Short Story - 1306 Words

Some very rich children have miniature versions of cars specially built for them. Joe wasn’t one of those children. Joe needed his Formula One car made a bit bigger. He was quite fat, you see. Well, you would be, wouldn’t you? If you could buy all the chocolate in the world. You will have noticed that Joe is on his own in that picture. To tell the truth, speeding around a racetrack isn’t that much fun when you are on your own, even if you do have a squillion pounds. You really need someone to race against. The problem was Joe didn’t have any friends. Not one. Friends x Now, driving a Formula One car and unwrapping a king-size Mars Bar are two things you shouldn’t try and do at the same time. But it had been a few moments since†¦show more content†¦The card, which read ‘Happy 12th Birthday Son’, was quickly discarded in favour of the cheque inside. Joe could barely disguise his disappointment. â€Å"One million pounds?† he scoffed. â€Å"Is that all?† â€Å"What’s the matter, son?† Mr Spud put down his newspaper for a moment. â€Å"You gave me a million last year,† whined Joe. â€Å"When I turned eleven. Surely I should get more now I’m twelve?† Mr Spud reached into the pocket of his shiny grey designer suit and pulled out his chequebook. His suit was horrible, and horribly expensive. â€Å"I’m so sorry son,† he said. â€Å"Let’s make it two million.† Now, it’s important you realise that Mr Spud had not always been this rich. Not so long ago the Spud family had lived a very humble life. From the age of sixteen, Mr Spud worked in a vast loo-roll factory on the outskirts of town. Mr Spud’s job at the factory was sooooo boring. He had to roll the paper around the cardboard inner tube. Roll after roll. Day after day. Year after year. Decade after decade. This he did, over and over again, until nearly all his hope had gone. He would stand all day by the conveyor belt with hundreds of other bored workers, repeating the same mind-numbing task. Every time the paper was rolled onto one cardboard tube, the whole thing started again. And every loo roll was the same. Because the family was so poor, Mr Spud used to make birthday and Christmas presents for his son from the loo-roll inner tubes.Show MoreRelatedshort story1018 Words   |  5 Pagesï » ¿Short Stories:  Ã‚  Characteristics †¢Short  - Can usually be read in one sitting. †¢Concise:  Ã‚  Information offered in the story is relevant to the tale being told.  Ã‚  This is unlike a novel, where the story can diverge from the main plot †¢Usually tries to leave behind a  single impression  or effect.  Ã‚  Usually, though not always built around one character, place, idea, or act. †¢Because they are concise, writers depend on the reader bringing  personal experiences  and  prior knowledge  to the story. Four MajorRead MoreThe Short Stories Ideas For Writing A Short Story Essay1097 Words   |  5 Pageswriting a short story. Many a time, writers run out of these short story ideas upon exhausting their sources of short story ideas. If you are one of these writers, who have run out of short story ideas, and the deadline you have for coming up with a short story is running out, the short story writing prompts below will surely help you. Additionally, if you are being tormented by the blank Microsoft Word document staring at you because you are not able to come up with the best short story idea, youRead MoreShort Story1804 Words   |  8 PagesShort story: Definition and History. A  short story  like any other term does not have only one definition, it has many definitions, but all of them are similar in a general idea. According to The World Book Encyclopedia (1994, Vol. 12, L-354), â€Å"the short story is a short work of fiction that usually centers around a single incident. Because of its shorter length, the characters and situations are fewer and less complicated than those of a novel.† In the Cambridge Advanced Learner’s DictionaryRead MoreShort Stories648 Words   |  3 Pageswhat the title to the short story is. The short story theme I am going conduct on is â€Å"The Secret Life of Walter Mitty’ by James Thurber (1973). In this short story the literary elements being used is plot and symbols and the theme being full of distractions and disruption. The narrator is giving a third person point of view in sharing the thoughts of the characters. Walter Mitty the daydreamer is very humorous in the different plots of his dr ifting off. In the start of the story the plot, symbols,Read MoreShort Stories1125 Words   |  5 PagesThe themes of short stories are often relevant to real life? To what extent do you agree with this view? In the short stories â€Å"Miss Brill† and â€Å"Frau Brechenmacher attends a wedding† written by Katherine Mansfield, the themes which are relevant to real life in Miss Brill are isolation and appearance versus reality. Likewise Frau Brechenmacher suffers through isolation throughout the story and also male dominance is one of the major themes that are highlighted in the story. These themes areRead MoreShort Story and People1473 Words   |  6 Pagesï » ¿Title: Story Of An Hour Author: Kate Chopin I. On The Elements / Literary Concepts The short story Story Of An Hour is all about the series of emotions that the protagonist, Mrs. Mallard showed to the readers. With the kind of plot of this short story, it actually refers to the moments that Mrs. Mallard knew that all this time, her husband was alive. For the symbol, I like the title of this short story because it actually symbolizes the time where Mrs. Mallard died with joy. And with thatRead MoreShort Story Essay1294 Words   |  6 PagesA short story concentrates on creating a single dynamic effect and is limited in character and situation. It is a language of maximum yet economical effect. Every word must do a job, sometimes several jobs. Short stories are filled with numerous language and sound devices. These language and sound devices create a stronger image of the scenario or the characters within the text, which contribute to the overall pre-designed effect.As it is shown in the metaphor lipstick bleeding gently in CinnamonRead MoreRacism in the Short Stor ies1837 Words   |  7 PagesOften we read stories that tell stories of mixing the grouping may not always be what is legal or what people consider moral at the time. The things that you can learn from someone who is not like you is amazing if people took the time to consider this before judging someone the world as we know it would be a completely different place. The notion to overlook someone because they are not the same race, gender, creed, religion seems to be the way of the world for a long time. Racism is so prevalentRead MoreThe Idol Short Story1728 Words   |  7 PagesThe short stories â€Å"The Idol† by Adolfo Bioy Casares and â€Å"Axolotl† by Julio Cortà ¡zar address the notion of obsession, and the resulting harm that can come from it. Like all addictions, obsession makes one feel overwhelmed, as a single thought comes to continuously intruding our mind, causing the individual to not be able to ignore these thoughts. In â€Å"Axolotl†, the narr ator is drawn upon the axolotls at the Jardin des Plantes aquarium and his fascination towards the axolotls becomes an obsession. InRead MoreGothic Short Story1447 Words   |  6 Pages The End. In the short story, â€Å"Emma Barrett,† the reader follows a search party group searching for a missing girl named Emma deep in a forest in Oregon. The story follows through first person narration by a group member named Holden. This story would be considered a gothic short story because of its use of setting, theme, symbolism, and literary devices used to portray the horror of a missing six-year-old girl. Plot is the literal chronological development of the story, the sequence of events

Essay about Fahrenheit 451 as a Criticism of Censorship

Fahrenheit 451 as a Criticism of Censorship Ray Bradbury criticizes the censorship of the early 1950s by displaying these same themes in a futuristic dystopia novel called Fahrenheit 451. In the early 1950s Ray Bradbury writes this novel as an extended version of The Fireman, a short story which first appears in Galaxy magazine. He tries to show the readers how terrible censorship and mindless conformity is by writing about this in his novel. In Fahrenheit 451, Bradbury uses artificial stimulus, such as television and radio, to provide the reader with a feeling of how isolated the public is and how their minds are being controlled by this conformist government in the twenty-first century. He uses†¦show more content†¦One example of this is the three-walled television in Guy Montags living room. His wife, Mildred, watches TV all day and soaks up all the mindless programming and propaganda being fed to her. She has lost almost all of her short-term memory because of this. In one scene Mildred is asked about something that happens in a TV show shes watching and she cannot remember what is going on, even though less than a few minutes have passed. She also displays this behavior when Montag asks her to get him some aspirin when he has a headache. After she leaves the room, she returns with out the aspirin and any remembrance of Montags request. Bradbury again shows the emptiness of Mildred, a product of the conformist government, when she is using the seashell thimbles. These are small, high fidelity earphones. They send Mildred music, commercials, and other information for her to consume. Advertisements such as two-hundred foot billboards that line the highways, blocking out any natural scenery, promote conformity and consumerism. Captain Beatty, Montags boss, describes the logic behind the advertisements and television programs: Cram them full of noncombustible data, chock them so full of `facts they feel stuffed, but absolutely `brilliant with information. Then theyll feel theyre thinking, theyll get a sense of motion without moving. And theyll be happy, because facts or that sort dont change. Dont give them any slippery like philosophy orShow MoreRelatedAnnotated Bibliography : Ray Bradbury1077 Words   |  5 PagesFahrenheit 451: Ray Bradbury An Annotated Bibliography Johnston, Amy E. Boyle. â€Å"Ray Bradbury: Fahrenheit 451 Misinterpreted.† L.A. Weekly, 4 Apr. 2016, Http://Www.laweekly.com/News/Ray-Bradbury-Fahrenheit-451-Misinterpreted-2149125. This article is about the author having an interview with Ray Bradbury about how people are mistreated because they was been kept uninformed and ignorant about censorship when its really about technology destroying the use ofRead MoreCensorship In William Bradburys Fahrenheit 4511112 Words   |  5 PagesCensorship is not easy to define. According to Webster’s Dictionary, to censor means to examine in order to suppress or delete anything considered objectionable. Its central characteristic is the suppression of an idea or image because it offends or disturbs someone, or because they disagree with it. In many countries, censorship is most often directed at political ideas or criticism of the government. In the United States, censorship more often involves social issues, and in school is commonlyRead MoreFahrenheit 451 Critical Essay1607 Words   |  7 Pagesï » ¿Lintang Syuhada 13150024 Book Report 1 Fahrenheit 451 Critical Essay Human beings are naturally curious. We are always in search of better ideas, and new solutions to problems. One of a basic idea of Indonesia has been freedom of thinking and a free flow of ideas. But in some societies, governments try to keep their people ignorant. Usually, this is so governments can keep people under control and hold on to their power. In trying to keep people from the realities of the world, these oppressiveRead More What are some of the key ideas and messages presented in the novel,1952 Words   |  8 Pagessome of the key ideas and messages presented in the novel, Fahrenheit 451? Explain your answer with examples and quotations. What are some of the key messages and ideas presented in the novella, Fahrenheit 451? Explain your answer with detailed examples and quotations. Ray Bradbury’s Fahrenheit 451 is a dystopian, science fiction novel, which is written through the perspective of Bradbury’s protagonist, Guy Montag. Fahrenheit 451 was initially published in 1953; however it is set in theRead MoreFahrenheit 451 Analysis798 Words   |  4 Pagesreal than you would think. Ray Bradbury’s Fahrenheit 451 is no exception. Bradbury had quickly gained global recognition from his stand out dystopian hit that makes controversial social commentaries. Some of the commentaries he touches upon the topics of censorship and social conformity. All of which are demonstrated through the strategic use of demanded conformities and the dystopian setting. Overall, In Fahrenheit 451, Bradbury comments on the censorship and ideological limitations in today’s societyRead MoreCensorship in Ray Bradburys Fahrenheit 451777 Words   |  3 PagesFahrenheit 451 accurately portrays Censorship as it has been throughout history. Ray Bradbury was probably influenced by world events during his time, such as the cold war and other diplomatic leaders who have censored their citizens to avoid the truth from getting out. From politicians right now and their attempts to censor the media, to censorship from the history of other foreign countries the actions of the â€Å"Firemen† in Bradbury’s novel Fahrenheit 451 are similar in method and meaning. The actionRead MoreEssay on Is Censorship Unconstitutional?919 Words   |  4 Pages Censoring knowledge is unconstitutional. Censorship had been going on since the beginning of the written word. This means that is not hard to say that it has been used as a manipulation tactic since the first man, or woman, placed their coal to a piece of dried goat skin. So does this make it wrong? To understand censorship, you have to start at the beginning. Censorship, no matter the definition, is when people who have power, wish to limit the knowledge of what we are receiving, orRead MoreCritical Analysis Of Fahrenheit 4511266 Words   |  6 PagesTo begin, in Fahrenheit 451, Ray Bradbury incorporated: a censorship aspect intended for the book, social commentary, and the social critical analysis which relates to conflicts in our world today. To continue, censorship can be considered a â€Å"threat† to society, for example, Bradbury uses the concept of the overuse of media and how it can affect the world and the people around you. Furthermore, Bradbury’s key focus was to satirize the excessive use of television and the media as a news and entertainmentRead MoreFahrenheit 451 : The Burning Truth1149 Words   |  5 PagesAbdulmalik Alnagadi Doctor Clare Little Humanities 142 Aug/7/2014 â€Å"Fahrenheit 451†: The Burning Truth Introduction Fahrenheit 451 is the actual temperature at which paper catches fire. The story by Ray Bradbury represents a social criticism that alarms individuals against the risk of suppressing their feelings due to restrictions. The fascinating story of Bradbury, ‘Fahrenheit 451’ is interestingly well constructed. It can be clearly recognized that the book broadens the idea of a short story thatRead MoreEssay about Ray Bradburys Fahrenheit 4511129 Words   |  5 Pages Literary Criticism of Fahrenheit 451 Don’t worry, be happy, or at least that’s what everyone in Ray Bradbury’s book Fahrenheit 451 thought. No matter what was going on around them, war, crime, or death, they were always happy†¦ Or were they? Ray Bradbury wrote books about censorship in society forming around being censored totally or partially from books and television. In Fahrenheit 451 the main character, Montag, is a fireman whose job it is to burn books to keep the public from reading then and

Prelude to Foundation Chapter 16 Officers Free Essays

RAYCH-†¦ According to Hari Seldon, the original meeting with Raych was entirely accidental. He was simply a gutter urchin from whom Seldon had asked directions. But his life, from that moment on, continued to be intertwined with that of the great mathematician until†¦ Encyclopedia Galactica 77. We will write a custom essay sample on Prelude to Foundation Chapter 16 Officers or any similar topic only for you Order Now The next morning, dressed from the waist down, having washed and shaved, Seldon knocked on the door that led to Dors’s adjoining room and said in a moderate voice, â€Å"Open the door, Dors.† She did. The short reddish-gold curls of her hair were still wet and she too was dressed only from the waist down. Seldon stepped back in embarrassed alarm. Dors looked down at the swell of her breasts indifferently and wrapped a towel around her head. â€Å"What is it?† she asked. Seldon said, looking off to his right, â€Å"I was going to ask you about Wye.† Dors said very naturally, â€Å"About why in connection with what? And for goodness sake, don’t make me talk to your ear. Surely, you’re not a virgin.† Seldon said in a hurt tone, â€Å"I was merely trying to be polite. If you don’t mind, I certainly don’t. And it’s not why about what. I’m asking about the Wye Sector.† â€Å"Why do you want to know? Or, if you prefer: Why Wye?† â€Å"Look, Dors, I’m serious. Every once in a while, the Wye Sector is mentioned-the Mayor of Wye, actually. Hummin mentioned him, you did, Davan did. I don’t know anything about either the sector or the Mayor.† â€Å"I’m not a native Trantorian either, Hari. I know very little, but you’re welcome to what I do know. Wye is near the south pole-quite large, very populous-â€Å" â€Å"Very populous at the south pole?† â€Å"We’re not on Helicon, Hari. Or on Cinna either. This is Trantor. Everything is underground and underground at the poles or underground at the equator is pretty much the same. Of course, I imagine they keep their day-night arrangements rather extreme-long days in their summer, long nights in their winter-almost as it would be on the surface. The extremes are just affectation; they’re proud of being polar.† â€Å"But Upperside they must be cold, indeed.† â€Å"Oh yes. The Wye Upperside is snow and ice, but it doesn’t lie as thickly there as you might think. If it did, it might crush the dome, but it doesn’t and that is the basic reason for Wye’s power.† She turned to her mirror, removed the towel from her head, and threw the dry-net over her hair, which, in a matter of five seconds, gave it a pleasant sheen. She said, â€Å"You have no idea how glad I am not to be wearing a skincap,† as she put on the upper portion of her clothing. â€Å"What has the ice layer to do with Wye’s power?† â€Å"Think about it. Forty billion people use a great deal of power and every calorie of it eventually degenerates into heat and has to be gotten rid of. It’s piped to the poles, particularly to the south pole, which is the more developed of the two, and is discharged into space. It [melts] most of the ice in the process and I’m sure that accounts for Trantor’s clouds and rains, no matter how much the meteorology boggins insist that things are more complicated than that.† â€Å"Does Wye make use of the power before discharging it?† â€Å"They may, for all I know. I haven’t the slightest idea, by the way, as to the technology involved in discharging the heat, but I’m talking about political power. If Dahl were to stop producing usable energy, that would certainly inconvenience Trantor, but there are other sectors that produce energy and can up their production and, of course, there is stored energy in one form or another. Eventually, Dahl would have to be dealt with, but there would be time. Wye, on the other hand-â€Å" â€Å"Yes?† â€Å"Well, Wye gets rid of at least 90 percent of all the heat developed on Trantor and there is no substitute. If Wye were to shut down its heat emission, the temperature would start going up all over Trantor.† â€Å"In Wye too.† â€Å"[Yes], but since Wye is at the south pole, it can arrange an influx of cold air. It wouldn’t do much good, but Wye would last longer than the rest of Trantor. The point is, then, that Wye is a very touchy problem for the Emperor and the Mayor of Wye is-or at least can be-extremely powerful.† â€Å"And what kind of a person is the present Mayor of Wye?† â€Å"That I don’t know. What I’ve occasionally heard would make it seem that he is very old and pretty much a recluse, but hard as a hypership hull and still cleverly maneuvering for power.† â€Å"Why, I wonder? If he’s that old, he couldn’t hold the power for long.† â€Å"Who knows, Hari? A lifelong obsession, I suppose. Or else it’s the game†¦ the maneuvering for power, without any real longing for the power itself. Probably if he had the power and took over Demerzel’s place or even the Imperial throne itself, he would feel disappointed because the game would be over. Of course he might, if he was still alive, begin the subsequent game of keeping power, which might be just as difficult and just as satisfying.† Seldon shook his head. â€Å"It strikes me that no one could possibly want to be Emperor.† â€Å"No sane person would, I [free], but the ‘Imperial wish,’ as it is frequently called, is like a disease that, when caught, drives out sanity. And the closer you get to high office, the more likely you are to catch the disease. With each ensuing promotion-â€Å" â€Å"The disease grows still more acute. Yes, I can see that. But it also seems to me that Trantor is so huge a world, so interlocking in its needs and so conflicting in its ambitions, that it makes up the major part of the inability of the Emperor to rule. Why doesn’t he just leave Trantor and establish himself on some simpler world?† Dors laughed. â€Å"You wouldn’t ask that if you knew your history. Trantor is the Empire through thousands of years of custom. An Emperor who is not at the Imperial Palace is not the Emperor. He is a place, even more than a person.† Seldon sank into silence, his face rigid, and after a while Dors asked, â€Å"What’s the matter, Hari?† â€Å"I’m thinking,† he said in a muffled voice. â€Å"Ever since you told me that hand-on-thigh story, I’ve had fugitive thoughts that-Now your remark about the Emperor being a place rather than a person seems to have struck a chord.† â€Å"What kind of chord?† Seldon shook his head. â€Å"I’m still thinking. I may be all wrong.† His glance at Dors sharpened, his eyes coming into focus. â€Å"In any case, we ought to go down and have breakfast. We’re late and I don’t think Mistress Tisalver is in a good enough humor to have it brought in for us.† â€Å"You optimist,† said Dors. â€Å"My own feeling is that she’s not in a good enough humor to want us to stay-breakfast or not. She wants us out of here.† â€Å"That may be, but we’re paying her.† â€Å"Yes, but I suspect she hates us enough by now to scorn our credits.† â€Å"Perhaps her husband will feel a bit more affectionate concerning the rent.† â€Å"If he has a single word to say, Hari, the only person who would be more surprised than me to hear it would be Mistress Tisalver.-Very well, I’m ready.† And they moved down the stairs to the Tisalver portion of the apartment to find the lady in question waiting for them with less than breakfast-and with considerably more too. 78. Casilia Tisalver stood ramrod straight with a tight smile on her round face and her dark eyes glinting. Her husband was leaning moodily against the wall. In the center of the room were two men who were standing stiffly upright, as though they had noticed the cushions on the floor but scorned them. Both had the dark crisp hair and the chick black mustache to be expected of Dahlites. Both were thin and both were dressed in dark clothes so nearly alike that they were surely uniforms. There was thin white piping up and over the shoulders and down the sides of the tubular trouser legs. Each had, on the right side of his chest, a rather dim Spaceship-and-Sun, the symbol of the Galactic Empire on every inhabited world of the Galaxy, with, in this case, a dark â€Å"D† in the center of the sun. Seldon realized immediately that these were two members of the Dahlite security forces. â€Å"What’s all this?† said Seldon sternly. One of the men stepped forward. â€Å"I am Sector Officer Lanel Russ. This is my partner, Gebore Astinwald.† Both presented glittering identification holo-tabs. Seldon didn’t bother looking at them. â€Å"What it is you want?† Russ said calmly, â€Å"Are you Hari Seldon of Helicon?† â€Å"I am.† â€Å"And are you Dors Venabili of Cinna, Mistress?† â€Å"I am,† said Dors. â€Å"I’m here to investigate a complaint that one Hari Seldon instigated a riot yesterday.† â€Å"I did no such thing,† said Seldon. â€Å"Our information is,† said Russ, looking at the screen of a small computer pad, â€Å"that you accused a newsman of being an Imperial agent, thus instigating a riot against him.† Dors said, â€Å"It was I who said he was an Imperial agent, Officer. I had reason to think he was. It is surely no crime to express one’s opinion. The Empire has freedom of speech.† â€Å"That does not cover an opinion deliberately advanced in order to instigate a riot.† â€Å"How can you say it was, Officer?† At this point, Mistress Tisalver interposed in a shrill voice, â€Å"I can say it, Officer. She saw there was a crowd present, a crowd of gutter people who were just looking for trouble. She deliberately said he was an Imperial agent when she knew nothing of the sort and she shouted it to the crowd to stir them up. It was plain that she knew what she was doing.† â€Å"Casilia,† said her husband pleadingly, but she cast one look at him and he said no more. Russ turned to Mistress Tisalver. â€Å"Did you lodge the complaint, Mistress?† â€Å"Yes. These two have been living here for a few days and they’ve done nothing but make trouble. They’ve invited people of low reputation into my apartment, damaging my standing with my neighbors.† â€Å"Is it against the law, Officer,† asked Seldon, â€Å"to invite clean, quiet citizens of Dahl into one’s room? The two rooms upstairs are our rooms. We have rented them and they are paid for. Is it a crime to speak to Dahlites in Dahl, Officer?† â€Å"No, it is not,† said Russ. â€Å"That is not part of the complaint. What gave you reason, Mistress Venabili, to suppose the person you so accused was, in fact, an Imperial agent?† Dors said, â€Å"He had a small brown mustache, from which I concluded he was not a Dahlite. I surmised he was an Imperial agent.† â€Å"You surmised? Your associate, Master Seldon, has no mustache at all. Do you surmise he is an Imperial agent?† â€Å"In any case,† said Seldon hastily, â€Å"there was no riot. We asked the crowd to take no action against the supposed newsman and I’m sure they didn’t.† â€Å"You’re sure, Master Seldon?† said Russ. â€Å"Our information is that you left immediately after making your accusation. How could you witness what happened after you left?† â€Å"I couldn’t,† said Seldon, â€Å"but let me ask you-Is the man dead? Is the man hurt?† â€Å"The man has been interviewed. He denies he is an Imperial agent and we have no information that he is. He also claims he was handled roughly.† â€Å"He may well be lying in both respects,† said Seldon. â€Å"I would suggest a Psychic Probe.† â€Å"That cannot be done on the victim of a crime,† said Russ. â€Å"The sector government is very firm on that. It might do if you two, as the criminals in this case, each underwent a Psychic Probe. Would you like us to do that?† Seldon and Dors exchanged glances for a moment, then Seldon said, â€Å"No, of course not.† â€Å"Of course not,† repeated Russ with just a tinge of sarcasm in his voice, â€Å"but you’re ready enough to suggest it for someone else.† The other officer, Astinwald, who had so far not said a word, smiled at this. Russ said, â€Å"We also have information that two days ago you engaged in a knife fight in Billibotton and badly hurt a Dahlite citizen named†-he struck a button on his computer pad and studied the new page on the screen-â€Å"Elgin Marron.† Dors said, â€Å"Does your information tell you how the fight started?† â€Å"That is irrelevant at the moment, Mistress. Do you deny that the fight took place?† â€Å"Of course we don’t deny the fight took place,† said Seldon hotly, â€Å"but we deny that we in any way instigated that. We were attacked. Mistress Venabili was seized by this Marron and it was clear he was attempting to rape her. What happened afterward was pure self-defense. Or does Dahl condone rape?† Russ said with very little intonation in his voice, â€Å"You say you were attacked? By how many?† â€Å"Ten men.† â€Å"And you alone-with a woman-defended yourself against ten men?† â€Å"Mistress Venabili and I defended ourselves. Yes.† â€Å"How is it, then, that neither of you shows any damage whatever? Are either of you cut or bruised where it doesn’t show right now?† â€Å"No, Officer.† â€Å"How is it, then, that in the fight of one-plus a woman-against ten, you are in no way hurt, but that the complainant, Elgin Marron, has been hospitalized with wounds and will require a skin transplant on his upper lip?† â€Å"We fought well,† said Seldon grimly. â€Å"Unbelievably well. What would you say if I told you that three men have testified that you and your friend attacked Marron, unprovoked?† â€Å"I would say that it belies belief that we should. I’m sure that Marron has a record as a brawler and knifeman. I tell you that there were ten there. Obviously, six refused to swear to a lie. Do the other three explain why they did not come to the help of their friend if they witnessed him under unprovoked attack and in danger of his life? It must be clear to you that they are lying.† â€Å"Do you suggest a Psychic Probe for them?† â€Å"Yes. And before you ask, I still refuse to consider one for us.† Russ said, â€Å"We have also received information that yesterday, after leaving the scene of the riot, you consulted with one Davan, a known subversive who is wanted by the security police. Is that true?† â€Å"You’ll have to prove that without help from us,† said Seldon. â€Å"We’re not answering any further questions.† Russ put away his pad. â€Å"I’m afraid I must ask you to come with us to headquarters for further interrogation.† â€Å"I don’t think that’s necessary, Officer,† said Seldon. â€Å"We are Outworlders who have done nothing criminal. We have tried to avoid a newsman who was annoying us unduly, we tried to protect ourselves against rape and possible murder in a part of the sector known for criminal behavior, and we’ve spoken to various Dahlites. We see nothing there to warrant our further questioning. It would come under the heading of harassment.† â€Å"We make these decisions,† said Russ. â€Å"Not you. Will you please come with us?† â€Å"No, we will not,† said Dors. â€Å"Watch out!† cried out Mistress Tisalver. â€Å"She’s got two knives.† Officer Russ sighed and said, â€Å"Thank you, Mistress, but I know she does.† He turned to Dors. â€Å"Do you know it’s a serious crime to carry a knife without a permit in this sector? Do you have a permit?† â€Å"No, Officer, I don’t.† â€Å"It was clearly with an illegal knife, then, that you assaulted Marron? Do you realize that that greatly increases the seriousness of the crime?† â€Å"It was no crime, Officer,† said Dors. â€Å"Understand that. Marron had a knife as well and no permit, I am certain.† â€Å"We have no evidence to that effect and while Marron has knife wounds, neither of you have any.† â€Å"Of course he had a knife, Officer. If you don’t know that every man in Billibotton and most men elsewhere in Dahl carry knives for which they probably don’t have permits, then you’re the only man in Dahl who doesn’t know. There are shops here wherever you turn that sell knives openly. Don’t you know that?† Russ said, â€Å"It doesn’t matter what I know or don’t know in this respect. Nor does it matter whether other people are breaking the law or how many of them do. All that matters at this moment is that Mistress Venabili is breaking the anti-knife law. I must ask you to give up those knives to me right now, Mistress, and the two of you must then accompany me to headquarters.† Dors said, â€Å"In that case, take my knives away from me.† Russ sighed. â€Å"You must not think, Mistress, that knives are all the weapons there are in Dahl or that I need engage you in a knife fight. Both my partner and I have blasters that will destroy you in a moment, before you can drop your hands to your knife hilt-however fast you are. We won’t use a blaster, of course, because we are not here to kill you. However, each of us also has a neuronic whip, which we can use on you freely. I hope you won’t ask for a demonstration. It won’t kill you, do you permanent harm of any kind, or leave any marks-but the pain is excruciating. My partner is holding a neuronic whip on you right now. And here is mine.-Now, let us have your knives, Mistress Venabili.† There was a moment’s pause and then Seldon said, â€Å"It’s no use, Dors. Give him your knives.† And at that moment, a frantic pounding sounded at the door and they all heard a voice raised in high-pitched expostulation. 79. Raych had not entirely left the neighborhood after he had walked them back to their apartment house. He had eaten well while waiting for the interview with Davan to be done and later had slept a bit after finding a bathroom that more or less worked. He really had no place to go now that all that was done. He had a home of sorts and a mother who was not likely to be perturbed if he stayed away for a while. She never was. He did not know who his father was and wondered sometimes if he really had one. He had been told he had to have one and the reasons for that had been explained to him crudely enough. Sometimes he wondered if he ought to believe so peculiar a story, but he did find the details titillating. He thought of that in connection with the lady. She was an old lady, of course, but she was pretty and she could fight like a man-better than a man. It filled him with vague notions. And she had offered to let him take a bath. He could swim in the Billibotton pool sometimes when he had some credits he didn’t need for anything else or when he could sneak in. Those were the only times he got wet all over, but it was chilly and he had to wait to get dry. Taking a bath was different. There would be hot water, soap, towels, and warm air. He wasn’t sure what it would feel like, except that it would be nice if she was there. He was walkway-wise enough to know of places where he could park himself in an alley off a walkway that would be near a bathroom and still be near enough to where she was, yet where he probably wouldn’t be found and made to run away. He spent the night thinking strange thoughts. What if he did learn to read and write? Could he do something with that? He wasn’t sure what, but maybe they could tell him. He had vague ideas of being paid money to do things he didn’t know how to do now, but he didn’t know what those things might be. He would have to be told, but how do you get told? If he stayed with the man and the lady, they might help. But why should they want him to stay with them? He drowsed off, coming to later, not because the light was brightening, but because his sharp ears caught the heightening and deepening of sounds from the walkway as the activities of the day began. He had learned to identify almost every variety of sound, because in the underground maze of Billibotton, if you wanted to survive with even a minimum of comfort, you had to be aware of things before you saw them. And there was something about the sound of a ground-car motor that he now heard that signaled danger to him. It had an official sound, a hostile sound. He shook himself awake and stole quietly toward the walkway. He scarcely needed to see the Spaceship-and-Sun on the ground-car. Its lines were enough. He knew they had to be coming for the man and the lady because they had seen Davan. He did not pause to question his thoughts or to analyze them. He was off on a run, beating his way through the gathering life of the day. He was back in less than fifteen minutes. The ground-car was still there and there were curious and cautious onlookers gazing at it from all sides and from a respectful distance. There would soon be more. He pounded his way up the stairs, trying to remember which door he should bang on. No time for the elevator. He found the door-at least he thought he did-and he banged, shouting in a squeak, â€Å"Lady! Lady!† He was too excited to remember her name, but he remembered part of the man’s. â€Å"Hari!† he shouted. â€Å"Let me in.† The door opened and he rushed in-tried to rush in. The rough hand of an officer seized his arm. â€Å"Hold it, kid. Where do you think you’re going?† â€Å"Leggo! I ain’t done nothin’.† He looked about. â€Å"Hey, lady, what’re they doin’?† â€Å"Arresting us,† said Dors grimly. â€Å"What for?† said Raych, panting and struggling. â€Å"Hey, leggo, you Sunbadger. Don’t go with him, lady. You don’t have to go with him.† â€Å"You get out,† said Russ, shaking the boy vehemently. â€Å"No, I ain’t, You ain’t either, Sunbadger. My whole gang is coming. You ain’t gettin’ out, less’n you let these guys go.† â€Å"What whole gang?† said Russ, frowning. â€Å"They’re right outside now. Prob’ly takin’ your ground-car apart. And they’ll take yore apart.† Russ turned toward his partner, â€Å"Call headquarters. Have them send out a couple of trucks with Macros.† â€Å"No!† shrieked Raych, breaking loose and rushing at Astinwald. â€Å"Don’t call!† Russ leveled his neuronic whip and fired. Raych shrieked, grasped at his right shoulder, and fell down, wriggling madly. Russ had not yet turned back to Seldon, when the latter, seizing him by the wrist, pushed the neuronic whip up in the air and then around and behind, while stamping on his foot to keep him relatively motionless. Hari could feel the shoulder dislocate, even while Russ emitted a hoarse, agonized yell. Astinwald raised his blaster quickly, but Dors’s left arm was around his shoulder and the knife in her right hand was at his throat. â€Å"Don’t move!† she said. â€Å"Move a millimeter, any part of you, and I cut you through your neck to the spine.-Drop the blaster. Drop it! And the neuronic whip.† Seldon picked up Raych, still moaning, and held him tightly. He turned to Tisalver and said, â€Å"There are people out there. Angry people. I’ll have them in here and they’ll break up everything you’ve got. They’ll smash the walls. If you don’t want that to happen, pick up those weapons and throw them into the next room. Take the weapons from the security officer on the door and do the same. Quickly! Get your wife to help. She’ll think twice next time before sending in complaints against innocent people.-Dors, this one on the floor won’t do anything for a while. Put the other one out of action, but don’t kill him.† â€Å"Right,† said Dors. Reversing her knife, she struck him hard on the skull with the haft. He went to his knees. She made a face. â€Å"I hate doing that.† â€Å"They fired at Raych,† said Seldon, trying to mask his own sick feeling at what had happened. They left the apartment hurriedly and, once out on the walkway, found it choked with people, almost all men, who raised a shout when they saw them emerge. They pushed in close and the smell of poorly washed humanity was overpowering. Someone shouted, â€Å"Where are the Sunbadgers?† â€Å"Inside,† called out Dors piercingly. â€Å"Leave them alone. They’ll be helpless for a while, but they’ll get reinforcements, so get out of here fast.† â€Å"What about you?† came from a dozen throats. â€Å"We’re getting out too. We won’t be back.† â€Å"I’ll take care of them,† shrilled Raych, struggling out of Seldon’s arms and standing on his feet. He was rubbing his right shoulder madly. â€Å"I can walk. Lemme past.† The crowd opened for him and he said, â€Å"Mister, lady, come with me. Fast!† They were accompanied down the walkway by several dozen men and then Raych suddenly gestured at an opening and muttered, â€Å"In here, folks. I’ll rake ya to a place no one will ever find ya. Even Davan prob’ly don’t know it. Only thing is, we got to go through the sewer levels. No one will see us there, but it’s sort of stinky†¦ know what I mean?† â€Å"I imagine we’ll survive,† muttered Seldon. And down they went along a narrow spiraling ramp and up rose the mephitic odors to greet them. 80. Raych found them a hiding place. It had meant climbing up the metal rungs of a ladder and it had led them to a large loftlike room, the use of which Seldon could not imagine. It was filled with equipment, bulky and silent, the function of which also remained a mystery. The room was reasonably clean and free of dust and a steady draft of air wafted through that prevented the dust from settling and-more important seemed to lessen the odor. Raych seemed pleased. â€Å"Ain’t this nice?† he demanded. He still rubbed his shoulder now and then and winced when he rubbed too hard. â€Å"It could be worse,† said Seldon. â€Å"Do you know what this place is used for, Raych?† Raych shrugged or began to do so and winced. â€Å"I dunno,† he said. Then he added with a touch of swagger, â€Å"Who cares?† Dors, who had sat down on the floor after brushing it with her hand and then looking suspiciously at her palm, said, â€Å"If you want a guess, I think this is part of a complex that is involved in the detoxification and recycling of wastes. The stuff must surely end up as fertilizer.† â€Å"Then,† said Seldon gloomily, â€Å"those who run the complex will be down here periodically and may come at any moment, for all we know.† â€Å"I been here before,† said Raych. â€Å"I never saw no one here.† â€Å"I suppose Trantor is heavily automated wherever possible and if anything calls for automation it would be this treatment of wastes,† said Dors. â€Å"We may be safe†¦ for a while.† â€Å"Not for long. We’ll get hungry and thirsty, Dors.† â€Å"I can get food and water for us,† said Raych. â€Å"Ya got to know how to make out if you’re an alley kid.† â€Å"Thank you, Raych,† said Seldon absently, â€Å"but right now I’m not hungry.† He sniffed. â€Å"I may never be hungry again.† â€Å"You will be,† said Dors, â€Å"and even if you lose your appetite for a while, you’ll get thirsty. At least elimination is no problem. We’re practically living over what is clearly an open sewer.† There was silence for a while. The light was dim and Seldon wondered why the Trantorians didn’t keep it dark altogether. But then it occurred to him that he had never encountered true darkness in any public area. It was probably a habit in an energy-rich society. Strange that a world of forty billion should be energy-rich, but with the internal heat of the planet to draw upon, to say nothing of solar energy and nuclear fusion plants in space, it was. In fact, come to think of it, there was no energy-poor planet in the Empire. Was there a time when technology had been so primitive that energy poverty was possible? He leaned against a system of pipes through which-for all he knew-sewage ran. He drew away from the pipes as the thought occurred to him and he sat down next to Dors. He said, â€Å"Is there any way we can get in touch with Chetter Hummin?† Dors said, â€Å"As a matter of fact, I did send a message, though I hated to.† â€Å"You hated to?† â€Å"My orders are to protect you. Each time I have to get in touch with him, it means I’ve failed.† Seldon regarded her out of narrowed eyes. â€Å"Do you have to be so compulsive, Dors? You can’t protect me against the security officers of an entire sector.† â€Å"I suppose not. We can disable a few-â€Å" â€Å"I know. We did. But they’ll send out reinforcements†¦ armored ground-cars†¦ neuronic cannon†¦ sleeping mist. I’m not sure what they have, but they’re going to throw in their entire armory. I’m sure of it.† â€Å"You’re probably right,† said Dors, her mouth tightening. â€Å"They won’t find ya, lady,† said Raych suddenly. His sharp eyes had moved from one to the other as they talked. â€Å"They never find Davan.† Dors smiled without joy and ruffled the boy’s hair, then looked at the palm of her hand with a little dismay. She said, â€Å"I’m not sure if you ought to stay with us, Raych. I don’t want them finding you.† â€Å"They won’t find me and if I leave ya, who’ll get ya food and water and who’ll find ya new hidin’ places, so the Sunbadgers’ll never know where to look?† â€Å"No, Raych, they’ll find us. They don’t really look too hard for Davan. He annoys them, but I suspect they don’t take him seriously. Do you know what I mean?† â€Å"You mean he’s just a pain in the†¦ the neck and they figure he ain’t worth chasing all over the lot.† â€Å"Yes, that’s what I mean. But you see, we hurt two of the officers very badly and they’re not going to let us get away with that. If it takes their whole force-if they have to sweep through every hidden or unused corridor in the sector-they’ll get us.† Raych said, â€Å"That makes me feel like†¦ like [natin’n’]. If I didn’t run in there and get zapped, ya wouldn’t have taken out them officers and ya wouldn’t be in such trouble.† â€Å"No, sooner or later, we’d have-uh-taken them out. Who knows? We may have to take out a few more.† â€Å"Well, ya did it beautiful,† said Raych. â€Å"If I hadn’t been aching all over, I could’ve watched more and enjoyed it.† Seldon said, â€Å"It wouldn’t do us any good to try to fight the entire security system. The question is: What will they do to us once they have us? A prison sentence, surely.† â€Å"Oh no. If necessary, we’ll have to appeal to the Emperor,† put in Dors. â€Å"The Emperor?† said Raych, wide-eyed. â€Å"You know the Emperor?† Seldon waved at the boy. â€Å"Any Galactic citizen can appeal to the Emperor.-That strikes me as the wrong thing to do, Dors. Ever since Hummin and I left the Imperial Sector, we’ve been evading the Emperor.† â€Å"Not to the extent of being thrown into a Dahlite prison. The Imperial appeal will serve as a delay-in any case, a diversion-and perhaps in the course of that delay, we can think of something else.† â€Å"There’s Hummin.† â€Å"Yes, there is,† said Dors uneasily, â€Å"but we can’t consider him the do-it-all. For one thing, even if my message reached him and even if he was able to rush to Dahl, how would he find us here? And, even if he did, what could he do against the entire Dahlite security force?† â€Å"In that case,† said Seldon. â€Å"We’re going to have to think of something we can do before they find us.† Raych said, â€Å"If ya follow me, I can keep ya ahead of them. I know every place there is around here.† â€Å"You can keep us ahead of one person, but there’ll be a great many, moving down any number of corridors. We’ll escape one group and bump into another.† They sat in uncomfortable silence for a good while, each confronting what seemed to be a hopeless situation. Then Dors Venabili stirred and said in a tense, low whisper, â€Å"They’re here. I hear them.† For a while, they strained, listening, then Raych sprang to his feet and hissed, â€Å"They comin’ that way. We gotta go this way.† Seldon, confused, heard nothing at all, but would have been content to trust the others’ superior hearing, but even as Raych began moving hastily and quietly away from the direction of the approaching tread, a voice rang out echoing against the sewer walls. â€Å"Don’t move. Don’t move.† And Raych said, â€Å"That’s Davan. How’d he know we were here?† â€Å"Davan?† said Seldon. â€Å"Are you sure?† â€Å"Sure I’m sure. He’ll help.† 81. Davan asked, â€Å"What happened?† Seldon felt minimally relieved. Surely, the addition of Davan could scarcely count against the full force of the Dahl Sector, but, then again, he commanded a number of people who might create enough confusion. He said, â€Å"You should know, Davan. I suspect that many of the crowd who were at Tisalver’s place this morning were your people.† â€Å"Yes, a number were. The story is that you were being arrested and that you manhandled a squadron of Sunbadgers. But why were you being arrested?† â€Å"Two,† said Seldon, lifting two fingers. â€Å"Two Sunbadgers. And that’s bad enough. Part of the reason we were being arrested was that we had gone to see you.† â€Å"That’s not enough. The Sunbadgers don’t bother with me much as a general thing.† He added bitterly, â€Å"They underestimate me.† â€Å"Maybe,† said Seldon, â€Å"but the woman from whom we rent our rooms reported us for having started a riot†¦ over the newsman we ran into on our way to you. You know about that. With your people on the scene yesterday and again this morning and with two officers badly hurt, they may well decide to clean out these corridors-and that means you will suffer. I really am sorry. I had no intention or expectation of being the cause of any of this.† But Davan shook his head. â€Å"No, you don’t know the Sunbadgers. That’s not enough either. They don’t want to clean us up. The sector would have to do something about us if they did. They’re only too happy to let us rot in Billibotton and the other slums. No, they’re after you. What have you done?† Dors said impatiently, â€Å"We’ve done nothing and, in any case, what does it matter? If they’re not after you and they are after us, they’re going to come down here to flush us out. If you get in the way, you’ll be in deep trouble.† â€Å"No, not me. I have friends-powerful friends,† said Davan. â€Å"I told you that last night. And they can help you as well as me. When you refused to help us openly, I got in touch with them. They know who you are, Dr. Seldon. You’re a famous man. They’re in a position to talk to the Mayor of Dahl and see to it that you are left alone, whatever you have done. But you’ll have to be taken away-out of Dahl.† Seldon smiled. Relief flooded over him. He said, â€Å"You know someone powerful, do you, Davan? Someone who responds at once, who has the ability to talk the Dahl government out of taking drastic steps, and who can take us away? Good. I’m not surprised.† He turned to Dors, smiling. â€Å"It’s Mycogen all over again. How does Hummin do it?† But Dors shook her head. â€Å"Too quick.-I don’t understand.† Seldon said, â€Å"I believe he can do anything.† â€Å"I know him better than you do-and longer-and I don’t believe that.† Seldon smiled, â€Å"Don’t underestimate him.† And then, as though anxious not to linger longer on that subject, he turned to Davan. â€Å"But how did you find us? Raych said you knew nothing about this place.† â€Å"He don’t,† shrilled Raych indignantly. â€Å"This place is all mine. I found it.† â€Å"I’ve never been here before,† said Davan, looking about. â€Å"It’s an interesting place. Raych is a corridor creature, perfectly at home in this maze.† â€Å"Yes, Davan, we gathered as much ourselves. But how did you find it?† â€Å"A heat-seeker. I have a device that detects infra-red radiation, the particular thermal pattern that is given off at thirty-seven degrees Celsius. It will react to the presence of human beings and not to other heat sources. It reacted to you three.† Dors was frowning. â€Å"What good is that on Trantor, where there are human beings everywhere? They have them on other worlds, but-â€Å" Davan said, â€Å"But not on Trantor. I know. Except that they are useful in the slums, in the forgotten, decaying corridors and alleyways.† â€Å"And where did you get it?† asked Seldon. Davan said, â€Å"It’s enough that I have it.-But we’ve got to get you away, Master Seldon. Too many people want you and I want my powerful friend to have you.† â€Å"Where is he, this powerful friend of yours?† â€Å"He’s approaching. At least a new thirty-seven-degree source is registering and I don’t see that it can be anyone else.† Through the door strode a newcomer, but Seldon’s glad exclamation died on his lips. It was not Chetter Hummin. How to cite Prelude to Foundation Chapter 16 Officers, Essay examples

Alfred Stieglitz Essay Example For Students

Alfred Stieglitz Essay Alfred Stieglitz was an influential photographer who spent his life fighting for the recognition of photography as a valid art form. He was a pioneering photographer, editor and gallery owner who played pivotal role in defining and shaping modernism in the United States. (Lowe 23). He took pictures in a time when photography was considered as only a scientific curiosity and not an art. As the controversy over the art value of photography became widespread, Stieglitz began to fight for the recognition of his chosen medium. This battle would last his whole life. Edward Stieglitz, father of Alfred, was born in Germany in 1833. He grew up on a farm, loved nature, and was an artist at heart. Legend has it that, independent and strong willed, Edward Stieglitz ran away from home at the age of sixteen because his mother insisted on upon starching his shirt after he had begged her not to (Lowe 23). Edward would later meet Hedwig Warner and they would have their first son, Alfred. Alfred was the first of six born to his dad Edward and mom Hedwig. As a child Alfred was remembered as a boy with thick black hair, large dark eyes, pale fine skin, a delicately modeled mouth with a strong chin (Peterson 34). In 1871 the Stieglitz family lived at 14 East 60th street in Manhattan. No buildings stood between Central Park and the Stieglitz family home. As Stieglitz got older he started to show interest in photography, posting every photo he could find on his bedroom wall. It wasn’t until he got older that his photography curiosity begin to take charge of his life. Stieglitz formally started photography at the age of nineteen, during his first years at the Berlin Polytechnic School. At this time photography was in its infancy as an art form. Alfred learned the fine arts of photography by watching a local photographer in Berlin working in the store’s dark room. After making a few pictures of his room and himself, he enrolled in a photochemistry course. This is where his photography career would begin. His earliest public recognition came from England and Germany. It began in 1887 when Stieglitz won the first of his many first prizes in a competition. The judge who gave him the award was Dr. P. H. Emerson, then the most widely known English advocate of photography as an art (Doty 23). Dr. Emerson later wrote to Stieglitz about his work sent in to the competition: â€Å"It is perhaps late for me to express my admiration of the work you sent into the holiday competition. It was the spontaneous work in the exhibition and I was delighted with much of it†, (Bry 11). The first photographer organization Alfred joined while still in Berlin, was the German Society of the Friends of Photography. After returning to the United States 1890, Stieglitz joined the Society of Amateur Photographers of New York. These experiences would later help him in years to come. By 1902 Stieglitz had become the authority in his chosen field. Stieglitz found that his achievements were not enough to win recognition for photography. Finally in 1902 he founded an entirely new photography group of his own, the Photo Secession. The focus of the Photo Secession was the advancement of pictorial photography. Stieglitz being the leader gathered a talented group of American photographers headed toward the same common goal, to demonstrate photography as an art form( Lowe 54). This was the first of many Photo Secession shows through which Stieglitz set out and demonstrated photography as an art. Their first Photo Secession exhibition was held at the National Arts Club in New York. Photo Secession shows were supported by galleries all over the world as well as Stieglitz’s own gallery. All these events were reported in Stieglitz’s weekly magazine Camera Work, which Stieglitz founded, edited, and published in fifty volumes from its beginning in 1903 until its end in 1917. Although the Photo Secession group never dissolved, it gradually diminished as an organized group. Essay about WorkWhen Stieglitz returned to America from England, he found that photography, as he understood it, hardly existed. An instrument had been put on the market shortly before, called Kodak. The slogan sent out to advertisers reading, â€Å"You press the button and we’ll do with the rest†. This idea sickened Stieglitz. To Stieglitz it seemed like rotten sportsmanship (Peterson 10). Stieglitz wanted to make photography an art so Stieglitz decided, to do something about it. Camera Notes (1897- 1903) was the most significant American photographic journal of its time (see pict. ). Published monthly by the Camera Club of New York and edited for most of its life by Alfred Stieglitz, the journal embodied major changes for american photography in general and to Stieglitz’ s career in particular. Camera Notes signaled the beginning of the movement of artistic photography in the United States. Over the course of the six years that Camera Notes was published, Sti eglitz witnessed the establishment of an American standard for artistic photography and the â€Å"dissolution of his faith in members† of popular camera clubs. Camera Notes ushered in not only a new century, but also an entirely different attitude toward photography (Peterson 35). This journal represented a noble effort on the part of Stieglitz to work within the territory of the American Camera Club movement (Norman 67). The journal included a number of articles and photographic illustrations he believed would inspire his readers to higher levels of picture making and greater depths of artistic meaning (Peterson 10). Later Stieglitz resigned from being the editor of Camera Club because of others accused him of rule or run tactics. Stieglitz then created his own magazine. Stieglitz had always dreamed of publishing and editing his own independent magazine, Camera Work. In choosing the title Stieglitz felt that he could form a growing belief in any medium. After publishing Camera Work Stieglitz became widely recognized as an international leader in the photographic world. Stieglitz and others who were making photographs of the cultured merit at the turn of the century generally termed their work pictorial rather than artistic (Norman 45). Pictorial photography meant precisely artistic photography in their minds, but the phrase was used in part because it was less threatening to an established artist. Despite this approach, pictorialists were intent upon making pictures with their cameras, by which they meant images of pleasing value. The word pictorial implied an association with pictures, a class of visual phenomenon that was largely made up of fine paintings, prints and drawings. Pictorialists worked with a narrow range of subjects, in part because they wished to downplay the importance of the subject matter. They would later flourish into painter photographers. At the turn of the century, a new class of creative individuals, called painter- photographer emerged. This group fulfilled Stieglitz’ s dream for pictorial photography. Its presence provided the movement with individuals who were trained in the established arts and who legitimized the artistic claims of pictorial photography by the fact that they were willing to use the photographic medium. The very term painter photographer was made up in reference to Frank Eugene who worked simultaneously with Stieglitz in media for a decade. Eugene attended a German fine arts academy, and painted theatrical portraits of the United States. In 1889 he mounted a solo exhibition of pictorial photographs at the Camera Club of New York, which, pointedly, was reviewed in Camera Notes as painting photography (Norman 23). In conclusion Stieglitz’s fight for photography developed into new ideas for future generations. He continued to make his own experiments and to defend the work of others also breaking new ground. The magazines he edited, like the galleries he founded, swiftly became dynamic points of contact between artist and public and a battleground for new ideas.