline's Saul Sabberday, the Idiot Spy and Edward S. Ellis's The Fugitives; or, The Quaker Scout of Wyoming. Jay Monaghan in his dashing biography of Ned Buntline declares that a review of the first fifty years of Buntline's life is the story of the rise of cheap literature in America.5 His books were read by countless thousands who probably knew little of the vagaries of the author's life. Probably Bundine's short period of residence in Philadelphia acquainted him with the ways of Friends. Saul Sabberday, the Idiot Spy is a specimen of the Beadle Dime Library novels. It is a Revolutionary War story, the hero being an eccentric young Quaker lad who plays the role of a spy in Washington's army. Saul must be classed with the "fighting Quakers." His brothers Seth and Simeon occupy respectively rather prominent positions in the small colonial navy and in Washington 's army. All three are sons of a Quaker widow, who appears to subscribe to Quaker pacifist principles. An attempt is made by the author to illustrate these principles but in an unconvincing manner. The widow, for example, makes little effort to restrain her halfwitted son Saul from his ambition to "wear a real sword" and join his loyal brothers in defense of his country.6 Later in the narrative, when Benedict Arnold is attempting to abductRuth Sabberday and 4 Johannsen, II, 393. 5 The Great...

Sigrid Undset and the Modern Apostolate

On the feast of Corpus Christi, 1854, a young man, an artist, stood in the streets of Dusseldorf waiting for the procession of the Blessed Sacrament to pass by. He was not there from any religious motive; indeed, he looked with a certain supercilious air upon the people around him, waiting so silently for their Lord to pass by. It was only inspiration for a painting that he sought, attracted by the pageantry, the rich colours, the myriad candles and flowers. Soon, the distant murmur of prayers was audible and the procession appeared round the bend of the road, a splash of colour and light against the sombre background. The men around him pulled off their hats and all fell upon their knees. The artist alone stood, tall and handsome, with his broad-brimmed hat planted firmly upon his fair curling hair. But it did not remain so for long! The next moment a blow from one of the men near him had sent it spinning across the street. . . . With a sudden realisation of his want of courtesy and good breeding the quick blood rushed to the young man’s cheeks and he bowed his head in shame.The name of this young artist was Karl Schilling. He was a Norwegian, nineteen years of age and an atheist, staying in Germany for the sake of his studies; but from that day of June when he had stood in the streets of Dusseldorf waiting for the procession, dated his change of heart. After his conversion (November nth, 1854) he worked untiringly till the day of his death for the return of his beloved Norway to the true faith. Gradually he gave up his painting. More and more of his time was given to prayer and the exercise of charity. With the passage of the years the wish to become a priest was slowly formulating in his mind.