Kind Friend Research Articles

A British gentleman, a man with a vision Emanuel Saul Rosen MD, FRCSEd September 23, 1936-November 20, 2021.

The field of ophthalmology lost a huge asset in November 2021. Emanuel Rosen was not only an innovator, pioneer, and driving force who helped shape the field of cataract and refractive surgery as we know it today, but he was also a wonderful colleague and kind friend. His successful career in the UK was lengthy and varied, but I would like to highlight the tremendous ways Emanuel helped shape the ESCRS and this journal. A more in-depth look at his career can be found on the ESCRS EuroTimes website (www.eurotimes.org). In 1973, a time when intraocular implants, phacoemulsification, and corneal refractive surgery were all met with hostility and reluctance by the medical/surgical establishment, Emanuel performed his first intraocular lens implantation after removing a cataract. Recognizing that this was the future, he assembled a group of young, passionate surgeons from around the world who were eager to develop new methods to help improve the vision of their patients. This group formed the Manchester Cataract Centre at the Manchester Royal Eye Hospital, UK, with the express purpose of surgical teaching and training. Emanuel's partnership with the hospital continued for nearly 30 years. In 1981, after years of networking, he was an inaugural member of the European IntraOcular Implant Council (EIIC). The society's membership grew quickly, and in 1988, the EIIC changed its name to the ESCRS.1 Emanuel was a key player in this transition and served as the first ESCRS President from 1988 to 1993. Some historical context puts the amazement of these achievements into perspective. During the time that the Manchester Cataract Centre and these European societies were founded and developing, the Cold War was ongoing, Europe was not unified in currency, borders or governing policy, and Germany was still divided by East and West. Today, the ESCRS is a society with 6730 members and 3086 trainees. Emanuel's desire to connect people and expand ideas was complimented by his commitment to move knowledge forward through publishing. In 1969, he published the first English-language textbook on retinal disorders and angiography. By 1986, he was the Editor of the English language version of Implant, the monthly journal of the EIIC. In 1996, as the EIIC continued to expand and changed its name to ESCRS, and in the advent of an internet-connected world, Dr. Stephen Obstbaum from the ASCRS and Emanuel Rosen from the ESCRS envisioned a collective journal for both societies.2 From this vision emerged the Journal of Cataract & Refractive Surgery. Emanuel served as the JCRS European Editor from 1996 to 2014 and Case Report Editor from 2014 to 2020.2–4 Emanuel was a direct link to surgical pioneers who introduced what are now standard ideas, including intraocular lenses, phakic lenses, phacoemulsification, and corneal refractive laser surgery. He set a high bar of achievement, collegial cooperation, and commitment. I was lucky to have been able to work with him for so many years. He will be greatly missed, and his achievements will be remembered for decades to come. We extend our most sincere sympathy to his wife, Barbara, and 3 children, Caroline, William, and Edward.

Janet L. Langlois (1946–2021)

Janet L. Langlois (1946–2021)

Richardson, Samuel. Correspondence with Lady Bradshaigh and Lady Echlin, 3 volumes. Ed. Peter Sabor.

Richardson, Samuel. <i>Correspondence with Lady Bradshaigh and Lady Echlin</i>, 3 volumes. Ed. Peter Sabor.

Trusting Kind Friends and Fair Leaders: How Relationships Affect the Antecedents of Trust

While a robust literature explores the antecedents of trust in organizations, thus far, none has addressed how and why the nature of trust differs across relationships. In the present research, we demonstrate that the nature of trust in friends and leaders is fundamentally different. Specifically, trust in friends relies on perceptions of benevolence, whereas trust in leaders relies on integrity. We establish these results across one pilot study, three main experiments, and three replications (total N = 1387) that explore how individuals trust targets as friends and leaders subsequent to observing targets resolve ethical dilemmas that involve tradeoffs between benevolence and integrity. Across our studies, we use both attitudinal and behavioral measures of trust, and a range of ethical dilemmas. This research deepens our understanding of both trust as well as the relationship between morality, hierarchy, and relationship formation.

James Petiver's 'Kind Friends' and 'Curious Persons' in the Atlantic World: commerce, colonialism and collecting.

In 1695, James Petiver concluded the first 'century' of his Musei Petiveriani by observing that he had received the specimens described within it from his 'Kind Friends from divers parts of the World' and 'Curious Persons … Abroad'. This essay examines Petiver's network of such 'Kind Friends' and 'Curious Persons' in the Atlantic World. The composition of Petiver's network reflected many of the broader patterns of English commerce in the Atlantic at the turn of the eighteenth century. Moreover, England's growing overseas empire and its expanding commercial activity required a parallel expansion in maritime labour. Mariners were correspondingly central to Petiver's work as a naturalist and collector in the region. The importance of slavery and the slave trade to Atlantic economic and social structures meant that the naturalist relied on the institutions, infrastructures and individuals of the slave trade and plantation slavery. A social history of Petiver's Atlantic network reveals how the naturalist utilized the routes of commerce and colonialism to collect specimens, as well as to collect the correspondents who might provide them from West Africa, Spanish America, the Caribbean and mainland North America. It demonstrates the entangled histories of commerce, colonialism, collecting and the production of natural knowledge.

Introducing ‘Intimate Civility’: Towards a New Concept for 21st-Century Relationships

Introducing ‘Intimate Civility’: Towards a New Concept for 21st-Century Relationships

Groping through the Fog

Groping through the Fog Rebecca Cuthbert (bio) Notes From the Fog Ben Marcus Knopf http://knopfdoubleday.com/imprint/knopf/ 288 Pages; Cloth, $26.95 Folks don't always know what they're doing, why they're doing it, what they're supposed to be doing instead, and, moreover, how they're supposed to feel about any of that. Ben Marcus's collection Notes from the Fog seems to offer readers a variety of these existential crises—the author spreading out the brutal choices like a Vegas dealer fanning out cards—and while no one will really find clear answers to those questions or even much comfort in reading the stories, the collection's narrators and speakers do function as grinning Pied Pipers who will dance everyone happily to hell. Many of these stories aren't set up along the traditional story arc, with a conflict, crisis, resolution pattern. For most of the pieces, the point seems to be that there can be no resolution; the problems experienced by the characters cannot be solved or dissolved, either. Marcus rejects that simplicity, choosing instead to offer hopeless situations that exist in a sort of futuristic anti-Eden controlled by corporations (mostly pharma and tech industries) where meaningful human connection is all but extinct. One can't ignore, though, that despite the stories' absurd premises, the emotions of the protagonists feel familiar, like one of those tiny surgical cameras is poking into the ugliest parts of oneself and showing what it finds on a large-screen television. With equal parts repulsion, shame, curiosity, and fascination, no one can look away. Ida Grieve is a young professional whose industry is dying in "Precious Precious." She finds no personal satisfaction in her work, a vague role at a company called Thompson that "was a think tank that had turned into a make tank, which meant it was essentially like any other company," and her father is dying. Romance and friendship seem out of the question, and even sex offers little validation for being alive. It is Ida's depressing fantasy that "One day, supposedly, a Kind Friend could give them what they needed, and clean up after, and possibly even flush the shame from their systems as well." Her carnal reality, though, is that "for the time being they still had to endure the company of other fleshy need machines, human spouters and little bags of weepery." She starts taking a mysterious drug called Rally, "[n]ot for moods, she was told, but possibly for the lack of them." This ennui is ever-present not only here but throughout the entire story, and the fact that no one can keep their Rally pills down may say that all those patients don't want to feel things, anyway. Ida is not the only character for whom regular-old human-to-human sex is unfulfilling, monotonous, and not worth the sweaty bother. Really, a quest for new and satisfying (or at least efficient) sexual experiences is one of the collection's main threads. The speaker in "The Boys," who is staying with her brother-in-law and young nephews after the death of her sister, decides she has been wasting time by masturbating alone and then, late at night, performing almost anonymous sexual favors for her grieving brother-in-law. She reduces sex to a math equation: "When I thought about how I was spending my time, I realized that I was masturbating two people. Myself and Drew. For the sheer sake of efficiency, just following the logic, I could reduce this workload by 100 percent, saving time and effort, without forfeiting our mutual outcomes, simply by having intercourse with Drew." There is no question of ethics or boundaries for the married speaker—those things are not quantifiable, so don't matter. For another protagonist, George (in "George and Elizabeth"), sex has been almost completely replaced by something more intimate: simply being watched. "[I]t's a new sort of thing," George tells his therapist. "[A man on the internet] provides eye contact. People pay a lot. He'll just watch you, on video.... People pay him to watch while they have sex, of...

Hollow Dolls by MarcyKate Connolly

Reviewed by: Hollow Dolls by MarcyKate Connolly Natalie Berglind Connolly, Marcykate Hollow Dolls. Sourcebooks, 2020 [272p] Trade ed. ISBN 978-1-4926-8819-8 $16.99 E-book ed. ISBN 978-1-4926-8820-4 $16.99 Reviewed from galleys R Gr. 5-7 In this companion novel to the Shadow Weaver duology (Shadow Weaver, BCCB 1/18), Simone, a mind reader formerly under the control of a noblewoman who collected magical talent, tries to find her way home while recovering from the terror of the noblewoman's reign. Since her memories have been magically removed, Simone only has the single, written name of a long-lost town to go on, so she and fellow survivor Sebastian first embark on an expedition to the renowned library to get the information they seek. As people around them act abnormally, Sebastian [End Page 161] and Simone realize they're dealing with a dangerous magic user that can possess others—a body walker—and their problems are far from over. Fans of the original duology will delight in this supplemental storyline that meets some of the side characters where it left off, though new readers will also find plenty to digest here. Simone is a resourceful protagonist recovering from the psychological trauma she faced at the hands of Lady Aisling; readers familiar with trauma and loss may find her a kindred spirit, and Sebastian is the supportive, kind friend everyone needs to adequately recuperate. Though the story stands well on its own, just enough strings are left untied for the potential for another adventure. Copyright © 2019 The Board of Trustees of the University of Illinois

Рецепція особистості Михайла Щепкіна в лінгвосвідомості Тараса Шевченка (на матеріалі «Щоденника»)

The article deals with the peculiarities of the Mykhailo Shchepkin`s fi gure reception in linguistic consciousness of Taras Shevchenko. It has been demonstrated that the basis of the literary-and-artistic anthroponymicon of T. Shevchenko`s works, including the anthroponymicon of his “Diary”, are the names of his contemporaries, who played an important role in his life – M. Shchepkin, Y. Lazarevsky, P. Kulish, O. Bodiansky, M. Maximovich, etc. The semantic-and-evaluative paradigms of these proper names are represented through the prism of T. Shevchenko’s individual perception and outlook. They convincingly show his attitude to the mentioned persons in diff erent specifi c everyday, communicative situations. We have emphasized the dominance of positive appraisals of M. Shchepkin’s fi gure, which reveal the reception of him as a unique and sincere person (amazing old man, sincere Mikhail Semenovich, kindest creature), a talented actor (great man, great artist, brilliant actor, best comedian, unique comedian, irresistible Shchepkin, artist-veteran, patriarch-artist), a close friend (great friend, my only friend, my sincere, my unforgettable, nobler friend, kind friend, sincere friend). Topical for such contexts lexemes ‘uniqueness’, ‘ humaneness’, ‘honesty’, ‘talent’ and ‘sociability’ determine the positive evaluation of most contexts in which the name of Mykhailo Shchepkin is mentioned. They form the overall emotional meaning of the concept of the same name. Means of intimization of the image of M. Shchepkin – friend have been noted, in particular due to the combination of the anthroponym with the possessive pronoun mine.

In Memoriam: Deon Visser 1953-2016

We learned with great sadness that Lieutenant Colonel Deon Visser, who joined the Military Academy community in 1986, passed away on 23 May 2016. Deon was a close colleague, a kind and loyal friend, a respected military officer, and an esteemed military historian. He was these things to all who knew him.

HES Presidential Address: The Future of the Study of Our Educational Past—Whither the History of Education?

I want to start these remarks by thanking the members of the History of Education Society for the honor of electing me to serve as president and especially my colleagues—faculty and graduate students—at New York University who have made NYU such an extraordinarily collegial home to study the History of Education. Finally I want to say a word of gratitude to my own teacher and mentor, Lawrence A. Cremin, who introduced me to this field and guided my early work. In the course of these remarks, I will be critical of him at points, but Larry Cremin remains my role model as a teacher, scholar, and kind friend. I suspect I may be—though one never knows—the last of a long line of Cremin students to preside over HES. But I do so proudly.

Miss our good teacher and kind friend professor Gu Xue-ji

Miss our good teacher and kind friend professor Gu Xue-ji

Mary Shelley as Elegiac Poet: The Return and 'The Choice'

Mary Shelley as Elegiac Poet:The Return and 'The Choice' Graham Allen The poem 'The Choice', along with 'On Reading Wordsworth's Lines on Peel Castle' and a fragment 'To Jane', was written into the back of the 'Journal of Sorrow' (Journal IV) that Mary Shelley kept in the first two years after P.B. Shelley's death. The way in whichthe poem was written into the journal is complicated. It appears to have been writtenin, then cut out, then restored again.1 Another version of the poem was left by Mary Shelley with the Hunts when she returned to England in 1823 and was first published by H. Buxton Forman in 1876 as The Choice: A Poem on Shelley's Death, by Mary Wollstonecraft Shelley [etc.] (Literary Lives, iv. xxx–xxxi).In the journal entry before the three poemsare transcribed, the last entry of Journal Four, Mary Shelley speaks of winter passing anda rising of spirits 'from desperation to happiness'.2 It ascribes this feeling mainlyto 'affection' for Percy Florence, and it ends, incomplete, with the following: '[? ] [? ] I now returned to [? ] [? ]'.3 A careful reader of Mary Shelley learns to register these apparently pre-significatory moments when writing breaks down or breaks off. They are frequently, infact, moments when writing makes itself most visible. This is one such occasion. Since despite missing pages, lost links, evidential signs and signatures, the apparently pre-significatory '[? ] [? ] I now returned to [? ] [? ]' can be read as a telling authorial gloss on the poem which follows. 'The Choice', in both its Journal and Hunt/Forman versions, is about returning, about the return. It is elegiac, of course. As A.A. Markley notes, giving the poem in two brief pages perhaps the most serious critical and scholar attention it has yet received, it is also (at least in terms of its title) related to the tradition of 'Choice' poem stemming from Horace's Satire Book 2.4 Markley also notesthe poem's intertextual connection to poetryby P.B. Shelley, especially Epipsychidion, and Leigh Hunt's poem 'The Choice' published in The Liberal in the year (1823) in which Mary Shelley composed her poem of that title.5 More straightforwardly, the poem is about returning. The word 'return' is placed conspicuously, both in syntactical and lineal terms, at the end of the tenth line of the first twenty-line verse paragraph.6 The word return and the concept of the return are part of Mary Shelley's voice as a writer, part of what we might call her signature. We have in this word a sign (or clue) of the aesthetic complexity which lies behind such apparently confessional and 'personal' texts as 'The Choice'. In Matilda, for example, the word occurs frequently, merging with the theme of wandering and straying to generate a complex structure which revolves around Mathilda's overdetermined relations with her father and then Woodville.7 The father's return to his daughter turns out to be a wandering from her [End Page 219] (psychologically returning her to her mother). At the point of crisis, after the father's expression of illicit love, Mathilda imagines the father wandering for another sixteen years in Europe. Mathilda imagines saying to her father: 'Go, Devoted one, and return thus! – This is my curse, a daughter's curse: go, and return pure to thy child, who will never love ought but thee.'8 By this stage of the text, it is clear that for Mathilda every return is also a wanderingfrom her. It is interesting that in Valperga, as Euthanasia leaves Beatrice to visit a sick friend, we find exactly the same combination of returning and wandering: '"Go, kind friend", said she to Euthanasia, "go; but return again".'9 We can relate these fictional expressions of the ambivalent relation between wandering and returning (noting that this temporally non-linear sequence is part of the subject of this reading) to a very clear structure in Mary Shelley's thought immediately after the death of P.B. Shelley. She says to Byron in a letter posted around 30 March 1823: 'I wait withno pleasant expectation for the result of my father's deliberations – it little matters which way...

Tributes to Gérard Herman

When a friend dies, a piece of your heart dies as well. Gérard Herman was a kind friend and great colleague for many of us: the geophysicists at Shell, the professors and students at the Delft University, the editorial tribe of Geophysics, and the guys of the Global Affairs Committee, where he was the Netherlands representative. His generous heart failed while he was teaching in Indonesia, leaving us shocked and astonished, and a gap we will never fill in our community. I like remembering Gérard when we were attending an SEG workshop during the last Annual Meeting in Houston. A big room was packed by geophysicists, who almost unanimously were supporting a large project. Only Gérard and I had a different view, dictated by the similar needs of our companies. Of course, we spelled out our reasons, which were well received, but we could not change the prevailing views of the outnumbering crowd. At the end of that meeting, Gérard came and told me: “We are like Don Quixote and Sancho Panza.” The characters of Cervantes' fantasy fought against the windmills and were defeated. For a while, I asked myself who of us was who. Our relative height suggested a solution, but soon I argued that the real valiant noble hero was Gérard.

"Passion's Empire": Sydney Owenson's "Indian Venture," Phoenicianism, Orientalism, and Binarism

I have at last, waded through your Oriental Library, and it is impossible you can ever feel weight of obligation I owe you, except you turn author, and some kind friend supplies you with rare books that give sanction of authority to your own wild and visions. Your histories place me upon fairy you know I love to tread, nothing is but what is not, and you have contributed so largely and efficiently to my venture, that you have right to share in profits, and claim to be considered silent in firm. (1) ********** THUS SYDNEY OWENSON, IN AN UNDATED LETTER TO HER CLOSE FRIEND and former lover, Dublin barrister Sir Charles Ormsby, acknowledged her debt to a silent partner in her textual of The Missionary, novel which was to receive four London editions and New York edition in its year of publication. (2) The narratives of history and fiction operate in productive symbiosis: each can rewrite other. The implicit contrasts between bulky quarto tomes and aerial lightness of her imagination, between the fairy ground of sentimental novel and commercial realities of book production exemplify polarized ambiguities apparent not only in this work but throughout Sydney Owenson's life and career. Such ambiguities were complicated by confusing contemporary cross-currents of ideology and class. The financial transactions of her Indian venture were completed not in Leadenhall Street headquarters of East India Company but in even more august surroundings of Foreign Office, where her publisher, John Joseph Stockdale, somewhat overawed by presence of Secretary of State for War and Colonies, purchased manuscript of The Missionary; A, Tale for sum of four hundred pounds. Viscount Castlereagh, architect of 1800 Act of Union by which Ireland's Parliament had voted itself out of existence, was, according to Percy Bysshe Shelley, more often accompanied by seven bloodhounds than Jacobin novelists, and story of how this wild Irish patriot, republican sympathizer and radical slut came to be sitting at ease, negotiating sale of her latest improbable vision in his Cabinet Office, is in many respects worthy of one of Owenson's own fictions. (3) In politicizing her sentimental discourse, she adapted an old tradition which had figured colonized Ireland as woman, such as Kathleen Ni Houlihan or Roisin Dubh, oppressed or sexually exploited. Her adaptation incorporated time-honoured romance trope of transformative encounter by which handsome and prejudiced young protagonist/colonizer is subjected to romantic initiation with beautifully representative muse of an alien land. Sexuality transcends and transgresses cultural boundaries and ethnic seduction could be vicariously relished by novel-reading public who were simultaneously instructed in Gaelic traditions by means of elaborate footnotes. Her readers were encouraged to engage if not in sexual tourism then in heavily eroticized cultural tourism, and appeal of this formula might be extended far beyond colonial Ireland to colonized Greece in Woman; or, Ida of Athens (1809), or further east to colonized India. Sydney Owenson launched herself into troubled waters of Orientalism as easily as she might take dip in Bantry Bay. It was all question of origins; and for Owenson Gaelic culture had its origins in Orient. In this light, Ireland was not only Britain's first colony, but also her first Oriental colony, and Owenson frequently represented Ireland in Oriental tropes. When Glorvina's preceptor, redoubtable Father John, in his defense of priority of third-century Irish bardic legends of Oisin, son of Fionn mac Cumhaill, announced: For Ireland, owing to its being colonized from Phoenicia, and consequent early introduction of letters there, was at that period esteemed most enlightened country in Europe, he was airing contemporary theory of Irish Phoenicianism with its piquant fusion of Orientalist and Celtic exoticism. …

"Some kind friends": Scott'sHarold the Dauntless(HM 1937) and Frederick Locker-Lampson

"Some kind friends": Scott's<i>Harold the Dauntless</i>(HM 1937) and Frederick Locker-Lampson

'Ia zhivu ot pochty do pochty...' Iz perepiski Nadezhdy Dmitrievny Khvoshchinskoi by Arja s&gt; Rosenholm Hilde Hoogenboom (review)

530 SEER, 8 i, 3, 2003 Rozanov and V. M. Protopopov, recent graduates of the Moscow SlavoGraeco -Latin Academy. They made independent translations of the same shortstory,aFrenchversionof a Germanoriginal,which theythenexchanged; and, having borrowed renderings from one another, they published their worksseparatelyin Moscow in I788 and i 789 respectively. Other distinguishedpapers on such subjectsas the treatisesof Lev Krevza and Zakhariia Kopystenskii, Meletii Smotritskii's Uchitel'noe evangelie, Polish and neo-Latin elements in Simeon Polotskii'spoetics, and the translatednovel in eighteenth-century Russian literature, complete a volume of remarkable range and quality. ImperialCollegeLondon C. L. DRAGE Rosenholm, Arjaand Hoogenboom, Hilde (eds).'Iazhivuotpochty dopochty.. .' Izperepiski Nadezhdy Dmitrievny Klhvoshchinskoi. FrauenLiteraturGeschichte, 14. Texte und Materialien zur russischenFrauenliteratur.FrankGoepfert ,Fichtenwalde, 2001. 271 Pp. Notes. EI8.50: ?17.50 (paperback). NADEZHDA KHVOSHCHINSKAIA (i 824- 1889) was perhaps the premier woman realist of the late nineteenth century, as well as a prolific, if minor, poet. All but forgotten for decades after her death (though a selection of her short stories appeared in the Soviet Union in i 984), she is gaining increasing recognition from scholarsin both her homeland and in the West. Now, from ArjaRosenholm and Hilde Hoogenboom, both ofwhom have a distinguished recordasscholarsof nineteenth-centurywomen'sprose, comes thissubstantial edition of more than i00 previouslyunpublishedlettersby Khvoshchinskaia, aswell asa smallerselectionfromhersistersSof'ia (i 828- I865) andPraskov'ia (after i830- I9I6). The letters, in particular Nadezhda's, to a variety of addresseesincluding N. F. Shcherbina, M. M. Stasiulevich,A. A. Kraevskii, and 0. A. Novikova, providea revealingglimpseinto the worldof a cultivated provincialwoman of the mid-nineteenth century(theKhvoshchinskaiasisters were luminaries of Riazan'), and also insights into the publishing process of the day. We hear Khvoshchinskaia expressing (understandable)annoyance when a poem of hers appears without her permission in Moskvitianin in September I853 (P. i), arrangingto send correctionsthat have been pointed out to her by 'kind friends' (p. 29), and heaving a sigh of relief when the censors prove less strict than she feared with her latest novel (p. 37). Alongside recording the minutiae of her own dealings with the literary world, Khvoshchinskaia set down her responses to the publications of, and discussions among, writers and litterateurs who were closer to the centre of things: these include an acerbic (if rather wrong-headed) assessment of WTlar andPeace,for which she had little time, and some entertainingly tart comments on topical discussions from October i859: having accused various female contemporaries, such as Kokhanovskaia (the pen-name of Nadezhda Sokhanskaia , I823-I884) of unwarranted egotism and self-importance, she then turns her guns oni their male counterparts: 'I muzhchiny, muzhchinv-to, Ol'ga! Esli by vy znali, kak ia znaiu, chto svoimi "Karnavalami", rasskazami iz Proshlogo i ANastoiashchego, pozhalui, iz Budushchego oni voobrazhaiut REVIEWS 531 povernut'Vselennuiu! Esliby vy slyshalieti gromadnyetolki, znali eti bol'shie i malen'kie lzhi, i samovoskhvalaiushchie, i voskhvaliaiushchie kruzhki (v Moskve),i ustupkineobkhodimosti(v Peterburge),i rebiachestvo,i rutinu i vse prochee!'(p. 87). Khvoshchinskaiahad some reasonforindignation,given that, as an observerof her own literarywork, she was modest to the point of excess: while some of her pleading of incompetence with regard to the financial side of literary life can possibly be put down to fishing for advice from her correspondents,there is unmistakablefranknessin a self-assessment of 24 August 1859to Ol'ga Novikova. ProtestingagainstNovikova'sassertion that 'all educated people' ('vse obrazovannye liudi') have found talent in her works,Khvoshchinskaiainsiststhat they are simplyrecognizing her 'common sense' ('zdrav-yi um'),while failingto note hertotal lackof capacityfor fantasy ('u menia net voobrazheniia')(p. 8i). Her comments on workin progressare comparably dismissive, so that in January I859 she notes 'Vy sprashivaete, chto ia pishu. Predlinnyiroman, i dalekone v rode "Uchitelia";dazhe i vovse protivnyi emu, toi krotostii fantaziiam, kotorye byli vozmozhny dlia menia desiat' let nazad' (p. 79). In a sense, it is a wonder that Khvoshchinskaia continued forso long as a writer,andwas so prolific:the stimulusno doubt lay in her pervasive sense of boredom with life in Riazan', alongside the intellectualopportunitiesofferedby her craft,and possibly,though her letters are genteelly discreet on this point, in the remuneration she gained from publishing. In their Introduction, Hoogenboom and Rosenholm emphasize some of these points, such as Khvoshchinskaia's squeamishness...

Up Beat Down South: "The Death of Emma Hartsell"

eighteen-hundred and as the song tells us, Emma met with an awful fate. Sweet Emma was Emma Hartsell, the twelve-year-old daughter of a farmer in Cabarrus County, North Carolina, and the awful fate she met was murder. Just as awful, though, was the fate met by Tom Johnson and Joe Kizer a few hours later, hanged from a dogwood tree by a mob just outside of the town of Concord. Johnson and Kizer were black, was white, and Death of Emma Hartsell is a ballad that reminded everyone who heard it, mostly white folks, of just what that meant in 1898 in North Carolina. Lots of North Carolinians met awful fates in 1898. Tempers ran high. One-party rule had been upset for four years in North Carolina as Republicans joined forces with Populists in a fusion coalition that gained control first of the legislature and then of the governor's office. White Democrats decided to take back control. To do so, they had to convince the white farmers in the Populist party to break ranks with the Republicans, whose strength lay in the support of the vast majority of the state's black voters and a fair number of whites, especially in the mountains. The strategy Democratic leaders--especially Charles B. Aycock, Josephus Daniels, and Furnifold Simmons--hit upon was to inspire fear. To frighten African Americans away from the polls, they brought in Senator Pitchfork Ben Tillman from neighboring South Carolina to instruct local Democratic clubs on the finer points of terrorism. To keep whites in line, they whipped up racial fears and animosities that had briefly been submerged. Daniels's newspaper, the Raleigh News and Observer, manufactured and circulated stories of unspeakable outrages committed by black men on white women. It was in this climate that Emma Hartsell's parents went off to church one Sunday morning at the end of May. Emma stayed home to look after a younger sister who was ill. Her parents returned to find her dead on the kitchen floor. A search was made, and Johnson and Kizer were carried to the jail in Concord. Later that evening, a mob broke into jail, carried the men to Big Cold Water Hill outside of town, and dragged them up. No one was punished for the lynching. Soon afterwards, a woman named Mary Baker wrote a poem, ten verses that told the story of Emma and Tom and Joe and the mob. A little later, some singer picked up the poem, added a final verse, and set it to a tune used for Barbara Allen. The song was widely known in the North Carolina Piedmont northeast of Charlotte. Folklorists collected it from schoolchildren in the 1920s, and the story, usually with the ballad, was a regular item in newspaper feature columns for decades. THE DEATH OF EMMA HARTSELL In eighteen hundred and ninety-eight, Sweet Emma met with an awful fate; 'Twas on the holy Sabbath day When her sweet life was snatched away. It set my brain all in a whirl To think of that poor little girl, Who rose that morning fair and bright, And before five was a mangled sight. It caused many a heart to bleed To think and hear of such deed. Her friends, they shed many a tear. Her throat was cut from ear to ear. Just as the wind did cease to blow, They caught the men, 'twas Tom and Joe. The sheriff he drove in such a dash The howling mob could scarcely pass. They got to town by half past seven. Their necks were broken before eleven. The people there were a sight to see. They hung them to a dogwood tree. Fathers and mothers a warning take-- Never leave your children for God's sake. But take them with you wherever you go And always think of Tom and Joe. Kind friends, we all must bear in mind They caught the men who did the crime. There's not a doubt around the lurk, Tom said he held her while Joe did the work. Sweet Emma has gone to a world of love Where Tom and Joe dare not to go. …

The beginning of the end.

‘This is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning.’ Winston Churchill When I heard that I had won the EMBO gold medal, I was immensely flattered to receive such a prestigious award, but some of my less kind friends commented that it could only be downhill from here on. After all, medals are usually given to distinguished and aged professors near the end of their productive years. However, I hope that my title does not reflect the state of my career, but instead introduces the questions that I have spent the last 10 years studying, namely what is the origin of anterior– posterior polarity in Drosophila , and how does this lead to the localization of the determinants that define the two ends of the embryo? In other words, what is the beginning of the ends? Before discussing our work on this topic in detail, I would like to start with the customary autobiographical account of how I ended up where I am, so that I can give credit to all of the exceptional people who have helped me along the way. In seeking inspiration on how to write this section of my review, I turned to those written by previous winners of the EMBO medal, and discovered to my surprise that I have followed in the footsteps of three other former recipients, Hugh Pelham, Jim Smith and Richard Treisman (Pelham, 1989; Smith, 1993; Treisman, 1995). We were all under graduates at Christ's College, Cambridge, and fell under the benign influence of the Director of Studies in Biology, Dr Douglas Barker. Indeed, Dr Barker saved both me and Jim from specializing in other science subjects. On arriving in Cambridge, I intended to study Chemistry, …

Lost &amp; Found: 55. Francis Downing (1777-1857) and Mrs. Downing

It has already been recorded in the LF columns that Mrs. Downing provided fossil material figured by Murchison, whilst it was her husband *My kind friend Mr Downing of the Priory [Dudley], to whom I am above all other persons indebted for an acquaintance with the structure of the Dudley district* (p.485) whose job as a mining agent gave him a working knowledge of the geology of Dudley. Further figured specimens may be at Birmingham University Museum as the collection of William Mathews (1828-1901) housed there contains original Downing material (GCG, 2(6), 352) (see Fig.2)....