prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who won more awards, Brothers Quay or Jake Kasdan?

The following are given passages.
Context 1: Passage 1:
Bad Teacher
Bad Teacher is a 2011 American comedy film directed by Jake Kasdan from a screenplay by Lee Eisenberg and Gene Stupnitsky  Starring Cameron Diaz, Justin Timberlake, Lucy Punch, John Michael Higgins and Jason Segel, the film tells the story of a lazy  middle school teacher who hates her job, her students, and her co-workers but returns to teaching after her wealthy fiancé dumps her  Bad Teacher was released in the United States on June 24, 2011, by Columbia Pictures  It grossed $216 2 million 

Plot
Elizabeth Halsey is a lazy, immoral, manipulative, gold-digging teacher at John Adams Middle School in Chicago who curses at her students, drinks heavily, smokes marijuana and lets her kids watch movies so she can sleep through class  She plans to quit teaching and marry her wealthy fiancé, but he dumps her when his mother shows him that Elizabeth is only after his money, so she resumes her job  She tries to win over wealthy substitute teacher Scott Delacorte  Her dedicated and enthusiastic colleague Amy Squirrel also pursues him while Elizabeth rejects advances from the school's gym teacher, Russell Gettis 
Elizabeth plans to have her breasts enlarged and becomes more motivated to do so upon learning Scott's ex-girlfriend had large breasts  However, she cannot afford the $9,300 procedure  Elizabeth attempts to raise money for the surgery through the 7th-grade car wash, wearing provocative clothing and manipulating parents to give her money for more school supplies and tutoring, but her efforts are not enough  Amy informs the principal about Elizabeth's embezzlement, but he dismisses her claims when no evidence is provided  Scott also admits that he is attracted to Amy and only likes Elizabeth as a friend 
Discovering that the teacher of the class with the highest state test scores will receive a $5,700 bonus, Elizabeth decides to change her style of teaching, forcing the class to intensely study To Kill a Mockingbird for the test  However, since it is late in the school year, combined with her unorthodox teaching methods, the students score low on the book quizzes, further frustrating her  Meanwhile, she befriends Russell, as Amy and Scott start dating 
Elizabeth plans to steal the state test answers by impersonating a journalist and seducing Carl Halabi, a state professor in charge of creating and distributing the exams  She convinces Carl to go into his office to have sex, but drugs him and steals the answer key  A month later Elizabeth wins the bonus, completing her needed funds, and books her breast enlargement 
When Elizabeth learns that Amy and Scott are chaperoning an upcoming field trip, she smears an apple with poison ivy and leaves it for Amy, who ends up with blisters covering her face and cannot go  On the trip, Elizabeth seduces Scott  They dry hump and Elizabeth secretly leaves Amy a message through Scott's phone, recording all the action  However, Scott's ever-changing ideals disappoint Elizabeth  After her student Garrett is taunted by his classmates for confessing to an unrequited attraction to a superficial girl in the class named Chase, Elizabeth consoles him and helps make him popular, which prompts her to begin reflecting on her own superficial ways 
Back at the school, Amy switches Elizabeth's desk with her own to trick the janitor into unlocking Elizabeth's sealed drawer  The evidence Amy finds leads her to suspect Elizabeth cheated on the state exam  Amy informs the principal and gets Carl to testify against her  However, Elizabeth took embarrassing photos of Carl while he was drugged and uses them to blackmail him to say she is innocent  Having been informed that her desk was switched, Elizabeth states that teachers in the school use drugs  When the police bring a sniffer dog to search the school, they find Elizabeth's mini liquor bottles, marijuana and OxyContin pills in Amy's classroom, in Elizabeth's desk, leading to Amy getting arrested and transferred to another school by the superintendent  Scott asks Elizabeth to start over, but she rejects him in favor of Russell, having learned they have a lot in common 
When the new school year starts, Elizabeth has reformed  She is kinder to her co-workers, and has started a relationship with Russell, and did not get her breasts enlarged because she feels that it is unnecessary  Elizabeth also has a new position as the new guidance counselor 

Cast
Production
Bad Teacher is directed by Jake Kasdan based on a screenplay by Lee Eisenberg and Gene Stupnitsky  Columbia Pictures purchased Eisenberg and Stupnitsky's spec script in August 2008  In May 2009, Kasdan was hired to direct Bad Teacher  The following December, Cameron Diaz was cast in the film's lead role  Justin Timberlake was cast opposite Diaz in March 2010, and filming began later in the month 

Release
Box office
The film grossed $100 3 million in the U S  and Canada, while its worldwide total stands at $216 2 million The film was released in North America on June 20, 2011, in 3,049 theaters  It took in $12,243,987—$4,016 per theater—in its opening day, and grossed a total of $31,603,106 in its opening weekend, finishing second at the box office, behind Cars 2  In Germany, the film reached No  1 on the country's Cinema Charts in its opening week after 496,000 people saw the film  This caused Kung Fu Panda 2, which reached No  1 the week before, to fall to No  2 

Critical response
On Rotten Tomatoes, the film has an approval rating of 45% based on 192 reviews and a rating average of 5 3/10  The site's critical consensus reads, "In spite of a promising concept and a charmingly brazen performance from Cameron Diaz, Bad Teacher is never as funny as it should be " Metacritic gave the film a score of 47 out of 100 based on 38 critics, indicating "mixed or average reviews"  CinemaScore polls reported that moviegoers gave the film an average grade of "B+" on an A+ to F scale 

Accolades
Home media
Bad Teacher was released on DVD, Blu-ray, and a combo pack on October 18, 2011 

Possible sequel and TV series
On June 20, 2013, Sony announced that it was working on Bad Teacher 2  The company hired Justin Malen to write the sequel  Lee Eisenberg and Gene Stupnitsky, who wrote the first film, will return as producers  A release from Sony studios said the project is "being developed for Cameron Diaz to star in the film, but no deal is yet set with the actress " Jake Kasdan will again be the director On May 23, 2013, CBS announced a TV series based on the movie, with CBS Studios and Sony Pictures Television as production partners  The show premiered on April 24, 2014, in the 9:30pm time slot  Ari Graynor played the Cameron Diaz role, while Sara Gilbert, Ryan Hansen, David Alan Grier, Kristin Davis and Sara Rodier also appeared  On May 10, 2014, CBS canceled Bad Teacher after airing only three episodes  Bad Teacher last aired during the spring TV season on May 22, 2014  However, in July 2014, CBS burned off the remaining unseen episodes by showing two episodes on Saturday nights 
Passage 2:
Pilot (New Girl)
"Pilot" is the first episode of the first season of New Girl  The episode was written by Elizabeth Meriwether, and directed by Jake Kasdan  The episode first aired on Fox in the United States on September 20, 2011 to positive reviews 

Plot
The show begins with Jessica "Jess" Day talking to her friend Cece, a model, about seducing her boyfriend by coming home early and stripping down for him  While talking to Cece on the phone, we hear that she is naked in the back of the cab wearing a big trench coat  When asked what her stripper name will be, she replies 'Rebecca Johnson', then 'Two Boobs Johnson', and later 'Tiger Boobs'  Jess comes home and her boyfriend Spencer is shocked to see her there, but he is cheating on her with another woman who comes out of the bedroom while Jess is attempting a striptease with pillows and bows  While doing a mediocre job on seducing him (taking off the trench coat and doing "sexy stuff' to various objects), the girl comes out and Jess is shocked  Now she lives with three single men (whom she found on Craigslist and thought they were women) called Nick, Schmidt and Coach in an apartment  During most of the week she lives there, she begins to have mood swings about her break up such as watching Dirty Dancing  Her roommates are sick of it and invite her to a bar to find a man on the rebound  She ends up on a date but her date bails on her and he goes to the same party as her roommates are at  They all go to the restaurant and cheer Jess up by singing "(I've Had) The Time of My Life" proving that they do care about her as a friend 

Production
The episode was written by Elizabeth Meriwether, and directed by Jake Kasdan  The episode first aired on Fox in the United States on September 20, 2011  Speaking of the show Zooey Deschanel claimed that her character in New Girl resembles a younger version of herself  She said "I think Jess as a person, and the way that her personality is, has some of myself and especially some of my younger self," she suggested  "[She resembles] my 13-year-old self " Deschanel added that Jess will explore her lost youth after she is dumped by her long-term boyfriend  "I have to find a new support system, so I'm basically living my 20s as I approach my 30s," she explained 

Reception
When the episode was first broadcast it pulled in more viewers than its lead in, the Fox comedy-drama Glee for the episode "The Purple Piano Project", which brought in 8 9m (5 4) in the 8:00 p m  hour, after which New Girl launched with 10 1m (4 7) 

Accolades
Jake Kasdan was nominated for the Primetime Emmy Award for Outstanding Directing for a Comedy Series for this episode 
Passage 3:
The Piano Tuner of Earthquakes
The Piano Tuner of Earthquakes is a 2005 animated drama film by the Brothers Quay, featuring Amira Casar, Gottfried John, Assumpta Serna and Cesar Sarachu  It was the second feature-length film by the Brothers Quay and their first film in over ten years 

Plot
A 19th-century opera singer is murdered on-stage shortly before her forthcoming wedding  Soon after being slain by the nefarious Dr  Emmanuel Droz during a live performance, Malvina van Stille is spirited away to the inventor's remote villa to be reanimated and forced to play the lead in a grim production staged to recreate her abduction  As the time for the performance draws near, piano tuner of earthquakes Felisberto sets out to activate the seven essential automata who dot the dreaded doctor's landscape and make sure all the essential elements are in place  Once again instilled with life after her brief stay in the afterworld, amnesiac Malvina is soon drawn to the mysterious Felisberto as a result of his uncanny resemblance to her one-time fiancé Adolfo 

See also
List of stop-motion films

External links
The Piano Tuner of Earthquakes at Metacritic
The Piano Tuner of Earthquakes at Rotten Tomatoes
The Piano Tuner of Earthquakes' at MovieScore Media
The Piano Tuner of Earthquakes at IMDb
The Piano Tuner of Earthquakes at AllMovie
Catsoulis, Jeannette (17 November 2006)  "Film in Review: The Piano Tuner of Earthquakes"  The New York Times  Retrieved 1 January 2018 
Passage 4:
Sex Tape (film)
Sex Tape is a 2014 American sex comedy film directed by Jake Kasdan and distributed by Sony Pictures Releasing  It was written by Jason Segel, Nicholas Stoller, and Kate Angelo and stars Segel, Cameron Diaz, Rob Corddry, Ellie Kemper, and Rob Lowe  Its story follows a married couple who make a sex tape to spice up their relationship only to wake up the next morning to find that it has gone missing  This sparks a frantic search in an attempt to find it 
The film was produced by Columbia Pictures and was released on July 18, 2014  It grossed $14 6 million in its opening weekend and $126 1 million worldwide, against a budget of $40 million  It received generally negative reviews 

Plot
Jay and Annie Hargrove are a married couple who used to have sex at every opportunity  Now, after having two kids, they rarely are intimate  
Getting her mother to keep the kids overnight, the couple try roleplaying and trying having sex in less orthodox parts of the house, but then Jay struggles to get an erection  So, Annie suggests making a sex tape and they film themselves having sex in every position listed in The Joy of Sex on his tablet 
When done, Annie asks Jay to delete the recording to be safe, but an application on the tablet ends up instead inadvertently synchronizing the video to several iPads he had given away over time  After failing to get it out of the cloud, they set out to get back all of the gifted iPads, leading to a series of awkward encounters and close calls 
The couple relatively easily manage to delete the video on both her mother's and their son's tablets  Their close friends, Robbie and Tess, invite them in and then Annie and Jay end up having to explain themselves  Their friends, without any real plans, tag along as they seek the tablets  
Their most challenging recovery of a tablet is from the house of Annie's potential boss, Hank Rosenbaum  Under the guise of seeking money for a charity, Annie distracts him while Jay searches the house for the tablet  In the process, she tries cocaine for the first time and Jay battles with Hank's German shepherd  
In the end, Robbie and Tess are the ones who get it back 
After collecting the iPads and deleting the videos, their friend's son, Howard, threatens to upload a copy of their sex tape to YouPorn unless they give him $25,000  After failing to get the money, they break into the YouPorn headquarters and begin to destroy their web servers  
The couple's plan is quickly thwarted when an alarm sounds  The owner, his guards and his wife confront them and threaten to call the police  However, after explaining it was to protect their family, their two young  children come out  The owner's wife convinces him to take pity on them, so he agrees not to do so in exchange for $15,000 to cover the damage  Removing their video, he explains that all they had to do to have a video removed was send him an e-mail request to do so 
After they have deleted all videos, Howard comes over to the house and gives Jay the only remaining copy of the video on a USB flash drive  This is in exchange for being allowed to hang out with their son, Clive, since he is his only friend 
As the film comes to a close, Jay and Annie decide to watch the video once themselves  Afterwards, they take the USB flash drive and go outside to smash it with a hammer, blend it, burn it with fire, and bury the remains 

Cast
Production
Development
Sony Pictures acquired the script in June 2011, which was based on an original story created by Kate Angelo  Nicholas Stoller was in early talks to direct but eventually backed out with Jake Kasdan instead directing the picture   Before Diaz signed on, Reese Witherspoon, Amy Adams, Emily Blunt, Rose Byrne, and Jennifer Garner were all considered for the female lead Principal photography began on September 12, 2013, in Newton, Massachusetts  Hank's house is situated in the western Greater Boston suburb of Weston 

Release
On March 17, 2014, the first poster and some photos from the film were released, followed by a red band trailer on April 2, 2014, and a green band trailer on April 24, 2014  On June 5, Sony UK released an international trailer of the film On May 30, 2014, the film's release date was pushed up from July 25, 2014 to July 18 On June 19, a final red band trailer was released, which was attached theatrically with the Melissa McCarthy comedy Tammy 

Indian censorship
The Examining Committee of the Central Board of Film Certification (CBFC) in India rejected its first version of the film  After some changes, they accepted the film and it was released in the country on August 29, 2014 

Box office
At the end of its box office run, Sex Tape earned a gross of $38 5 million in the US and Canada and $87 5 million in other territories, for a worldwide total of $126 1 million against a budget of $40 million The film was released in 2,457 theaters in North America and earned $1 1 million in its opening Thursday evening showings  In its opening weekend, the film grossed $14 6 million, finishing in fourth behind Dawn of the Planet of the Apes ($36 2 million), as well as newcomers The Purge: Anarchy ($29 8 million) and Planes: Fire & Rescue ($17 5 million) The film topped the UK box office in its opening weekend with a gross of £1 43 million  It dropped to number 4 in its second week grossing £673,478  The film opened at #1 in markets like Bulgaria, Netherlands, Slovenia in their respective opening weekend  The biggest market in other territories being Germany, United Kingdom, Australia, where the film earned a gross of $12 14 million, $7 14 million and $6 9 million respectively 

Critical response
Rotten Tomatoes, a review aggregator, reports that 16% of 157 surveyed reviews gave the film a positive review; the average rating is 4 1/10  The site's critical consensus reads, "With neither the conviction to embrace its smutty premise nor enough laughs to function as a worthwhile rom-com, the flaccid Sex Tape suffers from cinematic impotence " On Metacritic, the film has a score of 36 out of 100 based on 36 critics, indicating "generally unfavorable reviews"  Audiences polled by CinemaScore gave the film an average grade of "C+" on an A+ to F scale Peter Bradshaw of The Guardian called the film "a timely naughty-but-nice romcom with too few laughs", giving it two out of five stars 

Accolades
See also
Passage 5:
Jake Kasdan
Jacob Kasdan (born October 28, 1974) is an American filmmaker and actor  He is best known for directing Walk Hard (2007), Bad Teacher (2011), Sex Tape (2014), Jumanji: Welcome to the Jungle (2017) and Jumanji: The Next Level (2019) 

Early life
Kasdan was born and raised in a Jewish family, with little religious education in Detroit, Michigan, the son of Meg (née Goldman), a writer, and writer-director Lawrence Kasdan  His younger brother, Jon Kasdan, also works in the film and television industry as an actor and writer 

Career
Kasdan has directed seven theatrical films: Zero Effect (1998), Orange County (2002), The TV Set (2006), Walk Hard: The Dewey Cox Story (2007), Bad Teacher (2011), Sex Tape (2014), Jumanji: Welcome to the Jungle (2017) and Jumanji: The Next Level (2019)  He has also worked in television, most notably with Judd Apatow, as a consulting producer and director on Freaks and Geeks and as a director on Undeclared  He has also directed numerous stage productions  He is attached to direct John Grisham novel Calico Joe to a family film adaptation 
In 2008, Kasdan received his first Golden Globe nomination for Walk Hard in the Best Original Song category (shared with John C  Reilly, Judd Apatow, and Marshall Crenshaw), but lost to "Guaranteed" from Into the Wild (written by Eddie Vedder) 
As a child, he made several appearances in his father's movies such as The Big Chill and Silverado (in the former he is an autograph seeker at a funeral and in the latter a stable boy) 
After the success of New Girl, Kasdan announced that on July 11, 2012, that he had signed a deal with 20th Century Fox Television, through The Detective Agency, to pursue own projects In February 2015, Fox announced it had greenlit a pilot for the comedy The Grinder to be directed by Kasdan and starring Rob Lowe On March 26, 2019, The Detective Agency's producing partners Jake Kasdan and Melvin Mar reupped, and signed a new overall deal at 20th Century Fox Television In October 2021, it was announced that Disney+ had given a series order to a television adaptation of graphic novel, American Born Chinese  It will be produced by 20th Century Television with Kelvin Yu and Charles Yu as writers and executive producers, Marvin Mar and Kasdan as executive producers, and Destin Daniel Cretton as director and executive producer  Most recently, he served as executive producer of the workplace comedy pilot XYZ at ABC 

Personal life
Kasdan is married to singer-songwriter Inara George of The Bird and the Bee  They have three children, including twins 

Filmography
Films
Acting credits

Soundtrack credits

Other credits

Television and web
Acting credits

Music video
Believe by Shawn Mendes (2015)

Awards
Passage 6:
Brothers Quay
Stephen and Timothy Quay ( KWAY; born June 17, 1947) are American identical twin brothers and stop-motion animators who are better known as the Brothers Quay or Quay Brothers  They received the 1998 Drama Desk Award for Outstanding Set Design for their work on the play The Chairs 

Careers
The Quay Brothers reside and work in England, having moved there in 1969 to study at the Royal College of Art, London after studying illustration (Timothy) and film (Stephen) at the Philadelphia College of Art, now the University of the Arts in Philadelphia  In England they made their first short films, which no longer exist after the only prints were irreparably damaged  They spent some time in the Netherlands in the 1970s and then returned to England, where they teamed up with another Royal College student, Keith Griffiths, who produced all of their films  In 1980 the trio formed Koninck Studios, which is currently based in Southwark, south London 

Style
The Brothers' works from 1979 to the present show a wide range of often esoteric influences, starting with the Polish animators Walerian Borowczyk and Jan Lenica and continuing with the writers Franz Kafka, Bruno Schulz, Robert Walser and Michel de Ghelderode, puppeteers Wladyslaw Starewicz and Czech Richard Teschner and Czech composers Leoš Janáček, Zdeněk Liška and Polish Leszek Jankowski, the last of whom has created many original scores for their work  Czech animator Jan Švankmajer, for whom they named one of their films (The Cabinet of Jan Svankmajer), is also frequently cited as a major influence, but they actually discovered his work relatively late, in 1983, by which time their characteristic style and preoccupations had been fully formed  In a panel discussion with Daniel Bird and Andrzej Klimowski at the Aurora festival in Norwich, they emphasized that a more significant influence on their work was Walerian Borowczyk, who made both animation shorts and live-action features 
Most of their animation films feature puppets made of doll parts and other organic and inorganic materials, often partially disassembled, in a dark, moody atmosphere  Perhaps their best known work is Street of Crocodiles (1986), based on the short story of the same name by the Polish author and artist Bruno Schulz  This short film was selected by director and animator Terry Gilliam as one of the ten best animated films of all time, and critic Jonathan Romney included it on his list of the ten best films in any medium (for Sight and Sound's critics' poll of 2002)  They have made two full-length live action films: Institute Benjamenta (1996), or This Dream People Call Human Life, produced by Keith Griffiths and Janine Marmot, and The Piano Tuner Of Earthquakes (2005), produced by Keith Griffiths  They also directed an animated sequence in the film Frida (2002) 
With very few exceptions, their films have no meaningful spoken dialogue (most have no spoken content at all, while some, such as The Comb (From the Museums of Sleep) (1990) include multilingual background gibberish that is not intended to be coherently understood)  Accordingly, their films are highly reliant on their music scores, of which many have been written especially for them by the Polish composer Leszek Jankowski  In 2000, they contributed a short film to the BBC's Sound On Film series in which they visualised a 20-minute piece by the avant-garde composer Karlheinz Stockhausen  Whenever possible, the Quay Brothers prefer to work with pre-recorded music, though Gary Tarn's score for The Phantom Museum had to be added afterwards when it became impossible to license music by the Czech composer Zdeněk Liška They have created music videos for His Name Is Alive ("Are We Still Married", "Can't Go Wrong Without You"), Michael Penn ("Long Way Down (Look What the Cat Drug In)") and 16 Horsepower ("Black Soul Choir")  Their style has been mimicked to the point that audiences mistakenly believed that the Quay Brothers were responsible for several music videos for Tool but those videos were created by Fred Stuhr and member Adam Jones, whose work is influenced by the Quay Brothers  Although they worked on Peter Gabriel's seminal video "Sledgehammer" (1986) as animators, this was directed by Stephen R  Johnson and the Quay Brothers in order to support their personal projects 
Before turning to film, the Quay Brothers worked as professional illustrators  The first edition of Anthony Burgess' novel The Clockwork Testament, or Enderby's End, included their drawings before the start of each chapter  Nearly three decades before directly collaborating with Stockhausen, they designed the cover of the book Stockhausen: Conversations with the Composer (ed  Jonathan Cott, Simon & Schuster, 1973)  After designing book covers for Gothic and science fiction books while in Philadelphia, the Quay Brothers have created suggestive designs for a variety of publications that seem to reflect not only their own interests in particular authors, covers for Italo Calvino, Louis-Ferdinand Céline or Mark le Fanu's study of the films of Andrei Tarkovsky, but also in themes and motifs that these authors develop  Literary texts are inspirational sources for almost all of their film projects, whether they serve as a point of departure for their own ideas or as a textual basis for filmic scenarios, and not as scripts or screenplays  The prowess in illustration and calligraphy seeps increasingly into many formal elements in their later films, evident as graphic embellishment in the set decoration, or their particular use of patterns in the puppets' costume design  Titles, intertitles and credits appear in a variety of handwritten styles 
In an interview with Robert K  Elder for his book The Best Film You've Never Seen, the Quay Brothers discuss their creative process, stating that “If [a] project does eventually get approval, then we almost invariably chuck [the] original proposal out, not out of any cavalierness, but simply because we know that, as we start building the decors and the puppets, the script begins to grow and evolve very organically ”The critical success of Street of Crocodiles gave the Quay Brothers artistic freedom to explore a shift in subject matter, in part originating in literary and poetic sources that led to exploration of new aesthetic forms, but also because they were able to make extensive experiments in technique, both with cameras and on large stage sets  The Quay Brothers are best known for their puppet and feature-length films  Less known, but no less incisive in their creative development, is their intense engagement in stage design for opera, ballet and theatre: since 1988, the Quay Brothers have created sets and projections for performing arts productions on international stages  Their work at miniature scale has translated into large-scale designs for the theatre and opera productions of director Richard Jones: Prokofiev's The Love for Three Oranges; Feydeau's "A Flea in Her Ear"; Tchaikovsky's Mazeppa; and Molière's "Le Bourgeois Gentilhomme"  Their set design for a revival of Ionesco's "The Chairs" was nominated for a Tony Award in 1998  The Quay Brothers' excursion into feature films and live-action dance films were not an indication of a move away from animation and the literature that inspires them—on the contrary, the film explores the potential which slumbers in the combination of these cinematic techniques  Their puppet animation set designs have been curated as an internationally touring exhibition called "Dormitorium" which toured the east coast of the United States in 2009, including the originating venue of the Rosenwald-Wolf Gallery at the University of the Arts, Philadelphia, followed by Parsons The New School of Design, New York, Old Dominion University, Norfolk, VA and Cornell University, Ithaca, NY 
The Quay Brothers are strongly influenced by literature and the written word - from Eastern-European poetry to South American magic realism 

Lewis Carroll (Alice in Not So Wonderland)
Emma Hauck (In Absentia)
Felisberto Hernández (Unmistaken Hands: Ex Voto F H)
Franz Kafka (The Metamorphosis)
Stanisław Lem (Maska)
Rainer Maria Rilke (Eurydice: She, So Beloved)
Bruno Schulz (Street of Crocodiles)
Robert Walser (The Comb, Institute Benjamenta)Music is an essential part of the Quay Brothers' films, as they also find inspiration in Eastern European classical music  The Quay Brothers' films feature music by the following composers:

Stefan Cichoński (Nocturna Artificialia)
Trevor Duncan (Piano Tuner of Earthquakes)
Leoš Janáček (Leoš Janáček: Intimate Excursions, The Sandman, The Metamorphosis)
Lech Jankowski (Street of Crocodiles, Rehearsals for Extinct Anatomies, Ex-Voto, The Comb, Institute Benjamenta, De Artificiali Perspectiva, or Anamorphosis)
Zygmunt Konieczny (Nocturna Artificialia)
György Kurtag (The Sandman)
Zdeněk Liška (The Cabinet of Jan Švankmajer, The Phantom Museum)
Steve Martland (Songs for Dead Children)
Claudio Monteverdi (Eurydice: She, So Beloved)
Timothy Nelson (Wonderwood, Through The Weeping Glass, Unmistaken Hands: Ex Voto F H , Vade mecum)
Arvo Pärt (Duet)
Krzysztof Penderecki (Ein Brudermord, Inventorium of Traces, Maska)
Sergei Prokofiev (Alice in Not So Wonderland)
Christopher Slaski (Piano Tuner of Earthquakes)
Karlheinz Stockhausen (In Absentia)
Igor Stravinski (Igor, The Paris Years Chez Pleyel 1920-1929)
Gary Tarn (The Phantom Museum, Tempus Fugit)
Antonio Vivaldi (Piano Tuner of Earthquakes)

Legacy
In 2010 The College of Physicians of Philadelphia received a Philadelphia Exhibitions Initiative grant through The Pew Center for Arts & Heritage for an exhibitions project that would include a new work by the Quay Brothers  The Quay Brothers produced a new film entitled Through the Weeping Glass: On the Consolations of Life Everlasting (Limbos & Afterbreezes in the Mütter Museum)  The film is their first made in the United States, produced by Edward Waisnis through his company PRO BONO films in collaboration with Atelier Koninck QBFZ, London and it focuses on the history and collections of the College's famed Mütter Museum  The film, with narration by Derek Jacobi and a musical score by Timothy Nelson, was shot on location in Philadelphia during the summer of 2010 and premiered in autumn 2011, with symposia, at The College of Physicians of Philadelphia in Pennsylvania; New York City's Museum of Modern Art; and the Museum of Jurassic Technology in Los Angeles  The film was subsequently shown at the Wellcome Collection, London, England; the CFC Worldwide Short Film Festival in Toronto, Canada; The Institute of Contemporary Art, Boston, MA; The Museum of Fine Arts, Houston, TX; and at the Wexner Center of the Arts at Ohio State University, Columbus, OH  It was reviewed in both Sight & Sound and Film Comment magazines  The 35mm negative and print were selected for inclusion in the film collection of the Museum of Modern Art 
The Quay Brothers were commissioned by Leeds Canvas, a group of eight cultural organisations in Leeds, UK, to create in May 2012 a major citywide art installation, OverWorlds & UnderWorlds  The commission was one of twelve 'Artists Taking the Lead' projects around the UK, Arts Council England's flagship contribution to the London 2012 Cultural Olympiad  Later in the same year, the Quay Brothers were the subject of a grand retrospective exhibition at the Museum of Modern Art, New York entitled Quay Brothers: On Deciphering the Pharmacist's Prescription for Lip-Reading Puppets which featured work spanning their entire career, tracing back as early as childhood, with much of the material shown for the first time  Organized by Ron Magliozzi, Associate Curator of MoMA's Film Department, the exhibition ran from August 12, 2012 through January 7, 2013 and included a full coinciding film program In 2013, the Quay Brothers were recipients of a residency program award at the Wexner Center of the Arts, Columbus, Ohio  The project they undertook coinciding with this residency was a puppet animation film entitled: Unmistaken Hands: Ex Voto F H –that revolves around the work and life of Uruguyan writer Felisberto Hernández, often referred to as the father of ‘magic realism’, and for whose work the Quay Brothers share an affinity  The production was overseen by Edward Waisnis through PRO BONO films, in collaboration with Atelier Koninck QBFZ, and the support of the Fundación Felisberto Hernández, and features a score composed by Timothy Nelson, who has worked with the Quay Brothers previously  As of January 2014, the Quay Brothers have been in production with The Digital Toy Company on a joint film/video-game project entitled Asleep: I Hear My Name The Quay Brothers' work was exhibited in two further major international exhibitions in 2013/2014  The first, The Quay Brothers' Universum was the Quay Brothers' first 'solo' exhibition in Europe and took place at the EYE Film Institute Netherlands, Amsterdam from December 15, 2013 - March 9, 2014  The second, Metamorfosis  Visiones Fantásticas de Starewitch, Švankmajer y Los Hermanos Quay was held at the Centre de Cultura Contemporània de Barcelona, Barcelona (25 March - 7 September 2014) and La Casa Encendida (2 October 2014 - 11 January 2015), Madrid, respectively  The exhibition was curated by Spanish animation curator, programmer and historian Carolina López Caballero and was a major exploration of the art of stop motion animation, placing the Quay Brothers' work alongside Russian-born puppet animation godfather Ladislas Starewitch and Czech surrealist master Jan Švankmajer 
Hollywood director Christopher Nolan revealed himself to have been an admirer of the Quay Brothers' work since coming across their films late at night when they were originally screened on Channel 4 in the UK  In 2015 Nolan curated a theatrical tour showcasing newly restored 35mm prints of the Quay's films In Absentia, The Comb and Street of Crocodiles  The programme also included the eight-minute 'documentary' Quay (2015) which Nolan directed as an homage to the twins  The programme and Nolan's short received critical acclaim, with Indiewire writing in their review that the Quay Brothers "will undoubtedly have hundreds, if not thousands more fans because of Nolan, and for that The Quay Brothers in 35mm will always be one of latter's most important contributions to cinema" Directly after the launch of the 35mm programme in the states, the Quay Brothers were celebrated at the Bristol Festival of Puppetry, UK (August - September 2015)  A retrospective of their work was curated by animation director Joseph Wallace, who also hosted a conversation with the Quay Brothers about the relationship between their animation and stage work at Watershed (Bristol)  Wallace, along with Puppet Place(the organisation behind the festival), also commissioned the Quay Brothers to create an installation which ran for the duration of the festival and was displayed in a disused control room on a bridge in the centre of Bristol entitled: Homage To The Framed Perspective of an Abridged Conversation Between the Painters Sassetta & Uccello and the Mystical Occurrence that Happened Before Your Arrival  
The Quay Brothers collaborated with Louis Andriessen in 2016 and designed decors for his opera Theatre of The World which premiered at the Walt Disney Concert Hall in Los Angeles  before playing at the Carré Theatre in Amsterdam as part of the Holland Festival  As well as the design, the Quay Brothers also produced animated projections which accompanied the performance 
In October 2016 a two disk Blu-ray collection of the Quay Brothers films dating 1979-2013 entitled "Inner Sanctums" was released by the British Film Institute  The edition includes 24 of the Quay Brothers' short films, of which three are UK premieres and five are world premieres, along with a disk of special features including footnotes, interviews, rare behind the scenes films and Christopher Nolan's short portrait of the brothers; Quay (2015) 

Awards and honours
Filmography
Feature films

Institute Benjamenta, or This Dream People Call Human Life (1995)
The Piano Tuner of Earthquakes (2005)Short films

Nocturne Artificialia: Those Who Desire Without End (1979)
Rain Dance (1980) – a short film for Sesame Street 
Punch And Judy: Tragical Comedy or Comical Tragedy (1980)
Ein Brudermord (1980)
The Eternal Day of Michel de Ghelderode (1981)
Igor, The Paris Years Chez Pleyel (1983)
Leoš Janáček: Intimate Excursions (1983) 
The Cabinet of Jan Svankmajer (1984)
The Epic of Gilgamesh, or This Unnameable Little Broom (1985) Full title: Little Songs of the Chief Officer of Hunar Louse, or This Unnameable Little Broom, being a Largely Disguised Reduction of the Epic of Gilgamesh
Street of Crocodiles (1986)
Rehearsals For Extinct Anatomies (1988)
Stille Nacht I: Dramolet (1988)
Ex-Voto (1989)
The Comb (From The Museums Of Sleep) (1990)
De Artificiali Perspectiva, or Anamorphosis (1991)
The Calligrapher (1991) – an ident commissioned by BBC2 which was later rejected and never broadcast 
Stille Nacht II: Are We Still Married? (1991)
Stille Nacht III: Tales From Vienna Woods (1992)
Stille Nacht IV: Can't Go Wrong Without You (1993)
The Summit (1995)
Duet (2000)
The Sandman (2000)
In Absentia (2000)
Stille Nacht V: Dog Door (2001)
Frida (2002) - animated contribution (dir: Julie Taymor)
Songs For Dead Children (2003)
The Phantom Museum: Random Forays Into the Vaults of Sir Henry Wellcome's Medical Collection (2003)
Alice in Not So Wonderland (2007)
Eurydice: She, So Beloved (2007)
Inventorium of Traces (2009)
Maska (2010)
Bartók Béla: Sonata for Solo Violin (2011)
Through the Weeping Glass: On the Consolations of Life Everlasting (Limbos & Afterbreezes in the Mütter Museum) (2011)
The Metamorphosis (2012)
Unmistaken Hands: Ex Voto F H  (2013)
The Doll's Breath (2019)
Vade mecum (2020)
11 Preliminary Orbits Around Planet Lem (2021)Music videos

Sledgehammer - Peter Gabriel (1986) - animated contribution (dir: Stephen R  Johnson)
Stille Nacht II: Are We Still Married? - His Name is Alive (1991)
Long Way Down (Look What The Cat Drug In) - Michael Penn (1992)
Stille Nacht IV: Can't Go Wrong Without You - His Name is Alive (1993)
"Black Soul Choir - 16 Horsepower (1996)
Stille Nacht V: Dog Door - Sparklehorse (2001)
Ubu Roi - Pere Ubu (2008) - projected music video for live show
Muslingauze - DJ Spooky (2008-2010)
Stille Nacht V: Starman - Sabisha (2008-2010)Commercials

The Repeat Prescription Report (2017) Pharmacy2U
Tempus Fugit (2016) Slow Time, Leffe
Wonderwood (2010) Comme des Garçons
Kinoteka, 1st Polsk Filmfestival ident (2009) Polish Institute, London
Mistletoe Kisses (2007) Galaxy, Mars, Inc 
NHL, Laundromat (2001) Fox Sports
NHL, Library (2001) Fox Sports
Magnets (2001) Chili's
Rice Krispies Treats - Float (2000) Kellogg's
Pitney Chairs (1999) Pitney
Northern Rock (1999) Northern Rock
Mars Celebration (1998) Mars, Inc 
Fox and Crow (1998) Badoit
Lion and Zebra (1998) Badoit
Weed Families (1998) Roundup
Weeds (1998) Roundup
Doritos idents (1997) Frito-Lay
The Wooden Box That Collapses (title sequence) (1997) The End
Lockets Metallica (1996) Mars, Inc 
Swallow (1996) Murphy's Irish Stout
Warriors (1996) Murphy's Irish Stout
Brainfreeze (1995) 7-Eleven Slurpee
Blue Cross (1995) Blue Cross Blue Shield Association 
Dolls (1994) The Partnership for a Drug Free America
Trees (1993) Coca-Cola
Le Bourgeois Gentilhomme (title sequence) (1993) The End
Fun Touch (1989) Nikon
Zenith (1988) MTV
MTV ident (1988) MTV
BFI ident (1998) British Film Institute
Skips (1988) K P  Skips
Dulux (1987) Dulux
Walkers Crisps (1986) Walkers
Honeywell (1986) Honeywell Computers Appearances

The Falls (1980)

Opera, ballet and stage
The Birthday Party (2018) By Harold Pinter, directed by Ian Rickson at the Harold Pinter Theatre, London 
Theatre of the World (2016) By Louis Andriessen, directed by Pierre Audi  Dutch National Opera, Amsterdam/Holland Festival, Amsterdam 
An Evening at the Talk House (2015) By Wallace Shawn, directed by Ian Rickson at the National Theatre, London 
Overworlds & Underworlds (2012) A Leeds Canvas initiative for the 2012 Cultural Olympiad, Leeds 
I looked back when I reached halfway (2011) Collaboration with violinist Alina Ibragimova on Béla Bartók's Sonata for Violin (1944)  Chetham's School of Music/Manchester International Festival, Manchester; Wilton's Music Hall, London 
Bring Me the Head of Ubu Roi (2008) Projections for Pere Ubu  Queen Elizabeth Hall, London 
Paul Bunyan (2007) By Benjamin Britten, directed by Nicholas Broadhurst  Theater am Kornmarkt Bregenz/Theater Luzern 
Pinocchio (2006) By Martin Ward, choreographed and directed by Will Tuckett  Royal Opera House, London 
The Cricket Recovers (2005) By Richard Ayres, directed by Nicholas Broadhurst  Aldeburgh Festival, Suffolk, and Almeida Opera, London 
The Anatomy of a Storyteller (2004) Ballet by Kim Brandstrup  Royal Opera House, London 
Death and Resurrection (2003) By J  S  Bach and Steve Martland, conducted by Sir John Eliot Gardiner, Steve Martland  Four short films illustrating Martland's Street Songs  Tate Modern and St  Paul's Cathedral, London 
The Wind in the Willows (2002) Ballet by Will Tuckett  Royal Opera House, London 
Queen of Spades (2001) Ballet by Kim Brandstrup  Les Grands Ballets Canadiens, Montreal 
Baa-Laamsfest (1999) By Olga Neuwirth, directed by Nicholas Broadhurst  Wiener Festwochen, Vienna 
The Chairs (1997) By Eugène Ionesco, directed by Simon McBurney  Theatre de Complicité and Royal Court, London and John Golden Theater, New York  (The Quay Brothers won the 1998 Drama Desk Award for Best Design and were also nominated for a Tony award)
Cupid & Psyche (1997) Ballet by Kim Brandstrup  Royal Danish Ballet, Copenhagen 
The Hour We Knew Nothing of Each Other (1996) By Peter Handke  Theater ballet directed by Kim Brandstrup  Malmo Dramatiska Theatre, Sweden 
A Midsummer Night’s Dream (1996) By William Shakespeare, directed by Jonathan Miller  Almeida Theatre, London 
Le Bourgeois Gentilhomme (1992) By Molière, directed by Richard Jones  Royal National Theatre, London
Mazeppa (1991) By Pyotr Ilyich Tchaikovsky, directed by Richard Jones  Bregenz Festival/Nederlands Opera
A Flea in Her Ear (1989) By Georges Feydeau, directed by Richard Jones  Old Vic, London 
The Love For Three Oranges (1988) By Sergei Prokofiev, directed by Richard Jones  Opera North, Leeds/English National Opera, London 
Dybbuk (1988) Ballet by Kim Brandstrup  The Place, London 
Passage 7:
Speechless (TV series)
Speechless is an American television sitcom that aired on ABC from September 21, 2016, to April 12, 2019  Created by Scott Silveri and co-executive produced with Christine Gernon, Jake Kasdan, and Melvin Mar, the 20th Television/ABC Signature co-production was greenlighted to series order on May 13, 2016  A first-look trailer was released on the same day  Starring Minnie Driver, John Ross Bowie and Micah Fowler, the sitcom explores the serious and humorous challenges a family faces with a teenager with a disability  On September 29, 2016, the series was picked up for a full 22-episode season  An additional episode was ordered on December 13, 2016, for a 23-episode season  On May 10, 2019, ABC cancelled the series after three seasons 

Plot
The series follows the DiMeo family, each with a unique personality: Maya, a take-charge British mother with a no-holds-barred attitude; her husband Jimmy, who does not seem to care what others think; Dylan, their no-nonsense athletic daughter; Ray, their scholarly middle child who acts as the "voice of reason" in the family; and their oldest son, JJ — a high schooler who has a biting wit and sense of humor, and is diagnosed with cerebral palsy  JJ communicates by using headgear with a laser pointer to indicate various words, letters, and numbers on a board attached to his wheelchair  One of the reasons the DiMeos move frequently, is due to an attempt to find a good educational environment for JJ  They believe they have found an optimal choice when they discover a school that prides itself on being inclusive and where JJ will have an aide support him throughout the school day  Because the school is in an upscale part of town, Jimmy and Maya move the family into the cheapest, most rundown house in an otherwise nice neighborhood  Though they quickly find that not everything is as good as it could be  JJ enjoys having Kenneth, a gentle, well-meaning school groundskeeper with a deep and resonant speaking voice, work as his aide 

Cast and characters
Main
Minnie Driver as Maya DiMeo, the fierce and determined mother of the family
John Ross Bowie as Jimmy DiMeo, the fun-loving, easily persuadable father of the family who is a supervisor of baggage handlers at the airport
Mason Cook as Raymond "Ray" DiMeo, the middle child  Slender and nerdy, he faces constant harassment, mostly from Dylan 
Micah Fowler as Jimmy "JJ" DiMeo Jr , The eldest child with cerebral palsy  He is non-speaking (thus the show's title) and uses a wheelchair  He has a crush on Emma Watson, which serves as a running gag on the show 
Kyla Kenedy as Dylan DiMeo, the athletic youngest child, and only daughter  She enjoys pulling pranks and harassing others, especially Ray 
Cedric Yarbrough as Kenneth Clements, the good-natured aide to JJ who serves as his voice  Although he and Maya tend to butt heads, she is appreciative of his work 

Recurring
Pepper, the happy Golden Retriever who's supposed to be Dylan's pet, but acts like he's more fond of the others
Marin Hinkle as Dr  Ava Miller, the principal of the kids' school who is easily influenced by Maya
Jonathan Slavin as Mr  Powers, one of JJ's teachers
Liz Cackowski as Joyce, JJ's physiotherapist
Sarah Chalke as Melanie Hertzal, Taylor's mother
Kayla Maisonet as Izzy, JJ's girlfriend
Jack Dylan Grazer as Rev
David Lengel as Tad
Sedona Cohen as Taylor, Ray's ex-girlfriend
Cole Massie as Logan, Melanie's son, Taylor's brother, and JJ's nemesis
Karly Rothenberg as Crossing Guard

Special guests
Rob Corddry as Billy, Jimmy's brother
Andrea Anders as Audrey, Billy's wife
Julianne Hough as Miss Bloom, the new choir teacher at the kids' school
Jamie Denbo as Janet, the DiMeos' insurance agent
Jim O'Heir as Stu, the DiMeos' former insurance agent
Ken Marino as Ethan, Maya's ex-boyfriend
Michaela Watkins as Becca, a new mom at the group of families with disabled kids
Zach Anner as Lee, a wheelchair-using young man who Maya asks to speak with JJ about living on his own
Holland Taylor as Andrea, Maya's pretentious mother
Keith David as Colonel Clements, Kenneth's father
John Cleese as Martin, Maya's father who lives in London
Julie White as Helen, Lee's over protective mother
Niecy Nash as Kiki, Kenneth's sister
Lisa Leslie as Kendall, Kenneth's sister
Tricia O'Kelley as Candy Kensington
Rondi Reed as Nina
Christopher Thornton as Chris
Bella Thorne as Cassidy
Jay Chandrasekhar as Coach

Episodes
Production
Development
On January 11, 2016, it was announced that ABC had given the production a pilot order as Speechless  The episode was written by Scott Silveri who was expected to executive produce alongside Christine Gernon, Jake Kasdan and Melvin Mar  Production companies involved with the pilot include Silver and Gold Productions, The Detective Agency, ABC Studios and 20th Century Fox Television  On May 13, 2016, ABC officially ordered the pilot to series  A few days later, it was announced that the series would premiere in the fall of 2016 and air on Tuesdays at 9:30 P M  EST  On September 23, 2016, ABC picked up the series for a full season of 22 episodes and on December 13, they get only one episode  On May 12, 2017, ABC renewed the series for a second season which premiered on September 27, 2017  On May 11, 2018, ABC renewed the series for a third season and announced it would air on Fridays at 8:30 P M  EST and premiered on October 5, 2018 

Casting
On February 24, 2016, it was announced that Cedric Yarbrough had been cast in the pilot  In March 2016, it was reported that Minnie Driver and John Ross Bowie had also joined the pilot's main cast 

Cancellation
Speechless aired on the network ABC for about three years before the ultimate decision to cancel it  The final decision to cancel the show was made due to the fact that it was the lowest-rated series on the network  Variety explains that the last, and concluding season, ranked the lowest within the network with only around 2 3 million live viewers  Deadline notes that former ABC president, Karey Burke explained that the cancellation of the show Speechless was "gut wrenching" decision  Ultimately, the choice was made due to the low number of viewers, as well as the introduction of a new show, Fresh Off The Boat 
One of the main actors, Minnie Driver, notes that while it is saddening that the show has been canceled, the main hope is that the show left a lasting impact on its audience  Minnie Driver, who plays JJ's mom, continued to explain she believes that conversations regarding disability, love, as well as family have been left in better terms than they were found  Another main actor, Micah Fowler, who portrays JJ on the show, took to Twitter to express his gratitude towards the fans, and staff, for the amazing life changing opportunity  While the show was only on air for three years, it left a lasting impression on its audience 

Reception
Critical response
Speechless received largely positive reviews from critics  On Rotten Tomatoes, the series has a rating of 98%, based on 41 reviews, with an average rating of 8 2/10  The site's critical consensus reads, "Speechless speaks to a sensitive topic with a heartfelt lead performance and a fine balance of sensitivity and irreverence " On Metacritic, the series has a score of 79 out of 100, based on 29 critics, indicating "generally favorable reviews" The editors of TV Guide placed Speechless seventh among the top ten picks for the most anticipated new shows of the 2016–17 season  In its review from writer Liam Matthews, "ABC has another worthwhile addition to its strong lineup of modern families with Speechless," adding "It's a clear-eyed and empathetic exploration of life in a special-needs family that makes plenty of room for hilarity "

Representation
Speechless is one of the few shows that portrays the life of a teenager with a disability  It is also one of the few shows that has a disabled actor play the character  According to Bond, there are approximately 21 million children, between the ages of 5 and 15, that have a disability  If television, and the media, were able to mirror the demographics of the U S  then about 14% of characters would be disabled  Speechless was just one example, however it was cancelled after a couple of seasons due to 'low ratings' despite a good audience reception  Bond notes that media representation of disability, both mental and physical, may impact audiences in a more profound manner than telling them what disability is like  Through the introduction of physical disabilities, there is hope to integrate individuals into society, without prejudice and biases  Bond continues to explain that children begin to distinguish and detect differences as young as 4 years of age  Marquis notes that representations in movies like Still Alice and The Theory of Everything are two popular examples that perpetuate inconsistencies about the disabled body  These authors explain that there is disability representation in the media, however it is lacking authenticity and adequate portrayal  Shows like Speechless should be given a platform, for the actors and production team, to speak on the issues surrounding representation 

Ratings
Accolades
Home media
Passage 8:
Walk Hard: The Dewey Cox Story
Walk Hard: The Dewey Cox Story is a 2007 American comedy film directed by Jake Kasdan, and written by Kasdan and co-producer Judd Apatow  It stars John C  Reilly, Jenna Fischer, Tim Meadows and Kristen Wiig  A parody of the biopic genre, Walk Hard is the story of a fictional early rock and roll star played by Reilly 
Walk Hard primarily references the musical biopics Ray (2004) and Walk the Line (2005); in addition to Ray Charles and Johnny Cash, the "Dewey Cox" character includes elements of the lives and careers of other notable musicians including Roy Orbison, Glen Campbell, Bob Dylan, Jerry Lee Lewis, Donovan, John Lennon, James Brown, Jim Morrison, Conway Twitty, Neil Diamond, Hank Williams, and Brian Wilson  The film portrays fictional versions of artists Buddy Holly, the Big Bopper, Elvis Presley, and the Beatles; some artists appear as themselves, including Eddie Vedder, Jewel and Ghostface Killah  In addition, the film parodies or pays tribute to the musical styles of David Bowie, Billy Joel, Van Dyke Parks, the Gun Club, and seventies punk rock 
The film was released in North America on December 21, 2007  It received positive reviews from critics but was a box office bomb, grossing only $20 million against a $35 million budget  The film has since become a cult classic 

Plot
In Springberry, Alabama, 1946, young Dewey Cox accidentally cuts his brother Nate in half with a machete  The trauma causes him to lose his sense of smell  Dewey meets a blues guitarist who discovers his life experience instilled in him a natural affinity for playing blues 
In 1953, Dewey performs at a school talent show and drives the crowd wild with his song "Take My Hand," and his father kicks him out of the house, calling it the "Devil's music"  A 14-year-old Dewey leaves Springberry with his 12-year-old girlfriend Edith; they soon marry and have a baby  
Working at an all-African American nightclub, Dewey replaces singer Bobby Shad onstage and impresses Hasidic Jew record executive L'Chaim  While recording a rockabilly rendition of "That's Amore", he is berated by an executive  A desperate Dewey performs "Walk Hard," a song inspired by a speech he gave Edith, which restores the executive's belief in Judaism and rockets him to superstardom 
The song quickly becomes a hit and Dewey becomes caught up in the rock 'n' roll lifestyle  He soon performs his first concert as the following act to Elvis Presley, Buddy Holly, and The Big Bopper  Dewey is introduced to marijuana by his drummer Sam and becomes unfaithful to Edith  Dewey's father informs him that his mother has died while dancing to Dewey's song and blames Dewey's music for her death  
Distraught, Dewey finds Sam using cocaine and partakes, resulting in a cocaine-fueled punk rock performance  Choir-girl Darlene Madison enters Dewey's life, and he produces several sexually suggestive hit records amid their courtship  He weds Darlene while still married to Edith, which leads to both women leaving him, after which Dewey purchases drugs from an undercover cop  After he serves time in prison and in rehab, Darlene returns 
They move to Berkeley, California in 1966 during the counterculture movement  Dewey's new singing style is compared to that of Bob Dylan, which he angrily denies  In the next scene, a music video shows that Dewey's new song mimics Dylan's style, including opaque lyrics ("The mouse with the overbite explained/how the rabbits were ensnared/ and the skinny scanty sylph/ trashed the apothecary diplomat/ inside the three-eyed monkey/ within inches of his toaster-oven life ")  On a band visit to India, Dewey takes LSD with the Beatles, leading to a Yellow Submarine-esque hallucination  
Dewey becomes consumed with creating his masterpiece Black Sheep (a homage to Brian Wilson's Smile)  The band resents his insane musical style and abusive behavior and breaks up; Darlene, also unable to deal with him, leaves him for Glen Campbell  During another stint in rehab, Dewey is visited by the ghost of Nate, who ridicules his self-pity and tells him to start writing songs again 
In the 1970s, Dewey now hosts a CBS variety television show but is unable to compose a masterpiece for his brother  Nate reappears and urges him to reconcile with their father  Dewey and his father wind up dueling with machetes; despite having trained years for this moment, his father cuts himself in half, forgives Dewey for Nate's death, tells him to be a better father, and dies  Dewey breaks down and destroys almost everything in his home 
Dewey is approached by one of his illegitimate children and decides to reconnect with his many offspring  In 1992, a divorced Darlene returns to him  Finally realizing what is most important, Dewey regains his sense of smell and remarries her 
In 2007, L'Chaim's son Dreidel informs Dewey of his popularity with young listeners through rapper Lil' Nutzzak's sampling of "Walk Hard " Dewey learns he is to receive a lifetime achievement award  They want him to sing a song at the ceremony, but Dewey is reluctant, fearing his old temptations  However, with his family's support, he reunites with his band and is finally able to create one great masterpiece, summing up his entire life with his final song, "Beautiful Ride "
A title card reveals that Dewey died three minutes after this final performance, which then also reads "Dewford Randolph Cox, 1936–2007 " A post-credits scene is a short black-and-white clip of "the actual Dewey Cox, April 16, 2002" (still played by Reilly) 

Cast
Production and development
Jake Kasdan brought the idea to his friend and fellow director Judd Apatow  They then began writing the film together  The tongue-in-cheek references in this fake biopic were drawn from various sources  Apatow and Kasdan noted that they watched various types of biopics for inspiration, including those of Jimi Hendrix and Marilyn Monroe  Despite the humorous approach, the film was crafted in the serious tone of films earmarked for an Oscar, adding to the irony John C  Reilly, who actually sings and plays guitar, was chosen to play the title role  "We took the clichés of movie biopics and just had fun with them," Reilly said  The "deliberate miscasting" of celebrity cameos, such as Elvis Presley and the Beatles, was intended to enhance the comedy  The film's poster is a reference to the "young lion" photos of Jim Morrison 

Reception
On Rotten Tomatoes, the film has an approval rating of 74% based on 134, classifying it as "certified fresh"  The site's consensus states: "A parody that pokes fun at rock stars and reductive biopics alike, this comedy sings in large part because of stellar performances and clever original music " On Metacritic the film has a score of 63 out of 100 based on reviews from 22 critics Roger Ebert gave the film 3 out of 4 stars and wrote: "Instead of sending everything over the top at high energy, like Top Secret! or Airplane!, they allow Reilly to more or less actually play the character, so that, against all expectations, some scenes actually approach real sentiment " Peter Travers of Rolling Stone magazine wrote: "The tricky thing about parody movies is that the jokes get old fast and they're hit-and-miss  Walk Hard, a spoof of every musical biopic from Ray to Walk the Line, is guilty on both counts  How lucky that when the jokes do hit, they kick major ass " A 2022 review of the best comedy films of the 21st century placed this at sixth The film was not commercially successful, taking $18 million at the US box office which was less than the film's $35 million budget John C  Reilly received a Golden Globe nomination for Best Performance in a Musical or Comedy and a nomination for Best Original Song 

Home media
The film was released on DVD and Blu-ray on April 8, 2008  In the opening weekend, 263,001 DVD units were sold, generating revenue of $5,110,109  As of May 2010, DVD sales have gathered revenue of $15,664,735 

Promotional appearances
Along with a backing band "The Hardwalkers", Reilly made seven musical appearances as Dewey Cox in the weeks prior to the film's release date 
December 5, 2007 – Rock & Roll Hall of Fame (Cleveland, OH)
December 6, 2007 – The Cubby Bear (Chicago, IL)
December 7, 2007 – Stubb's BBQ (Austin, TX)
December 8, 2007 – Mercy Lounge (Nashville, TN)
December 10, 2007 – Great American Music Hall (San Francisco, CA)
December 11, 2007 – The Blacksheep (Colorado Springs, CO)
December 13, 2007 – Guitar Center on Sunset Blvd  (Los Angeles, CA)
December 19, 2007 – Knitting Factory (New York, NY)
December 19, 2007 – Performed in the character of Dewey Cox on Good Morning America Several fake commercials were aired including one with John Mayer, hinting Dewey might be his father 

Soundtrack
Singer-songwriters Dan Bern and Mike Viola (of the Candy Butchers) wrote most of the film's songs, including "There's a Change a Happenin'", "Mulatto", "A Life Without You (Is No Life at All)", "Beautiful Ride" and "Hole in My Pants"  Charlie Wadhams and Benji Hughes wrote the song "Let's Duet"  Marshall Crenshaw wrote the title song, and Van Dyke Parks penned the Brian Wilson-esque 1960s-styled psychedelic jam "Black Sheep" (the recording session seems to be a specific parody of Wilson's Smile album sessions, on which Van Dyke Parks worked)  Antonio Ortiz wrote "Take My Hand"  A number of critics noted the unusually high quality of many of the individual songs on the soundtrack, how well they reflected the styles and times they were attempting to parody, and how well they stood on their own as quality compositions  The soundtrack was nominated for both a Grammy and Golden Globe Award and was nominated and won the Sierra Award for Best Song in a Motion Picture from the Las Vegas Film Critics Society  John C  Reilly sang on all the tracks and played guitar on most of them 
Passage 9:
Weird Loners
Weird Loners is an American sitcom that was created by Michael J  Weithorn   The 6-episode first season was ordered straight-to-series by the Fox network in 2014   The series is executive produced by Weithorn and Jake Kasdan  The series premiered on March 31, 2015 On May 11, 2015, Fox canceled the series after one season  Kevin Reilly, the network President who had ordered the series from Weithorn's spec script in 2013, was fired a few months later leaving the series without a champion at the network 

Premise
Four people who fear personal relationships are unexpectedly thrust into one another's lives and form an unlikely bond while living in a townhouse in Queens, New York 

Cast
Becki Newton as Caryn Goldfarb, a high-strung dental hygienist who was engaged to be married but suddenly decides to call off her engagement after a brief fling with Stosh 
Zachary Knighton as Stosh Lewandowski, Eric's sleazy cousin, whose womanizing lifestyle has recently cost him his job  With no job and nowhere to live, he is forced to move in with his cousin Eric 
Nate Torrence as Eric Lewandowski, a toll collector who is suddenly on his own for the first time after his father unexpectedly passes away  After the funeral, his estranged cousin Stosh offers to move in with him 
Meera Rohit Kumbhani as Zara Sandhu, an angst-ridden artist, who befriends Eric after he buys one of her paintings 

Recurring
Susie Essman as Evelyn Goldfarb, Caryn's mother 
David Wain as Howard, Caryn's ex-fiancé 

Critical reception
Weird Loners received mixed reviews, with Rotten Tomatoes giving the series a score of 44% based on reviews from 25critics and an average rating of 5 5 out of 10  The website’s consensus reads: " Weird Loners strands its veteran stars in an overly familiar sitcom structure burdened with a preponderance of humdrum humor "Neil Genzlinger of The New York Times gave the series a positive review, stating: "[Weird Loners is] not loud or frenetic  It’s not particularly cutting-edge  It’s just funny, in a relaxed way that’s welcome somehow in a television spectrum full of pushiness and intensity "Gwen Ihnat of The A V  Club wrote a positive review giving the series a "B+" grade  She observed that "What Weird Loners has in its corner is an appealing cast and some hard-hitting TV vets" and remarked that "Since [Jake] Kasdan and [Michael J ] Weithorn both know their way around a sitcom set, it’s not a surprise that Weird Loners soon adds more gravity than most new shows boast from right out of the gate "

Episodes
Context 2: Passage 1:
Sinbad the Sailor
Sinbad the Sailor (; Arabic: سندباد البحري, romanized: Sindibādu al-Bahriyy  or Sindbad) is a fictional mariner and the hero of a story-cycle  He is described as hailing from Baghdad during the early Abbasid Caliphate (8th and 9th centuries A D )  In the course of seven voyages throughout the seas east of Africa and south of Asia, he has fantastic adventures in magical realms, encountering monsters and witnessing supernatural phenomena 

Origins and sources
The tales of Sinbad are a relatively late addition to the One Thousand and One Nights – they do not feature in the earliest 14th-century manuscript, and they appear as an independent cycle in 18th- and 19th-century collections  The tale reflects the trend within the Abbasid realm of Arab and Muslim sailors exploring the world  The stories display the folk and themes present in works of that time  The Abbasid reign was known as a period of great economic and social growth  Arab and Muslim traders would seek new trading routes and people to trade with  This process of growth is reflected in the Sinbad tales  The Sinbad stories take on a variety of different themes  Later sources include Abbasid works such as the "Wonders of the Created World", reflecting the experiences of 13th century Arab mariners who braved the Indian Ocean The Sinbad cycle is set in the reign of the Abbasid Caliph Harun al-Rashid (786–809)  The Sinbad tales are included in the first European translation of the Nights, Antoine Galland's Les mille et une nuits, contes arabes traduits en français, an English edition of which appeared in 1711 as The new Arabian winter nights entertainments and went through numerous editions throughout the 18th century 
The earliest separate publication of the Sinbad tales in English found in the British Library is an adaptation as The Adventures of Houran Banow, etc  (Taken from the Arabian Nights, being the third and fourth voyages of Sinbad the Sailor ), around 1770  An early US edition, The seven voyages of Sinbad the sailor  And The story of Aladdin; or, The wonderful lamp, was published in Philadelphia in 1794  Numerous popular editions followed in the early 19th century, including a chapbook edition by Thomas Tegg  Its best known full translation was perhaps as tale 120 in Volume 6 of Sir Richard Burton's 1885 translation of The Book of the Thousand Nights and a Night 

Tales
Sinbad the Porter and Sinbad the Sailor
Like the 1001 Nights, the Sinbad story-cycle has a frame story which goes as follows: in the days of Harun al-Rashid, Caliph of Baghdad, a poor porter (one who carries goods for others in the market and throughout the city) pauses to rest on a bench outside the gate of a rich merchant's house, where he complains to God about the injustice of a world which allows the rich to live in ease while he must toil and yet remain poor  The owner of the house hears and sends for the porter, finding that they are both named Sinbad  The rich Sinbad tells the poor Sinbad that he became wealthy "by Fortune and Fate" in the course of seven wondrous voyages, which he then proceeds to relate 

First Voyage of Sinbad the Sailor
After dissipating the wealth left to him by his father, Sinbad goes to sea to repair his fortune  He sets ashore on what appears to be an island, but this island proves to be a gigantic sleeping whale on which trees have taken root ever since the whale was young  Awakened by a fire kindled by the sailors, the whale dives into the depths, the ship departs without Sinbad, and Sinbad is only saved by a passing wooden trough sent by the grace of Allah  He is washed ashore on a densely wooded island  While exploring the deserted island, he comes across one of the king's grooms  When Sinbad helps save the king's mare from being drowned by a sea horse (not a seahorse, but a supernatural horse that lives underwater), the groom brings Sinbad to the king  The king befriends Sinbad, and he rises in the king's favor and becomes a trusted courtier  One day, the very ship on which Sinbad set sail docks at the island, and he reclaims his goods (still in the ship's hold)  Sinbad gives the king his goods and in return the king gives him rich presents  Sinbad sells these presents for a great profit  Sinbad returns to Baghdad, where he resumes a life of ease and pleasure  With the ending of the tale, Sinbad the sailor makes Sinbad the porter a gift of a hundred gold pieces and bids him return the next day to hear more about his adventures 

Second Voyage
On the second day of Sinbad's tale-telling (but the 549th night of Scheherazade's), Sinbad the sailor tells how he grew restless of his life of leisure, and set to sea again, "possessed with the thought of traveling about the world of men and seeing their cities and islands " Accidentally abandoned by his shipmates again, he finds himself stranded in an island which contains roc eggs  He attaches himself with the help of his turban to a roc and is transported to a valley of giant snakes which can swallow elephants; these serve as the rocs' natural prey  The floor of the valley is carpeted with diamonds, and merchants harvest these by throwing huge chunks of meat into the valley: the birds carry the meat back to their nests, and the men drive the birds away and collect the diamonds stuck to the meat  The wily Sinbad straps one of the pieces of meat to his back and is carried back to the nest along with a large sack full of precious gems  Rescued from the nest by the merchants, he returns to Baghdad with a fortune in diamonds, seeing many marvels along the way 

Third Voyage
Sinbad sets sail again from Basra  But by ill chance, he and his companions are cast up on an island where they are captured by a "huge creature in the likeness of a man, black of colour,     with eyes like coals of fire and large canine teeth like boar's tusks and a vast big gape like the mouth of a well  Moreover, he had long loose lips like camel's, hanging down upon his breast, and ears like two Jarms falling over his shoulder-blades, and the nails of his hands were like the claws of a lion " This monster begins eating the crew, beginning with the Reis (captain), who is the fattest  (Burton notes that the giant "is distinctly Polyphemus" )
Sinbad hatches a plan to blind the beast with the two red-hot iron spits with which the monster has been kebabbing and roasting the ship's company  He and the remaining men escape on a raft they constructed the day before  However, the giant's mate hits most of the escaping men with rocks and they are killed  After further adventures (including a gigantic python from which Sinbad escapes using his quick wits), he returns to Baghdad, wealthier than ever 

Fourth Voyage
Impelled by restlessness, Sinbad takes to the seas again and, as usual, is shipwrecked  The naked savages amongst whom he finds himself feed his companions a herb which robs them of their reason (Burton theorises that this might be bhang), prior to fattening them for the table  Sinbad realises what is happening and refuses to eat the madness-inducing plant  When the cannibals lose interest in him, he escapes  A party of itinerant pepper-gatherers transports him to their own island, where their king befriends him and gives him a beautiful and wealthy wife 
Too late Sinbad learns of a peculiar custom of the land: on the death of one marriage partner, the other is buried alive with his or her spouse, both in their finest clothes and most costly jewels  Sinbad's wife falls ill and dies soon after, leaving Sinbad trapped in a cavern, a communal tomb, with a jug of water and seven pieces of bread  Just as these meagre supplies are almost exhausted, another couple—the husband dead, the wife alive—are dropped into the cavern  Sinbad bludgeons the wife to death and takes her rations 
Such episodes continue; soon he has a sizable store of bread and water, as well as the gold and gems from the corpses, but is still unable to escape, until one day a wild animal shows him a passage to the outside, high above the sea  From here, a passing ship rescues him and carries him back to Baghdad, where he gives alms to the poor and resumes his life of pleasure 
Burton's footnote comments: "This tale is evidently taken from the escape of Aristomenes the Messenian from the pit into which he had been thrown, a fox being his guide  The Arabs in an early day were eager students of Greek literature " Similarly, the first half of the voyage resembles the Circe episode in The Odyssey, with certain differences: while a plant robs Sinbad's men of their reason in the Arab tales, it is Circe's magic which "fattened" Odysseus' men in The Odyssey  It is in an earlier episode, featuring the 'Lotus Eaters', that Odysseus' men are fed a similar magical fruit which robs them of their senses 

Fifth Voyage
"When I had been a while on shore after my fourth voyage; and when, in my comfort and pleasures and merry-makings and in my rejoicing over my large gains and profits, I had forgotten all I had endured of perils and sufferings, the carnal man was again seized with the longing to travel and to see foreign countries and islands " Soon at sea once more, while passing a desert island Sinbad's crew spots a gigantic egg that Sinbad recognizes as belonging to a roc  Out of curiosity, the ship's passengers disembark to view the egg, only to end up breaking it and having the chick inside as a meal  Sinbad immediately recognizes the folly of their behaviour and orders all back aboard ship  However, the infuriated parent rocs soon catch up with the vessel and destroy it by dropping giant boulders they have carried in their talons Shipwrecked yet again, Sinbad is enslaved by the Old Man of the Sea, who rides on his shoulders with his legs twisted round Sinbad's neck and will not let go, riding him both day and night until Sinbad would welcome death  (Burton's footnote discusses possible origins for the old man—the orang-utan, the Greek god Triton—and favours the African custom of riding on slaves in this way) Eventually, Sinbad makes wine and tricks the Old Man into drinking some  Sinbad kills him after he falls off  A ship carries him to the City of the Apes, a place whose inhabitants spend each night in boats off-shore, while their town is abandoned to man-eating apes  Yet through the apes, Sinbad recoups his fortune and eventually finds a ship which takes him home once more to Baghdad 

Sixth Voyage
"My soul yearned for travel and traffic"  Sinbad is shipwrecked yet again, this time quite violently as his ship is dashed to pieces on tall cliffs  There is no food to be had anywhere, and Sinbad's companions die of starvation until only he is left  He builds a raft and discovers a river running out of a cavern beneath the cliffs  The stream proves to be filled with precious stones and it becomes apparent that the island's streams flow with ambergris  He falls asleep as he journeys through the darkness and awakens in the city of the king of Serendib (Sri Lanka/Ceylon), "diamonds are in its rivers and pearls are in its valleys"  The king marvels at what Sinbad tells him of the great Haroun al-Rashid, and asks that he take a present back to Baghdad on his behalf, a cup carved from a single ruby, with other gifts including a bed made from the skin of the serpent that swallowed an elephant ("And whoso sitteth upon it never sickeneth"), and "A hundred thousand miskals of Sindh lign-aloesa ", and a slave-girl "like a shining moon"  Sinbad returns to Baghdad, where the Caliph wonders greatly at the reports Sinbad gives of Serendib 

Seventh and Last Voyage
The ever-restless Sinbad sets sail once more, with the usual result  Cast up on a desolate shore, he constructs a raft and floats down a nearby river to a great city  Here the chief of the merchants gives Sinbad his daughter in marriage, names him his heir, and conveniently dies  The inhabitants of this city are transformed once a month into birds, and Sinbad has one of the bird-people carry him to the uppermost reaches of the sky, where he hears the angels glorifying God, "whereat I wondered and exclaimed, 'Praised be God! Extolled be the perfection of God!'" But no sooner are the words out than there comes fire from heaven which all but consumes the bird-men  The bird-people are angry with Sinbad and set him down on a mountain-top, where he meets two youths, servants of God who give him a golden staff; returning to the city, Sinbad learns from his wife that the bird-men are devils, although she and her father were not of their number  And so, at his wife's suggestion, Sinbad sells all his possessions and returns with her to Baghdad, where at last he resolves to live quietly in the enjoyment of his wealth, and to seek no more adventures 
Burton includes a variant of the seventh tale, in which Haroun al-Rashid asks Sinbad to carry a return gift to the king of Serendib  Sinbad replies, "By Allah the Omnipotent, Oh my lord, I have taken a loathing to wayfare, and when I hear the words 'Voyage' or 'Travel,' my limbs tremble"  He then tells the Caliph of his misfortune-filled voyages; Haroun agrees that with such a history "thou dost only right never even to talk of travel"  Nevertheless, at the Caliph's command, Sinbad sets forth on this, his uniquely diplomatic voyage  The king of Serendib is well pleased with the Caliph's gifts (which include, among other things, the food tray of King Solomon) and showers Sinbad with his favour  On the return voyage, the usual catastrophe strikes: Sinbad is captured and sold into slavery  His master sets him to shooting elephants with a bow and arrow, which he does until the king of the elephants carries him off to the elephants' graveyard  Sinbad's master is so pleased with the huge quantities of ivory in the graveyard that he sets Sinbad free, and Sinbad returns to Baghdad, rich with ivory and gold  "Here I went in to the Caliph and, after saluting him and kissing hands, informed him of all that had befallen me; whereupon he rejoiced in my safety and thanked Almighty Allah; and he made my story be written in letters of gold  I then entered my house and met my family and brethren: and such is the end of the history that happened to me during my seven voyages  Praise be to Allah, the One, the Creator, the Maker of all things in Heaven and Earth!" 
Some versions return to the frame story, in which Sinbad the Porter may receive a final generous gift from Sinbad the Sailor  In other versions the story cycle ends here, and there is no further mention of Sinbad the Porter 

Adaptations
Sinbad's quasi-iconic status in Western culture has led to his name being recycled for a wide range of uses in both serious and not-so-serious contexts, frequently with only a tenuous connection to the original tales  Many films, television series, animated cartoons, novels, and video games have been made, most of them featuring Sinbad not as a merchant who stumbles into adventure, but as a dashing dare-devil adventure-seeker 

Theatrical films
English language animated films
Sinbad the Sailor (1935) is an animated short film produced and directed by Ub Iwerks 
Popeye the Sailor Meets Sindbad the Sailor (1936) is a two-reel animated cartoon short subject in the Popeye Color Feature series, produced in Technicolor and released to theatres on 27 November 1936 by Paramount Pictures  It was produced by Max Fleischer for Fleischer Studios, Inc  and directed by Dave Fleischer 
Sinbad (1992) is an animated film originally released on 18 May 1992 and based on the classic Arabian Nights tale, Sinbad the Sailor, and produced by Golden Films 
Sinbad: Beyond the Veil of Mists (2000) is the first feature-length computer animation film created exclusively using motion capture  While many animators worked on the project, the human characters were entirely animated using motion capture 
Sinbad: Legend of the Seven Seas (2003) is an American animated adventure film produced by DreamWorks Animation and distributed by DreamWorks Pictures  The film uses traditional animation with some computer animation  It was directed by Tim Johnson 

Non-English language animated films
Arabian naito: Shindobaddo no bôken (Arabian Nights: Adventures of Sinbad) (1962) (animated Japanese film) 
A Thousand and One Nights (1969) Story created by Osamu Tezukui, combination of other One Thousand and One Nights stories and the legends of Sinbad 
Pohádky Tisíce a Jedné Noci (Tales of 1,001 Nights) (1974), a seven-part animated film by Karel Zeman 
Doraemon: Nobita's Dorabian Nights (1991) 
Sinbad (film trilogy) (2015–2016) is a series of Japanese animated family adventure films produced by Nippon Animation and Shirogumi 
The Adventures of Sinbad (2013) is an Indian 2D animated film directed by Shinjan Neogi and Abhishek Panchal, and produced by Afzal Ahmed Khan 
Sinbad: Pirates of Seven Storm (2016) A Russian animated film by CTB Film Company 

Live-action English language theatrical films
Arabian Nights is a 1942 adventure film directed by John Rawlins and starring Sabu, Maria Montez, Jon Hall and Leif Erickson  The film is derived from The Book of One Thousand and One Nights but owes more to the imagination of Universal Pictures than the original Arabian stories  Unlike other films in the genre (The Thief of Bagdad), it features no monsters or supernatural elements 
Sinbad the Sailor (1947) is a 1947 American Technicolor fantasy film directed by Richard Wallace and starring Douglas Fairbanks Jr , Maureen O'Hara, Walter Slezak, and Anthony Quinn  It tells the tale of the "eighth" voyage of Sinbad, wherein he discovers the lost treasure of Alexander the Great 
Son of Sinbad (1955) is a 1955 American adventure film directed by Ted Tetzlaff  It takes place in the Middle East and consists of a wide variety of characters including over 127 women 
The 7th Voyage of Sinbad (1958) is a 1958 Technicolor heroic fantasy adventure film directed by Nathan H  Juran and starring Kerwin Mathews, Torin Thatcher, Kathryn Grant, Richard Eyer, and Alec Mango  It was distributed by Columbia Pictures and produced by Charles H  Schneer 
Captain Sindbad (1963) is a 1963 independently made fantasy and adventure film, produced by Frank King and Herman King (King Brothers Productions), directed by Byron Haskin, that stars Guy Williams and Heidi Brühl  The film was shot at the Bavaria Film studios in Germany and was distributed by Metro-Goldwyn-Mayer 
The Golden Voyage of Sinbad (1973) a fantasy film directed by Gordon Hessler and featuring stop motion effects by Ray Harryhausen  It is the second of three Sinbad films released by Columbia Pictures 
Sinbad and the Eye of the Tiger (1977) is a fantasy film directed by Sam Wanamaker and featuring stop motion effects by Ray Harryhausen  The film stars Patrick Wayne, Taryn Power, Margaret Whiting, Jane Seymour, and Patrick Troughton  It is the third and final Sinbad film released by Columbia Pictures 

Live-action English language direct-to-video films
Sinbad: The Battle of the Dark Knights (1998) - DTV film about a young boy that must go back in time to help Sinbad 
The 7 Adventures of Sinbad (2010) is an American adventure film directed by Adam Silver and Ben Hayflick  As a mockbuster distributed by The Asylum, it attempts to capitalise on Prince of Persia: The Sands of Time and Clash of the Titans 
Sinbad and The Minotaur (2011) starring Manu Bennett is a 2011 Australian fantasy B movie directed by Karl Zwicky serving as an unofficial sequel to the 1947 Douglas Fairbanks Jr  film and Harryhausen's Sinbad trilogy  It combines Arabian Nights hero Sinbad the Sailor with the Greek legend of the Minotaur 
Sinbad: The Fifth Voyage (2014) starring Shahin Sean Solimon, low budget film 
Sinbad and the War of the Furies (2016) An American action film starring John Hennigan, direct-to-streaming 

Live-action non-English language films
Sinbad Khalashi, or Sinbad the Sailor is a 1930 Indian silent action-adventure film by Ramchandra Gopal Torney 
Sinbad Jahazi, or Sinbad the Sailor, is a 1952 Indian Hindi-language adventure film by Nanabhai Bhatt 
Sindbad ki Beti, or Daughter of Sindbad, is a 1958 Indian Hindi-language fantasy film by Ratilal  It follows the daughter of Sindbad as she goes out in search for her missing father 
Son of Sinbad is a 1958 Indian Hindi-language film by Nanabhai Bhatt  A sequel to Sinbad Jahazi, it follows the adventures of the son of Sinbad in high seas 
Sinbad contro i sette saraceni (Sinbad against the Seven Saracens)  (Italian: Sindbad contro i sette saraceni, also known as Sinbad Against the 7 Saracens) is a 1964 Italian adventure film written and directed by Emimmo Salvi and starring Gordon Mitchell  The film was released straight to television in the United States by American International Television in 1965 
Sindbad Alibaba and Aladdin is a 1965 Indian Hindi-language fantasy-adventure musical film by Prem Narayan Arora  It starred Pradeep Kumar in the role of Sindbad 
Shehzade Sinbad kaf daginda (Prince Sinbad of the Mountains) (1971) (Turkish film) 
Simbad e il califfo di Bagdad (Sinbad and the Caliph of Baghdad) (1973) (Italian film) 
Sinbad of the Seven Seas (1989) is a 1989 Italian fantasy film produced and directed by Enzo G  Castellari from a story by Luigi Cozzi, revolving around the adventures of Sinbad the Sailor  Sinbad must recover five magical stones to free the city of Basra from the evil spell cast by a wizard, which his journey takes him to mysterious islands and he must battle magical creatures in order to save the world 

Television
English language series and films
Sinbad Jr  and his Magic Belt (1965) 
The Freedom Force (TV Series) (1978) 
The Adventures of Sinbad (1979) - TV animated film 
Mystery Science Theater 3000 (1993) episode: The Magic Voyage of Sinbad
The Fantastic Voyages of Sinbad the Sailor (1996–1998) is an American animated television series based on the Arabian Nights story of Sinbad the Sailor and produced by Fred Wolf Films that aired beginning 2 February 1998 on Cartoon Network 
The Adventures of Sinbad (1996–98) is a Canadian Action/Adventure Fantasy television series following on the story from the pilot of the same name 
The Backyardigans (2007) episode: "Sinbad Sails Alone" 
Sinbad (2012) - A UK television series from Sky1 
Sindbad & The 7 Galaxies (2016 by Sun TV, picked up by Toonavision in 2020) is an animated children's comedy adventure TV series created by Raja Masilamani and IP owned by Creative Media Partners Note: Sinbad was mentioned, but did not actually appear, in the Season 3 episode Been There, Done That of Xena Warrior Princess when one of the story's lovers tells Xena that he was hoping that Hercules would have appeared to save his village from its curse 

Non-English language series and films
Arabian Nights: Sinbad's Adventures (Arabian Naitsu: Shinbaddo No Bôken, 1975) 
Manga Sekai Mukashi Banashi: The Arabian Nights: Adventures of Sinbad the Sailor (1976) Japanese anime TV series, Directed by Sadao Nozaki and Tatsuya Matano  Producer Yuji Tanno  The origins of this is a series called Manga Hajimete Monogatari  This is dubbed in English and narrated by Telly Savalas 
Alif Laila (1993–1997), an Indian television series based on the One Thousand and One Nights which aired on Doordarshan's DD National  Episodes titled "Sindbad Jahaazi" focus on the adventures of the sailor, where he is portrayed by Shahnawaz Pradhan 
Princess Dollie Aur Uska Magic Bag (2004–2006), an Indian teen fantasy adventure television series on Star Plus where Vaquar Shaikh portrays Sinbad, one of the main characters in the show along with Ali Baba and Hatim 
Magi: The Labyrinth of Magic (2012), Magi: The Kingdom of Magic (2013) and Magi: Adventure of Sinbad (2016) are Japanese fantasy adventure manga series 
Janbaaz Sindbad (2015–2016), an Indian adventure-fantasy television series based on Sinbad the Sailor which aired on Zee TV, starring Harsh Rajput in the titular role Note: A pair of foreign films that had nothing to do with the Sinbad character were released in North America, with the hero being referred to as "Sinbad" in the dubbed soundtrack  The 1952 Russian film Sadko (based on Rimsky-Korsakov's opera Sadko) was overdubbed and released in English in 1962 as The Magic Voyage of Sinbad, while the 1963 Japanese film Dai tozoku (whose main character was a heroic pirate named Sukezaemon) was overdubbed and released in English in 1965 as The Lost World of Sinbad 

Video games
In the Arabian Nights-themed video game Sonic and the Secret Rings, Sinbad looks almost exactly like Knuckles the Echidna 
In 1978 Gottlieb manufacturing released a pinball machine named Sinbad, the artwork featured characters from the movie Sinbad and the Eye of the Tiger  Also released, in a shorter run, was an Eye of the Tiger pinball game 
in 1996 the pinball game Tales of the Arabian Nights was released featuring Sinbad  This game (manufactured by Williams Electronics) features Sinbad's battle with the Rocs and the Cyclops as side quests to obtain jewels  The game was adapted into the video game compilation Pinball Hall of Fame: The Williams Collection in 2009 
In 1984 game simply called Sinbad was released by Atlantis Software 
In 1986 game called Sinbad and the Golden Ship was released by Mastertronic Ltd 
Another 1986 game called The Legend of Sinbad was released by Superior Software 
in 1987 game called Sinbad and the Throne of the Falcon was released by Cinemaware 

Music
In Nikolai Rimsky-Korsakov's suite Scheherazade, the 1st, 2nd, and 4th movements focus on portions of the Sinbad story  Various components of the story have identifiable themes in the work, including rocs and the angry sea  In the climactic final movement, Sinbad's ship (6th voyage) is depicted as rushing rapidly toward cliffs and only the fortuitous discovery of the cavernous stream allows him to escape and make the passage to Serindib 
The song "Sinbad the Sailor" in the soundtrack of the Indian film Rock On!! focuses on the story of Sinbad the Sailor in music form 
Sinbad et la légende de Mizan (2013) A French stage musical  the musical comedy event in Lorraine  An original creation based on the history of Sinbad the Navy, heroes of 1001 nights  A quest to traverse the Orient, 30 artists on stage, mysteries, combats, music and enviable dances     A new adventure for Sinbad, much more dangerous than all the others 
Sinbad's adventures have appeared on various audio recordings as both readings and dramatizations, including Ali Baba and the Forty Thieves/Sinbad the Sailor (Riverside Records RLP 1451/Golden Wonderland GW 231, played by Denis Quilley), Sinbad the Sailor (Tale Spinners for Children on United Artists Records UAC 11020, played by Derek Hart), Sinbad the Sailor: A Tale from the Arabian Nights (Caedmon Records TC-1245/Fontana Records SFL 14105, read by Anthony Quayle), Sinbad the Sailor /The Adventures of Oliver Twist and Fagin (Columbia Masterworks ML 4072, read by Basil Rathbone), 1001 Nights: Sinbad the Sailor and Other Stories (Naxos Audio 8 555899, narrated by Bernard Cribbins) and The Arabian Nights (The Voyages of Sinbad the Sailor) (Disneyland Records STER-3988) 
"Nagisa no Sinbad" (渚のシンドバッド) was the 4th single released by Pink Lady, a popular Japanese duo in the late 1970s and early 1980s  The song has been covered by former idol group W and by the Japanese super group Morning Musume 

Literature
In The Count of Monte Cristo, "Sinbad the Sailor" is but one of many pseudonyms used by Edmond Dantès 
In his Ulysses, James Joyce uses "Sinbad the Sailor" as an alias for the character of W B  Murphy and as an analogue to Odysseus  He also puns mercilessly on the name: Jinbad the Jailer, Tinbad the Tailor, Whinbad the Whaler, and so on 
Edgar Allan Poe wrote a tale called "The Thousand-and-Second Tale of Scheherazade"  It depicts the 8th and final voyage of Sinbad the Sailor, along with the various mysteries Sinbad and his crew encounter; the anomalies are then described as footnotes to the story 
Polish poet Bolesław Leśmian's Adventures of Sindbad the Sailor is a set of tales loosely based on the Arabian Nights 
Hungarian writer Gyula Krúdy's Adventures of Sindbad is a set of short stories based on the Arabian Nights 
In John Barth's "The Last Voyage of Somebody the Sailor", "Sinbad the Sailor" and his traditional travels frame a series of 'travels' by a 20th-century New Journalist known as 'Somebody the Sailor' 
Pulitzer Prize winner Steven Millhauser has a story entitled "The Eighth Voyage of Sinbad" in his 1990 collection The Barnum Museum 

Comics
"Sinbad the Sailor" (1920) artwork by Paul Klee (Swiss-German artist, 1879–1940) 
In 1950, St  John Publications published a one shot comic called Son of Sinbad 
In 1958, Dell Comics published a one shot comic based on the film The 7th Voyage of Sinbad 
In 1963, Gold Key Comics published a one shot comic based on the film Captain Sinbad 
In 1965, Dell Comics published a 3 issue series called Sinbad Jr 
in 1965 Gold Key Comics published a 2 issue mini-series called The Fantastic Voyages of Sinbad 
In 1974 Marvel Comics published a two issue series based on the film The Golden Voyage of Sinbad in Worlds Unknown #7 and #8  They then published a one shot comic based on the film The 7th Voyage of Sinbad in 1975 with Marvel Spotlight #25 
In 1977, the British comic company General Book Distributors, published a one shot comic/magazine based on the film Sinbad and the Eye of the Tiger 
In 1988, Catalan Communications published the one shot graphic novel The Last Voyage of Sinbad 
In 1989 Malibu Comics published a 4 issue mini-series called Sinbad, and followed that up with another 4 issue mini-series called Sinbad Book II: In the House of God In 1991 
In 2001, Marvel Comics published a one shot comic that teamed Sinbad with the Fantastic Four called Fantastic 4th Voyage of Sinbad 
In 2007, Bluewater Comics published a 3 issue mini-series called Sinbad: Rogue of Mars 
In 2008, the Lerner Publishing Group published a graphic novel called Sinbad: Sailing into Peril 
In 2009, Zenescope Entertainment debuted Sinbad in their Grimm Fairy Tales universe having him appearing as a regular ongoing character  He first appeared in his own 14 issue series called 1001 Arabian Nights: The Adventures of Sinbad  Afterwards he appeared in various issues of the Dream Eater saga, as well as the 2011 Annual, Giant-Size, and Special Edition one-shots 
In 2012, a graphic novel called Sinbad: The Legacy, published by Campfire Books, was released  He appears in the comic book series Fables written by Bill Willingham, and as the teenaged Alsind in the comic book series Arak, Son of Thunder—which takes place in the 9th century AD—written by Roy Thomas 
In Alan Moore's The League of Extraordinary Gentlemen: Black Dossier, Sinbad appears as the Immortal Orlando's lover of thirty years, until he leaves for his 8th Voyage and never returns 
In The Simpsons comic book series "Get Some Fancy Book Learnin'", Sinbad's adventures are parodied as "Sinbart the Sailor" 
"The Last Voyage of Sinbad" by Richard Corben and Jan Strnad originally appeared as "New Tales of the Arabian Nights" serialized in Heavy Metal magazine, issues #15–28 (1978–79) and was later collected and reprinted as a trade paperback book 
Sinbad is a major character in the Japanese manga series Magi: The Labyrinth of Magic written and illustrated by Shinobu Ohtaka 

Theme parks
Sinbad provides the theme for the dark ride Sinbad's Storybook Voyage at Tokyo DisneySea
Context 3: Passage 1:
Woman on the Edge of Time
Woman on the Edge of Time is a 1976 novel by American writer Marge Piercy  It is considered a classic of utopian speculative science fiction as well as a feminist classic  The novel was originally published by Alfred A  Knopf  Piercy draws on several inspirations to write this novel such as utopian studies, technoscience, socialization, and female fantasies  One of Piercy's main inspirations for her utopian novels is Plato's Republic  Piercy describes the novel as, "if only…" Piercy even compares Woman on the Edge of Time and another one of her utopian novels He, She, and It when discussing the themes and inspirations behind it 

Plot summary
In the 1970s, an impoverished and intelligent thirty-seven-year-old Mexican-American woman Consuelo "Connie" Ramos, a resident of Spanish Harlem, is unfairly incarcerated in a New York mental hospital due to her supposed violent criminal tendencies  She had been recently released from a previous voluntary commitment in a mental institution after an episode of drug-related child neglect, which led her also to lose custody of her daughter  Connie is caught within the government welfare and child custody labyrinth of 1970s New York City  She is after the first scene recommitted involuntarily by her niece's pimp on grounds of violent behavior, after she strikes him in the course of protecting her niece, Dolly (Dolores), from him  Dolly had sought Connie's protection because she was being forced by the pimp into having an illegal abortion  
One of Connie's chief abilities is her perceptiveness and empathy  As a result, before being committed, Connie had for some time begun to communicate with ("receive" from) a figure from the future: an androgynous young woman named Luciente  Connie retains her visions and her connection, which become more and more real, even while heavily drugged in the mental hospital in New York, based loosely on Bellevue and other mental institutions from that period  Luciente is time-traveling from a future (the date is given as 2137), in which a number of goals of the political and social agenda of the late sixties' and early seventies' radical movements have been fulfilled  Environmental pollution, patriarchy, homelessness, homophobia, racism, ethnocentrism, phallogocentrism, sexism, class-subordination, food injustice, consumerism, imperialism, and totalitarianism have been effectively dealt with in this world, which is governmentally decentralized in a loose version of anarchism  
In contrast to the contemporary 1970s setting in an abusive mental institution where patients are labelled "violent," "incapable," "irrational," etc  on the basis of their response to an unjust and harshly stratified class-, race-, and gender-ridden society, future dwellers experience enormous personal freedom and train one another in self-control and ways of producing win-win results in all social situations  In particular, the subjects of volition and free will, mental institutionalization, and interference in others' willed actions are key to the vision of the utopian future  Connie is introduced by Luciente to the agrarian, communal community of Mattapoisett, where children grow up in a culture where they are encouraged to know themselves and their own minds and emotions thoroughly through practicing a type of meditation from an early age ("in-knowing"), in the service of social harmony and the ability to communicate with others without domination or subservience  
This classless, gender-neutral (non-gendered pronouns are used, notably "per" or "person" for he or she), racial-difference-affirming society is sketched in detail, including meeting and discussion structures that eliminate power differentials as much as possible, the extensive use of technology only for social goods, the replacement of business and corporate agendas with general planning for social justice and respect for all human beings' individuality  Disputes between towns and regions are settled peacefully through discussion and merit-based competition of ideas, with the winning parties being obliged to "throw a big party for" or otherwise conciliate the losers in each case, in order to maintain friendly relations  
A 1970s emphasis on individual freedom can be seen at times: each person lives in a private tent or one-room home, and children develop outside the womb of an individual and are adopted by three "mothers" (of any gender) who guard and teach them only until puberty; every person chooses their own name, and can also choose their field of study and work, as well as when to disengage from their community, or join a new one; total freedom also applies to one's mental and emotional choices—in this future world one can check oneself into and out of the equivalent of a sanitorium at will, go into or out of various kinds of therapy, or take a mental break in some other way, and no other person has the right to choose this on one's behalf  One's field of work is self-chosen, and dicta apply to both one's life path and one's mental or emotional desires, needs, and capacities: "Per must not do what per cannot do" and "Per must do what per needs to do" are applied to both personal/emotional and professional life choices insofar as possible  There are limits to this utopia, which threaten always at the margins: the death penalty is imposed on occasion, and war is in the background, but both are considered extreme and unusual measures 
Connie learns tools of emotional and physical survival from Luciente and the future population of Mattapoisett, and comes to feel that she is living at an important time in history, and that she herself is in a pivotal position; her actions and decisions will determine the course of history  In particular, it is slowly revealed that Luciente's utopia is only one possible future; alternate futures are a possibility, and the novel shows us one example— a future consumerist, hyper-capitalist, environmentally sick and strictly classist, racist, and gender-stratified society in which a wealthy elite live on space platforms, sustaining themselves by dominating and exploiting the majority of the population through total control of knowledge and technology, personal control extending to physical "farming" of bodies (harvesting organs regularly) and the surgical control of moods through the use of psychotropic drugs  Women in this intensely violent, misogynistic and homophobic world are valued and "grown" solely for appearance and sexuality, and plastic surgery that gives women grotesquely exaggerated sexual features is commonplace 
It does not decide for the reader whether Connie's visions are by-products of her mental instability or are literal time-travel, but ultimately, Connie's confrontation with the future inspires her to violent revolt against her institutional captors  She uses her limited means, despite her very restricted situation, in a desperate and apparently heroic way to prevent the dissemination of the mind-control technology that makes the future dystopia possible, putting an end to the mind-control experiments and prevents the lobotomy operation that had been planned for her and hundreds of other imprisoned patients  Connie acts in the tradition of revolts by oppressed or subaltern classes to put a wrench into the system of oppression within which she is caught  Though her revolutionary action ensures her own permanent incarceration and possible death sentence, and may not ensure the existence of the Mattapoisett future, Connie nevertheless sees her act as a victory, and perhaps the reader is encouraged to agree: "I'm a dead woman now too  … But I did fight them  … I tried "

Major themes
Social transformation
The essence of Piercy's utopian vision is social transformation achieved after the existing civilization had been destroyed through environmental degradation and war  "The transformation of existing society into utopia is a precarious enterprise attainable only through a process of making choices and crossing boundaries " Descriptions of Mattapoisett, the potential future society described in the novel, emphasize that collective struggle has led to their egalitarian lifestyle and collective action is how they get along so well  "What is most important in Piercy's concern with activism is the basic connection between personal action and historical change itself  The revolution is not inevitable  It is a process of change that may require appropriate conditions and happen more readily at particular historical moments, but it will not happen at all without personal commitment and struggle " The reader is left to decide whether Mattapoisett and the self-determination of its inhabitants are real or figments of Connie's imagination  "By couching the reality of Connie's visions in ambiguity, the text questions the idealism of utopian thinking while showing that social change nevertheless starts in the realm of ideas " The novel criticizes mental institutions and hospitalization of its time extensively, and brings the problem of free will to the forefront as well as suggesting alternative routes to mental wellness and social reform  Throughout the novel, Piercy demonstrates that violence is the key to getting change to occur  Connie's revolt against the system may have been unsuccessful, but it had inspired others to continue to fight  This overarching theme ties into real life as feminists and other activist groups have fought for social change during the 1970s 

Feminism
Piercy has described Mattapoisett as not a utopia "because it's accessible  There's almost nothing there except the brooder not accessible now  So it's hardly a utopia; it is very intentionally not a utopia because it is not strikingly new  The ideas are the ideas basically of the women's movement "  Each character in Mattapoisett has a counterpart in Connie's present world, juxtaposing differences in personal power hence, opportunities for self-actualization  For example, Connie's friend Skip who has been committed to the mental institution by his father for being gay reminds her of Jackrabbit, a bisexual person who is not only accepted but very popular in Mattapoisett  In stark contrast to the mental hospital where the doctors are all men, in Mattapoisett, women have a special tradition and role in healing, and positions of power rotate among men and women alike  Even traditional parental power has been done away with, and the experience of motherhood is shared among women and men, as technology has been developed to gestate babies in a mechanical brooder and men have been enabled to breast-feed  Motherhood is seen as a duty to be shared equally by each parent, regardless of gender  "In addition, critics have treated the novel as an allegory for the conflict in academia between dogmatic feminism and the commitment to motherhood " "The deconstruction of power structures is continued on a linguistic level, where Piercy deletes the dimorphism of the objective and possessive pronouns 'his' and 'her,' which have been replaced with the unisex 'per' referencing the single personal pronoun 'person '" Feminist futurists argue that Piercy's nonlinear and complex structure of the novel leads to a more broad argument in regards to feminism  This idea is arguing to show that in order to deal with feminist solutions for the future, that there are problems from the past that must be addressed 

LGBTQIA+ equality
The idea of queer characters can be seen throughout the novel with Skip, Jackrabbit, and Luciente  Piercy shows the Skip going to a mental hospital for being gay showcasing her continuation of struggle other individuals  Also, Luciente has a queer relationship with her friend Diana  Piercy through this novel shows through the struggles of queer characters that there is progress to be made for those who are queer  Connie goes through a journey in Mattiposett in regards to the queer characters as she associates gendered roles to parents of the children  This is disproven by Luciente as they have both masculine and feminine qualities while in a queer relationship  Connie soon adapts to this idea by and begins to embrace homosexuality casting aside her patriarchal ideals from her present time  Through Piercy's portrayal of Connie's adaptation to Mattipoisett's homosexual relationships, it continues to show Piercy's point of queer progress in the novel 

Publication history
Literary significance and reception
Early reviews called the novel absorbing and exciting and beautifully written, but also polemical and didactic  Piercy's utopia was noted for "literally embodying every ideal of the counterculture/Movement: ecological wisdom, community, androgyny, ritual, respect for madness, propertylessness, etc " At the time, leaving the Sixties behind, American novels generally shared a post-apocalyptic feeling, asking "what are to be the new social and spiritual arrangements now that the old ones are completely shattered?" In that context, Roger Sale, in the New York Times, found nothing new in Woman on the Edge of Time, calling the book imitative and derivative, and pointing out that "the major instruments … are terribly familiar pieces of apparatus, the mental hospital and a utopian community of the future " Academic reviews, however, placed the novel among the important innovative fiction of the mid-1970s, characteristically works of social realism, all in some way describing a "new consciousness," "even though they don't always use the techniques of verisimilitude, and despite the mythical dimension of their representative characters "Combining feminist ideals with utopian visions of a future society based on principles of community and equality, Piercy imagined a post-apocalyptic world that established Woman on the Edge of Time as an early feminist innovation in the traditionally male genre of dystopian fiction  Depictions of sexuality and relations between the genders were already recognized as useful elements in depicting the conflict between individual and societal demands  "For example, the governments of dystopian societies like those described in We, Brave New World, and 1984 all focus on sexuality as a crucial matter for their efforts at social control  And it is also clear that this focus comes about largely because of a perception on the part of these governments that sexuality is a potential locus of powerful subversive energies " Woman on the Edge of Time "finely counterpoints the utopianism of Mattapoisset with the dystopian realism with which Connie's actual world is represented " The novel has been analyzed as a dystopia, as speculative fiction, and as realist fiction with fantastic episodes  "By her vivid and coherent descriptions of new social institutions, Piercy has answered the famous Cold War dystopias like 1984 and Brave New World which lament that there is no possibility of imagining an anti-totalitarian society " The book is often compared with other feminist utopian or dystopian fantasies such as Ursula K  Le Guin's The Dispossessed and The Left Hand of Darkness, Joanna Russ's The Female Man, Angela Carter's The Passion of New Eve, and Margaret Atwood's The Handmaid's Tale 
Passage 2:
He, She and It
He, She and It (retitled Body of Glass in the United Kingdom) is a 1991 cyberpunk novel by Marge Piercy  It won the Arthur C  Clarke Award for Best Science Fiction novel in 1993  Set in a post-apocalyptic America, the novel follows the romance between a human woman and a cyborg created to protect her community from corporate raiders, while interweaving a secondary narrative of the creation of a golem in 17th century Prague  Like Piercy's earlier novel Woman on the Edge of Time (1976), He, She and It also examines themes such as gender roles, political economy, and environmentalism 

Plot summary
The main story of He, She and It is situated in North America in the near future of the year 2059  At that time, the economic and political power is held by a few multis—huge multi-national enterprises with their own social hierarchy that have produced an affluent society  The main part of the population, however, lives in the glop outside of the multis' enclaves within an environment that has mainly been destroyed  Here, life is dominated by poverty, gangs and the law of the stronger man  An exception to this is the so-called free towns that are able to sell their technologies to the multis but remain autonomous  Communication is handled via a network which allows the participants to project themselves into Cyberspace 
When the protagonist Shira loses custody of her son Ari to her ex-husband Josh, she returns from her multi Yakamura-Stichen (Y-S) to her hometown Tikva (Hope in Hebrew) - a Jewish freetown   There, she starts working on the socialization of the cyborg Yod (the tenth letter in Hebrew and a symbol for God in Kabbalah), who has been created illegally by Avram to protect the city  Yod is the tenth cyborg (a robot with human appearance and programmed human characteristics) in a row of previously failed experiments whose programming has partially been completed by Malkah, Shira's grandmother  While Shira and Yod build up a (sexual) relationship, Shira's childhood sweetheart Gadi, Avram's son, also comes back to Tikva  Gadi returns due to his banishment for sleeping with a young girl  When Malkah is working on a chimaera (security software) to protect the city from online attack, she is attacked by Y-S  Yod, however, is able to prevent the attack  Eventually, Y-S invites Shira to a new hearing concerning the custody of her son  Shira is accompanied by Yod, her mother Riva, and  Nili, a biotechnologically enhanced woman from a nuclear-devastated Israel, when the situation escalates  The Y-S delegation and Riva die in the fight  Thereupon Shira, Malkah and Yod decide to infiltrate the Y-S network base  They manage to get hold of personnel files revealing a conspiracy against Shira and Tikva 
As the next step, Shira and Yod are accompanied by Nili and Gadi into the Glop  Here, they get in contact with an organized underground group in which they discover Riva is still alive and participating in resistance activities   From the Glop, they travel into the Y-S enclave in Nebraska to kidnap Ari  There, Josh is killed by Yod  Back to Tikva, Shira's family spends some quiet time until Y-S invites them to a further meeting on the net  Y-S demands that Yod be handed over, for Y-S to acquire its technology  Avram agrees to the deal with the hope of creating another cyborg  So, Yod agrees to destroy him/itself when sent to the enclave  However, Yod made sure that his own explosion would cause a synchronous explosion in Avram's lab  As Avram dies in this accident and all his notes are destroyed, the creation of a further cyborg becomes impossible 
Finally, Malkah leaves Tikva with Nili to visit a secret town in post-nuclear holocaust Israel and to profit from the possible biotechnological enhancements  Shira is integrated into Tikva's society further  When she discovers copies of the notes concerning Yod, she initially plans on recreating Yod; ultimately she respects Yod's wishes and destroys them 
The main plot is interwoven with a story Malkah tells Yod that deals with Rabbi Judah Loew who Malkah depicts as her ancestor living in the ghetto of Prague around 1600  To protect the Jewish community from the Christian mob, Loew uses the knowledge of Kabbalah to create the golem Joseph from clay  His granddaughter Chava, a highly educated woman, teaches Joseph to read and write  Joseph successfully protects the ghetto and begins to think of himself as human and makes a plea for his right to a human existence  However, when the pogrom climate calms down, Loew returns Joseph to clay  The two stories are mutually illuminating, both asking what it means to be human both from the perspective of the man-made life and that of those who love the artificial lives 
Passage 3:
December (magazine)
December is an independent nonprofit literary magazine that was founded in 1958  The journal was part of both the little magazine and the small press movements of the 1950s and was revived in 2012  December publishes original prose, poetry, and art submitted by new writers and artists, as well as previously unpublished work by distinguished literary figures   Former and current contributors include Joyce Carol Oates, James Wright, Marvin Bell, Marge Piercy, and Raymond Carver  December's mission is to promote unheralded writers and artists, celebrate fresh work from more seasoned voices, and advocate for its contributors in local literary and art communities 

History
December was founded in Iowa City in 1958 at the Iowa Writers' Workshop, and moved to Chicago in 1962, where it was passed to Curt Johnson, a short story writer and novelist   Johnson privately funded december and published the journal until his death in 2008  During this time, december featured the early work of many unknown artists and writers, most notably Raymond Carver, who first appeared in december in 1963 with his short story "Furious Seasons " Writers who published some of their first work in december include 5 U S  Poets Laureate, 6 Pulitzer Prize winners, 8 National Book Award winners, 5 O  Henry Award winners, and 9 Guggenheim fellows 

Revival
December was revived in 2012 by journalist and fiction writer Gianna Jacobson, and Volume 24 was released in December 2013   December releases two issues per year   The revival issue features new material from several of december's original contributors as well as from some contemporary authors and artists  December also has two contests each year, the Curt Johnson Prose Awards, judged in 2015 by Joyce Carol Oates and Albert Goldbarth, and the Jeff Marks Memorial Poetry Prize  It accepts submissions and only publishes original, previously unpublished work 

See also
List of literary magazines
Passage 4:
Vida (novel)
Vida is a 1979 novel by Marge Piercy 

Summary
The eponymous heroine is a 1960s anti-war and pro-environmental activist who has in the modern day (1980s—when the novel was written and is partially-set) become part of an illegal underground revolutionary network which resembles the real Weatherman (later known as the Weather Underground)  The story is told in the then present-day and in flashbacks to the 1960s  Vida struggles to maintain a double life; still having contacts with legitimate members of society, notably her lover Leigh, while continuing to carry out illegal actions against the government 

The novel is notable for describing what everyday-life was like for 60s radical fugitives living "underground", as Jo Walton writes:Vida here is realising that the choices she has made have left her  irrelevant not just politically but personally—her husband is marrying and having a baby with someone else, she is trapped with the other fugitives she increasingly dislikes, writing position papers nobody reads  She has false papers, a false name, she uses codes on the phone with her sister, she constantly has to appease people who are helping her  It’s very hard for her not to feel useless, because in fact she is useless, the revolution she was waiting for never happened, and she can’t be with the people she loves  And the other characters are just as real and well developed, even the minor characters 

Reception
John Leonard wrote in the New York Times:Vida is feisty, she is also emblematic  Marge Piercy, in her sixth novel, employs Vida to tell us exactly how it was in the lofts of the Left as the 1960s turned into the 1970s, as the massive peace marches turned into a tantrum of the cadres  This is the way everybody sounded, as if translated by thumb from the German and the Russian and the Chinese, at the endless meetings to establish policy  This is the way everybody behaved, in games of faction and musical beds  Here are the people who sold out -- to the media, the academy, the cops and medical school -- and those who persevered, in their purity and rage 
There is no reason to doubt that underground life for the radical fugitives is exactly as Miss Piercy describes it -- with pay phones ringing on prearranged hours on prearranged days, the switching of subways, the mail drop and the "safe house," the motel room and the Brooklyn Botanical Garden, the commune in Los Angeles and the A-frame in Vermont    
Cynthia Macdonald wrote in the Washington Post:MARGE PIERCY's strong, complex yet lucid political  novel is a flame-opus, not soap-opera, saved from being the latter by its incandescence    I welcome this book's complexities: solutions are struggled for in a way which not only illuminates but makes the reader think and feel 

External links
Vida on Marge Piercy's website
Passage 5:
Marge Piercy
Marge Piercy (born March 31, 1936) is an American progressive activist, feminist, and writer  Her work includes Woman on the Edge of Time; He, She and It, which won the 1993 Arthur C  Clarke Award; and Gone to Soldiers, a New York Times Best Seller and a sweeping historical novel set during World War II  Piercy's work is rooted in her Jewish heritage, Communist social and political activism, and feminist ideals 

Life
Family and early life
Marge Piercy was born in Detroit, Michigan to Bert (Bunnin) Piercy and Robert Piercy  While her father was non-religious from a Presbyterian background, she was raised Jewish by her mother and her Orthodox Jewish maternal grandmother, who gave Piercy the Hebrew name of Marah On her childhood and Jewish identity, Piercy said: "Jews and blacks were always lumped together when I grew up  I didn’t grow up 'white ' Jews weren't white  My first boyfriend was black  I didn't find out I was white until we spent time in Baltimore and I went to a segregated high school  I can't express how weird it was  Then I just figured they didn't know I was Jewish "An indifferent student in her early childhood, Piercy developed a love of books when she came down with the German measles and rheumatic fever in her mid-childhood and could do little but read  "It taught me that there's a different world there, that there were all these horizons that were quite different from what I could see" 

Education
Upon graduation from Mackenzie High School, Piercy became the first in her family to attend college, studying at the University of Michigan where she received a B A  degree in 1957  Winning a Hopwood Award for Poetry and Fiction (1957) enabled her to finish college and spend some time in France  She earned an M A  from Northwestern University in 1958 

Adulthood
After graduating college, Piercy and her first husband went to France, then returned to the United States  They divorced when Piercy was 23  Living in Chicago, she supported herself working various part-time jobs while unsuccessfully trying to get her novels published  It was during this time that Piercy realized she wanted to write fiction that focused on politics, feminism, and working-class people  After her second marriage, Piercy became involved in the organization Students for a Democratic Society  In 1968, Piercy's first book of poetry, Breaking Camp, was published, and her first novel was accepted for publication that same year 

Personal life and relationships
At a young age Marge Piercy was married to her first husband, a French Jewish physicist  However, the marriage failed when she was 23; Piercy attributes this to his expectations of gender roles in marriage  In 1962 she married her second husband, Robert Shapiro, a computer scientist  They divorced, and Piercy married her current husband, Ira Wood  She and her husband live in Wellfleet, MA  Piercy designed their home, where the couple have been living since the 1970s 

Politics
Piercy was involved in the civil rights movement, New Left, and Students for a Democratic Society  She is a feminist, environmentalist, Marxist, social, and anti-war activist In 1977, Piercy became an associate of the Women's Institute for Freedom of the Press (WIFP), an American nonprofit publishing organization that works to increase communication between women and connect the public with forms of women-based media 
In 2013, Piercy signed an open letter, described as an "open statement from 48 radical feminists from seven countries " The letter endorses TERF ideology and defends the right to exclude transgender women from "women-only conferences "

Writing
Piercy is the author of more than seventeen volumes of poems, among them The Moon Is Always Female (1980, considered a feminist classic) and The Art of Blessing the Day (1999)  She has published fifteen novels, one play (The Last White Class, co-authored with her current—and third—husband Ira Wood), one collection of essays (Parti-colored Blocks for a Quilt), one non-fiction book, and one memoir  She contributed the pieces "The Grand Coolie Damn" and "Song of the Fucked Duck" to the celebrated anthology Sisterhood Is Powerful: An Anthology of Writings from The Women's Liberation Movement, edited by Robin Morgan Her novels and poetry often focus on feminist or social concerns, although her settings vary  While Body of Glass (published in the United States as He, She and It) is a science fiction novel that won the Arthur C  Clarke Award, City of Darkness, City of Light was set during the French Revolution  Other novels, such as Summer People and The Longings of Women are set during modern times  All of her books share a focus on women's lives 
Woman on the Edge of Time (1976) mixes a time travel story with issues of social justice, feminism, and the treatment of the mentally ill  This novel is considered a classic of utopian "speculative" science fiction as well as a feminist classic  William Gibson has credited Woman on the Edge of Time as the birthplace of Cyberpunk, as Piercy mentions in an introduction to Body of Glass  Body of Glass (He, She and It, 1991) itself postulates an environmentally ruined world dominated by sprawling mega-cities and a futuristic version of the Internet, through which Piercy weaves elements of Jewish mysticism and the legend of the Golem, although a key story element is the main character's attempts to regain custody of her young son 
Many of Piercy's novels tell their stories from the viewpoints of multiple characters, often including a first-person voice among numerous third-person narratives  Her World War II historical novel, Gone to Soldiers (1987) follows the lives of nine major characters in the United States, Europe and Asia  The first-person account in Gone to Soldiers is the diary of French teenager Jacqueline Levy-Monot, who is also followed in the third person after her capture by the Nazis Piercy's poetry tends to be highly personal free verse and often centered on feminist and social issues  Her work shows commitment to social change—what she might call, in Judaic terms, tikkun olam, or the repair of the world  It is rooted in story, the wheel of the Jewish year, and a range of landscapes and settings 
Piercy contributed poems to the journal Kalliope: A Journal of Women's Art and Literature  Piercy also contributed to the collection of essays by women leaders in the climate movement, All We Can Save 

Works
Novels
Going Down Fast, 1969
Dance The Eagle To Sleep, 1970
Small Changes, 1973
Woman on the Edge of Time, 1976
The High Cost of Living, 1978
Vida, 1979
Braided Lives, 1982
Fly Away Home, 1985
Gone To Soldiers, 1987
Summer People, 1989
He, She And It (aka Body of Glass), 1991
The Longings of Women, 1994
City of Darkness, City of Light, 1996
Storm Tide, 1998 (with Ira Wood)
Three Women, 1999
The Third Child, 2003
Sex Wars, 2005

Short stories
The Cost of Lunch, Etc , 2014

Poetry collections
Breaking Camp, 1968
Hard Loving, 1969
"Barbie Doll", 1973
4-Telling (with Emmett Jarrett, Dick Lourie, Robert Hershon), 1971
To Be of Use, 1973
Living in the Open, 1976
The Twelve-Spoked Wheel Flashing, 1978
The Moon is Always Female, 1980
Circles on the Water, Selected Poems, 1982
Stone, Paper, Knife, 1983
My Mother's Body, 1985
Available Light, 1988
Early Ripening: American Women's Poetry Now (ed ), 1988; 1993
Mars and her Children, 1992
What are Big Girls Made Of, 1997
Early Grrrl, 1999 
The Art of Blessing the Day: Poems With a Jewish Theme, 1999
Colours Passing Through Us, 2003
The Hunger Moon: New and Selected Poems, 1980-2010, 2012
Made in Detroit, 2015
On the Way Out, Turn Off the Light, 2020

Collected other
"The Grand Coolie Damn" and "Song of the fucked duck" in Sisterhood is Powerful: An Anthology of Writings From The Women's Liberation Movement, 1970, edited by Robin Morgan
The Last White Class, (play co-authored with Ira Wood), 1979
Parti-Colored Blocks For a Quilt, (essays), 1982
The Earth Shines Secretly: A book of Days, (daybook calendar), 1990
So You Want to Write, (non-fiction), 2001
Sleeping with Cats, (memoir), 2002
My Life, My Body (Outspoken Authors), (essays, poems & memoir), 2015

Awards and honors
Arthur C  Clarke Award for science fiction, 1992
Bradley Award, New England Poetry Club, 1992
Brit ha-Dorot Award, Shalom Center, 1992
May Sarton Award, New England Poetry Club, 1991
Golden Rose Poetry Prize, New England Poetry Club, 1990
Carolyn Kizer Poetry Prize, 1986, 1990
National Endowment for the Arts award, 1978
Honorary Doctor of Humane Letters degree from the Hebrew Union College, Cincinnati, Ohio, 2004
Passage 6:
Richard Aldington
Richard Aldington (born Edward Godfree Aldington; 8 July 1892 – 27 July 1962) was an English writer and poet  He was an early associate of the Imagist movement  He was married to the poet Hilda Doolittle (H  D ) from 1911 to 1938  His 50-year writing career covered poetry, novels, criticism and biography  He edited The Egoist, a literary journal, and wrote for The Times Literary Supplement, Vogue, The Criterion and Poetry  His biography of Wellington (1946) won him the James Tait Black Memorial Prize  His contacts included writers T  S  Eliot, D  H  Lawrence, Ezra Pound, W  B  Yeats, Lawrence Durrell, C  P  Snow, and others  He championed Hilda Doolittle as the major poetic voice of the Imagist movement and helped her work gain international notice 

Early life and marriage
Aldington was born in Portsmouth, the eldest of four children and the son of a solicitor  Both his parents wrote and published books, and their home held a large library of European and classical literature  As well as reading, Aldington's interests at this time, all of which continued in later life, included butterfly-collecting, hiking, and learning languages – he went on to master French, Italian, Latin, and ancient Greek  He was educated at Mr  Sweetman's Seminary for Young Gentlemen, St Margaret's Bay, near Dover  His father died of heart problems at age 56 Aldington attended Dover College, followed by the University of London  He was unable to complete his degree because of the financial circumstances of his family caused by his father's failed speculations and ensuing debt  Supported by a small allowance from his parents, he worked as a sports journalist, started publishing poetry in British journals, and gravitated towards literary circles that included poets William Butler Yeats and Walter de la Mare In 1911 Aldington met society hostess Brigit Patmore, with whom he had a passing affair  At the time he was described as "tall and broad-shouldered, with a fine forehead, thick longish hair of the indefinite colour blond hair turns to in adolescence, very bright blue eyes, too small a nose, and a determined mouth " Through her he met American poets Ezra Pound and Hilda Doolittle, who had previously been engaged to each other  Doolittle and Aldington grew closer and in 1913 travelled together extensively through Italy and France, just before the war  On their return to London in the summer they moved into separate flats in Churchwalk, Kensington, in West London  Doolittle lived at No  6, Aldington at No  8, and Pound at No  10  In the presence of Pound and the Doolittle family, over from America for the summer, the couple married  They moved to 5 Holland Place Chambers into a flat of their own, although Pound soon moved in across the hall The poets were caught up in the literary ferment before the war, where new politics and ideas were passionately discussed and created in Soho tearooms and society salons  The couple bonded over their visions of new forms of poetry, feminism, and philosophy, emerging from the wake of staid Victorian mores  The couple were fed by a sense of peership and mutualism between them, rejecting hierarchies, beginning to view Pound as an intruder and interloper rather than a literary igniter The couple met influential American poet Amy Lowell and she introduced them to writer D  H  Lawrence in 1914, who would become a close friend and mentor to both 

Early career
Aldington's poetry was associated with the Imagist group, championing minimalist free verse with stark images, seeking to banish Victorian moralism  The group was key in the emerging Modernist movement  Ezra Pound coined the term imagistes for H  D  and Aldington (1912)  Aldington's poetry forms almost one third of the Imagists' inaugural anthology Des Imagistes (1914)  The movement was heavily inspired by Japanese and classical European art  Aldington shared T  E  Hulme's conviction that experimentation with traditional Japanese verse forms could provide a way forward for avant-garde literature in English 

Pound sent three of Aldington's poems to Harriet Monroe's magazine Poetry and they appeared in November 1912  She notes "Mr Richard Aldington is a young English poet, one of the "Imagistes", a group of ardent Hellenists who are pursuing interesting experiments in vers libre "She considered the poem "Choricos" to be his finest work, "one of the most beautiful death songs in the language" "a poem of studied and affected gravity" H D  became pregnant in August 1914, and in 1915 Aldington and H D  relocated from their home in Holland Park near Ezra Pound to Hampstead close to D  H  Lawrence and Frieda  They felt calmer out of the bustle of the city, with more space and green  The pregnancy ended in a stillborn daughter, which traumatised the couple and put a great strain on the relationship; H D  was 28 and Aldington 22  The outbreak of war in 1914 deeply disturbed Aldington, though no draft was in place at this time  H D  felt more distant from the melee, not having a close affinity to the European landscape, geographical or political  This rift also put pressure on the marriage  Unhappy, Aldington dreamed of escape to America and began to have affairs  He began a relationship with Florence Fallas, who had also lost a child Between 1914 and 1916 Aldington was literary editor and a columnist at The Egoist  He was assistant editor with Leonard Compton-Rickett under Dora Marsden  Aldington knew Wyndham Lewis well and reviewed his work in The Egoist  He was also an associate of Ford Madox Ford's, helping him with a propaganda volume for a government commission in 1914 and taking dictation for The Good Soldier 

First World War and aftermath
Aldington joined up in June 1916 and was sent for training at Wareham in Dorset  H D



ground_truth: Brothers Quay

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What else was Baghdad known as during the Abbasid Caliphate?

The following are given passages.
Context 2: 
Sinbad embarks on an adventure to save a trapped princess in the water-based boat ride, The Adventures of Sinbad at Lotte World in Seoul, South Korea 
The Efteling theme park at Kaatsheuvel in the Netherlands has a land themed after Sinbad called De Wereld van Sindbad (The World of Sinbad)  It includes the indoor roller coaster Vogel Rok, themed after Sinbad's fifth voyage, and Sirocco, a teacups ride 
The elaborate live-action stunt show The Eighth Voyage of Sinbad at the Universal Orlando Resort in Florida features a story inspired by Sinbad's voyages 

Other references
Actor and comedian David Adkins uses the stage name Sinbad 
An LTR retrotransposon from the genome of the human blood fluke, Schistosoma mansoni, is named after Sinbad  It is customary for mobile genetic elements like retrotransposons to be named after mythical, historical, or literary travelers; for example, the well-known mobile genetic elements Gypsy and Mariner 

See also
Aeneid
Gulliver's Travels
List of literary cycles
Odyssey
Sunpadh
The Voyage of Bran

Notes
Passage 2:
Battle of Hama
The Battle of Hama was fought some 24 km (15 mi) from the city of Hama in Syria on 29 November 903 between the forces of the Abbasid Caliphate and pro-Isma'ili Bedouin (called "Fatimids" or "Qarmatians")  The Abbasids were victorious, resulting in the capture and execution of the Isma'ili leadership  This removed the Isma'ili presence in northern Syria, and was followed by the suppression of another revolt in Iraq in 906  More importantly, it paved the way for the Abbasid attack on the autonomous Tulunid dynasty and the reincorporation of the Tulunid domains in southern Syria and Egypt into the Abbasid Caliphate 

Background
In the second half of the 9th century, the Isma'ili Shi'ite sect began establishing a network of agents and sympathizers across the Muslim world  It was a time of millennialist expectations, coinciding with a deep crisis of the Abbasid Caliphate during the decade-long Anarchy at Samarra, the rise of breakaway and autonomous regimes in the provinces, and the large-scale Zanj Rebellion, whose leader claimed Alid descent and proclaimed himself as the mahdi  In this chaotic atmosphere, and with the Abbasids preoccupied with suppressing the Zanj uprising, the Isma'ili missionaries found fertile ground, aided by dissatisfaction among the adherents of the rival Twelver branch of Shi'a Islam with the political quietism of their leadership and the recent disappearance of their own imam  Missionaries like Hamdan Qarmat and his brother-in-law Abu Muhammad Abdan spread their network of agents to the area around Kufa in the late 870s, and from there to Yemen (Ibn Hawshab, 882) and thence India (884), Bahrayn (Abu Sa'id al-Jannabi, 899), Persia, and Ifriqiya (Abu Abdallah al-Shi'i, 893)  In this period, the Isma'ili movement was based at Salamiya on the western edge of the Syrian Desert, and its leadership was assumed by Sa'id ibn al-Husayn, the future founder of the Fatimid Caliphate  Sa'id's claims to be the awaited mahdi instead of Muhammad ibn Isma'il, as had been hitherto assumed, caused a split in the movement in 899  Hamdan denounced the leadership in Salamiya, gathered the Iraqi missionaries and ordered them to cease the missionary effort  Shortly after he disappeared from his headquarters, and Abdan was assassinated at the instigation of Zakarawayh ibn Mihrawayh, who had remained loyal to Salamiya  These events caused a major split in the Isma'ili movement, between those who recognized Sa'id's claims to the imamate and those who rejected them  The latter are generally known by the term "Qarmatians", although this name was also applied by non-Isma'ilis in a pejorative sense to the supporters of the Fatimids After his role in the murder of Abdan, Zakarawayh ibn Mihrawayh escaped Iraq and resumed his missionary efforts among the Bedouin tribes of the eastern Syrian Desert, but with little success  He then sent his sons, al-Husayn and Yahya, who became known by the names Sahib al-Shama ("Man with the Mole") and Sahib al-Naqa ("Master of the She-camel"), to proselytize among the large Bedouin tribal confederation of the Banu Kalb, between Palmyra and the Euphrates River  Many Bedouin from the Banu'l-Ullays and Banu'l-Asbagh flocked to them, thus acquiring a potent military force, albeit one with limitations: the Bedouin were more concerned with extracting booty from the settled communities, and were ill-suited to campaigns of conquering and holding territories  Buoyed by their success, the brothers and their followers adopted the name al-Fatimiyyun ("Fatimids") and rose in revolt in 902  The motivations of al-Husayn, Yahya, and their father, who remained in Iraq, have been variously interpreted by modern scholars  Traditionally this movement has been regarded as wholly "Qarmatian" in character, and was called that by the Abbasid government  In recent years, however, the consensus follows the analysis of Heinz Halm, which has shown that Zakarawayh and his sons remained loyal to Sa'id, and that their actions aimed at securing possession of Syria and triggering a general rebellion against the Abbasids  Nevertheless, this uprising was apparently without the knowledge or authorization of Sa'id, and would end up placing him in mortal danger, as it alerted the authorities to the whereabouts of the Isma'ili movement's true leader, who had to flee to Ramla From their base in the region around Palmyra, the Fatimid Bedouin began launching raids against the Abbasid and Tulunid provinces of Syria, with devastating effect  In 902, they defeated the Tulunids under Tughj ibn Juff near Raqqa, and laid siege to Damascus for seven months, from December 902 until July 903  The city was successfully held by Tughj and the Sahib al-Naqa was killed  Leadership passed to the Sahib al-Shama, who led his men to ravage Homs, Hama, Ba'albek, and Ma'arrat al-Numan  Based at Salamiya, and in the expectation that his hidden master would come forth, the Bedouin began to establish the institutions of a state: at the mint of Homs, coins were issued in the name of the mahdi, and in the Friday sermon the name of the Abbasid caliph was dropped in favour of the—as yet unnamed—"Successor, the rightly-guided Heir, the Lord of the Age, the Commander of the Faithful, the Mahdi"  Encamped at Salamiya, the Bedouin waited for Sa'id's arrival in vain, from August to November 903  Despite al-Husayn's repeated entreaties in his correspondence with his master, however, Sa'id refused to leave the safety of Ramla 

Battle
In view of the apparent impotence of the Tulunid regime to stop the Bedouin raids, the Syrians called upon the Abbasid government to intervene directly, and on 30 July 903, Caliph al-Muktafi commanded that a campaign be undertaken  The campaign was nominally headed by al-Muktafi in person, who left Baghdad on 9 August and went to Raqqa  In mid-August, the Bedouin under a certain al-Mutawwaq surprised an Abbasid army some 10,000 strong near Aleppo, while it was resting and dispersed, with many troops seeking to escape the intense heat in a local river; the Abbasid troops were routed, and only about a thousand managed to reach the city, where, under the command of Abu al-Agharr, they repulsed the Bedouin attacks  At about the same time, however, the general Badr al-Hammami inflicted a heavy defeat on the Sahib al-Shama and his men near Damascus  The Bedouin fled to the desert, and Caliph al-Muktafi sent men under al-Husayn ibn Hamdan to pursue them  While al-Muktafi remained at Raqqa, command of the army in the field was given to the head of the department of the army (diwan al-jund), Muhammad ibn Sulayman al-Katib  On Tuesday, 29 November 903, the Abbasid army under Muhammad met the Fatimids at a location some 24 km from Hama  The course of the battle is described in a victory dispatch sent by Muhammad to the caliph afterwards and included in the History of the Prophets and Kings of al-Tabari According to the latter, on the morning of 29 November, the Abbasid army set out from al-Qarwanah towards al-Alyanah—both unidentified locations—deployed in full battle order  During the march, Muhammad ibn Sulayman received a report that a part of the Fatimid army, comprising 3,000 horse and many foot under one of the Isma'ili chief missionaries, al-Nu'man, had encamped at a locality some 12 Arabic miles (about 24 kilometres (15 mi)) from Hama, and that the other detachments of the Bedouin army had joined him there  Muhammad led his army towards the Bedouin encampment, and found them deployed in battle array  According to the report of Muhammad, the Bedouin left wing was led by Masrur al-Ulaymi and others, in charge of 1,500 horsemen  Behind the left wing was placed a reserve force of 400 cavalry  The Bedouin centre was commanded by al-Nu'man al-Ullaysi and other officers, and comprised 1,400 cavalry and 3,000 infantry, while the right wing was commanded by Kulayb al-Ullaysi and others and numbered 1,400 horsemen, with a reserve force of 200 horsemen more As the two armies advanced on each other, the Bedouin left thrust forward against the Abbasid right, which was commanded by al-Husayn ibn Hamdan  The troops of Ibn Hamdan repulsed the first Bedouin attack, and then the second, killing 600 horsemen  The Bedouin on the left broke and fled; Ibn Hamdan and his men pursued them and in a series of engagements killed all but 200 of them  Ibn Hamdan's troops reportedly captured 500 horses and 400 silver necklaces as well  The Bedouin right wing likewise attacked the Abbasid left, held by al-Qasim ibn Sima, Yumn al-Khadim, and the tribal allies of Banu Shayban and Banu Tamim  While the two wings were grappling with each other, an Abbasid detachment under Khalifah ibn al-Mubarak and Lu'lu' attacked the Bedouin on their flank and broke their lines  Here too the Bedouin fled pursued by the government forces, who took some 600 horses and 200 necklaces as booty  Several Fatimid commanders, including the missionary al-Nu'man, were killed at the battle Muhammad himself confronted the Bedouin centre along with several other officers: Khaqan, Nasr al-Qushuri, and Muhammad ibn Kumushjur led forces from the right flank, Wasf Mushgir, Muhammad ibn Ishaq ibn Kundajiq, Ahmad ibn Kayghalagh and his brother Ibrahim, al-Mubarak al-Qummi, Rabi'a ibn Muhammad, Muhajir ibn Tulayq, al-Muzaffar ibn Hajj, Abdallah ibn Hamdan (al-Husayn's brother), Jinni the Elder, Wasif al-Buktamir, Bishr al-Buktamiri, and Muhammad ibn Qaratughan  With the support of troops from the right wing, who after repelling the Bedouin left flanked their centre, the Abbasids were victorious here as well  The Fatimids broke and were pursued over several miles  Muhammad ibn Sulayman, fearful lest his army disperse itself during the pursuit, or leave the infantry and the baggage train—guarded by Isa ibn Muhammad al-Nushari—exposed to a Bedouin attack, halted the pursuit of his own detachment after half a mile  He set up camp there for the night, and with the Caliph's spear as a rallying point, began regrouping the various squadrons  Despite the overwhelming victory, Muhammad and his officers remained on guard during the night, concerned of a possible Bedouin attack 

Aftermath
The Sahib al-Shama did not take part in the battle, having remained behind at Salamiya along with the treasure he had hoarded there on behalf of his master  Enraged about the apparent abandonment by the supposed divinely-guided imam, the Sahib al-Shama turned against him: his residence at Salamiya was destroyed, and all family members and servants encountered there executed  This atrocity, along with the failure of the uprising, led later Fatimid historians to try and excise Sa'id's relationship with the sons of Zakarawayh in what Halm calls an act of damnatio memoriae  The Sahib al-Shama tried to rouse the chiefs of the Banu'l-Ullays to resistance, but they refused  Left with no other recourse, the Sahib al-Shama, along with his cousin al-Muddathir, his associate al-Muttawaq and a Greek page fled through the desert  By the time they reached the locality of al-Daliyah on the Euphrates Road near al-Rahba, they had run out of supplies  When a servant was sent to buy provisions in the settlement, he aroused the suspicions of the villagers with his strange dress and manner, so that they notified a local official, Abu Khubzah  The latter rode out with an escort, and after interrogating the servant went to the Qarmatians' camp and took them prisoner  They captured the Sahib al-Shama and his companions were then escorted by Abu Khubzah and the local governor, Ahmad ibn Muhammad ibn Kushmard, to Caliph al-Muktafi in Raqqa, which they entered on 19 December Al-Muktafi returned to Baghdad with the senior captives, who were thrown into prison  Muhammad ibn Sulayman remained at Raqqa to scour the countryside and round up the remaining rebels  He too then returned to Baghdad, which he entered in triumph on 2 February 904  Eleven days later, on 13 February, Muhammad and the sahib al-shurta of the capital, Ahmad ibn Muhammad al-Wathiqi, presided over the public execution of the Fatimid leaders and Isma'ili sympathizers rounded up from Kufa and Baghdad The Abbasid victory near Hama did not yet fully eradicate the Isma'ili threat  In 906, the Banu Kalb, under Abu Ghanim Nasr, rose up in rebellion, raided the Hawran and Tiberias, and launched a failed attack on Damascus  They then sacked Tiberias and plundered Hit on the Euphrates  Nasr was soon cornered by the caliphal army, however, and killed by the Banu Kalb themselves in exchange for pardon  As a result, the Isma'ili activities shifted east to the Euphrates, where Zakarawayh ibn Mihrawayh (the father of al-Husayn and Yahya) had also rebelled in 906 near Kufa  After leading an unsuccessful attack on Kufa and number of devastating raids on Hajj caravans, he too was killed in early 907 by caliphal troops under Wasif ibn Sawartakin near al-Qadisiyya  With these defeats, the Isma'ili movement virtually ceased to exist in the Syrian Desert, although their counterparts in Bahrayn remained an active threat for several decades to come More importantly, the defeat of the Fatimid Bedouin at Hama opened the way for the Abbasids to recover the provinces of southern Syria and Egypt, held by the Tulunids  The Tulunid regime had become enfeebled due to internal strife, rivalries and the defection of senior officers, and the recent failures against the Bedouin  In 904, Muhammad ibn Sulayman led an army into Syria  The campaign met with little opposition; the Tulunid emir Harun ibn Khumarawayh was even assassinated by his uncles, whereupon several senior commanders switched sides  The Abbasids entered the Egyptian capital Fustat in January 905 without a fight, completing the reconquest of the province 
Passage 3:
Abna' al-dawla
The abnāʾ al-dawla (Arabic: أبناء الدولة, meaning "sons of the regime/dynasty"), often simply " the Abnāʾ", is a term for the Khorasani Arabs who had participated in the Abbasid Revolution of 749–750 and their descendants, who settled in Baghdad and Iraq  They became the ruling elite of the Abbasid Caliphate and formed the mainstay of the caliphal army  However, the term appears rarely in the sources until the time of the Fourth Fitna civil war in the 810s, when it is applied to the Khurasanis of Baghdad, who overwhelmingly supported Caliph al-Amin against his brother al-Ma'mun  The terms ahl Khurāsān ("people of Khurasan") and abnāʾ ahl Khurāsān ("sons of the people of Khurasan") are more frequently used for the Khurasanis who formed the mainstay of the Abbasid regime in general  Following al-Ma'mun's victory in the civil war, the abnāʾ al-dawla were largely replaced by the latter's Persian followers, and under his successor al-Mu'tasim, the rise of the Turkish slave-soldiers to power began 

Sources
Crone, Patricia (1998)  "The 'Abbāsid Abnā' and Sāsānid Cavalrymen"  Journal of the Royal Asiatic Society  8 (1): 1–19  ISSN 1356-1863  JSTOR 25183463 
Turner, John P  (2004)  "The abnāʾ al-dawla: The Definition and Legitimation of Identity in Response to the Fourth Fitna"  Journal of the American Oriental Society  124 (1): 1–22  ISSN 0003-0279  JSTOR 4132150 
Turner, John P  (2016)  "Abnāʾ"   In Fleet, Kate; Krämer, Gudrun; Matringe, Denis; Nawas, John; Rowson, Everett (eds )  Encyclopaedia of Islam (3rd ed )  Brill Online  ISSN 1873-9830 
Passage 4:
The Last Voyage of Somebody the Sailor
The Last Voyage of Somebody the Sailor is a novel by American writer John Barth, published in 1991  It is a postmodern metafictional story of a man who jumps overboard from a modern replica of a medieval Arab ship and is rescued by sailors from the world of Sinbad the Sailor  Eventually he makes his way to "Baghdad, the City of Peace", and finds himself in the stories of Sindbad and Scheherazade   The novel makes use of a challenging double-stranded narrative and a rich prose style 
Passage 5:
Bajkam
Abū al-Husayn Bajkam al-Mākānī (Arabic: أبو الحسين بجكم المكاني), referred to as Bajkam, Badjkam or Bachkam (from Bäčkäm, a Persian and Turkish word meaning a horse- or yak-tail), was a Turkish military commander and official of the Abbasid Caliphate  A former ghulam of the Ziyarid dynasty, Bajkam entered Abbasid service following the assassination of the Ziyarid ruler Mardavij in 935  During his five-year tenure at the Caliphate's court at Baghdad, he was granted the title of amir al-umara, consolidating his dominance over the caliphs al-Radi and al-Muttaqi and giving him absolute power over their domains  Bajkam was challenged throughout his rule by various opponents, including his predecessor as amir al-umara, Muhammad ibn Ra'iq, the Basra-based Baridis, and the Buyid dynasty of Iran, but he succeeded in retaining control until his death  He was murdered by a party of Kurds during a hunting excursion in 941, shortly after the accession of al-Muttaqi as Caliph  Bajkam was known both for his firm rule and for his patronage of Baghdad intellectuals, who respected and in some cases befriended him  His death led to a void in central power, resulting in a brief period of instability and fighting in Baghdad 

Early military career and service under Ibn Ra'iq
Details of Bajkam's early life are unknown  He was a Turk, and began his career as one of the ghilman (military slaves, usually of Turkish origin) of a vizier to the Daylamite warlord Makan ibn Kaki in northern Iran  His master then made a gift of his ghilman, including Bajkam, to Makan  The latter took care of the young Bajkam's training and education, something for which the latter showed his gratitude by adopting his patron's name as his nisba (surname) After Makan was defeated by Mardavij, founder of the Ziyarid dynasty, who came to control Daylam, Jibal and Tabaristan, he entered Mardavij's service, along with many others among Makan's ghilman  Mardavij mistreated his ghilman, who consequently murdered him at Isfahan in January 935, an act in which Bajkam may have been complicit  After Mardavij's death, most of the ghilman in Ziyarid service dispersed  Bajkam and his fellow officer Tuzun assumed the leadership of a large group and, after first offering their services to the new governor of Jibal, Hasan ibn Harun, proceeded to the Abbasid court at Baghdad  At first, their offers were rejected by the court, where the Caliph's Hujariyya bodyguards jealously guarded their prerogatives, but the ghilman were eventually taken into the service of Muhammad ibn Ra'iq, governor of Basra and Wasit in southern Iraq  Now known as Bajkam Ra'iqi, Bajkam created a large military force under his command consisting of his own followers as well as additional Turks and Daylamites summoned from Jibal In early November 936, the Caliph al-Radi (r  934–940) bestowed the newly created title of amir al-umara ("commander of commanders") on Ibn Ra'iq, who was effectively granted absolute control over the Caliphate  This provoked the reaction of various provincial governors as well as that of powerful interest groups in Baghdad itself, such as the caliphal bodyguards  Against them, Ibn Ra'iq employed Bajkam and his Turkish supporters  With their aid, he managed to neutralize the Hujariyya and Saji guard units, after which, in February 937, Bajkam was rewarded with the posts of sahib al-shurta (chief of police) and governor of the eastern provinces Far more difficult and protracted was the war against the ambitious governor of Ahwaz, Abu Abdallah al-Baridi, who aimed to supplant Ibn Ra'iq  Al-Baridi's family was of Basran origin, and had served the Abbasids in various roles as officials before managing to assert a weak hold over Khuzistan  Ibn Ra'iq himself was defeated and forced to leave Basra to the Baridis, but Bajkam saved the situation by scoring two major victories, despite being outnumbered, that allowed him to take possession of Khuzistan  The hard-pressed al-Baridi now turned to his powerful neighbour, the Buyid ruler of Fars, Ali ibn Buya, for help  Ali's brother Ahmad soon took over Khuzistan, and Ibn Ra'iq was forced to offer possession of the province as an independent domain if Bajkam would recover it  Bajkam however was repulsed by the Buyid forces, and fell back to Wasit Ignoring Ibn Ra'iq's orders to retake Khuzistan, Bajkam remained at Wasit, and began plotting to depose Ibn Ra'iq himself  To this end, Bajkam began seeking allies: he offered the governorship of Wasit to the Baridis, and through the former vizier Ibn Muqla, who wished to avenge himself on Ibn Ra'iq for his own downfall and confiscation of his property, gained the covert support of Caliph al-Radi himself  In September 938, Bajkam led his troops from Wasit to Baghdad  Ibn Ra'iq tried without success to impede his advance by destroying the great dams of the Nahrawan Canal and flooding the plain, but Bajkam's army entered the Abbasid capital without opposition, and al-Radi immediately transferred Ibn Ra'iq's title of amir al-umara to Bajkam 

Amir al-umara
Despite the continued relegation of al-Radi to a ceremonial role, the relationship between the Caliph and Bajkam was strong, with al-Radi praising Bajkam for his harsh discipline and referring to the latter as his "protégé"  Al-Radi was appreciative of Bajkam's respect for his position as Caliph, and promised his support for the amir al-umara In October–November 938, Bajkam and the Caliph campaigned against the influential Hamdanid emir of Mosul, Hasan ibn Abdallah, who had taken advantage of the turmoil in Iraq to cease forwarding his province's revenue to Baghdad  Although Bajkam's army captured Mosul, Hasan fled before him to the remotest corners of his domain, where Bajkam's forces pursued him in vain  In the meantime, the local population resented the presence of the caliphal troops and launched guerilla warfare against them, while Ibn Ra'iq used Bajkam's absence to take control of Baghdad at the head of a Carmathian force  These developments forced Bajkam to negotiate with his rivals: the Hamdanids were restored in their province in exchange for the payment of the tax arrears, and Ibn Ra'iq was bought off with the governorship of the provinces of Tariq al-Furat, Diyar Mudar, Qinnasrin and al-'Awasim, which were also claimed by the Ikhshidids of Egypt  This arrangement allowed Bajkam and the Caliph to return to Baghdad in February 939 Bajkam, having consolidated his control over Baghdad, now turned to face the threat posed by the Buyids  To this end, he strengthened his ties with the Baridis of Basra, by handing over Wasit, as previously agreed, appointing Abu Abdallah al-Baridi as vizier of the Abbasid court (although the latter remained at Wasit and did not visit Baghdad), and, finally, by marrying himself to one of al-Baridi's daughters  Neither side really trusted the other—Bajkam is said to have remarked of his father-in-law, an inveterate intriguer, that his "turban covered the head not of a man but of a devil"—but the deal allowed a fragile peace to prevail in Iraq Bajkam's success against the Buyids was mixed: Wasit was saved from Buyid attack, and the Baridis led a successful campaign in Susiana, but an expedition into Jibal was crushed by the third Buyid brother, Hasan  The alliance with the Baridis quickly soured, however, as al-Baridi still maintained his ambition of replacing Bajkam, and Bajkam was aware of this  In late August 940, Bajkam removed al-Baridi from the vizierate and launched an attack on Wasit, which the Baridis abandoned without resistance  In the meantime, the Baghdad was in turmoil as religious violence had become commonplace, with fanatical members of the Hanbali school imposing their tenets on the general populace In December 940, al-Radi died  Bajkam remained at Wasit, but sent his secretary to Baghdad to convene a council of Abbasid aristocrats, who selected al-Muttaqi (r  940–944), al-Radi's brother, as Caliph  Bajkam also sent a slave named Takinak to the deceased Caliph's palace, the Dar al-Sultan, to procure various items, including the valuable al-Yatimah pearl  He also obtained three female slaves from al-Radi's palace, whose singing he remembered from his earlier visits to the Caliph Among al-Muttaqi's first actions as Caliph was the confirmation of Bajkam as amir al-umara  Despite al-Muttaqi's gesture of support, Bajkam still faced opposition among the semi-autonomous provincial governors, including al-Baridi 

Death and ensuing anarchy
Bajkam opened a campaign against al-Baridi in early spring 941  His lieutenants were at first defeated by the Baridis, whereupon Bajkam himself left Wasit to take the field  On his way to join his army, however, he was informed that his generals had achieved a major victory over the Baridis, and decided to return to Wasit  On 21 April 941, while travelling, he took part in a hunting excursion, during which he and his party encountered a band of Kurdish brigands  During a brief skirmish, Bajkam was slain when one of the Kurds stabbed him in the back with his lance Bajkam's unexpected death created a power vacuum in Baghdad, with disagreements between Daylamite and Turkish forces prompting the former to join the defeated al-Baridi  With their assistance, he marched on Wasit and Baghdad, capturing them, but was soon forced to flee due to the disorder that followed his usurpation of power  A Daylamite chief named Kurankij replaced him as de facto ruler of Baghdad, but he imposed tyrannical rule, and al-Muttaqi appealed to the former amir al-umara Ibn Ra'iq for assistance Ibn Ra'iq soon retook control of Baghdad, but political turmoil did not cease with his re-installation as amir al-umara  Once again, al-Baridi captured the city, and Ibn Ra'iq fled with the Caliph to Mosul, from where the Hamdanid rulers launched a successful attempt to restore them  The Hamdanid emir Hasan, after ordering the assassination of Ibn Ra'iq, was made amir al-umara and given the laqab of Nasir al-Dawla ("Defender of the Dynasty")  In 943, the Hamdanids were forced to retreat to Mosul when Tuzun, one of Bajkam's officers, seized power with military support; the following year, Tuzun captured, blinded, and deposed al-Muttaqi, assuming the role of amir al-umara  The Caliph's brother, al-Mustakfi (r  944–946), was appointed as his successor  The competition for control of the Caliph ended in 945, when the Buyid Ahmad took over the position of  amir al-umara with the title of Mu'izz al-Dawla  This began the period of undisputed Buyid control over Baghdad and Iraq, which lasted until the Seljuk conquest in the 1050s 

Character
Despite his slave origin, Bajkam was educated in Arabic (although he reportedly did not speak it for fear of making mistakes), respected by intellectuals and was known to seek the company of such men as al-Suli and the physician Sinan ibn Thabit  It is in their writings that glimpses of his character survive  According to the researcher Marius Canard, Bajkam was "covetous of power and money, he did not hesitate to resort to dissimulation and ruse, corruption and torture to attain his ends; he was at times cruel, though his bravery was legendary, and was more upright in character than Ibn Ra'iq"  Bajkam was also solicitous for the welfare of his subjects, and especially the inhabitants of Wasit cherished his memory 

See also
Passage 6:
Sa'id ibn Makhlad
Sa'id ibn Makhlad (Arabic: سعيد بن مخلد) (died 889) was a senior official of the Abbasid Caliphate  Born a Nestorian Christian, he converted to Islam and served as a secretary in the Abbasid capital, Baghdad  He rose to prominence during the regency of al-Muwaffaq over his brother, the Caliph al-Mu'tamid (r  870–892): between 878 and 885, he served as de facto vizier of the Caliphate, although he did not bear the title  His valuable assistance to al-Muwaffaq was recognized in 882 by the award of the honorific title Dhu'l-wizaratayn ("possessor of the two vizierates"), with which he appears even on coins  However, the activities of his brother, Abdun, who had remained a Christian and tried to obtain concessions for the Christian subjects of the Caliphate, brought about his sudden fall from power in 885  He died in 889 
Sa'id has been erroneously considered by some writers as the brother of another Christian convert, al-Hasan ibn Makhlad al-Jarrah, who was his predecessor as vizier 

Sources
Sourdel, Dominique (1971)  "Ibn Makhlad"   In Lewis, B ; Ménage, V  L ; Pellat, Ch  & Schacht, J  (eds )  Encyclopaedia of Islam  Volume III: H–Iram (2nd ed )  Leiden: E  J  Brill  p  859  OCLC 495469525 
Passage 7:
Nahrawan Canal
The Nahrevan Canal (Persian: کانال نرهوان) was a major irrigation system of the Sassanid and early Islamic periods in central Iraq, along the eastern banks of the Tigris and the lower course of the Diyala River  Created in the 6th century, it reached its peak under the Abbasid Caliphate, when it served the main water supply for the Abbasid capital of Baghdad, while the regions irrigated by it served as the city's main breadbasket  Its destruction and progressive abandonment from the mid-10th century onwards mirror the Abbasid Caliphate's decline 

History
The first irrigation works along the Diyala River were undertaken in Parthian times  Indeed, it may be that the lower part of the Nahrawan Canal was originally the lower course of the Diyala  The large-scale canal system of early medieval times however was created in the reign of the Sassanid ruler Khosrau I (r  531–579), who also established it as a separate administrative district (Bazidjan Khusraw)  A treasury and mint were possibly established there In early Islamic times, the town of Jisr al-Nahrawan in the middle of the canal was the site of the Battle of Nahrawan on 17 July 658 between Ali and the Kharijites under Abdallah ibn Wahb  Under the early Caliphates, and especially under the Abbasids who made nearby Baghdad their capital, the canal network was repaired and expanded, reaching its peak in the 9th and early 10th centuries  In Abbasid times, the region was divided into three tax districts, Upper, Middle and Lower Nahrawan The canal was breached in 937/8, during the revolt of Bajkam against Ibn Ra'iq; the latter tried to impede Bajkam's advance from Wasit to Baghdad by flooding the region in between  The move barely obstructed Bajkam, but succeeded in destroying the agriculture of the region, hitherto the breadbasket of the Abbasid capital  As Hugh N  Kennedy writes, "the breach of the Nahrawan canal was simply the most dramatic example of a widespread phenomenon of the time; and it was symbolic of the end of ‘Abbasid power just as the breach of the Marib Dam was of the end of the prosperity of pre-Islamic south Arabia"  The lower and middle Nahrawan were entirely abandoned for almost 14 years, until the Buyids under Mu'izz al-Dawla restored the canal  Nevertheless, the canal network continued to decline thereafter  As late as 1140, the Seljuq governor Bihruz tried to restore it, but according to the 13th-century scholar Yaqut al-Hamawi, infighting among the Seljuqs once again meant the neglect of the canal, and its use as a road by their troops compounded the destruction of the network  By Yaqut's time, the canal network had largely silted up and the countryside along them was abandoned 

Outline
In medieval times, the main canal was divided into three sections, described in detail by the 13th-century geographer Yaqut al-Hamawi, in his Mu'jam al-Buldan  The initial feeder canal drawing water from the Tigris at Dur al-Arabaya near Samarra and carrying it to the Diyala at Ba'quba was called al-katul al-Kisrawi ('the Cut of Khosrau')  During its course, it was joined by three smaller canals taken from the Tigris, the Yahudi ('of the Jews'), the al-Ma'muni, named after Caliph al-Ma'mun (r  813–833), and the largest of the three, the Abu'l-Jund ('father of the army'), built under Harun al-Rashid (r  786–809) Some 20 km south of the inflow of the Abu'l-Jund stood the town of Salwa or Bab Salwa (Basalwa), and a little further on the town of Ba'quba, the capital of the Upper Nahrawan district, some 50 km north-northeast of Baghdad  From there, the main canal, now known as the Tamarra, turned south to the towns of Bajisra (originally Bayt al-Jisr, 'bridge-house') and finally Jisr al-Nahrawan, from where it was known as the Nahrawan proper  From Bajisra a canal, the Nahr al-Khalis, connected the main canal with the Tigris at Baradan and supplied the eastern suburbs of Baghdad with water, while another, the Nahr Bin, connected Jisr al-Nahrawan with Kalwadha south of Baghdad  Just south of Jisr al-Nahrawan there was another canal, the Diyala canal—the present course of the namesake river—which joined the Tigris some 5 km south of Baghdad  Jisr al-Nahrawan itself was a wealthy place, as there the Khurasan Road connecting Baghdad with Central Asia crossed the canal  Surviving descriptions record that it was extended on both sides of the canal, each with its own mosques, markets and hostels for travellers and pilgrims  It was abandoned by the 14th century, as the road to Khurasan was diverted north, through Ba'quba Below Jisr al-Nahrawan came a large Sassanid-era weir (Shadhurwan), followed by the towns of Jisr Buran/Puran (named after Ma'mun's wife), Yarzatiya, 'Abarta, another weir, and the city of Iskaf Bani Junayd, divided by the canal in upper and lower towns  From Iskaf, the canal went on for another 100 km amidst a heavily cultivated landscape to rejoin the Tigris at Madharaya, near modern Kut 
Context 3:  moved to be closer to her husband  He then was sent to a camp near Manchester  They found the duality of their lives harsh, and the gruelling, regimented nature of the training felt hard for the sensitive professional poet  He felt fundamentally different from the other men, more given to intellectual pursuits than unending physical labour that left him little time to write  Their sporadic meetings were emotionally wrenching and the couple could make no plans for their future together  He encouraged H D  to return to America where she could make a safer and more stable home  They both watched news come in of heavy troop losses in France at the Somme and on other battlefields  She could not have information given on her husband's future postings overseas, all held to be secret  Rationing and the forced draft began as the war turned against the British When Aldington was sent to the front in December 1916, the couple's relationship became epistolary  He wrote that he'd managed to complete 12 poems and three essays since joining up and wanted to work on producing a new book, in order to keep his mind on literature, despite his work of digging graves  He found the soldier's life degrading, living with lice, cold, mud and little sanitation  His encounters with gas on the front would affect him for the rest of his life  He was given leave in July 1917 and the couple enjoyed a reunion during this brief reprieve  He felt distant from old Imagist friends like Pound who had not undergone the tortuous life of the soldiers on the front and could not imagine the living conditions Aldington joined up in the 11th Leicestershires and was later commissioned as a second lieutenant in the Royal Sussex Regiment (November 1917)  He finished the war as a signals officer and temporary captain, being demobilised in February 1919  He may never have completely recovered from the war, writing of his own field experiences in the collections Images of War and Images of Desire (1919), which were suffused with a new melancholy  He ended the war feeling disconsolate about his own talent as a poet  Exile and Other Poems (1923) also dealt with the process of trauma  A collection of war stories Roads to Glory, appeared in 1930  After this point he became known as a critic and biographer Towards the end of the war H D  lived with composer Cecil Gray, a friend of D  H  Lawrence's  They had a daughter together in March 1919, the pregnancy much complicated by H D 's catching pneumonia towards the end  Neither Gray nor Aldington wanted to accept paternity  By the time of Aldington's return H D  was involved with the female writer Bryher  H D  and Aldington formally separated and had relationships with other people, but they didn't divorce until 1938  They remained friends for the rest of their lives  He destroyed all the couple's pre-1918 correspondence Aldington helped T  S  Eliot by persuading Harriet Shaw Weaver to appoint Eliot as Aldington's successor at The Egoist magazine  In 1919 he introduced Eliot to the editor Bruce Richmond of The Times Literary Supplement  Aldington was on the editorial board of Chaman Lall's London literary quarterly Coterie (published 1919–1921), accompanied by Conrad Aiken, Eliot, Lewis and Aldous Huxley  Eliot had a job in the international department of Lloyds Bank and well-meaning friends wanted him full-time writing poetry  Ezra Pound, plotting a scheme to "get Eliot out of the bank", was supported by Lady Ottoline Morrell, Leonard Woolf and Harry Norton Aldington began publishing in journals such as the Imagist The Chapbook  In reply to Eliot's The Waste Land, Aldington wrote A Fool i' the Forest (1924) 

Aldington suffered a breakdown in 1925  His interest in poetry waned, and he developed an animosity towards Eliot's celebrity  Aldington grew closer to Eliot but gradually became a supporter of Vivienne Eliot in the troubled marriage  Aldington satirised her husband as "Jeremy Cibber" in Stepping Heavenward (1931)  He had a relationship with writer Valentine Dobrée and a lengthy and passionate affair with Arabella Yorke, a lover since Mecklenburgh Square days, coming to an end when he went abroad Aldington helped Irene Rathbone publish her semi-autobiographical novel We That Were Young in 1932  They had an affair that ended in 1937  Rathbone dedicated her 1936 novel They Call it Peace to him, and she wrote a long poem, Was There a Summer?: A Narrative Poem, in 1943 about their relationship 

Exile
Aldington went into self-imposed exile in 1928  He lived in Paris for years, living with Brigit Patmore and fascinated by Nancy Cunard, whom he met in 1928  Following his divorce in 1938 he married Netta, née McCullough, previously Brigit's daughter-in-law 
Death of a Hero (1929), which Aldington called a "jazz novel," was his semi-autobiographical response to the war  He started writing it almost immediately after the armistice was declared  The novel condemned Victorian materialism as a cause of the tragedy and waste of the war  Rejectionist, an "Expressionist scream", it was commended by Lawrence Durrell as "the best war novel of the epoch"  It was developed mostly while Aldington was living on the island of Port-Cros in Provence, building on the manuscript from a decade before  Opening with a letter to the playwright Halcott Glover, the book takes a satirical, cynical, and critical stance on Victorian and Edwardian cant  Published in September 1929, by Christmas it had sold more than 10,000 copies in England alone, part of a wave of war remembrances from writers such as Remarque, Sassoon, and Hemingway  The book was quickly translated into German and other European languages  In Russia the book was taken to be a wholesale attack on bourgeois politics, "the inevitable result of the life which had preceded it", as Aldington wrote  "The next one will be much worse"  It was praised by Gorky as revolutionary, and the book, along with Aldington's later fiction, received huge Russian distribution  Aldington was, however, fiercely non-partisan in his politics, despite his passion for iconoclasm and feminism The character of George Winterbourne is loosely based on Aldington as an artist (Winterbourne a painter rather than writer), having a mistress before and through the war, and the novel portrays locations strongly resembling those he had travelled to  One of these locations, fictionally named "The Chateau de Fressin," strongly resembled a castle he wrote about in a letter to H  D Death of a Hero, like many other novels published around this time about the war, suffered greatly from censorship  Instead of changing or cutting parts of his novel, he replaced objectionable words with asterisks  Although they looked awkward on the page, Aldington, among others, wanted to call attention to censoring by publishers In 1930 Aldington published a translation of The Decameron and then the romance All Men are Enemies (1933)  In 1942, having relocated to the United States with his new wife Netta, he began to write biographies, starting with Wellington: The Duke: Being an Account of the Life & Achievements of Arthur Wellesley, 1st Duke of Wellington (1943)  It was followed by works on D  H  Lawrence: Portrait of a Genius, But     (1950), Robert Louis Stevenson: Portrait of a Rebel (1957), and T  E  Lawrence: Lawrence of Arabia: A Biographical Inquiry (1955)  Under financial pressure, he also worked as a Hollywood screenwriter 
Aldington's excoriating biography of T  E  Lawrence caused a scandal on its publication in 1955  In the spirit of iconoclasm, he was the first to bring public notice to Lawrence's illegitimacy and asserted that he was a homosexual, a liar, a charlatan, an "impudent mythomaniac", a "self-important egotist", a poor writer and even a bad motorcyclist  The biography dramatically coloured popular opinion of Lawrence  Foreign and War Office files concerning Lawrence's career were released during the 1960s and further biographies continued to analyse the 'British hero'  There was speculation that Aldington's spite was driven by jealousy and a sense of exclusion by the British establishment  Lawrence had attended Oxford, and his father was a baronet; Aldington suffered in the bloodbath of Europe during the First World War while Lawrence gained a heroic reputation in the Middle Eastern theatre and became an international celebrity, a homosexual icon, as Aldington saw it  Robert Graves noted in a review of the book, "instead of a carefully considered portrait of Lawrence, I find the self-portrait of a bitter, bedridden, leering, asthmatic, elderly hangman-of-letters "

Last years
Aldington lived in Sury-en-Vaux, Cher, France, from 1958  His last significant book was a biography of the Provençal poet and winner of the Nobel Prize in Literature, Frédéric Mistral (1956) Aldington died in Sury on 27 July 1962, shortly after being honoured in Moscow on the occasion of his seventieth birthday and the publication of some of his novels in Russian translation  He was fêted in the USSR, "even if some of the fêting was probably because he had, in his writings, sometimes suggested that the England he loved could, in certain of its aspects, be less than an earthly paradise " He is buried in the local cemetery in Sury  He left one daughter, Catherine, the child of his second marriage; she died in 2010 

Legacy
On 11 November 1985 Aldington was among 16 Great War poets commemorated in stone at Westminster Abbey's Poet's Corner  The inscription on the stone is a quotation from the work of a fellow Great War poet, Wilfred Owen  It reads: "My subject is War, and the pity of War  The Poetry is in the pity "

Style and bitterness
Alec Waugh described Aldington as having been embittered by the war, but took it that he worked off his spleen in novels like The Colonel's Daughter (1931) rather than letting it poison his life  Douglas Bush describes his work as "a career of disillusioned bitterness " His novels contained thinly veiled portraits of some of his friends, including Eliot, Lawrence and Pound; the friendship not always surviving  Lyndall Gordon characterises the sketch of Eliot in Aldington's memoirs Life for Life's Sake (1941) as "snide " As a young man, he was cutting about Yeats, but they remained on good terms 
Aldington's obituary in The Times of London in 1962 described him as "[a]n angry young man of the generation before they became fashionable     who remained something of an angry old man to the end" 

Works
Images (1910–1915) (The Poetry Bookshop, London, 1915) & (historical reproduction by Bibliobazaar ISBN 978-1-113-27518-9) 2009
Images Old and New (Four Seas Co , Boston, 1916) & (historical reproduction by Bibliobazaar ISBN 978-1-113-39283-1) 2009
The Poems of Anyte of Tegea (1916) translator
The Little Demon, by Feodor Sologub, authorised translation by John Cournos and Richard Aldington (London: Martin Secker, 1916) 
Images of Desire (Elkin Mathews, 1919) & (historical reproduction by Bibliobazaar) ISBN 978-1-115-45071-3) 2009
Images of War, A Book of Poems (Beaumont Press, London, 1919) & (historical reproduction by Bibliobazaar) ISBN 978-1-171-58428-5) 2009
War and Love: Poems 1915–1918 (1919)
Greek Songs in the Manner of Anacreon (1919) translator
Hymen (Egoist Press, 1921) with H D 
Medallions in Clay (1921)
The Good-Humoured Ladies: A Comedy by Carlo Goldoni (1922) translator, with Arthur Symons
Exile and Other Poems (1923)
Literary Studies and Reviews (1924) essays
Sturly, by Pierre Custot (1924) translator
The Mystery of the Nativity: Translated from the Liegeois of the XVth Century (Medici Society, 1924) translator
A Fool i' the Forest: A Phantasmagoria (1924) poem
A Book of 'Characters' from Theophrastus, Joseph Hall, Sir Thomas Overbury, Nicolas Breton, John Earle, Thomas Fuller, and Other English Authors; Jean de La Bruyère, Vauvenargues, and Other French Authors, compiled and translated by Richard Aldington, with an introduction and notes (1924)
Voltaire (1925)
French Studies and Reviews (1926)
The Love of Myrrhine and Konallis: and other prose poems (1926)
Cyrano De Bergerac, Voyages to the Moon and the Sun (1927) translator
D H  Lawrence: An Indiscretion (1927) (34-page pamphlet)
Letters of Madame de Sévigné to Her Daughter and Her Friends, selected, with an introductory essay, by Richard Aldington (1927) translator
Letters of Voltaire and Frederick the Great (1927) translator
Candide and Other Romances by Voltaire (1928) translator with Norman Tealby
Collected Poems (1928)
Fifty Romance Lyric Poems (1928) translator
Hark the Herald (Hours Press, 1928)
Remy de Gourmont: Selections From All His Works Chosen and Translated by Richard Aldington (1928)
Remy de Gourmont: A Modern Man of Letters (1928)
The Treason of the Intellectuals (La Trahison des Clercs), by Julien Benda (1928) translator
Death of a Hero: A Novel (1929)
The Eaten Heart (Hours Press, 1929) poems
A Dream in the Luxembourg: A Poem (1930)
Euripides' Alcestis (1930) translator
At All Costs (William Heinemann, Ltd , 1930) 45-page story
D H  Lawrence (1930) (43-page pamphlet; its contents are identical to D H  Lawrence: An Indiscretion (1927), except for the dropping of the subtitle and the addition of a one-paragraph note following the title page )
Last Straws (Hours Press, 1930)
Medallions from Anyte of Tegea, Meleager of Gadara, the Anacreontea, Latin Poets of the Renaissance (1930) translator
The Memoirs of Marmontel (1930) editor, with Brigit Patmore
Roads to Glory (1930) stories
Tales from the Decameron (1930) translator
Two Stories (Elkin Mathews, 1930): "Deserter" and "The Lads of the Village"
Letters to the Amazon, by Remy de Gourmont (1931) translator
Balls and Another Book for Suppression (1931) (13 pages)
The Colonel's Daughter: A Novel (1931)
Stepping Heavenward: A Record (1931) satire aimed at T  S  Eliot
Aurelia by Gérard de Nerval (1932) translator
Soft Answers (1932) five short novels
All Men Are Enemies: A Romance (1933)
Last Poems of D H  Lawrence (1933) edited with Giuseppe Orioli
Poems of Richard Aldington (1934)
Women Must Work: A Novel (1934)
Artifex: Sketches and Ideas (1935) essays
D H  Lawrence: A complete list of his works, together with a critical appreciation by Richard Aldington (1935) (22-page pamphlet)
The Spirit of Place (1935), editor, D H  Lawrence prose anthology
Life Quest (1935) poem
Life of a Lady: A Play in Three Acts (1936) with Derek Patmore
The Crystal World (1937)
Very Heaven (1937)
Seven Against Reeves: A Comedy-Farce (1938) novel
Rejected Guest (1939) novel
W  Somerset Maugham: An Appreciation (1939)
Life for Life's Sake: A Book of Reminiscences (1941)
Poetry of the English-Speaking World (1941) anthology, editor
The Duke: Being an account of the life & achievements of Arthur Wellesley, 1st Duke of Wellington (1943)  Later edition: Wellington: Being an account of the life & achievements of Arthur Wellesley, 1st Duke of Wellington (1946) 
A Wreath for San Gemignano (1945) with illustrations by Netta Aldington and sonnets of Folgóre da San Gimignano titled The Garland of Months and translated by Richard Aldington
Great French Romances (1946) novels by Madame de La Fayette, Choderlos De Laclos, Abbé Prévost, Honoré de Balzac
Oscar Wilde: Selected Works (1946) editor
The Romance of Casanova: A Novel (1946)
Complete Poems (1948)
Four English Portraits, 1801–1851 (1948) (The four are the Prince Regent, the young Disraeli, Charles "Squire" Waterton, and the young Dickens )
Selected Works of Walter Pater (1948)
Jane Austen (1948)
Decameron of Giovanni Boccaccio (two volumes) (1949) translator
The Strange Life of Charles Waterton, 1782–1865 (1949)
A Bibliography of the Works of Richard Aldington from 1915 to 1948 (1950) with Alister Kershaw
Selected Letters of D H  Lawrence (1950) editor
The Indispensable Oscar Wilde (1950) editor
Portrait of a Genius, But       (The Life of D H  Lawrence, 1885–1930) (1950)
D H  Lawrence: An Appreciation (1950) (32-page pamphlet, which borrows from the 1927, 1930, and 1935 pamphlets on Lawrence listed above)
The Religion of Beauty: Selections from the Aesthetes (1950) anthology, editor
Ezra Pound and T  S  Eliot: A Lecture (Peacocks Press, 1954) (22 pages)
Lawrence L'imposteur: T  E  Lawrence, the Legend and the Man (1954) Paris edition; also published as Lawrence of Arabia: A Biographical Enquiry (1955)
Pinorman: Personal Recollections of Norman Douglas, Pino Orioli and Charles Prentice (1954)
A  E  Housman and W  B  Yeats: Two Lectures (Hurst Press, 1955)
Introduction to Mistral (1956) (biography of French poet Frédéric Mistral)
Frauds (1957)
Portrait of a Rebel: The Life and Work of Robert Louis Stevenson (1957)
The Viking Book of Poetry of the English-Speaking World, Volume II (1958) editor
"The Composite Biography as Biography," in Moore, Harry T , ed , A D H  Lawrence Miscellany, Southern Illinois University Press (1959) and William Heinemann Ltd (1961), pp  143-152  "[This] essay serves as the Introduction of Vol  3 of Edward Nehls's D H  Lawrence: A Composite Biography, copyright, 1959, by the University of Wisconsin Press   ," p  143 n 
Larousse Encyclopedia of Mythology (1960) translator with Delano Ames
Switzerland (1960)
Famous Cities of the World: Rome (1960)
A Tourist's Rome (1961)
Richard Aldington: Selected Critical Writing, 1928–1960 (1970) edited by Alister Kershaw  Contains chapters on ten writers: Remy de Gourmont, Aldous Huxley, Wyndham Lewis, Somerset Maugham, Oscar Wilde, Walter Pater, Jane Austen, Roy Campbell, Lawrence Durrell, and D  H  Lawrence 
A Passionate Prodigality: Letters to Alan Bird from Richard Aldington, 1949–1962 (1975) edited by Miriam J  Benkovitz
Literary Lifelines: The Richard Aldington and Lawrence Durrell Correspondence (1981)
In Winter: A Poem (Typographeum Press, 1987)
Austria/L'Autriche/Österreich: A Book of Photographs, with an introduction by Richard Aldington  London: Anglo-Italian Publication, [1950-1960?]
France/La France/Frankreich: A Book of Photographs, with an introduction by Richard Aldington  London: Anglo-Italian Publications, [1950-1965?]
Italy/L'Italie/Italien: A Book of Photographs, with an introduction by Richard Aldington  London: Anglo-Italian Publications, [1958?]
Passage 7:
Ivan Coyote
Ivan E  Coyote (born August 11, 1969) is a Canadian spoken word performer, writer, and LGBT advocate  Coyote has won many accolades for their collections of short stories, novels, and films  They also visit schools to tell stories and give writing workshops  The CBC has called Coyote a "gender-bending author who loves telling stories and performing in front of a live audience " Coyote is non-binary and uses singular they pronouns  Many of Coyote's stories are about gender, identity, and social justice  Coyote currently resides in Vancouver, British Columbia 

Career
Coyote started performing spoken word in 1992, and their work deals with contemporary issues of family, class gender, identity and social justice  In 1996, Coyote co-founded the queer performance group Taste This with Anna Camilleri, Zoe Eakle, and Lyndell Montgomery  Taste This was a multi-genre performance that incorporated live music, poetry and story-telling  The group disbanded in 2000  In 2001, Coyote briefly taught short fiction at Capilano University in North Vancouver  In 2010, Coyote, Camilleri and Montgomery regrouped as Swell, and premiered at the 2010 Vancouver Pride in Art Festival They joined Arsenal Pulp Press in 2000 and have published 10 books with them  Coyote regularly combines storytelling and music and has worked with a number of musicians including Veda Hille, Dan Mangan and Rae Spoon  Coyote has been a columnist for the LGBTQ+ magazines Xtra! and Xtra! West  and regularly contributes to The Georgia Straight and CBC Radio Coyote has been writer-in-residence for Carleton University in 2007, Vancouver Public Library in 2009, the University of Winnipeg in 2011, and the University of Western Ontario in 2012  They also served on the jury of the 2012 Dayne Ogilvie Prize, a literary award for emerging LGBT writers in Canada, selecting Amber Dawn as that year's winner In 2009, their performanceYou Are Here was scheduled for a cabaret run at Hysteria: A Festival of Women at Buddies in Bad Times Theatre, but was cancelled in January of that year In 2008 they performed spoken word at Montreal's Edgy Women festival and taught a writing workshop In 2012, Coyote and Spoon collaborated on Gender Failure, a touring multimedia show in which they performed music and spoken word pieces about their failed attempts at fitting into the gender binary  A performance of Gender Failure, as performed at the 27th London Lesbian & Gay Film Festival, is also available on YouTube  A book based on the show was published by Arsenal Pulp Press in 2014 On November 14, 2015 Coyote did a TED talk in Vancouver entitled "We all need a safe place to pee," where they discuss the need to have gender neutral bathrooms in all public places In 2016, they delivered the Florence Bird Lecture at Carleton University  Their lecture was titled "Neither, Nor: How to Circumnavigate the Gender Binary in Seven Thousand Easy Steps" In 2020, Coyote performed as part of CBC Gem's Queer Pride Inside special 

Writing
Coyote has written eleven books: one with Press Gang Publishers and ten with Arsenal Pulp Press  Common themes in their work involve identity, gender, community, and class 
Coyote's first book, Boys Like Her (Press Gang Publishers, 1998), was adapted from a live show that was performed by their theater troop, Taste This Close to Spiderman (Arsenal Pulp Press, 2000) and One Man's Trash (Arsenal Pulp Press, 2002) are both collections of stories told by Coyote's grandmother and written by Coyote Missed Her (Arsenal Pulp Press, 2010) is another book of compiled short stories  The works were first published in columns with Xtra Vancouver One in Every Crowd (Arsenal Pulp Press, 2012) is an anthology of Coyote's work that was put together by the request of high school teachers and librarians who wanted to share Coyote's writing with students  Without more mature parts of their writing, their works could be accepted by school administration and parents  It was specifically composed for queer youth Tomboy Survival Guide (Arsenal Pulp Press, 2016), has won the Stonewall Book Award Honor—an award given to outstanding LGBT literature—and has been long-listed for the BC National Award for Canadian Non-Fiction in 2017 Rebent Sinner (Arsenal Pulp Press, 2019) is a collection of stories and personal essays that has been favourably received  Coyote toured in 2019 with musician Sarah MacDougall, performing selections from the book along with music Care Of (Penguin Random House, 2021) is a collection of communications Coyote has received from audience members and the responses they have written in return 

Reception
Coyote has made significant contributions to the representation of queerness in Canadian literature  Their first collection of short stories, Close to Spider Man, was a finalist for the Danuta Gleed Literary Award for short fiction, and it received widespread acclaim across the Canadian critical community for its semi-autobiographical depiction of young, queer women growing up in the Yukon  Although their short stories received no awards recognition until their collection The Slow Fix was shortlisted for the Lambda Literary Award in 2008, and their collections One Man's Trash and Loose End received similar recognition as their debut, with outlets such as Herizons and the Lambda Book Report which praised the brevity and directness of Coyote's writing as it relates to depictions of the complexities of gender, sexuality, and identity Bow Grip, Coyote's only full-length novel, was the winner of the 2007 ReLit Award for Best Fiction and the Stonewall Honor Book Award, as well as being shortlisted for the Ferro Grumley Award  Their 2016 autobiography Tomboy Survival Guide also garnered numerous accolades, having been long-listed for the British Columbia's National Award for Canadian Non-Fiction and winning the 2017 Stonewall Book Award 

Bibliography
Passage 8:
Going Down Fast
Going Down Fast (ISBN 0-449-24480-6) is a 1969 novel by Marge Piercy  It tells the story of Anna, a woman living with multiple losses; Rowley, a blue-eyed soul singer; Leon, an underground film-maker; and Caroline, a woman with a dark secret  They all live in an area of an unnamed city where a swathe of blocks are being demolished to make way for a university 

Reception
A New York Times book review said that "Piercy burns anger and conviction" 

External links
"Marge Piercy Papers (1958-2004, bulk 1966-2003) " University of Michigan 
"Piercy, Marge 1936- " Encyclopedia com 
Passage 9:
Barbie Doll (poem)
"Barbie Doll" is a narrative poem written by American writer, novelist, and social activist Marge Piercy  It was published in 1971, during the time of second-wave feminism  It is often noted for its message of how a patriarchal society puts expectations and pressures on women, partly through gender role stereotyping  It tells a story about a girl who dies trying to meet the unrealistic expectations that society holds for her  It starts off talking about a little girl, and then continues chronologically through the girl’s life  Using strong diction, purposeful syntax, and various rhetorical devices, the poem hits on prominent feminist issues such as gender stereotypes, sexism, and the effect of a patriarchal society 

Background
Marge Piercy wrote this poem during an era of second wave feminism, a time in which women were concerned about sexuality, family, and the workplace  The poem expresses the stereotypes, sexism, and patriarchal influences that women were submitted to during the 1960s  Not only were women subjected to poor treatment because of their gender, women also experienced discrimination and unequal treatment because of their race  While this poem discusses the topic of gender and gender stereotypes, it is important to recognize that the development of the doll that inspired the poem has brought up the racial discrepancies woman faced during this time  According to Elizabeth Chin, “These toys were designed and marketed specifically to reshape a territory dominated by an assumption of whiteness, but paradoxically, they have integrated the toy world while at the same time fixing racial boundaries more firmly   Although not addressed in this poem, the racial discrepancies that arose after the creation of the Barbie Doll, such as "hair type, facial features, and skin color” have been addressed throughout the years  Therefore, the purpose of the poem was to display the struggle women faced because of these societal issues in hopes of changing them  The poem shows the idealist view that is created by the appearance of the doll that causes people to question social norms and expectations that seem to exist in society 

Analysis
First stanza
The first stanza begins with a girl being born, fitting perfectly into a mold provided by the society she was born into  The stanza lists toys that any little girl might play with, such as dolls and miniature GE stoves and irons  She was also given lipstick, compared to cherry candy using a metaphor  
 In a patriarchal society, women hold the positions of cooking and cleaning in the household  This, along with the makeup she was given, shows that from a very young age this girl was taught to conform to a specific gender stereotype, without even realizing it  The doll is also an important part of this stanza, as well as the entire poem  The Barbie Doll has been a cultural icon since it was created in 1959, a little over 10 years before this poem was published  It is somewhat controversial whether it is viewed as a “role model for young girls, an icon of American culture, and a model of aesthetic perfection” or on the other hand “a tool of racism, classism, and sexism, and disparaged as a contemporary epitomization of the cult of thinness ”   In the context of this poem, the Barbie Doll ends up being a negative aspect of the girl’s life, creating a poor self-body image among other problems  
  At the end of this stanza, the girl goes through puberty  Someone in the girl’s class commented negative things about her body, saying she had a large nose and fat thighs  This is the point in the poem at which her insecurities have been grounded  Throughout the rest of the poem, she grows up striving to meet unattainable societal standards that her Barbie doll  represents 

Second stanza
The next stanza talks about the girl in terms of what attributes she held, but also how she and society did not see them  She was described as healthy, smart, strong, sexually able, and fast, yet she did not see any of these things  According to Robert Perrin, Barbie is described using "robust terms" throughout this stanza; however, she immediately apologizes for her positive attributes as if she was not good enough in the eyes of society   She had learned from the time when she was a just a child that she had imperfections and was not good enough  She compared herself to her doll, and therefore apologized to society for her imperfections  She did not see the good in herself, only the comparison between what she was and what society says she should be  In this stanza, her qualities are listed one after another, which is then followed by her disapproval  This syntax helps the reader see all of the good aspects of the girl all at once, which then makes the reader question why the girl does not see them  The stanza finishes with saying everyone, meaning society, only sees her for her fat nose and thick legs, the same thing she was told by her classmate when she was a child 

Third stanza
The third stanza talks about the sexist expectations that patriarchal society has placed upon her  As a girl, “she was advised to play coy, exhorted to come on hearty, exercise, diet, smile and wheedle ” 
  This list shows the expectations that are placed upon women in society  The patriarchal power within the society is what is responsible for the belief of certain “standards” of women  Women are expected to play nice, come across as good girls, be skinny, eat little, and be happy all of the time  Because of external pressures, they try to do all of it  There is sexism represented in these lines because only women have lengthy expectations to meet  Piercy’s diction in this stanza “create[s] a powerful vision of the way people exert their influence on impressionable young women, as well as undermine young women who, at heart, want to resist the influences of the dominant culture ”  The girl in the poem is easily influenced because she has conformed to society since she was a little girl  Because of this, she aims to meet all of these expectations, but cannot sustain them  She is worn down further and further “like a fan belt "
 and eventually kills herself trying to become as perfect as society wants her to be  She finally gave society her nose and legs because she could not live in this way anymore 

Fourth stanza
The fourth and final stanza talks about the girl’s death  She ultimately died trying to be as perfect as her Barbie Doll, a cookie cutter woman molded by society  She died trying to reach something that was unattainable, yet encouraged, which is where the real problem in lies  She was displayed in her casket, all dolled up  Society had finally made her who it wanted her to be but at the cost of her life  Now that she was covered in makeup, reconstructed, and nicely dressed, she was considered pretty  The stanza finishes with the line “to every woman a happy ending " 
 This shows that in the end, this was all the girl wanted  She strove and strove to meet society’s unrealistic expectations and when she died trying, she finally did  Being viewed as pretty by society was her goal, and she accomplished it 

Conclusion
The girl in the poem was born in innocence and labeled "girlchild" but because of the society she was born and raised in to, she became corrupted  This poem shows a sad case of girl who lived trying to be perfect and died trying  From the very beginning she was taught to cook, clean, and be who she was “supposed” to be, or in other words, who society told her she was  Because of these sexist and patriarchal influences, she was never completely satisfied with herself  The tortures of society cost the girl her life 

Other analyses of the poem
Barbie Doll’ and ‘G  I  Joe’: Exploring Issues of Gender
Robert Perrin uses his students to examine Marge Piercy's poem  " Perrin provides insight into how younger generations are affected by the stereotyping that is shown by the Barbie Doll itself  This journal gives an analysis on Marge Piercy's poem that can help the reader better understand her criticism 



ground_truth: the City of Peace

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What occupation is shared by both Marge Piercy and Richard Aldington?

The following are given passages.
Context 4:   After a couple of unsuccessful attempts, he successfully robs a train and hides from the law in a mining town in British Columbia, becoming a respectable resident  There, he meets and falls in love with early feminist and photographer Katherine Flynn   He considers settling down with her, but one last robbery proves to be his downfall   True to his nickname, the Grey Fox escapes from prison as the ending credits start 

Cast
Production
According to Farnsworth, the "picture company" was the only one ever allowed to film at Fort Steele, British Columbia, a heritage site  The Grey Fox was also filmed on the British Columbia Railway / Pacific Great Eastern Railway, now run by Canadian National Railway, between Pemberton and Lillooet, British Columbia, and the  Lake Whatcom Railway between Wickersham and Park, Washington  The capture sequence was shot a quarter of a mile from where Miner was actually caught  Miner's gun, "a  41 Bisley Colt", was obtained from a collector and used by Farnsworth in close-ups The film was funded by selling 696 units for $5,000 each to investors, and it was edited in 1981 before a distributor was found  Phillip Borsos was paid $45,000 to direct the film  The film was shot from 7 October to 28 November 1980, and had a budget of $3,480,000 (equivalent to $11,199,273 in 2021), but cost $4,500,000 (equivalent to $14,481,818 in 2021) to make 

Release
The film was shown at the Taormina Film Fest in June 1982, and was released in Toronto on 16 December 1982  It grossed over $6 million at the box office in its first year 

Awards
The Grey Fox has been designated and preserved as a "masterwork" by the Audio-Visual Preservation Trust of Canada, a charitable non-profit organization dedicated to promoting the preservation of Canada’s audio-visual heritage At the 4th Genie Awards in 1983, The Grey Fox was nominated for thirteen awards and won seven:

Best Picture
Best Director (Borsos)
Best Foreign Actor (Farnsworth)
Best Supporting Actress (Burroughs)
Best Original Screenplay (Hunter)
Best Art Direction (Bill Brodie)
Best Musical Score (Michael Conway Baker)Further recognition for Farnsworth included a Golden Globe Award nomination for Best Actor in a Motion Picture – Drama 
It has also been listed in the Toronto International Film Festival's TIFF List of Canada's Top Ten Films of All Time in 1984 and 1993 

Critical reaction
Roger Ebert praised the film as "a lovely adventure" and gave it 31⁄2 stars  Rotten Tomatoes gave it a rare 100% fresh rating 

Restoration and re-release
The film underwent a 4K restoration and was re-released to theatres In April 2020  It also saw its first official release to DVD and Blu-Ray, which included a commentary by filmmaker Alex Cox, interview with producer Peter O'Brian, and a featurette about the restoration 
Passage 8:
Douglas Burrows
Douglas Squire Irving Burrows CBE (Civil) MBE (Military) (7 August 1915 –  10 December 1982) was an Australian stock broker, businessman and philanthropist who from 1970 until his death was President of the Board Royal Alexandra Hospital for Children  With Lorimer Dods and John Fulton he co-founded the Children's Medical Research Foundation of which from 1970 he became the Chairman of the Management Committee 

Early life
Burrows was born in Sydney, the son of Rita (née Squire) and Harry Irving Burrows  He was educated at Newington College (1932–1934) and rowed in the 1st IV at the GPS Head of the River in 1933 and 1934  In 1934 he was stroke of the crew   Burrows was Captain of 1st Rifle Shooting Team in 1934  Under his captaincy, the team were GPS Premiers that year and won the Earl Roberts Trophy 

Working life
Upon finishing school, Burrows gained employment with the chartered accounting firm Priestley & Morris  He stayed with the firm until the beginning of World War II and at war's end rejoined them briefly before joining A J Dawson as an Accountant  In 1951, Burrows became a Member of the Sydney Stock Exchange as a partner of Ernest L Davis & Co  He later served as a director of A J Dawson Ltd, and as Deputy Chairman of Edward Lumley Ltd, Security Life Assurance Ltd and Security & General Insurance Company Ltd 

War service
In 1939, Burrows enlisted in the Australian Army and travelled with the first group of enlisted men on the first boat to leave after the beginning of the war  He served in North Africa, Greece and eventually in New Guinea on the Kokoda Track  As Major Douglas Burrows, he became Deputy Assistant Adjutant General of the Australian 6th Division  In that role he was responsible for co-ordinating the ceremony for the signing of surrender documents by Lieutenant General Hatazō Adachi, Commander of the Japanese 18th Army in New Guinea  After signing the unconditional surrender, Adachi presented his sword to the General Officer Commanding, 6th Division, Major General Horace Robertson  Adachi's aide then surrendered his sword to Burrows and this weapon remains with the Burrows family to this day  On 14 February 1946 he was made a Member of the Order of the British Empire in the Military Division for his war service 

Marriage and family
On 15 August 1942, whilst on a few days army leave, Burrows married Valma Ashcroft who had modelled for advertisements, the Australian Wool Board and women's magazines including covers for The Australian Women's Weekly  They had three children; Mark Douglas Burrows AO; Peter Irving Burrows AO; and Tina Burrows  During their married life, the Burrows were residents of St Ives, New South Wales 

Children's Hospital
In 1952, Burrows joined the board of the Royal Alexandra Hospital for Children  He served as Treasurer (1959–66) and Vice-President (1966–70) before becoming President and serving in that role for eleven years  His wife, Valma, was also appointed to the board in 1973  Valma Burrows’ brother-in-law was Dr Sandy Robertson AM a paediatric surgeon at the Children’s Hospital 

Honours
Burrows was made a Commander of the Order of the British Empire (Civil) on 16 June 1979 in recognition of his services to children's health  The University of Sydney Medical School Foundation's Douglas Burrows Chair of Paediatrics and Child Health was established in 1983 in his honour 
Passage 9:
John Fulton Folinsbee
John Fulton "Jack" Folinsbee (March 14, 1892 – May 10, 1972) was an American landscape, marine and portrait painter, and a member of the art colony at New Hope, Pennsylvania  He is best known today for his impressionist scenes of New Hope and Lambertville, New Jersey, particularly the factories, quarries, and canals along the Delaware River 

Biography
He was born in Buffalo, New York, the middle son of Harrison and Louise Mauger Folinsbee : 24  Beginning at age nine, he attended children's classes at the Art Students' League of Buffalo, but received his first formal training with the landscape painter Jonas Lie in 1907 : 27  Folinsbee contracted polio at age 14, which rendered his legs useless, weakened his right arm, and left him permanently reliant on a wheelchair  He attended The Gunnery, a boarding school in Washington, Connecticut, from 1907 to 1911, where he studied with Elizabeth Kempton and Herbert Faulkner : 28  He later studied with Birge Harrison and John Carlson at the Woodstock art colony (Summers, 1912–1914),: 29–30  and with Frank Vincent DuMond at the Art Students League of New York : 31 At Woodstock, he met Harry (Tony) Leith-Ross, who became a lifelong friend and later followed him to New Hope  In 1914, Folinsbee married Ruth Baldwin (August 8, 1890 – February 13, 1991) – daughter of William H  Baldwin, Jr  and Ruth Standish Baldwin – whom he had met in Washington, Connecticut  The couple moved to New Hope in 1916, and had two daughters, Elizabeth (1917–2016, married Elmer W  Wiggins, 1940); and Joan (1919–2016, married Peter G  Cook, 1938) Early in his career, Folinsbee painted in a tonalist style, with an interest in light and atmosphere that grew directly from his time with Harrison and Carlson in Woodstock  By the late nineteen-teens, he had moved away from tonalism into a more structured, impressionist style  In the mid-1920s, Folinsbee began studying the work of Cézanne, which led to a trip to France in the summer of 1926  The paintings that resulted from this trip, and those that followed later in the decade, reflect a deep understanding of Cézanne's compositional strategies and a desire to reveal the underlying structure of forms  Folinsbee's exploration of structure led eventually to an analytical, highly individual expressionist style in which he painted for the remainder of his career  His palette darkened, his brushstrokes loosened further, and his sense of light and atmosphere became more dramatic  These later works are concerned with conveying a sense of mood and an intense emotional response to the world around him 
His basic aim was the communication of feeling; the subject had to be felt to be worth painting  The communication of that feeling was what a painting was all about; without that excitement in the subject, a painting was merely a dead reproduction of nature or of natural phenomena : 11  — Peter G  Cook

New Hope
Folinsbee painted en plein air, directly from nature  He always had a sketchbook or a box of 8 x 10 inch canvasboards with him, ready to capture any scene that caught his eye : 45  He and Leith-Ross were famous for spending afternoons sketching on the bridge at New Hope (and for tossing anything that displeased them into the Delaware River) : 45, n 24  From his wheelchair, Folinsbee could manage "paintings as large as 24 X 30 ": 86  Larger works were painted in his studio from drawings and oil sketches  He frequently repeated the same scene on different sized canvases, or as an etching or lithograph : 72  To paint a large work, he would lean a canvas against the studio wall and sit on the floor before it, his withered legs tucked under him : 18  Relying on notes made on the spot about color and light, he would edit the scene as he painted, emphasizing or eliminating elements to enhance the overall mood : 67  "The larger studio paintings were never simply blown-up versions of a successful small painting: rather they were developments of a theme along expressive lines, with memory and emotional reaction playing an important role ": 86 The Folinsbees purchased an acre of riverfront land about a quarter-mile upstream from the bridge, across the street from the house they were renting  In 1924, they hired architect (and landscape painter) Morgan Colt to design them an Arts & Crafts-style house and studio  Folinsbee painted dozens of views of the river from the property: 146  – most notably Winter Nocturne (1926), River Ice (c 1936), and his last major work, Zero Morning (1970) – and some views of the house itself  They lived at 160 North Main Street until their deaths In 1929, the Folinsbees were among the founders of Phillips' Mill, an arts center housed in a former grist mill, and Ruth Folinsbee served as the first vice-president of its community association : 79  He participated in art exhibitions there from 1929 into the 1960s  His Shag Ledge (c 1959) was awarded the 1963 First Patron's Prize by Phillips' Mill  The Folinsbees were also founding members of the Bucks County Playhouse : 16 The Great Depression dealt a heavy blow to artists, with little market for luxury goods such as landscape paintings  Folinsbee resorted to bartering his works for services, including dentistry for his daughters : 95  Portraits – for which he typically charged $400 to $500 for a head-and-bust and $1,000 for a three-quarter-length: 103, n 3  – became a larger part of his output : 95  Edward Beatty Rowan, assistant chief of the Public Buildings Administration's Section of Painting and Sculpture, offered him a commission for a post office mural in Freeland, Pennsylvania : 97  Completed in 1938, Folinsbee's mural is both pastoral and industrial: depicting the town's church spires peeking out from among the autumnal-colored hills, but also featuring the town's massive coal breaker and its long culm dump : 98 Folinsbee was also a teacher  One of his better-known students, Peter G  Cook (who married his daughter Joan in 1938), became a colleague and friend  The pair collaborated on murals for two other federal projects: the Federal Building and U S  Courthouse in Paducah, Kentucky (1939),: 98–100  and the post office in Burgettstown, Pennsylvania (1942) : 100–02

Maine
In the mid-1930s, Folinsbee and his family began spending their summers in Maine : 106  He bought a farmhouse at Murphy's Corner, between Bath and Wiscasset, in 1949 : 109  Despite his intense wariness of the ocean,: 27  he embarked on a new aspect of his career—as a marine painter  His Off Seguin (Ellingwood Rock) was awarded the 1952 Palmer Marine Prize by the National Academy of Design : 109  With the prize money, Folinsbee bought a 25-foot motorized Hampton dory (flat-bottomed open boat) that he named "Sketch" and equipped as a floating studio : 25 
One day I suddenly realized that the waves of a heavy sea duplicate what El Greco did in painting the heavy folds of his drapery  The quick turn of the waves is like that of his folds, in that the darkest dark is against the lightest light  The greatest contrast comes at the sharpest point where the wave turns up—where there is a dark, there is a light—it is that way in the folds of El Greco's garments  I've always been fascinated with the way he twists those big folds—exaggeration perhaps, but true in expressing the play of light on form  — John Folinsbee
Folinsbee was diagnosed with cancer in the late 1960s, which further weakened his right arm : 146  He stopped painting in 1971, and died a year later in New Hope : 146

Critical reception and honors
Folinsbee's work has been described as the "rural counterpart" to the Ashcan School : 22  Critic Robert E  Baum (son of artist Walter Emerson Baum) saw in him "the power, frankness, and story-telling quality of a George Bellows or a Winslow Homer  This man sees the rhythm of beauty coupled with a color harmony in many workaday nooks that may seem ugly to the average passerby " In Modern American Painting (1940), Peyton Boswell, Jr  placed him among the "Lyricists"—"the moody ones, dreamers and mystics," who "work sometimes in pattern, but more often in terms of light, shadow and chiaroscuro  They use color and form for emotional rather than aesthetic reasons "Folinsbee was elected an associate member of the National Academy of Design in 1919, and a full academician in 1928  He was elected a member of the Salmagundi Club in 1913,: 280  a life member of the National Arts Club in 1922,: 99  and a member of the Century Association in 1937 : 283  He was inducted into the American Academy of Arts and Letters in 1953 : 285 Folinsbee was represented by Ferargil Gallery in New York City for most of his career, and his paintings were exhibited across the country and in several international exhibitions  He won nearly every award given by the National Academy of Design, receiving some of them multiple times  He exhibited at the Pennsylvania Academy of the Fine Arts most years from 1915 to 1952, and was awarded the 1931 Jessie Sesnan Medal (for Canal and River)  He also won awards from the Connecticut Academy of Fine Arts, the Rhode Island School of Design, the Corcoran Gallery of Art, the Salmagundi Club, and other arts organizations, including a bronze medal at the 1926 Sesquicentennial Exposition in Philadelphia (for Outskirts of Trenton) 

Legacy
Folinsbee's work is in the permanent collections of major museums, including the Smithsonian American Art Museum, the National Gallery of Art, the National Academy of Design, and the Pennsylvania Academy of the Fine Arts  A bronze bust of him by his friend Harry Rosin is in the collection of the Pennsylvania Academy of the Fine Arts Folinsbee's students included artists Peter G  Cook and Evelyn Allen Faherty  Cook became his son-in-law, and wrote a personal memoir, John Folinsbee (1994) 
Kirsten M  Jensen, senior curator at the James A  Michener Art Museum in Doylestown, Pennsylvania, is the author of Folinsbee Considered (2014), a scholarly biography and catalogue raisonné  The Michener Museum maintains an online version of the catalogue raisonné, which is updated as additional Folinsbee works are identified 

Selected works
Landscapes
Poughkeepsie Bridge (1914), private collection  Awarded the 1914 Isidore Prize by the Art Students League of New York 
Gloucester Hillside (1916), Princeton University Art Museum, Princeton, New Jersey 
February (Village in Winter) (1916), Hood Museum of Art, Dartmouth College, Hanover, New Hampshire 
Canal in Winter (c 1916-17), National Arts Club, New York City  Awarded the 1917 Second Hallgarten Prize by the National Academy of Design 
Along the Canal (c 1916-21), The Phillips Collection, Washington, D C 
Oncoming Clouds (c 1918), North Carolina Museum of Art, Raleigh, North Carolina 
Grey Thaw (1920), National Gallery of Art, Washington, D C  (ex coll  Corcoran Gallery of Art) 
By the Upper Lock (1922), Smithsonian American Art Museum, Washington, D C  Awarded the 1923 First Hallgarten Prize by the National Academy of Design 
Canal at Trenton (1923), National Academy of Design Museum, New York City : 197 
Mending the Canal Bank (1923), private collection 
Grey Coryell (1923), Dallas Museum of Art, Dallas, Texas 
Mill by the River, Fall (c 1923-25), James A  Michener Art Museum, Doylestown, Pennsylvania 
Outskirts of Trenton (1924), Huntington Museum of Art, Huntington, West Virginia  Awarded a bronze medal at the 1926 Sesquicentennial Exposition 
Lehigh Canal (c 1924-25), Palmer Museum of Art, Pennsylvania State University, State College, Pennsylvania 
Canal at Goat Hill (1925), Rhode Island School of Design Museum, Providence, Rhode Island  Awarded the 1925 Gedney Bunce Prize by the Connecticut Academy of Fine Arts 
Winter Nocturne (1926), Reading Public Museum, Reading, Pennsylvania 
Shad Boat (1927), Huntington Museum of Art, Huntington, West Virginia 
Slate Quarry, Bangor (1929), Woodmere Art Museum, Philadelphia, Pennsylvania 
Canal Bridge, New Hope (c 1929-32), James A  Michener Art Museum, Doylestown, Pennsylvania 
Canal and River (1930), private collection  Awarded the 1931 Jessie Sesnan Medal by the Pennsylvania Academy of the Fine Arts : 83 
Storm Light (1936), Reading Public Museum, Reading, Pennsylvania 
Bowman's Hill (1936), James A  Michener Art Museum, Doylestown, Pennsylvania 
River Ice (c 1936), James A  Michener Art Museum, Doylestown, Pennsylvania 
Freeland (Study for Freeland, Pennsylvania Post Office Mural) (1938), Smithsonian American Art Museum, Washington, D C 
Evening at Swan's Island (1938), Ogunquit Museum of American Art, Ogunquit Maine 
Hunterdon County (1940), New Jersey State Museum, Trenton, New Jersey  Awarded the 1941 Altman Prize by the National Academy of Design : 99 
Skaters, Dark Hollow (1945), Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania 
Hazelton Brickyard (1950), Allentown Art Museum, Allentown, Pennsylvania 
Zero Morning (1970), private collection  Folinsbee's last major work : 146–47

Seascapes
Shag Rock (c 1950), Woodmere Art Museum, Philadelphia, Pennsylvania 
Off Seguin (Ellingwood Rock) (1952), Portland Museum of Art, Portland, Maine  Awarded the 1952 Palmer Marine Prize by the National Academy of Design : 109 
Lopaus Point (1957), Farnsworth Art Museum, Rockland, Maine 
Ellingwood Rock (1960), James A  Michener Art Museum, Doylestown, Pennsylvania 

Murals
Freeland (1938), Post Office, Freeland, Pennsylvania
View of Burgettstown (1942), Post Office, Burgettstown, Pennsylvania, with Peter G  Cook
Federal Building and U S  Courthouse, Paducah, Kentucky
Early Town (Lewis and Clark in Paducah) (1942), with Peter G  Cook
The River (Paducah, Kentucky) (1942), with Peter G  Cook

Portraits
Self-Portrait (1919), National Academy of Design Museum, New York City : 197 
Harry Leith-Ross (1928), National Academy of Design Museum, New York City : 198 
Ruth Standish Baldwin (1929), Smith College, Northampton, Massachusetts  Folinsbee's mother-in-law 
James Kellum Smith (1942), National Academy of Design Museum, New York City : 198 
Self-Portrait at Fifty (1942), private collection 
William Thon (c 1950-51), National Academy of Design Museum, New York City : 199 
A  Dayton Oliphant (1958), New Jersey State Capitol, Trenton  Justice of the New Jersey Supreme Court 
Peter Geoffrey Cook (1964), National Academy of Design Museum, New York City : 198  Folinsbee's son-in-law 

Notes
Passage 10:
Frederick John Fulton
Frederick John Fulton, KC (December 8, 1862 – July 25, 1936) was a  British-born and educated Canadian lawyer and politician   He practiced law in Kamloops, British Columbia   He was a member of the British Columbia Legislative Assembly from 1900 to 1909 serving a series of cabinet roles as President of the Executive Council, Minister of Education, Provincial Secretary, Attorney General and Chief Commissioner of Lands and Works   As Attorney General, he prosecuted and convicted the notorious Bill Miner 
He was elected to the House of Commons of Canada under the banner of Prime Minister Borden's Unionist party in the 1917 general election and served as a Member of Parliament until 1920 
In 1906, he married Winnifred M  Davie, daughter of Hon  A E B  Davie  Frederick and Winifred had four sons  Their youngest son Davie Fulton, was also a Kamloops lawyer, provincial and federal politician and judge 

External links

Frederick John Fulton – Parliament of Canada biography



ground_truth: poet