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

Question: When was the plaintiff in the 1892 Barbed Wire Patent Case born?

The following are given passages.
Context 1: Passage 1:
Cheval de frise
The cheval de frise (plural: chevaux de frise [ʃə vo də fʁiz], "Frisian horses") was a defensive obstacle, existing in a number of forms, principally as a static anti-cavalry obstacle but also quickly movable to close breaches   The term was also applied to underwater constructions used to prevent the passage of ships or other vessels on rivers   In the anti-cavalry role the cheval de frise typically comprised a portable frame (sometimes just a simple log) with many projecting spikes   Wire obstacles ultimately made this type of device obsolete  
The invention of the cheval de frise is attributed to ancient China  The concept of using a defensive obstacle made of wooden or metal stakes predates its use in Europe  Historical records suggest that similar types of defensive barriers, known as "teng pai" or "mó pai", were used in China as early as the 4th century BC  These early versions of the cheval de frise were employed to protect cities, forts, and other strategic locations from enemy attacks 
The use of chevaux de frise spread to Europe during the Middle Ages and became a common feature of medieval fortifications  They were used extensively in castle defenses and military campaigns, particularly during the Renaissance and early modern periods  However, the original concept and early usage of the cheval de frise can be traced back to ancient China 
During the American Civil War the Confederates used them more than the Union forces  During World War I, armies used chevaux de frise to temporarily plug gaps in barbed wire  Barbed wire chevaux de frise were used in jungle fighting on the South Pacific islands during World War II 
The term is also applied to defensive works on buildings  This includes a series of closely set upright stones found outside the ramparts of Iron Age hillforts in northern Europe, or iron spikes outside homes in Charleston, South Carolina 

Etymology
In French, cheval de frise means "Frisian horse"  The Frisians fought predominantly using cavalry; they were known for being formidable horsemen, and Frisian horses were renowned for their strength and agility  Therefore, for defense they relied heavily on anti-cavalry obstacles  The Dutch also adopted the use of these defensive devices when at war with Spain  The term cheval de frise came to be used for any spiked obstacle, such as broken glass embedded in mortar at the top of a wall 
The cheval de frise was adopted in New York and Pennsylvania during the American Revolutionary War as a defensive measure installed on rivers to prevent upriver movement by enemy ships  During the Peninsular War, at the siege of Badajoz in 1812, a cheval de frise was successfully deployed to fill a breach in the town wall, allowing the French to inflict heavy casualties on the British storm troops 

American Revolutionary War
During the American Revolutionary War both Thaddeus Kosciuszko and Robert Erskine designed an anti-ship version of the cheval-de-frise to prevent British warships from proceeding up the Delaware River and Hudson River, respectively  A cheval de frise by Erskine's design was placed between Fort Washington at northern Manhattan and Fort Lee in New Jersey in 1776  The following year construction began on one to the north of West Point at Pollepel Island, but it was overshadowed by the completion of the Great Chain across the Hudson in 1778, which was used through 1782 

Similar devices planned by Ben Franklin and designed by Robert Smith were used in the Delaware River near Philadelphia, between Fort Mifflin and Fort Mercer  Two other lines of chevaux-de-frise were also placed across the Delaware River at Marcus Hook, Pennsylvania and Fort Billingsport, New Jersey as a first line of defense for Philadelphia against the British naval forces A cheval de frise was retrieved from the Delaware River in Philadelphia on November 13, 2007, in excellent condition, after more than two centuries in the river  In November 2012, a 29-foot (9 m) spike from a cheval-de-frise was recovered from Delaware off Bristol Township; it was also believed to be from the Revolutionary era installation at Philadelphia and freed up by Hurricane Sandy earlier that fall 

Legacy
A small promontory on the north-east Essex coast in the United Kingdom (UK), between Holland Haven and Frinton-on-Sea, was named Chevaux de Frise Point 

See also
Czech hedgehog
Passage 2:
Jacob Haish
Jacob Haish (March 9, 1826 – February 19, 1926) was one of the first inventors of barbed wire  His type of barbed wire was in direct competition with the other barbed wire manufacturers in DeKalb, Illinois  He was a known carpenter and architect in DeKalb County and designed several prominent DeKalb homes 

Early life
Haish was born in Baden, Germany on March 9, 1826, and immigrated with his family to the United States in 1835  He came to Illinois in 1845, married Sophie Ann Brown in 1847, and moved to DeKalb in 1853, where he was a carpenter  He cultivated osage orange hedges whose thorns made them effective as cattle fencing 

The birth of barbed wire
In late 1872, Henry Rose developed a wire fence with an attached wooden strip containing projecting wire points to dissuade encroaching livestock  He patented his fence in May 1873 and exhibited it at the DeKalb County Fair that summer  This prompted Haish and other DeKalb residents Isaac Ellwood and Joseph Glidden to work on improving the concept   Haish had patented three styles of barbed fencing by June 1874  When Haish's patent for an "S-barb" design was granted in August 1875, he launched a drawn out legal battle to stymie his rivals  It failed at the US Supreme Court in 1895 

Haish gifts a library
In 1893, the city council of DeKalb, Illinois, decreed the establishment of a public library   The impetus for this ordinance was requests from the Ladies of the Library Association, a group that had conducted a reading room for several years  The library moved twice before the Haish gift came along; it was first located on the second floor of the city hall and then, in 1923, moved to the second floor of the DeKalb Daily Chronicle building on Lincoln Highway 
Jacob Haish died at his home in DeKalb on February 19, 1926  He had bequested a $150,000 gift for a library building in his will  The result was the Haish Memorial Library in downtown DeKalb 

See also
George H  Gurler House
Joseph F  Glidden House
Passage 3:
Concertina wire
Concertina wire or Dannert wire is a type of barbed wire or razor wire that is formed in large coils which can be expanded like a concertina  In conjunction with plain barbed wire (and/or razor wire/tape) and steel pickets, it is most often used to form military-style wire obstacles  It is also used in non-military settings, such as when used in prison barriers, detention camps, riot control, or at international borders 
During World War I, soldiers manufactured concertina wire themselves, using ordinary barbed wire  Today, it is factory made 

Origins
In World War I, barbed wire obstacles were made by stretching lengths of barbed wire between stakes of wood or iron  At its simplest, such a barrier would resemble a fence as might be used for agricultural purposes  The double apron fence comprised a line of pickets with wires running diagonally down to points on the ground either side of the fence  Horizontal wires were attached to these diagonals More elaborate and formidable obstructions could be formed with multiple lines of stakes connected with wire running from side-to-side, back-to-front, and diagonally in many directions  Effective as these obstacles were, their construction took considerable time 
Barbed wire obstacles were vulnerable to being pushed about by artillery shells; in World War I, this frequently resulted in a mass of randomly entangled wires that could be even more daunting than a carefully constructed obstacle  Learning this lesson, World War I soldiers would deploy barbed wire in so-called concertinas that were relatively loose  Barbed wire concertinas could be prepared in the trenches and then deployed in no-man's-land relatively quickly under cover of darkness 

There was what might be called a concertina craze on: innumerable coils of barbed wire were converted into concertinas by the simple process of winding them round and round seven upright stakes in the ground; every new lap of wire was fastened to the one below it at every other stake by a twist of plain wire; the result, when you came to the end of a coil and lifted the whole up off the stakes was heavy ring of barbed wire that concertina'd out into ten-yard lengths  
Concertina wire packs flat for ease of transport and can then be deployed as an obstacle much more quickly than ordinary barbed wire, since the flattened coil of wire can easily be stretched out, forming an instant obstacle that will at least slow enemy passage  Several such coils with a few stakes to secure them in place are just as effective as an ordinary barbed wire fence, which must be built by driving stakes and running multiple wires between them 
A platoon of soldiers can deploy a single concertina fence at a rate of about a kilometer (5⁄8 mile) per hour  Such an obstacle is not very effective by itself (although it will still hinder an enemy advance under the guns of the defenders), and concertinas are normally built up into more elaborate patterns as time permits 
Today, concertina wire is factory made and is available in forms that can be deployed very rapidly from the back of a vehicle or trailer 

Dannert wire
Oil-tempered barbed wire was developed during World War I; it was much harder to cut than ordinary barbed wire  During the 1930s, German Horst Dannert developed concertina wire of this high-grade steel wire  The result was entirely self-supporting; it did not require any vertical posts  An individual Dannert wire concertina could be compressed into a compact coil that could be carried by one man and then stretched out along its axis to make a barrier 50 feet (15 m) long and each coil could be held in place with just three staples hammered into the ground Dannert wire was imported into Britain from Germany before World War II  During the invasion crisis of 1940–1941, the demand for Dannert wire was so great that some was produced with low manganese steel wire which was easier to cut  This material was known as "Yellow Dannert" after the identifying yellow paint on the concertina handles  To compensate for the reduced effectiveness of Yellow Dannert, an extra supply of pickets were issued in lieu of screw pickets 

Triple concertina wire
A barrier known as a triple concertina wire fence consists of two parallel concertinas joined by twists of wire and topped by a third concertina similarly attached  The result is an extremely effective barrier with many of the desirable properties of a random entanglement  A triple concertina fence could be deployed very quickly: it is possible for a party of five men to deploy 50 yards (46 m) of triple concertina fence in just 15 minutes  Optionally, triple concertina fence could be strengthened with uprights, but this increases the construction time significantly 

"Constantine" wire
Concertina wire is sometimes mistakenly called "constantine" wire   Constantine probably came from a corruption/misunderstanding of concertina and led to confusion with the Roman Emperor Constantine  This, in turn, has led to some people trying to differentiate between concertina wire and constantine wire by assigning the term constantine wire to what is commonly known as razor wire  In contrast to the helical construction of concertina wire, razor wire, or less commonly, constantine wire, consists of a single wire with teeth that project periodically along its length 

See also
Barbed tape
Slinky
Passage 4:
Wire obstacle
In the military science of fortification, wire obstacles are defensive obstacles made from barbed wire, barbed tape or concertina wire  They are designed to disrupt, delay and generally slow down an attacking enemy  During the time that the attackers are slowed by the wire obstacle (or possibly deliberately channelled into killing zones, or both) they are easy to target with machine gun and artillery fire  Depending on the requirements and available resources, wire obstacles may range from a simple barbed wire fence in front of a defensive position, to elaborate patterns of fences, concertinas, "dragon's teeth" (which serve a similar purpose as wire obstacles, but for combat vehicles instead) and minefields (both anti-personnel and anti-armor) hundreds of metres thick 
One example is "low wire entanglement", which consists of irregularly placed stakes that have been driven into the ground with only some 15 cm (six inches) showing  The barbed wire is then wrapped and tightened on to these  An enemy combatant running through the barrier, which is difficult to see, is apt to trip and get caught 

History
Wire obstacles were used by Union Army general Ambrose Burnside during the Battle of Fort Sanders in the Knoxville campaign of the American Civil War, when telegraph wire was strung between tree stumps 30 to 80 yards in front of one part of the Union line  The Royal Danish Army also used wire fences in front of its Danevirke fortifications during the Second Schleswig War  They first saw significant military use by British forces during the Second Boer War, and reached the pinnacle of visibility during World War I where they indirectly, together with machine guns, were responsible for many (although not the majority of) casualties in the trench warfare that dominated that conflict  Wire obstacles served to magnify the substantial advantage that the repeating rifle and rapid-firing artillery, along with machine guns, had given to the defending side in the new era of warfare 
World War I entanglements could in some places be tens of metres thick and several metres deep, with the entire space filled with a random, tangled mass of barbed wire  Entanglements were often not created deliberately, but by pushing together the mess of wire formed when conventional barbed wire fences had been damaged by artillery shells  Whenever there was time and opportunity to plan and emplace wire obstacles during World War I, it was standard practice to deploy designs that would channel and concentrate attacking troops, through avenues of approach, herding them like cattle into designated killing zones i e  fixing multiple screw pickets of wire running diagonally, away from the protected zone  This meant that a belt-fed machine-gun such as the Maschinengewehr 08 sited along that diagonal line had easy targets to enfilade when attacking troops were blocked from advancing by the wire and then massed together in a line 
Another method was to deliberately leave attractive-looking gaps in wire obstacles to give the appearance of a weak link in the defences  Such gaps were designed to act like a funnel, luring attacking troops through the opening and straight into the concentrated direct and enfilade fire of different machine gun emplacements  Because multiple water-cooled machine-guns such as the Vickers gun were used, continuous fire could be sustained for hours at a time if required  Methods for soldiers to face this threat were a small wheeled steel plate that was slowly pushed forward in front of the soldier to shield them from bullet fire as they crawled, shielded machine gun carts, the MacAdam Shield Shovel or systems like the mobile personnel shield among others  When the obstacle was reached, access holes in the shield allowed the attacking soldier to cut away at the wire obstacle with pliers from behind the protection of the armored shield Stormtrooper platoons included ballistic shields in their equipment list, as infiltration was one of their specialities  Relatively elaborate obstacles were also used in some phases of the Korean War, and continue to be used on the Korean Demilitarized Zone, and a few other borders  However the more fluid nature of modern war means that most obstacles used today are relatively simple, temporary barriers  Tanks and light armored vehicles can generally flatten unmined wire obstacles, although the wire can become entangled in the tracks and immobilize the vehicle  This can also occur to wheeled vehicles once the wire becomes wrapped around the axle   Wire obstacles can also be breached by intense artillery shelling or Bangalore torpedoes 

Enhanced effectiveness
The effectiveness of any wire obstacle is greatly increased by planting anti-tank and blast antipersonnel mines in and around it  Additionally, connecting bounding anti-personnel mines (e g  the PROM-1) to the obstacle with tripwires has the effect of booby-trapping the obstacle itself, hindering attempts to clear it  Dummy tripwires can be added to cause further confusion  If anti-personnel mines are unavailable, it is very easy to connect hand-grenades to the wire using trip-wires  If the use of lethal explosive devices is deemed to be unsuitable, it is easy to emplace tripflares in and around the wire obstacle in order to make night-time infiltration harder 

Gallery
Passage 5:
The Barbed Wire Patent
The Barbed Wire Patent Case, 143 U S  275 was a significant patent dispute in 1892 between plaintiff Joseph Glidden and the USPTO regarding the right of barbed wire   Lucian Smith was the original inventor in 1867 and held patent rights for it, while Glidden made changes to the production of barbed wire, holding the barbs in place, in 1874 that he believed were novel enough to merit a new invention and thus new patent 

Background
Lucien B  Smith had first invented a basic form of barbed wire in 1867 and received the patent for it   Therefore, at the time he had exclusive rights to produce and sell his product   In 1874, after Glidden made his changes, he was issued a statement denying him a new patent on the grounds that his invention simply was not a novelty   His patent claim was for:

"a twisted fence wire having the transverse spur wire, D, bent at its middle portion about one of the wire strands, a, of said fence wire, and clamped in position and place by the other wire strand, z, twisted upon its fellow, substantially as specified "The Patenting and Trademark office denied his application believing that the process was already widely known common knowledge and not novel enough to be distinguished from earlier patents After Glidden's patent application had been denied, he appealed to the decision and eventually the case went before the Supreme Court 

Case
In the eyes of the court, the question of most importance was whether the invention of Glidden was sufficient in novelty   To answer this they considered for some length the process for producing barbed wire prior to this invention and compared it to Glidden's design  Glidden claimed that his process of adding an extra wire to stabilize the barbs without any other means made them sufficiently stronger and more efficient  However, he apparently did not make this clear until his initial patent application was denied and he had applied for reissue  Therefore, the court ignored this feature at first  Glidden stated:

"I do not claim to have originated the devices known as 'spurs' or 'prongs' on the wires, they having been used before, but confine myself to the means for holding the spurs at proper intervals on the wires and to the means for attaining a uniform tension of the wires, as claimed "The court remarked that a new device phasing out an older version does not necessarily merit the awarding of a new patent, but it may merit consideration  The court took into account that Glidden's invention had widely replaced older versions and was now commonly in use The defense attempted to show that others had made the same design independently before Glidden, but the plaintiff was able to assert that indeed the other productions, which were of virtually similar design, were not made until after he issued his patent  The court agreed that there had been plenty of other attempts to create a similar design and product as Glidden, but none had been successful nor had they been successfully patented 

Decision
The circuit court finally decided to reverse the decision of the lower court and ruled in favor of the plaintiff, Joseph Glidden   The majority of the court was convinced that Glidden's invention proved to have enough novelty and technological change to merit the patent and thus exclusive rights to produce and sell the improved barbed wire without the need for licensing   Much of this decision came from the court's inclination to grant a patent to the final step in turning an invention into a useful or more useful product 

Dissent
Justice Field was the sole dissenting opinion  He disagreed with the decision on the grounds that he believed there was no true novelty to Glidden's decision and thus lacked sufficient reasoning to receive a patent 

Significance
This case largely established precedent for future patent law, specifically in questions of first-to-file, or scope of novelty   The first-to-file aspect was largely supported in that whichever party can prove they filed an invention first will have a greater claim over other manufacturers and better their chances of receiving a patent   Secondly, the scope of novelty was determined to not be some significant change, but simply enough to make a noticeable positive difference   Also success of a minor innovation is for grounds for patenting in light of the numerous failed or discontinued minor innovations pursued Glidden held sole rights to sell the product and thus established the Barb Fence Company, in Dekalb, Illinois   The invention made him extremely wealthy and by the time of his death he was one of the richest men in the United States 
Passage 6:
Joseph F  Glidden House
The Joseph F  Glidden House is located in the United States in the DeKalb County, Illinois city of DeKalb  It was the home to the famed inventor of barbed wire Joseph Glidden  The barn, still located on the property near several commercial buildings, is said to be where Glidden perfected his improved version of barbed wire which would eventually transform him into a successful entrepreneur  The Glidden House was added to the National Register of Historic Places in 1973  The home was designed by another barbed wire patent holder in DeKalb, Jacob Haish 
The property contains the house and two outbuildings; the barn and the remains of an old windmill foundation  Constructed in 1861, the Glidden House adheres mostly to a French Colonial style of architecture  The raised basement and full-length porch are two of the architectural elements found on the Glidden House that are consistently found in French Colonial homes  The barn, a building of high historical significance, was not included as part of the National Register listing for the property until 2002, nearly 30 years after the original nomination was approved 

House
The land that the Glidden House stands on is what remains of Joseph Glidden's once large DeKalb County farm  His holdings stretched along Lincoln Highway, both the north and south sides, from the Kishwaukee River in the east to present-day Annie Glidden Road on the west  The Glidden Farm went as far north as today's Lucinda Avenue  The farm's south border, near where Glidden would grant the Galena and Chicago Union Railroad right-of-way through DeKalb in the early 1890s was near present-day Taylor Street The two-story Joseph F  Glidden House is constructed from locally fired brick, which is relatively soft  The softness of the brick has caused it to weather in a non-uniform fashion  The brick is said to have been fired at a small brickyard which once existed on the Kishwaukee River in DeKalb, near the present-day Lincoln Highway bridge  The home stands on a stone foundation and was designed by local carpenter and eventual barbed wire competitor to Glidden, Jacob Haish  Construction was completed in 1861 and the home is a prominent example of Illinois French Colonial architecture 

History
The land where the Glidden House stands once held a log structure, which Glidden lived in when he first came to DeKalb at the beckoning of his cousin Russell Huntley  The house was built in 1861 for barbed wire entrepreneur Joseph Farwell Glidden  As his personal residence, the house, and its accompanying barn, were closely associated with his invention, really just an improvement, of barbed wire  Glidden's improvement upon a wire board fence developed by Henry Rose was of vast importance in the settlement of the United States west of the Mississippi  It was after Glidden saw Rose exhibit his wire at a fair in 1873 that he was struck with the idea of attaching barbs to wire strand fencing  Glidden is said to have experimented with some of his ideas in the basement kitchen of the Glidden House  He noticed that whenever he tried to attach barbs directly to strands of wire they slid along the length of the wire; Glidden realized he needed a way to crimp the barbs  He began tinkering around the home's kitchen  Glidden fit two hair pins to the shaft of a coffee mill, one centered and the other off-center  He found that by placing the wire between the pins and turning the crank a uniform barb resulted  How to crimp the barbs to the wire was solved, in the barn, by tying one end of the wire and another length of wire to a poplar tree on the grounds of the Glidden House and the other ends of the wires to a grindstone  The grindstone was used to twist the wires together and prevent the barbs from slipping Day-to-day life at the Glidden House was mostly carried out in the home's basement which contained a full kitchen, dining room, and living room  The upper floors were used for guests and for sleeping quarters  In 1877 Glidden's daughter, Elva, married William H  Bush in the homestead As of 2006 extensive restoration work had been completed on the home  The front porch was repaired and restored and inside, the hardwood floors have been replaced and refinished  In addition, the front parlors have been repainted and restored 

Architecture
The home was mostly designed in a French Colonial style, though it contains some elements of Greek Revival architecture  French Colonial architecture was more popular in the American South than it ever was in the northern tier of states 

Exterior
The two-story brick structure is supported by a fieldstone foundation and still features its original front porch  The porch spans the length of the building's front (south) facade, at a height of about 6 ft (2 m)  The porch is supported by four wooden pillars, which rest on stone bases  The stairs leading to the front porch are supported by two similar wooden posts, which, like the house, are set into fieldstone bases  The first step on the stairs was originally a limestone block embedded in the ground  The porch roof is supported by six wooden, bracketed pillars  The pillars are simple, with the brackets coming from the boxed capitals  At the rear of the porch wooden pilasters set at each end help to support the roof  Differentiating the home from the traditional French Colonial design is the porch roof, which is separate from the main roof The house stands mostly as it did in 1861 save a few alterations  The front porch was screened in at the time the building was added to the National Register of Historic Places, the screens have since been removed  At the rear of the house a small porch was enclosed  In 1909 or 1910 there were major subtractions and replacements  Removed were a cast-iron widow's walk along the roof ridge and a large gable dormer, decorated in the same manner as the cornice decorating the roof trim  The present dormer replaced the larger one and is more of a low-shed type 
The roof itself is a low gable and dominated by single stack, straddle ridge chimneys at its east and west ends  The boxed roof trim is a decorated cornice  The low-shed dormer is covered with green asphalt  The old widow's walk, which a neighbor dubbed Glidden's "obscuratory", was balustraded and set just above the dormer 

Interior
The interior of the building is also similar to how it appeared when the house was constructed  However, a few changes have been made  In 1910 the two marble fireplaces were replaced by brick  The flooring has been replaced as needed  The home's basement, once the main living area, has since been converted several times for other uses On the first floor of the home the rooms remain much the same as they were when Glidden lived in the house  An original multi-paneled wooden door remains at the entry from the porch to the central hall  The door, however, was altered, having glass panels installed to admit more light  The staircase is also original and its newel posts resemble those found in the Isaac and Harriet Ellwood House, another Haish designed home, and the Gurler House, whose architect is unknown though it was quite possibly Haish, both in DeKalb On the house's east side are three rooms, whose original presence is open to debate  The three rooms are interconnected, another common French colonial element  The room adjacent the porch was used as the Glidden's dining room and is where the large brick fireplace, which replaced the marble one in 1909, is located  The 1909 fireplace is of the American Craftsman style  At the end of the hall, near the kitchen, there is a full bathroom 
The western part of the first floor is dominated by a large formal living room  The room has two entrances, one at the front of the hall, near the front door and the other at the back end of the hall  This was the room in which Elva Glidden married in the late 19th century  After 1941 the rear part of the living room, or "west" room, was walled off and a second kitchen added  When Jessie Glidden, the last Glidden to occupy the old homestead, moved in 1998, the west room was restored to its original size and the second kitchen removed The basement, and for part of the home's history, the main living area, is accessed via a staircase at the back of the first-floor hall  The steep stairs still show years of wear  One of the rooms off the main basement is the kitchen where Glidden is said to have experimented with the coffee grinder and his wife's hair pins, eventually leading to his brand of barbed wire The second-floor served as the main sleeping quarters  It consists of a few simple bedrooms, all historically without closets  The upstairs hall contains a door which once accessed a staircase to the widow's walk, what remains of the space has been used as a closet for over a century 

Outbuildings
The property has two remaining outbuildings  The barn is where Glidden invented his famous improvement on barbed wire  Dubbed "The Winner," his barbed wire became the most popular version of the invention  Barbed wire is considered to be one of the most important factors in American progress and settlement The other outbuilding on the property along historic Lincoln Highway are the remnants of a once dominating windmill  Though only the foundation remains, it gives a glimpse of how impressive the structure must have once been 

Barn
The Glidden Barn, located to the rear and east of the home, was thought to have been added to the National Register of Historic Places when the original nomination for the house was approved in 1973  However, in the late 1990s, the Illinois Historic Preservation Agency revealed that the nomination included only the house  The Glidden Historical Center initiated the process of adding the barn to the Register  Those moves were approved by the Illinois Historic Sites Advisory Council in 2002 and the barn officially became part of the National Register 
The barn was built sometime around 1871, possibly even before, and is constructed of the same soft brick that makes up the exterior of the home  Tradition in the Glidden family holds that the barn, like the house itself, was designed and built by prominent local carpenter Jacob Haish  The famous barn, one of DeKalb County's oldest remaining, stands a full two-stories high, measuring around 50 feet (15 m) tall, with a width of 30 feet (9 m) 
In February 2007 the Glidden Homestead and Historical Center kicked off a fundraising drive  The drive is aimed at raising US$2 million to expand the Joseph F  Glidden House site to include museum space and a media center  Some of the funds will be used to help restore the barn and expand historical center museum space into the building 

Architecture
The Glidden barn is of pole and beam construction  The second-floor interior is dominated by two large transverse wooden beams  It is of the three-bay, English tradition, the west bay containing a space for a stairwell leading to a hayloft and seven stalls  It is constructed of red brick and stands on a foundation of limestone  Glidden's barn took full advantage of the term vernacular; the brick was locally manufactured and the limestone locally quarried 
The east bay of the barn contains an animal stall in its northeast corner and a fully enclosed office in its opposite corner  The second-floor hayloft is supported by the two massive transverse beams  The full-sized loft is accessible via an enclosed staircase against the south wall  The building's exterior roof is fully supported by the brick walls  The result is a loft which is an entirely open space save for some pole and beam construction supporting the laminated beams, which act as tie rods at the base of the roof  The barn roof is a common gable roof pitched at a 45 degree angle, it was originally covered with wooden shingles, those have been replaced over the years with asphalt The barn features extensive windows, somewhat unusual outside of dairy barns, with a total of 14 eight-paned, double-hung windows dispersed over three sides of the rectangular structure, north, south and east  On the west side, facing the house, are seven smaller single-pane windows  The double-hung windows are topped with segmented arches constructed from a double row of bricks; the north and south main entrances are also topped with segmented brick arches, each of three rows of bricks 

Windmill building
Only the foundation remains of the property's windmill  What is left, ten rows of stone above the ground, is completely invisible when the home is viewed by passers-by on Lincoln Highway  The windmill started to fall into disrepair around the 1930s or 40s  The original, specific use of the windmill is unknown 

See also
Isaac Ellwood
List of Registered Historic Places in Illinois
Passage 7:
Devils Rope Barbed Wire Museum
The Devils Rope Barbed Wire Museum is a museum located in McLean, Texas, United States  The museum was officially opened in 1991 and  focuses on barbed wire and its history  The museum is thought to have the largest collection of published material concerning barbed wire The Devil's Rope Museum is housed in a converted brassiere factory and is dedicated to the history of barbed wire, fencing tools, and ranching heritage  Features exhibits and collections from private wire collectors from across the U S, a reference library with extensive patent information for researchers and educators, a Dust Bowl exhibit, salesman samples, warfare wire, and a collection of road lore with artifacts dedicated to the Texas portion of Historic Route 66 
Passage 8:
Kansas Barbed Wire Museum
The Kansas Barbed Wire Museum is a barbed wire museum located in La Crosse, Kansas, United States, known as the “Barbed Wire Capital of the World ” The museum focuses on barbed wire and its history, displaying over 2,000 different forms of the wire and its history  Barbed wire played a significant role in the history of the settlement of the United States and forever changed the face of the prairie 
The museum was established in 1970 in a small storefront on Main Street in downtown La Crosse, Kansas  By 1990, the collections had grown so much that a new building was constructed adjacent to the Post Rock Museum and Rush County Historical Museum in Grass Park at the south edge of the community  In 2004, an addition was constructed on the building to house the headquarters of the Antique Barbed Wire Society and the Larry Greer Research Center  The Antique Barbed Wire Society is an international organization “committed to collecting, preserving, exhibiting, and interpreting the historical heritage of barb wire and barbed wire related items ” The Larry Greer Research Center houses collections of publications related to the history of barbed wire and a complete collection of patents related to barbed wire and related items  The Kansas Barbed Wire Museum is located at 120 W  1st Street, La Crosse, KS 67548 
Passage 9:
Joseph Glidden
Joseph Farwell Glidden (January 18, 1813 – October 9, 1906) was an American businessman and farmer  He was the inventor of the modern barbed wire  In 1898, he donated land for the Northern Illinois State Normal School in DeKalb, Illinois, which was renamed as Northern Illinois University in 1957 

Early life
Glidden was born in Charlestown, New Hampshire, of English descent  His family later moved to Clarendon, New York  Glidden was a teacher there for about 8 years, during which years he married Clarissa Foster in 1837  In 1843, he moved to Illinois with his wife and children, first to Ogle County and then to DeKalb where they had purchased a farm  His wife died in 1846, in childbirth of their daughter in Ogle County, Illinois  Their three children, including the infant daughter Clara (Clarissa) died in an epidemic in 1847  Their two sons died after the move  Glidden married Lucinda Warne in 1851, with whom he had one daughter, Elva Frances 

Invention and patent for barbed wire
Glidden began work on ways to make a useful barbed wire to fence cattle in 1873  He made his best design of barbed wire by using a coffee mill to create the barbs  Glidden placed the barbs along a wire and then twisted another wire around it to keep the barbs in place, in a design that he called “The Winner”, being his best design  He received the patent for that barbed wire design on November 24, 1874, when he was 61 years old  He and local hardware dealer Isaac L  Ellwood began manufacturing and selling the barbed wire with his patent, as the Barb Fence Company in DeKalb, Illinois  In 1876, Glidden exited the manufacturing aspect, though retaining royalties, by selling his half of the manufacturing business to Washburn and Moen, who had a wire manufacturing plant in Worcester, Massachusetts and from whom Glidden and Ellwood had been purchasing steel wire   Ellwood stayed in DeKalb and renamed the company I  L  Ellwood & Company of DeKalb  That company evolved into American Steel and Wire, and eventually was bought by U  S  Steel Manufacturing Company 
Glidden was embroiled in a legal battle initiated by fellow DeKalb resident Jacob Haish over whether the design for holding the barbs in place with an extra strand of wire was novel, an improved design  An earlier patent for barbed wire had been issued to a man in Ohio, among other patents related to barbed wire  Glidden eventually won at the US Supreme Court in an 1892 case, his patent protection expired the same year  The legal fees were estimated to have cost Glidden $100,000 
This invention made him extremely rich  It was estimated that Glidden earned $1,000,000 in royalties until his patent expired in 1892  Companies manufacturing the barbed wire under his license ranged from New York state to Kansas by 1884  By the time of his death in 1906, he was one of the richest men in America  The Dun & Bradstreet Collection, 1840–1895, MSS 791, LXIII, 130, Baker Library, Harvard, recorded his assets at one million dollars  This included the Glidden House Hotel; the DeKalb Chronicle; 3,000 acres (12 km2) of farmland in Illinois; 35,000 acres (1,360 km2) in Texas; and the Glidden Felt Pad Industry 

Local political activity and other businesses
From 1852 to 1854, he served as sheriff of DeKalb County  In 1851, 1861, 1862, 1869, 1870, 1871, 1872, and 1876 he served on the county's board of supervisors  In 1867, he served on the executive committee of DeKalb County Agriculture and Mechanical Society's Seventh Annual Fall Fair, held September 25–28  In 1876, he was the Democratic nominee for Illinois State Senator  From 1861 to 1874, he served as a member of the board of school directors, and for 20 years paid the largest school tax of any citizen of the county  He was also one of the largest contributors to the erection of one of the churches  He was also vice-president of the DeKalb National Bank, director of the North Western Railroad, and owner of the DeKalb Rolling Mill 

Demonstration of use in Texas changes ranching
To demonstrate the effectiveness of barbed wire, Glidden and his sales agent for the State of Texas, Marques Fortner, in 1881 developed the "Frying Pan Ranch" in Bushland in Potter County near Amarillo, Texas  The wire was brought in by wagon from the railhead at Dodge City, Kansas, and the timbers were cut from Palo Duro Canyon and along the Canadian River Valley  A herd of 12,000 head of cattle was branded with the "Panhandle Brand", which the cowboys called " frying pan"  The ranch proved the success of the wire and changed ranching Henry B  Sanborn, a sales representative for Glidden's company, owned a ranch in Grayson County north of Dallas and wished to advertise barbed wire there  In 1881, Sanborn purchased ninety-five sections of land in southwestern Potter County from near the Canadian River extending into Randall County south of Amarillo  Included in the purchase was Tecovas Spring, once a watering site and a trading post for Indians and Comancheros  John Summerfield, a surveyor from Sherman, Texas, reported a constant flow of freshwater from the spring  Sanborn chose this site for his ranch headquarters and enclosed 120 miles of land in barbed wire for $39,000 ($1 18 million in 2022 dollars)  Warren W  Wetzel, also of Sherman, used cedar posts brought from both the Palo Duro Canyon and the breaks of the Sierrita de la Cruz in the northwestern portion of the ranch to hold up the wire Besides ranchers, railroads were large purchasers of barbed wire, so that cattle did not stray onto their tracks  The Frying Pan Ranch soon had 15,000 head of cattle, and 125,000 more acres were added  Later the ranch was divided  In 1898, Glidden deeded Frying Pan Ranch to his son-in-law William Henry Bush  Between 1908 and 1920, William Henry Bush and his second wife Ruth Bush built a larger ranch house near Tecovas Spring, which later became the residence of Stanley Marsh 3 and his wife, Wendy  Gwendolyn “Wendy” Bush O’Brien was the daughter of Emeline Bush and her husband Frank O’Brien; Emeline was a daughter of William Henry and Ruth Bush  Stanley Marsh called the estate “Toad Hall ”

Land for the Northern Illinois State Normal School
Glidden, a former teacher, gave 63 acres (255,000 m2) of his homestead as a site for the Northern Illinois State Normal School  The school opened on September 12, 1898, with 139 students and 16 members of the faculty  The school's name was changed to Northern Illinois University in 1957 
The town of Glidden, Iowa, is named in his honor 

Personal life
He and his wife Lucinda had one daughter, Elva Frances, in 1851  She married William Henry Bush in DeKalb on February 1, 1877  His wife Lucinda died on October 28, 1895 Elva died in 1906 not long before her father died, and is buried in the Glidden family plot in a cemetery in DeKalb 
In 1898, Glidden deeded his Frying Pan ranch in Texas to his son-in-law, W  H  Bush  Bush married again in 1908, after being widowed, to Ruth Russell Gentry  He is buried in Graceland Cemetery in Chicago 

In popular culture
The "barbed wire salesman" in Back to the Future Part III is either based on Joseph F  Glidden or John Warne Gates who was a pioneer promoter of barbed wire  He is played by Richard Dysart 

See also
Joseph F  Glidden House
The Barbed Wire Patent

Patents
U S  Patent 157,124 – Wire fences
Passage 10:
Hanging on the Old Barbed Wire
"Hanging on the Old Barbed Wire" (Roud 9618) is a British war song of World War I   The song sarcastically recounts the location of various army members, not to be found in the combat zone, and concludes by describing the location of the old battalion: "hanging on the old barbed wire"  A barbed wire fence separated the front-line trench from no man's land, and men brave or unfortunate enough to go over the top of the dug-out were often quickly shot and their bodies caught in the barbed wire  This troop song was not popular with officers, who thought it bad for morale, though attempts to suppress it were unsuccessful 

Lyrics
There are several different versions of this song, though all share the final two lines  One version:

A variant last line is "if you want to find the privates" Another variation fourth verse sees C O replaced with colonel, put at the start and, "He's On another 7 days leave" 

Covers
The song was included on the 1988 album English Rebel Songs 1381–1914 by the English anarchist punk band Chumbawamba, as well as on their 2003 re-recording of the same album (English Rebel Songs 1381–1984) 
A shortened version of the song was also included on the 2018 album The Blind Leading the Blind by the Ukrainian metal band 1914 as an interlude  The band's songs are all related to WWI events 
The song was covered by death industrial band Maruta Kommand on their 2000 album "Holocaust Rites" 
The song is part of the "Great War Trilogy" (The Valley of the Shadow / The Old Barbed Wire / Long, Long Trail) sung by John Roberts and Tony Barrand in their album,   A Present from the Gentlemen: A Pandora's Box of English Folk Songs (Golden Hind Music, GHM-101, 1992) 
Context 2: Passage 1:
Rasmus Rasmussen (actor)
Rasmus Rasmussen (4 November 1862 – 17 July 1932) was a Norwegian actor, folk singer and theatre director 
He was born in Molde, a son of captain Chrispinus Martinus Rasmussen and Anna Helene Carlsen  He emigrated to the United States around 1880, where he earned his living as a logger, but returned to Norway some years later  He performed at Den Nationale Scene in Bergen from 1887 to 1910  The next two years he toured Norway as a singer  He was the first theatre director of Det Norske Teatret, from 1912 to 1914, and during this period he also contributed as actor in several plays  He served as theatre director at Trondhjems nationale Scene from 1916 to 1924 He appeared in the several silent movies, including Bride of Glomdal and Brudeferden i Hardanger, both from 1926 and his only sound film, Kristine Valdresdatter in 1930 

Selected filmography
Dolken (1915)
The Sea Vultures (1916)
Passage 2:
Morten Borgersen
Morten Borgersen (born 12 October 1950) is a Norwegian actor, theatre director, artistic director and writer  
He has worked for various theatres, including Trøndelag Teater, Rogaland Teater, Riksteatret, Teatret Vårt, Teater Ibsen, Oslo Nye Teater, Det Norske Teatret, Nationaltheatret, Fjernsynsteatret, Den Nationale Scene, Haugesund teater,  Nordland Teater,  Kilden teater og Konserthus, Opera Bergen og Maksim Gorkij teater, Vladivostok, Russland( Anna Karenina og Et dukkehjem) ]  In 1991 he was appointed as the first theatre director of Teatret Vårt in Molde, after nineteen years of collective management, and had this position until 1997  From 1998 to 2001 he was artistic director of Teater Ibsen   He was artistic director of Den Nationale Scene in Bergen from 2001 to 2007 He published his first novel in 2012: Jeg har arvet en mørk skog  His second novel 2014: Forestillinger  Non-fiction 2015: Våre stemmer 
Passage 3:
Bjarte Hjelmeland
Bjarte Hjelmeland (born 24 February 1970) is a Norwegian actor and theatre director  He was born in Bergen  He made his stage debut in 1991 at Oslo Nye Teater, and also had notable roles at the National Theatre, Rogaland Teater, Torshovteatret, Den Nationale Scene and Chateau Neuf  In 2008 he was hired as director of Den Nationale Scene Films include his screen debut Byttinger (1991), Livredd (1997) and Desperate bekjennelser (1998)  Television series include Vestavind (1994–1995), the talk show Mandagsklubben (1996–1997) and Hvaler  He was a judge on Series 6 of Norske_Talenter  He has also released music albums Hjelmeland is openly gay 
Passage 4:
Karl Bergmann
Karl Bergmann (15 November 1882 – 16 June 1964) was a Norwegian actor and theatre director  He made his stage debut in 1901 at Den Nationale Scene in Bergen  He served as theatre director of Den Nationale Scene from 1931 to 1934 

Personal life
Bergmann was born in Bergen on 15 November 1882, a son of hairdresser Carl Pedersen and Alida Bergmann  In 1906 he married actress Lilly Catharina Thomsen 
Passage 5:
Den Nationale Scene
Den Nationale Scene (English: National Theater) is the largest theatre in Bergen, Norway  Den Nationale Scene is also one of the oldest permanent theatres in Norway 

History
Opened under the name Det Norske Theater in 1850,  the theatre has roots dating back to its founding on the initiative of the Norwegian violinist Ole Bull  The theatre was created to develop Norwegian playwrights  Henrik Ibsen was one of the first writers-in-residences and art-directors of the theatre and it saw the première in Norway of his first contemporary realist drama The Pillars of Society (Samfundets støtter) on 30 November 1877 The theatre was initially housed in the Komediehuset på Engen  In 1909, The National Theatre moved into the new theatre building at Engen  The current theatre building was designed by Einar Oscar Schou, and opened 19 February 1909 with a production of Erasmus Montanus by Ludvig Holberg  King Haakon VII of Norway and Queen Maud were in attendance  It soon became apparent that the building was too small  In 1913 the company bought Ekserserhuset Jonsvoll to use as a warehouse  In 1920, an extension was built to the northwest  Over the years the building has undergone major changes, extensions, renovation, restoration and stage technical modernisation  The foyer and the hall were destroyed during the Second World War, and only temporarily restored The theatre experienced a pre-war high point during the period 1934-39 under the leadership Hans Jacob Nilsen  Especially noteworthy was the 1935 premiere of the play Vår ære og vår makt ("Our Honor and our Power") by Nordahl Grieg 
In 2001 the building was restored almost to its original shape  Today the theatre houses three stages/venues and presents approximately 20 productions each year, both international and national classics, musicals and contemporary drama, as well as children's theatre   Since 1993, the theatre has been state property 

Directors of the Theatre
1876–1879 Nils Wichstrøm
1879–1880 Johan Bøgh
1880–1881 John Grieg
1881–1884 Johan Bøgh
1884–1888 Gunnar Heiberg
1888–1889 Henrik Jæger
1889–1890 Otto Valseth
1890–1895 Johan Irgens-Hansen
1895–1898 Olaf Hansson
1899–1900 Hans Aanrud
1900–1905 Gustav Thomassen
1905–1907 Anton Heiberg
1908–1909 Olaf Mørch Hansson
1910–1924 Ludvig Bergh
1924–1925 Christian Sandal
1925–1931 Thomas Thomassen
1931–1934 Karl Bergmann
1934–1939 Hans Jacob Nilsen
1939–1946 Egil Hjorth-Jenssen
1946–1948 Stein Bugge
1948–1952 Georg Løkkeberg
1952–1961 Per Schwab
1961–1963 Bjarne Andersen
1963–1967 Gisle Straume
1967–1976 Knut Thomassen
1976–1982 Sven Henning
1982–1986 Kjetil Bang-Hansen
1986–1996 Tom Remlov
1996–1997 Ketil Egge
1997 Aksel-Otto Bull
1998 Lars Arrhed
1998–2001 Bentein Baardson
2001–2007 Morten Borgersen
2008–2012 Bjarte Hjelmeland
2012– Agnete Haaland

See also
Thorolf Rafto Memorial Prize
Passage 6:
Rønnaug Alten
Rønnaug Alten (9 February 1910 – 20 January 2001) was a Norwegian actress and stage instructor 

Biography
She was born in Tromsø, Norway  Her parents were Emil Bredenbech Melle (1878–1950) and Ragna Aass (1880–1975)  After her parents' divorce in 1913, she was raised by her mother and her stepfather, Supreme Court Justice Edvin Alten (1876–1967)  Her half-sister Berit Alten (1915–2002) was married to literary historian Asbjørn Aarnes (1923–2013)  She grew up in Kristiania (now Oslo) and attended Frogner School graduating artium in 1928 In 1932, she married the actor Georg Løkkeberg (1909–1986)  Their marriage was dissolved in 1947  She was the mother of the film director and screenwriter Pål Løkkeberg (1934–1998)
Context 3: Passage 1:
Call for the Dead
Call for the Dead is John le Carré's first novel, published in 1961  It introduces George Smiley, the most famous of le Carré's recurring characters, in a story about East German spies inside Great Britain   It also introduces a fictional version of British Intelligence, called "the Circus" because of its location in Cambridge Circus, that is apparently based on MI6 and that recurs throughout le Carré's spy novels  Call for the Dead was adapted for film as The Deadly Affair (1966) 

Plot summary
Following a wartime excursion undercover in Germany, George Smiley returns to England and marries Lady Ann Sercombe  Although Smiley is a devout husband, Ann is serially unfaithful, and begins an affair with a Cuban racing driver before absconding the country with him  Smiley, infinitely self-controlled and self-deprecating, does nothing, and instead lets Ann continue to utilise their finances whilst he continues to live at their home in Bywater Street in the London borough of Chelsea, distracting himself with a love of German poetry and his work as a member of the Circus, the headquarters of the SIS named after its location on Cambridge Circus 
Smiley is abruptly summoned in the early hours of the morning by the Circus' advisor, Maston  Unsure about the meeting’s purpose, he travels in via taxi to learn that Foreign Office civil servant Samuel Fennan has killed himself following a routine security check  Smiley, the interviewer, had cleared Fennan, despite only a few days earlier receiving an anonymous letter regarding Fennan's past membership of the Communist Party of Great Britain  Because Fennan did not have a private office, Smiley had suggested the interview take place in an informal manner on a lunchtime walk through London  Maston informs him that an inquiry will be convened, and begins to set Smiley up for the blame for the suicide 
Smiley travels to Fennan's home, where he meets Fennan's wife Elsa  Elsa, like her husband, was a Jewish immigrant from Europe following the end of the Second World War, and had been interned in a concentration camp by the Nazis during the course of the war  While at the Fennans' home, Smiley answers a telephone call, believing it to be for him from the Circus  Instead, he finds it is a requested 8:30 am call from the telephone exchange, which Smiley feels is suspicious 
Smiley meets Inspector Mendel during the course of the interview and investigation  Mendel is on the verge of retirement, and is set to retire once the Fennan case is closed  He obtains information from telephone exchange staff that confirm it was Fennan who had requested the call the night before, furthering Smiley's suspicion around Elsa  Despite this, Maston orders Smiley to refrain from investigating the death any further  Working late at his office the same day, Smiley receives a letter from Fennan from the previous night requesting they meet urgently the next day  Smiley, now believing that Fennan was murdered to prevent a meeting from occurring, writes an abrupt letter of resignation and attaches it to Fennan's letter, leaving it in his out-tray to be forwarded to Maston 
After running some errands, such as going to the dry cleaners, Smiley returns home, but notices movement in the drawing room of his house  He rings his own doorbell, and is met by a tall, fair, handsome stranger  Pretending to be part of a laundrette delivery service, he avoids entering his house, and notes the number plates of the seven cars parked in the road  Now staying with Mendel, who agrees to help him work the case independently, the pair track one car to a dealer called Adam Scarr  Scarr, a semi-professional criminal, tells Mendel that he rents the car out on anonymous agreement to a stranger known as "Blondie", who matches the description of Smiley's intruder  However, whilst Mendel and Scarr are conversing, Smiley is attacked whilst tracking "Blondie's" car and hospitalised, whilst Scarr is murdered after Mendel's departure 
Now hospitalised, Smiley directs the case direction from bed rest  Mendel discovers that Elsa attended a local theatre twice a month, in which she liaises with someone the theatre staff believe is her husband  Upon further investigation, this turns out to be "Blondie", and Mendel learns that the two always carry music cases to each performance, which they trade  With assistance from fellow Circus agent and Smiley's protégé Peter Guillam, the men learn that "Blondie" is actually called Hans-Dieter Mundt, and is an East German agent working undercover as a diplomatic member of the East German Steel Mission for one Dieter Frey  Smiley becomes concerned at this revelation, as Frey was one his operatives during the war  Fanatically opposed to the Nazis, Frey was repeatedly antagonistic about them at great risk to himself  Not only was he a dissident, but he was physically disabled in one leg and needed a cane for most of his life, at a time where the Nazis executed many physically and mentally disabled people  Smiley recommended Frey to the Circus  Frey was later captured by the Nazis and sentenced to a stretch in a political prison camp doing hard labour  Later during the war, Smiley worked directly with Frey as an agent for the Circus  After the war, however, Frey rose through the ranks of East German government service and became one of its most important agents  Smiley also concludes that Frey is likely using a courier service to access only one highly placed domestic agent  Shortly after this revelation, Guillam reports that Mundt has fled to East Germany  He was subsequently identified by cabin crew 
After abruptly discharging himself from hospital, Smiley returns to confront Elsa Fennan  When pushed, she breaks, and confesses that her husband was actually a spy for East Germany, and that she was unwillingly involved in passing secret documents to the East Germans in the music case she took to the theatre  She reveals that Fennan was killed by Mundt after Frey saw him talking to Smiley during their walk through the park, believing that Fennan had cracked under the pressure of passing information to them  When she returned home, she had found Mundt and her husband's corpse, and had typed a suicide note out of fear for her own life 
Guillam, however, adds another turn to the investigation shortly after this  In an attempt to verify Elsa's claims, he examines the files that Fennan had been taking home from the Foreign Office  On closer inspection, in the period before his death he had been taking home only declassified files of little significance to British security  Smiley then realises that Elsa, not Samuel, is the East German spy, and that the accusation about Fennan had been self-composed in order to allow him to meet someone with whom he could discuss his concerns about his wife  Using his knowledge of Frey's tradecraft, Smiley, Guillam, and Mendel stage a trap to inspire a theatre rendezvous between Frey and Elsa, where Frey stealthily kills her  After being trailed by Mendel, Smiley pursues Frey  In the ensuing struggle, Frey falls into the river Thames where he drowns 
Back on bed rest in Mendel's house, Smiley turns down Maston's offer to reinstate him to the Circus with a promotion, and flies to Zürich in the hope that he can repair his relationship with Ann 

Characters in Call for the Dead
George Smiley – an officer of the Circus
Samuel Fennan – a British civil servant, who committed an apparent suicide
Elsa Fennan – his wife, formerly a refugee from Nazi Germany
Inspector Mendel – Smiley's contact with the Metropolitan Police
Peter Guillam – an officer of the Circus subordinate to Smiley
Maston ("The Ministers' Adviser on Intelligence") – head of service for the Circus
Adam Scarr – a semi-criminal "businessman"
Hans-Dieter Mundt, aka "Blondie" – an agent of East German intelligence
Dieter Frey – an agent of East German intelligence, and a former wartime agent of Smiley's

Film, television, radio and theatrical adaptations
Call for the Dead was filmed as The Deadly Affair (1966)  It was directed by Sidney Lumet from a script by Paul Dehn, and starred James Mason as Charles Dobbs, (not George Smiley, as le Carré had sold the rights to use the name "George Smiley" to The Spy Who Came in from the Cold), Harry Andrews as Mendel, Simone Signoret as Elsa Fennan and Maximilian Schell as Dieter Frey  The major change in the script from the book is the addition of an affair between George's wife Ann and Dieter Frey, which presages the events of Tinker Tailor Soldier Spy 
Call for the Dead was first adapted as a BBC Radio 4 drama in 1978  Subsequently, it was the first story to be broadcast in BBC Radio 4's major series to feature all the Smiley novels ("The Complete Smiley"), with Simon Russell Beale in the main role  Other characters and actors are as follows; Inspector Mendel—Kenneth Cranham, Elsa Fennan—Eleanor Bron, Ann Smiley—Anna Chancellor, Peter Guillam—Richard Dillane, Maston—James Laurenson, Dieter Frey—Henry Goodman, Adam Scarr/Mundt—Sam Dale, Ludo Oriel—Janice Acquah, Nursing Sister—Caroline Guthrie with Benjamin Askew and Jonathan Tafler  The novel was adapted as a 90-minute drama by Robert Forrest, produced by Patrick Raynor, and was transmitted, also on BBC Radio 4, on 23 May 2009 
Passage 2:
Spy film
The spy film, also known as the spy thriller, is a genre of film that deals with the subject of fictional espionage, either in a realistic way (such as the adaptations of John le Carré) or as a basis for fantasy (such as many James Bond films)  Many novels in the spy fiction genre have been adapted as films, including works by John Buchan, le Carré, Ian Fleming (Bond) and Len Deighton  It is a significant aspect of British cinema, with leading British directors such as Alfred Hitchcock and Carol Reed making notable contributions and many films set in the British Secret Service Spy films show the espionage activities of government agents and their risk of being discovered by their enemies  From the Nazi espionage thrillers of the 1940s to the James Bond films of the 1960s and to the high-tech blockbusters of today, the spy film has always been popular with audiences worldwide  Offering a combination of exciting escapism, technological thrills, and exotic locales, many spy films combine the action and science fiction genres, presenting clearly delineated heroes for audiences to root for and villains for them to hate  They may also involve elements of political thrillers  However, there are many that are comedic (mostly action comedy films if they fall under that genre) 
James Bond is the most famous of film spies, but there were also more serious, probing works like le Carré's The Spy Who Came in from the Cold that also emerged from the Cold War  As the Cold War ended, the newest villain became terrorism and more often involved the Middle East 

History
The spy film genre began in the silent era, with the paranoia of invasion literature and the onset of the Great War  These fears produced the British 1914 The German Spy Peril, centered on a plot to blow up the Houses of Parliament, and 1913's O H M S , standing for "Our Helpless Millions Saved" as well as On His Majesty's Service (and introducing for the first time a strong female character who helps the hero) 
In 1928, Fritz Lang made the film Spies which contained many tropes that became popular in later spy dramas, including secret headquarters, an agent known by a number, and the beautiful foreign agent who comes to love the hero  Lang's Dr  Mabuse films from the period also contain elements of spy thrillers, though the central character is a criminal mastermind only interested in espionage for profit  Additionally, several of Lang's American films, such as Hangmen Also Die, deal with spies during World War II 
Alfred Hitchcock did much to popularise the spy film in the 1930s with his influential thrillers The Man Who Knew Too Much (1934), The 39 Steps (1935), Sabotage (1937) and The Lady Vanishes (1938)  These often involved innocent civilians being caught up in international conspiracies or webs of saboteurs on the home front, as in Saboteur (1942)  Some, however, dealt with professional spies as in Hitchcock's Secret Agent (1936), based on W  Somerset Maugham's Ashenden stories, or the Mr  Moto series, based on the books of John P  Marquand 
In the 1940s and early 1950s there were several films made about the exploits of Allied agents in occupied Europe, which could probably be considered as a subgenre  13 Rue Madeleine and O S S  were fictional stories about American agents in German-occupied France, and there were a number of films based on the stories of real-life British S O E  agents, including Odette and Carve Her Name With Pride  A more recent fictional example is Charlotte Gray, based on the novel by Sebastian Faulks 
Also during the period, there were many detective films (The Thin Man Goes Home and Charlie Chan in the Secret Service for example) in which the mystery involved who stole the secret blue-prints, or who kidnapped the famous scientist 
The peak of popularity of the spy film is often considered to be the 1960s when Cold War fears meshed with a desire by audiences to see exciting and suspenseful films  The espionage film developed in two directions at this time  On the one hand, the realistic spy novels of Len Deighton and John le Carré were adapted into relatively serious Cold War thrillers which dealt with some of the realities of the espionage world  Some of these films included The Spy Who Came in from the Cold (1965), The Deadly Affair (1966), Torn Curtain (1966), and the Harry Palmer series, based on the novels of Len Deighton 
In another direction, the James Bond novels by Ian Fleming were adapted into an increasingly fantastical series of tongue-in-cheek adventure films by producers Harry Saltzman and Albert R  Broccoli, with Sean Connery as the star  They featured secretive and flamboyant super-villains, an archetype which would later become a staple of the explosion of spy movies in the mid-to-late 1960s 
The phenomenal success of the Bond series lead to a deluge of imitators, such as the eurospy genre and several from America  Notable examples include the two Derek Flint films starring James Coburn, The Quiller Memorandum (1966) with George Segal, and the Matt Helm series with Dean Martin  Television also got into the act with series like The Man from U N C L E and I Spy in the U S , and Danger Man and The Avengers in Britain  Spies have remained popular on TV to the present day with series such as Callan, Alias and Spooks 
Spy films also enjoyed something of a revival in the late 1990s, although these were often action films with espionage elements, or comedies like Austin Powers  Some critics identify a trend away from fantasy in favor of realism, as observed in Syriana, the Bourne film series and the James Bond films starring Daniel Craig since Casino Royale (2006) 

Films
Some of the most popular films include:
Movie series (franchises)

One-shots, sequels and remakes

Television series
Some of the most popular television series include:

See also
Eurospy film
List of films based on spy books
List of films featuring surveillance
List of James Bond parodies and spin-offs
List of spy films
Passage 3:
The Incongruous Spy
The Incongruous Spy: Two Novels of Suspense (1964), by John le Carré, is an omnibus edition of le Carré's first two novels Call for the Dead (1961) and A Murder of Quality (1962)  The omnibus, about George Smiley, was released after his third novel, The Spy Who Came in from the Cold (1963) 

See also
Smiley Versus Karla
Passage 4:
Connie Sachs
Connie Sachs is a fictional character created by John le Carré  Sachs plays a key supporting role in the Karla Trilogy, Tinker Tailor Soldier Spy, The Honourable Schoolboy, and Smiley's People 

Biography
Sachs is an eccentric alcoholic with an incredible memory and intellect who works in the research department of the Circus  "A don's daughter", her brothers were also dons, and she herself "some sort of academic"  Her family lived at Millponds, a "beautiful Palladian house" with "lovely grounds, near Newbury", later owned by one of her brothers  According to legend, Control met her while she was at university and was so impressed that he invented a job so as to hire her  Her personal and professional life is devoted to the study of Soviet intelligence and most notably the Soviet spymaster known as Karla 
She is close to spymaster George Smiley and forced into early retirement at the same time he is  From her vast memory, she provides him with important clues in Tinker Tailor; when he must rebuild the Circus after its betrayal, Sachs returns happily to her work despite her failing health  She is crucial to the unravelling of the paper trail at the centre of The Honourable Schoolboy and retires after their success against Karla, this time permanently  When Smiley visits her for the last time in Smiley's People, she is dying from old age and alcoholism  She is taken care of by her female lover, a former Circus agent named Hilary; despite her objections, Connie agrees to speak with Smiley, and provides a key that leads to the eventual victory over Karla 

Background
Sachs was widely reputed (in outline at least) to be based on the legendary real-life MI5 Soviet watcher Milicent Bagot  Although she worked in domestic intelligence (unlike the fictional Connie), she was reportedly the first to alert British authorities that double agent Kim Philby had past associations as a Communist  Bagot died, aged 99, in 2006 

Portrayals
In the BBC's 1979 television adaptation of Tinker Tailor and the 1982 adaptation of Smiley's People which followed it, Sachs was played by Beryl Reid  In BBC Radio 4's 2009-10 adaptation of the Karla trilogy, Sachs was played by Maggie Steed  In the 2011 film adaptation Tinker Tailor Soldier Spy, Sachs was played by Kathy Burke 
Passage 5:
John le Carré: The Biography
John le Carré: The Biography is a 2015 biography of John le Carré written by Adam Sisman It was published by Bloomsbury (UK), Harper (US) and Knopf (Canada) 
Passage 6:
John le Carré
David John Moore Cornwell (19 October 1931 – 12 December 2020), better known by his pen name John le Carré ( lə-KARR-ay), was a British and Irish author, best known for his espionage novels, many of which were successfully adapted for film or television  "A sophisticated, morally ambiguous writer", he is considered one of the greatest novelists of the postwar era  During the 1950s and 1960s he worked for both the Security Service (MI5) and the Secret Intelligence Service (MI6) Le Carré's third novel, The Spy Who Came in from the Cold (1963), became an international best-seller, was adapted as an award-winning film and remains one of his best-known works  This success allowed him to leave MI6 to become a full-time author  His novels which have been adapted for film or television include The Looking Glass War (1965), Tinker Tailor Soldier Spy (1974), Smiley's People (1979), The Little Drummer Girl (1983), The Night Manager (1993), The Tailor of Panama (1996), The Constant Gardener (2001), A Most Wanted Man (2008), and Our Kind of Traitor (2010)  Philip Roth said that A Perfect Spy (1986) was "the best English novel since the war" 

Early life
Childhood
David John Moore Cornwell was born on 19 October 1931 in Poole, Dorset, England  His father was Ronald Thomas Archibald (Ronnie) Cornwell (1905–75), and his mother was Olive Moore Cornwell (née Glassey, b  1906–1989)  His older brother, Tony (1929–2017), was an advertising executive and county cricketer (for Dorset), who later lived in the United States  His younger half-sister was the actress Charlotte Cornwell (1949–2021), and his younger half-brother, Rupert Cornwell (1946-2017), was a former Washington bureau chief for The Independent  Cornwell had little early memory of his mother, who had left their family home when he was five years old  His maternal uncle was Liberal MP Alec Glassey  When Cornwell was 21 years old, Glassey gave him the address in Ipswich where his mother was living  Some sixteen years later, mother and son reacquainted at Ipswich railway station, at her written invitation, following Cornwell's initial letter of reconciliation Cornwell's father had been jailed for insurance fraud and was a known associate of the Kray twins  The family was continually in debt  The father–son relationship has been described as "difficult"  The Guardian reported that Le Carré recalled that he had been "beaten up by his father and grew up mostly starved of affection after his mother abandoned him at the age of five"  Rick Pym, a scheming con man and the father of A Perfect Spy protagonist Magnus Pym, was based on Ronnie  When his father died in 1975, Cornwell paid for a memorial funeral service but did not attend, a plot point repeated in A Perfect Spy 

Education
Cornwell's schooling began at St Andrew's Preparatory School, near Pangbourne, Berkshire, and continued at Sherborne School  He grew unhappy with the typically harsh English public school regime of the time and disliked his disciplinarian housemaster  He left Sherborne early to study foreign languages at the University of Bern from 1948 to 1949  In 1950, he was called up for National Service and served in the Intelligence Corps of the British Army garrisoned in Allied-occupied Austria, working as a German language interrogator of people who had crossed the Iron Curtain to the West



ground_truth: January 18, 1813

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

Question: What is the first name of the author who wrote the play in which Rønnaug Alten made her stage debut at Den Nationale Scene in 1930 as "Viola"?

The following are given passages.
Context 2: She made her stage debut at Den Nationale Scene in 1930 as "Viola" in Shakespeare's play Twelfth Night  During her career, she worked for various theatres, including Det Nye Teater (1931–38), Nationaltheatret (1935), Trøndelag Teater (1945–48), Riksteatret (1949–51), Folketeatret (1952–59), Oslo Nye Teater (1959–68) and Teatret Vårt in Molde (1972–74)  Her final performance was at the Riksteatret in 1975 Rønnaug Alten's film career began in 1936 with a role under film director Olav Dalgard  She also translated and organized a series of recordings for NRK  She served as an instructor principally for children's performances  She was a board member of the Norwegian Actors' Equity Association  
She was decorated Knight, First Class of the Order of St  Olav in 1982  Also in 1982, she shared the award for Best Actress at the 18th Guldbagge Awards with Sunniva Lindekleiv and Lise Fjeldstad for their roles in Little Ida 

External links
Rønnaug Alten at IMDb
Passage 7:
Viola (Twelfth Night)
Viola is the protagonist of the play Twelfth Night, written by William Shakespeare 

Role in the play
Viola's actions produce all of the play's momentum  She is a young woman of Messaline  In the beginning, Viola is found shipwrecked on the shores of Illyria and separated from her twin brother, not knowing whether he is alive or dead, the Sea Captain tells her that this place is ruled by the Duke Orsino, who is in love with Countess Olivia  Viola wants to serve her, but, finding this impossible, she has the Sea Captain dress her up like a eunuch, so she can serve the Duke instead 
Viola chooses the name Cesario and secures a position as a page working for the Duke  He then entrusts Cesario (Viola) to express his love for Olivia, without knowing that Viola had begun to fall in love with him  When Viola hears this she is heartbroken but listens reluctantly  Cesario continues to pass messages back and forth between the Duke and Olivia, but this eventually places her in somewhat of a quandary: she is forced by duty to do her best to plead Orsino's case to Olivia, but an internal conflict of interest arises when she falls in love with Orsino, and Olivia, believing her to be male, falls in love with her  Upon receiving a ring from Olivia's steward, Viola contemplates the love triangle her disguise has created, admitting only time can solve it 
When Sebastian, Viola's lost twin, arrives alive and well in Illyria with a pirate named Antonio, the chaos of mistaken identity ensues because of their remarkably similar looks, only made more similar due to Viola dressing up as a male  The absurdity of the identity crisis builds until Sebastian and Viola as Cesario meet for the first time, and eventually recognise one another  Olivia and Sebastian have already been secretly married, as she mistook him for Cesario, and Sebastian, ignorant of the foregoing love triangle, was simply entranced by a beautiful woman  Ultimately then, given what he has witnessed, Orsino admits that he will no longer pursue Olivia, agreeing to love her as his sister, and decides to take Viola as his wife once she quits her disguise 
Although Viola is the play's protagonist, her true name is not spoken by any character—including herself—until the final scene of the play (Act 5, scene 1) 

Art and stage depictions
Circa 1771 Francis Wheatley used actress Elizabeth Younge as a model to paint Viola in Act III, Scene 4 after she and Sir Andrew have drawn swords (painting top-right) 

William Hamilton painted the confrontation between Olivia and Viola circa 1797: in Act V, Scene 1 Olivia believes Viola (dressed as Cesario) to be Sebastian (Viola's twin brother) who she has just married  After Viola denies any knowledge, incredulous Olivia asks the priest to confirm they were married just two hours prior Walter Howell Deverell used model Elizabeth Siddal in his 1850 painting, showing Viola as Cesario looking longingly at Duke Orsino 

In the mid-19th century Frederick Richard Pickersgill painted a few scenes, including: in Act 1, Scene 4 after the character Viola is shipwrecked, when she cross-dresses as Cesario, enters the service of Duke Orsino as his page and falls in love with him; and in Act 3, Scene 1 when Olivia declares her love for Cesario (1859 painting) 

In the 20th century German actress Lucie Höflich played Viola in Was ihr wollt (Twelfth Night in German) at the Deutsches Theater in Berlin Tallulah Bankhead played Viola in a 1937 radio broadcast of the play Eddie Redmayne made his professional stage debut as Viola for Shakespeare's Globe at the Middle Temple Hall in 2002 In 2009, Anne Hathaway played Viola in the Shakespeare in the Park production of Twelfth Night in Central Park, directed by David Sullivan 

Film representations
Twelfth Night (1910) – Directed by Eugene Mullin – Viola: Florence Turner
Twelfth Night (1937) – Director N/A – Viola: Dorothy Black
Twelfth Night (1939) – Directed by Michel Saint Denis – Viola: Peggy Ashcroft
Twelfth Night (1957) [TV] – Directed by David Greene – Viola: Rosemary Harris
Twelfth Night (1957) – Directed by Caspar Wrede – Viola: Dilys Hamlett
Twelfth Night (1969) – Directed by John Sichel – Viola: Joan Plowright
Twelfth Night (1974) – Directed by David Giles – Viola: Janet Suzman
Twelfth Night (1980) [TV] – Directed by John Gorrie – Viola: Felicity Kendal
Twelfth Night (1987) – Directed by Neil Armfield – Viola: Gillian Jones
Twelfth Night or What You Will (1988) – Directed by Kenneth Branagh of the Royal Shakespeare Company/produced for television by Thames Television – Viola: Frances Barber
Twelfth Night, or What You Will (1988)– Directed by Paul Kafno – Viola: Frances Barber
Twelfth Night (1992) – [Animated Tales] – Directed by Mariya Muat – Viola: Fiona Shaw
Twelfth Night (1996) – Directed by Trevor Nunn – Viola: Imogen Stubbs
Twelfth Night, or What You Will (1998) [TV] – Directed by Nicholas Hytner – Viola: Helen Hunt
Twelfth Night, or What You Will (2003) – Directed by Tim Supple – Viola: Parminder Nagra
She's the Man (2006) – Directed by Andy Fickman – Viola: Amanda Bynes (Inspired by Twelfth Night)
Passage 8:
Gustav Thomassen
Gustav Thomassen (16 February 1862  – 6 May 1929) was a Norwegian stage actor and theatre director 

Biography
Thomassen was born in Bergen, Norway   He was the son of Salmaker Osmund Thomassen (1816-1892) and Caroline Olava Thomine Eckhoff (1828-1871)  He made his stage debut in 1881 at Den Nationale Scene in Bergen   He worked at Den Nationale Scene until 1905, and served as theatre director from 1900 to 1905 From 1905 to 1929 he worked as an actor and instructor at Nationaltheatret in Oslo   He was noted for his title role in the four act comedy Jan Herwitz  Gamle Bergensbilleder which was written by  Hans Wiers-Jenssen in 1913  From 1916-1923, he worked as a director  His main effort at the Nationaltheater was the staging of comedies by Ludvig Holberg, especially Jeppe på bjerget (1722), Den Stundesløse (1723) Erasmus Montanus (1722)  and Barselstuen (1723) 
Passage 9:
Kolbjørn Buøen
Kolbjørn Buøen (20 January 1895 – 5 October 1975) was a Norwegian actor  He was born in Flå  He made his stage debut at Den Nationale Scene in Bergen in 1920  He played "the hangman" in the first stage adaptation of Pär Lagerkvist's Bödeln in 1934, a play that received much attention  Buøen was appointed at Den Nationale Scene from 1920 to 1938, and thereafter at Nationaltheatret from 1938 to 1965  He made his film debut in 1951, in Kranes konditori  He received the Norwegian Theatre Critics Award in 1957 

External links
Kolbjørn Buøen at IMDb
Passage 10:
Thomas Thomassen
Thomas Thomassen (19  November 1878 – 7  January 1962) was a Norwegian actor, director and theater manager 
Thomassen was born in Tønsberg, Norway  He was the son of Thomas Marthinius Thomassen (1845–1925) and Laura Christine Thoresen (1847–1931) 
He made his stage debut in 1900 at Centralteatret  He served as theatre director of Stavanger Faste Scene from 1918 to 1921, and of Den Nationale Scene in Bergen from 1925 to 1931 He chaired the Norwegian Actors' Equity Association from 1915 to 1918, and from 1924 to 1925 In 1904, he married Ingebjørg Klafstad (1878–1961)  He was the father of the actor and director Knut Thomassen (1921–2002) 
Context 3:  In 1952, he returned to England to study at Lincoln College, Oxford, where he worked covertly for the British Security Service, MI5, spying on far-left groups for information about possible Soviet agents  During his studies, he was a member of a college dining society known as The Goblin Club When his father was declared bankrupt in 1954, Cornwell left Oxford to teach at Millfield Preparatory School; however, a year later he returned to Oxford, and graduated in 1956 with a first class degree in modern languages  He then taught French and German at Eton College for two years, becoming an MI5 officer in 1958 

Work in security services
He ran agents, conducted interrogations, tapped telephone lines, and effected break-ins  Encouraged by Lord Clanmorris (who wrote crime novels as "John Bingham"), and while being an active MI5 officer, Cornwell began writing his first novel, Call for the Dead (1961)  Cornwell identified Lord Clanmorris as one of two models for George Smiley, the spymaster of the Circus, the other being Vivian H  H  Green  As a schoolboy, Cornwell first met the latter when Green was the Chaplain and Assistant Master at Sherborne School (1942–51)  The friendship continued after Green's move to Lincoln College, where he tutored Cornwell In 1960, Cornwell transferred to MI6, the foreign-intelligence service, and worked under the cover of Second Secretary at the British Embassy in Bonn  He was later transferred to Hamburg as a political consul  There, he wrote the detective story A Murder of Quality (1962) and The Spy Who Came in from the Cold (1963), as "John le Carré" (le Carré is French for "the square")—a pseudonym required because Foreign Office staff were forbidden to publish in their own names In 1964, le Carré's career as an intelligence officer came to an end as the result of the betrayal of British agents' covers to the KGB by Kim Philby, the infamous British double agent, one of the Cambridge Five  Le Carré depicted and analysed Philby as the upper-class traitor, codenamed "Gerald" by the KGB, the mole hunted by George Smiley in Tinker Tailor Soldier Spy (1974) 

Writing
Le Carré's first two novels, Call for the Dead (1961) and A Murder of Quality (1962), are mystery fiction  Each features a retired spy, George Smiley, investigating a death; in the first book, the apparent suicide of a suspected communist, and in the second volume, a murder at a boys' public school  Although Call for the Dead evolves into an espionage story, Smiley's motives are more personal than political  Le Carré's third novel, The Spy Who Came in from the Cold (1963), became an international best-seller and remains one of his best-known works; following its publication, he left MI6 to become a full-time writer  Although le Carré had intended The Spy Who Came in from the Cold as an indictment of espionage as morally compromised, audiences widely viewed its protagonist, Alec Leamas, as a tragic hero  In response, le Carré's next book, The Looking Glass War, was a satire about an increasingly deadly espionage mission which ultimately proves pointless Tinker Tailor Soldier Spy, The Honourable Schoolboy, and Smiley's People (the Karla trilogy) brought Smiley back as the central figure in a sprawling espionage saga depicting his efforts first to root out a mole in the Circus and then to entrap his Soviet rival and counterpart, code-named 'Karla'  The trilogy was originally meant to be a long-running series that would find Smiley dispatching agents after Karla all around the world  Smiley's People marked the last time Smiley featured as the central character in a le Carré story, although he brought the character back in The Secret Pilgrim and A Legacy of Spies A Perfect Spy (1986), which chronicles the boyhood moral education of Magnus Pym and how it leads to his becoming a spy, is the author's most autobiographical espionage novel, reflecting the boy's very close relationship with his con man father  Biographer LynnDianne Beene describes the novelist's own father, Ronnie Cornwell, as "an epic con man of little education, immense charm, extravagant tastes, but no social values"  Le Carré reflected that "writing A Perfect Spy is probably what a very wise shrink would have advised"  He also wrote a semi-autobiographical work, The Naïve and Sentimental Lover (1971), as the story of a man's midlife existential crisis 
With the fall of the Iron Curtain in 1989, le Carré's writing shifted to portrayal of the new multilateral world  His first completely post-Cold War novel, The Night Manager (1993), deals with drug and arms smuggling in the murky world of Latin American drug lords, shady Caribbean banking entities, and western officials who look the other way His final novel, Silverview, was published posthumously in 2021 

Themes
Most of le Carré's books are spy stories set during the Cold War (1945–91) and portray British Intelligence agents as unheroic political functionaries, aware of the moral ambiguity of their work and engaged more in psychological than physical drama  While "[espionage] was the genre that earned him fame   he used it as a platform to explore larger ethical problems and the human condition"  The insight he demonstrated led "many fellow authors and critics [to regard] him as one of the finest English-language novelists of the twentieth century " His writing explores "human frailty—moral ambiguity, intrigue, nuance, doubt, and cowardice" The fallibility of Western democracy - and of its secret services - is a recurring theme, as are suggestions of a possible east–west moral equivalence  Characters experience little of the violence typically encountered in action thrillers and have very little recourse to gadgets  Much of the conflict is internal, rather than external and visible  The recurring character George Smiley, who plays a central role in five novels and appears as a supporting character in four more, was written as an "antidote" to James Bond, a character le Carré called "an international gangster" rather than a spy and who he felt should be excluded from the canon of espionage literature  In contrast, he intended Smiley, who is an overweight, bespectacled bureaucrat who uses cunning and manipulation to achieve his ends, as an accurate depiction of a spy Le Carré's "writing entered intelligence services themselves  He popularized the term 'mole'   and other language that has become intelligence vernacular on both sides of the Atlantic — 'honeytrap', 'scalphunter', 'lamplighter' to name a few " However, in his first tweet as MI6's chief, Richard Moore revealed the agency's "complicated relationship with the author: He urged would-be Smileys not to apply to the service "

Other writing, film cameo
Le Carré records a number of incidents from his period as a diplomat in his autobiographical work, The Pigeon Tunnel: Stories from My Life (2016), which include escorting six visiting German parliamentarians to a London brothel and translating at a meeting between a senior German politician and Harold Macmillan As a journalist, le Carré wrote The Unbearable Peace (1991), a nonfiction account of Brigadier Jean-Louis Jeanmaire (1911–1992), the Swiss Army officer who spied for the Soviet Union from 1962 until 1975 Credited under his pen name, le Carré appears as an extra in the 2011 film version of Tinker Tailor Soldier Spy, among the guests at the Christmas party in several flashback scenes 

Politics
Threats to democracy
In 2017, le Carré expressed concerns over the future of liberal democracy, saying "I think of all things that were happening across Europe in the 1930s, in Spain, in Japan, obviously in Germany  To me, these are absolutely comparable signs of the rise of fascism and it's contagious, it's infectious  Fascism is up and running in Poland and Hungary  There's an encouragement about"  He later wrote that the end of the Cold War had left the West without a coherent ideology, in contrast to the "notion of individual freedom, of inclusiveness, of tolerance – all of that we called anti-communism" prevailing during that time Le Carré opposed both U S  President Donald Trump and Russian President Vladimir Putin, arguing that their desire to seek or maintain their countries' superpower status caused an impulse "for oligarchy, the dismissal of the truth, the contempt, actually, for the electorate and for the democratic system"  Le Carré compared Trump's tendency to dismiss the media as "fake news" to the Nazi book burnings, and wrote that the United States is "heading straight down the road to institutional racism and neo-fascism" In Le Carré's 2019 novel Agent Running in the Field, one of the novel's characters refers to Trump as "Putin's shithouse cleaner" who "does everything for little Vladi that little Vladi can't do for himself"  The novel's narrator describes Boris Johnson as "a pig-ignorant foreign secretary"  He says Russia is moving "backwards into her dark, delusional past", with Britain following a short way behind  Le Carré later said that he believed the novel's plotline, involving the U S  and British intelligence services colluding to subvert the European Union, to be "horribly possible" 

Brexit
Le Carré was an outspoken advocate of European integration and sharply criticised Brexit  Le Carré criticised Brexit advocates such as Boris Johnson (whom he referred to as a "mob orator"), Dominic Cummings, and Nigel Farage in interviews, claiming that their "task is to fire up the people with nostalgia [and] with anger"  He further opined in interviews that "What really scares me about nostalgia is that it's become a political weapon  Politicians are creating a nostalgia for an England that never existed, and selling it, really, as something we could return to", adding that with "the demise of the working class we saw also the demise of an established social order, based on the stability of ancient class structures"  On the other hand, he said that in the Labour Party "they have this Leninist element and they have this huge appetite to level society "On Brexit, le Carré did not mince his words, comparing it to the 1956 Suez crisis which confirmed post-imperial Britain's loss of global power  "This is without doubt the greatest catastrophe and the greatest idiocy that Britain has perpetrated since the invasion of Suez", le Carré said of Brexit  "Nobody is to blame but the Brits themselves – not the Irish, not the Europeans " "The idea, to me, that at the moment we should imagine we can substitute access to the biggest trade union in the world with access to the American market is terrifying", he said Speaking to The Guardian in 2019, he commented "I've always believed, though ironically it's not the way I've voted, that it's compassionate conservatism that in the end could, for example, integrate the private schooling system  If you do it from the left you will seem to be acting out of resentment; do it from the right and it looks like good social organisation " Le Carré also said that "I think my own ties to England were hugely loosened over the last few years  And it's a kind of liberation, if a sad kind "

US invasion of Iraq
In January 2003, two months prior to the invasion, The Times published le Carré's essay "The United States Has Gone Mad" criticising the buildup to the Iraq War and President George W  Bush's response to the 11 September 2001 terrorist attacks, calling it "worse than McCarthyism, worse than the Bay of Pigs and in the long term potentially more disastrous than the Vietnam War" and "beyond anything Osama bin Laden could have hoped for in his nastiest dreams"  Le Carré participated in the London protests against the Iraq War  He said the war resulted from the "politicisation of intelligence to fit the political intentions" of governments and "How Bush and his junta succeeded in deflecting America's anger from bin Laden to Saddam Hussein is one of the great public relations conjuring tricks of history" He was critical of Tony Blair's role in taking Britain into the Iraq War, saying "I can't understand that Blair has an afterlife at all  It seems to me that any politician who takes his country to war under false pretences has committed the ultimate sin  I think that a war in which we refuse to accept the body count of those that we kill is also a war of which we should be ashamed" 

Iran
Le Carré was critical of Western governments' policies towards Iran  He said that Iran's actions are a response to being "encircled by nuclear powers" and by the way in which "we ousted Mosaddeq through the CIA and the Secret Service here across the way and installed the Shah and trained his ghastly secret police force in all the black arts, the SAVAK" Le Carré feuded with Salman Rushdie over The Satanic Verses, stating that "nobody has a God-given right to insult a great religion and be published with impunity" 

Israel
In a 1998 interview with Douglas Davis, Le Carré described Israel as "the most extraordinary carnival of human variety that I have ever set eyes on, a nation in the process of re-assembling itself from the shards of its past, now Oriental, now Western, now secular, now religious, but always anxiously moralizing about itself, criticizing itself with Maoist ferocity, a nation crackling with debate, rediscovering its past while it fought for its future " He declared: "No nation on earth was more deserving of peace—or more condemned to fight for it "

Personal life
In 1954, Cornwell married Alison Ann Veronica Sharp  They had three sons: Simon, Stephen, and Timothy—and divorced in 1971  In 1972, Cornwell married Valérie Jane Eustace, a book editor with Hodder & Stoughton who collaborated with him behind the scenes  They had a son, Nicholas, who writes as Nick Harkaway  Le Carré lived in St Buryan, Cornwall, for more than 40 years; he owned a mile of cliff near Land's End  Le Carré also owned a house in Gainsborough Gardens in Hampstead in north London Le Carré was so disillusioned by the 2016 Brexit vote to leave the European Union that he secured Irish citizenship  In a BBC documentary broadcast in 2021, le Carré's son Nicholas revealed that his father's disillusionment with modern Britain, and Brexit in particular, had driven him to embrace his Irish heritage and become an Irish citizen  At the time of his death, le Carré's friend, the novelist John Banville, confirmed that the writer had researched his family roots in Inchinattin, near Rosscarbery, County Cork, and that he had applied for an Irish passport, to which he was entitled having completed the process of becoming an Irish citizen and having Irish ancestry through his maternal grandmother, Olive Wolfe  His neighbour and friend Philippe Sands recalled: 

He became an Irishman through his maternal grandmother  And it was very, very moving, I have to say, to arrive at the place of the memorial to find an Irish flag and only an Irish flag  He had really in the last years, grown very disillusioned with what had happened to Britain and the United Kingdom 
Le Carré died at Royal Cornwall Hospital, Truro, on 12 December 2020, aged 89  An inquest completed in June 2021 concluded that le Carré died after sustaining a fall at his home  His wife Valérie died on 27 February 2021, two months after her husband, at age 82 Le Carré's son Timothy died on 31 May 2022 at the age of 59, shortly after he finished editing A Private Spy, a collection of his father's letters 

Selected bibliography
Novels
Call for the Dead (1961), OCLC 751303381
A Murder of Quality (1962), OCLC 777015390
The Spy Who Came in from the Cold (1963), OCLC 561198531
The Looking Glass War (1965), OCLC 752987890
A Small Town in Germany (1968), ISBN 0-143-12260-6
The Naïve and Sentimental Lover (1971), ISBN 0-143-11975-3
Smiley Versus Karla trilogy
Tinker Tailor Soldier Spy (1974), ISBN 0-143-12093-X
The Honourable Schoolboy (1977), ISBN 0-143-11973-7
Smiley's People (1979), ISBN 0-340-99439-8
The Little Drummer Girl (1983), ISBN 0-143-11974-5
A Perfect Spy (1986), ISBN 0-143-11976-1
The Russia House (1989), ISBN 0-743-46466-4
The Secret Pilgrim (1990), ISBN 0-345-50442-9
The Night Manager (1993), ISBN 0-345-38576-4
Our Game (1995), ISBN 0-345-40000-3
The Tailor of Panama (1996), ISBN 0-345-42043-8
Single & Single (1999), ISBN 0-743-45806-0
The Constant Gardener (2001), ISBN 0-743-28720-7
Absolute Friends (2003), ISBN 0-670-04489-X
The Mission Song (2006), ISBN 0-340-92199-4
A Most Wanted Man (2008), ISBN 1-416-59609-7
Our Kind of Traitor (2010), ISBN 0-143-11972-9
A Delicate Truth (2013), ISBN 0-143-12531-1
A Legacy of Spies (2017), ISBN 978-0-735-22511-4
Agent Running in the Field (2019), ISBN 1984878875
Silverview (2021), ISBN 9780241550069
Tim Cornwell, ed  (2022)  A Private Spy: The Letters of John le Carré 1945–2020  Penguin  ISBN 9780241994566 

Archive
In 2010, le Carré donated his literary archive to the Bodleian Library, Oxford  The initial 85 boxes of material deposited included handwritten drafts of Tinker Tailor Soldier Spy and The Constant Gardener  The library hosted a public display of these and other items to mark World Book Day in March 2011 

Awards and honours
1963, British Crime Writers' Association Gold Dagger for The Spy Who Came in from the Cold
1964, Somerset Maugham Award for The Spy Who Came in from the Cold
1965, Mystery Writers of America Edgar Award for The Spy Who Came in from the Cold
1977, British Crime Writers' Association Gold Dagger for The Honourable Schoolboy
1977, James Tait Black Memorial Prize Fiction Award for The Honourable Schoolboy
1983, Japan Adventure Fiction Association Prize for The Little Drummer Girl
1984, Honorary Fellow Lincoln College, Oxford
1984, Mystery Writers of America Edgar Grand Master
1988, Crime Writers' Association Diamond Dagger Lifetime Achievement Award
1988, The Malaparte Prize, Italy
1990, Honorary degree, University of Exeter
1990, Helmerich Award of the Tulsa Library Trust 
1996, Honorary degree, University of St  Andrews
1997, Honorary degree, University of Southampton
1998, Honorary degree, University of Bath
2005, Crime Writers' Association Dagger of Daggers for The Spy Who Came in from the Cold
2005, Commander of the Order of Arts and Letters, France
2008, honorary doctorate, University of Bern
2011, Goethe Medal, awarded by the Goethe Institute
2012, Honorary degree of Doctor of Letters, University of Oxford
2020, Olof Palme Prize – le Carré donated the US$100,000 prize money to Médecins Sans Frontières In addition in 2008, The Times ranked le Carré 22nd on its list of the "50 greatest British writers since 1945" 

Citations
Sources
Beene, Lynn Dianne (1992)  John le Carré  New York: Twayne Publishers  ISBN 9780805770131 
Cobbs, John L  (1998)  Understanding John Le Carré  University of South Carolina Press  ISBN 978-1-57003-168-7 
Manning, Toby (25 January 2018)  John le Carré and the Cold War  Bloomsbury Publishing  ISBN 978-1-350-03640-6 

Further reading
Aronoff, Myron J  (1998)  The Spy Novels of John le Carré: Balancing Ethics and Politics  Palgrave Macmillan  doi:10 1057/9780312299453  ISBN 9780312214821 
Bruccoli, Matthew J ; Baughman, Judith S , eds  (2004)  Conversations with John le Carré  University Press of Mississippi  ISBN 978-1-57806-669-8 
Dawson, Suleika (2022)  The Secret Heart – John Le Carré: An Intimate Memoir  HarperCollins  ISBN 9780008533038 
Sisman, Adam (2015)  John le Carré: The Biography  Bloomsbury Publishing  ISBN 9781408827932 

External links

John le Carré at IMDb 
Two interviews at NPR's Fresh Air
John le Carré discography at Discogs 
Two letters at Leeds University Library
Portraits of John le Carré at the National Portrait Gallery, London
Passage 7:
Control (fictional character)
Control is a fictional character created by John le Carré   Control is an intelligence officer who acts as the head of the British overseas intelligence agency  (nicknamed  "The Circus" after its location in Cambridge Circus, London)  He is a character in the novels The Spy Who Came in from the Cold, The Looking Glass War and Tinker Tailor Soldier Spy, and is referred to in several others, usually by association with le Carré's recurring protagonist George Smiley, who has served as Control's right-hand man 
"Control" is a nom de guerre; the character's real name is never given, and it is suggested that he successfully kept his true identity secret even from his inner circle of advisors  His wife believes him to be a minor civil servant in the Ministry of Agriculture and Fisheries  In the original screenplay for the film adaptation of Tinker Tailor Soldier Spy, Smiley muses that Control had once told him that Howard Staunton was the greatest chess master Britain had ever produced  "Staunton" later turns out to be the name that Control used for the rental of a flat he uses



ground_truth: William

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

Question: Who was born first, Juan Rulfo or John le Carré?

The following are given passages.
Context 3: 
The real chief of the Secret Intelligence Service (the equivalent of Le Carre's Circus) is known by a similar name: "C"  This originates from the initial used by Captain Sir Mansfield Smith-Cumming, RN, an early chief of the service, who signed his letters "C" in green ink  This custom has been upheld throughout the history of the service 

In the novels
Control does not appear in the first two George Smiley novels  In The Spy Who Came in from the Cold, le Carré's third novel, Control is already chief of the Circus, a position which was occupied by a civil servant named Maston, with whom Smiley clashed, in the first novel  Although he makes only comparatively fleeting appearances in The Spy Who Came in from the Cold and The Looking Glass War, in both novels Control is depicted as a master strategist who orchestrates a successful intelligence operation for the Circus  The Spy Who Came in from the Cold also shows him as quite ruthless, concealing from his own agent Alec Leamas the true aim of the operation on which Leamas was sent to East Germany, and having – against Leamas' express wish – got Leamas' beloved, Liz Gold, deeply involved in his plot, eventually leading to her death 
In Tinker Tailor Soldier Spy, Control has died of natural causes as the story begins; several characters reminisce on the inglorious end of his career, which was due to the infiltration of the Circus by a high-level mole run by the Soviet spymaster Karla  Control spent his final few months in office, already ill, losing power to his underling Percy Alleline and desperately trying to identify this mole, before falling into a trap set up by Karla to accelerate his departure 
However, in that same book, another character, Roddy Martindale, claims Control is still alive; that he faked his death after being "driven out" by Alleline and has been seen in South Africa  Martindale has heard this second-hand, and tells Smiley, who rejects it as "the most idiotic story [he] has ever heard "  Though he does not share this, George recalls personally attending Control's cremation 
In A Legacy of Spies, during Peter Guillam's initial interview, it is revealed that there have been at least four "Controls" over the years 

In other media
Film
Cyril Cusack portrayed Control in the 1965 film adaptation of The Spy Who Came In from the Cold 
In the 2011 adaptation of Tinker Tailor Soldier Spy, Control was played by John Hurt  He is shown signing himself as "C", and a photograph is briefly shown of a younger Control in uniform as a brigadier during the Second World War 

Television
Alexander Knox portrayed Control in the 1979 television drama adaptation of Tinker Tailor Soldier Spy 
Passage 8:
The Deadly Affair
The Deadly Affair is a 1967 British spy film based on John le Carré's first novel, Call for the Dead (1961)  The film stars James Mason and was directed by Sidney Lumet from a script by Paul Dehn 
As it is a Columbia Pictures production and Paramount owned the film rights to the name George Smiley, the central character is renamed Charles Dobbs  Paramount acquired the film rights to the character name when filming The Spy Who Came In from the Cold (1965) The soundtrack was composed by Quincy Jones, and the bossa nova theme song, "Who Needs Forever", was performed by Astrud Gilberto 

Plot
In 1960s London, Charles Dobbs (James Mason) is a staid MI5 operative investigating Foreign Office official Samuel Fennan (Robert Flemyng), a former Communist who apparently commits suicide  Dobbs becomes suspicious about the cause of Fennan's death while visiting Fennan's widow the morning after his death  When a wake-up call is received at Fennan's home, his widow Elsa (Simone Signoret) says the call was for her  Dobbs discovers this to be a lie, and as a result Dobbs suspects that Elsa, a survivor of a Nazi extermination camp, might have some clues regarding Fennan's death 
Other government officials want Dobbs to drop the case  However, Dobbs privately links up with retired police inspector Mendel (Harry Andrews) to continue enquiries and they uncover a network of Communist agents  Dobbs also discovers that his wife Ann (Harriet Andersson) is leaving him to go to Switzerland to join a former World War II colleague, Dieter Frey (Maximilian Schell) 
Dobbs ultimately decides to set a trap to prove that Elsa is a spy and to uncover her control by arranging a rendezvous which takes place in the Aldwych theatre during a performance of "Edward II"  Dobbs, his colleague Bill Appleby (Kenneth Haigh) and Mendel observe Elsa and wait to see who will sit in the empty seat next to her  Dobbs is shocked to see that it is Dieter who sits down next to Elsa and is her control  When Dieter and Elsa realise they have been set up, Dieter secretly kills Elsa and slips out of the theatre  Mendel follows Dieter to his hideout and summons Dobbs  In the final confrontation, Dieter shoots Mendel but is himself killed bare-handed by the enraged Dobbs 
Dobbs flies to Zurich where he is met at the airport by Ann 

Cast
James Mason as Charles Dobbs
Simone Signoret as Elsa Fennan
Maximilian Schell as Dieter Frey
Harriet Andersson as Ann Dobbs
Harry Andrews as Mendel
Kenneth Haigh as Bill Appleby
Roy Kinnear as Adam Scarr
Max Adrian as Advisor
Lynn Redgrave as Virgin
Robert Flemyng as Samuel Fennan
Leslie Sands as Inspector
Corin Redgrave as David
Sheraton Blount as Eunice Scarr (uncredited)
Denis Shaw as Wilf the Barman (uncredited)
David Warner as the actor playing Edward II in the Aldwych Theatre

Production
Location shooting for The Deadly Affair took place in London, in St  James's Park, at The Balloon Tavern and Chelsea Embankment in Chelsea, in Battersea and Barnes, in Twickenham, and at the Serpentine Restaurant in Hyde Park (demolished in 1990)  The exterior of Dobbs's house is in St  George's Square, Pimlico  For the theatre scene a performance of the Royal Shakespeare Company's Edward II  was recreated at its real location of the Aldwych Theatre, London Director of photography Freddie Young's technique of pre-exposing the colour film negative to a small, controlled amount of light (known as "flashing" or "pre-fogging") in order to create a muted colour palette was first used in this film  Lumet called the result "colourless colour"  and it proved influential, being used by other cinematographers such as Vilmos Zsigmond on McCabe & Mrs  Miller 

Awards and honours
The Deadly Affair received five BAFTA Awards nominations: Best British Film for Sidney Lumet, Best British Screenplay for Paul Dehn, Best British Cinematography (Colour) for Freddie Young, Best Foreign Actress for Simone Signoret, and Best British Actor for James Mason  However, it did not win any of the awards 

Musical score and soundtrack
The film score was composed, arranged and conducted by Quincy Jones, and the soundtrack album was released on the Verve label in 1967 Allmusic's Stephen Cook noted, "Deadly Affair's dreamy mix of bossa nova moods and unobtrusive symphonics still makes for some pleasant, if not always provocative, listening  Plus, one gets to hear Astrud Gilberto in fine fettle on the opening cut"  The Vinyl Factory said "This soundtrack to the Sidney Lumet thriller starts off with Astrud Gilberto drizzling her best desultory vocal over ‘Who Needs Forever’, which creates a moody atmosphere that is sustained throughout the entire album  With its languid orchestrations, breezy strings, and airy samba rhythms, this is a perfect Sunday morning record" 

Track listing
All compositions by Quincy Jones

"Who Needs Forever" (lyrics by Howard Greenfield) − 3:00
"Dieter's First Mistake" − 4:50
"Instrumental Main Theme (1)" − 2:05
"Postcard Signed "S" / Mendel Tails Elsa / Tickets to "S"" − 5:31
"Instrumental Main Theme (2)" − 3:00
"Don't Fly If It's Foggy" − 1:11
"Blondie-Tails" − 1:13
"Instrumental Main Theme (3)" − 2:05
"Ridiculous Scene" − 1:48
"Body on Elevator" − 0:55
"Bobb's at Gunpoint" − 0:45
"End Title" − 1:42

Personnel
Unidentified orchestra arranged and conducted by Quincy Jones featuring:
Hank Jones − piano
Astrud Gilberto − vocals (track 1)
Passage 9:
Juan Rulfo
Juan Nepomuceno Carlos Pérez Rulfo Vizcaíno, best known as Juan Rulfo (Spanish: [ˈxwan ˈrulfo] audio ; 16 May 1917 – 7 January 1986), was a Mexican writer, screenwriter, and photographer  He is best known for two literary works, the 1955 novel Pedro Páramo, and the collection of short stories El Llano en llamas (1953)  This collection includes the popular tale "¡Diles que no me maten!" ("Tell Them Not to Kill Me!") 

Early life
Rulfo was born in 1917 in Apulco, Jalisco (although he was registered at Sayula), in the home of his paternal grandfather  Rulfo's birth year was often listed as 1918, because he had provided an inaccurate date to get into the military academy that his uncle, David Pérez Rulfo — a colonel working for the government — directed After his father was killed in 1923 and his mother died in 1927, Rulfo's grandmother raised him in Guadalajara, Jalisco   Their extended family consisted of landowners whose fortunes were ruined by the Mexican Revolution and the Cristero War of 1926–1928, a Roman Catholic revolt against the persecutions of Christians by the Mexican government, following the Mexican Revolution Rulfo was sent to study in the Luis Silva School, where he lived from 1928 to 1932  He completed six years of elementary school and a special seventh year from which he graduated as a bookkeeper, though he never practiced that profession  Rulfo attended a seminary (analogous to a secondary school) from 1932 to 1934, but did not attend a university afterwards, as the University of Guadalajara was closed due to a strike and because Rulfo had not taken preparatory school courses Rulfo moved to Mexico City, where he entered the National Military Academy, which he left after three months  He then hoped to study law at the Universidad Nacional Autónoma de México  In 1936, Rulfo was able to audit courses in literature at the University, because he obtained a job as an immigration file clerk through his uncle 

Career
It was at the University that Rulfo first began writing under the tutelage of a coworker, Efrén Hernández  In 1944, Rulfo had co-founded the literary journal Pan  Later, he was able to advance in his career and travel throughout Mexico as an immigration agent  In 1946, he started as a foreman for Goodrich-Euzkadi, but his mild temperament led him to prefer working as a wholesale traveling sales agent  This obligated him to travel throughout all of southern Mexico, until he was fired in 1952 for asking for a radio for his company car Rulfo obtained a fellowship at the Centro Mexicano de Escritores, supported by the Rockefeller Foundation  There, between 1952 and 1954, he was able to write two books The first book was a collection of harshly realistic short stories, El Llano en llamas (1953)  The stories centered on life in rural Mexico around the time of the Mexican Revolution and the Cristero War  Among the best-known stories are "¡Diles que no me maten!" ("Tell Them Not To Kill Me!"), a story about an old man, set to be executed, who is captured by order of a colonel, who happens to be the son of a man whom the condemned man had killed about forty years ago, the story contains echoes of the biblical Cain and Abel theme as well as themes critical to the Mexican Revolution such as land rights and land use; and "No oyes ladrar los perros" ("Don't You Hear the Dogs Barking(?)"), about a man carrying his estranged, adult, wounded son on his back to find a doctor 
The second book was Pedro Páramo (1955), a short novel about a man named Juan Preciado who travels to his recently deceased mother's hometown, Comala, to find his father, only to come across a literal ghost town ─ populated, that is, by spectral figures  Initially, the novel met with cool critical reception and sold only two thousand copies during the first four years; later, however, the book became highly acclaimed  Páramo was a key influence for Latin American writers such as Gabriel García Márquez  Pedro Páramo has been translated into more than 30 languages, and the English version has sold more than a million copies in the United States The book went through several changes in name  In two letters written in 1947 to his fiancée Clara Aparicio, he refers to the novel he was writing as Una estrella junto a la luna (A Star Next to the Moon), saying that it was causing him some trouble  During the last stages of writing, he wrote in journals that the title would be Los murmullos (The Murmurs)  With the assistance of a grant from the Centro Mexicano de Escritores, Rulfo was able to finish the book between 1953 and 1954; it was published in 1955 
In passages of the novel Pedro Páramo, the influence of American novelist William Faulkner is notorious, according to Rulfo's former friend, philologist Antonio Alatorre, in an interview with the latter made by journalists of Mexican newspaper El Universal in November 1998, which was published on 31 October 2010 Between 1956 and 1958, Rulfo worked on a novella entitled El gallo de oro (The Golden Cockerel), which was not published until 1980  A revised and corrected edition was issued posthumously in 2010  The Fundación Rulfo possesses fragments of two unfinished novels, La cordillera and Ozumacín  Rulfo told interviewer Luis Harss that he had written and destroyed an earlier novel set in Mexico City From 1954 to 1957, Rulfo collaborated with "La comisión del rio Papaloapan", a government institution working on socioeconomic development of the settlements along the Papaloapan River  From 1962 until his death in 1986, he worked as editor for the National Institute for Indigenous People 

Personal life
Rulfo married Clara Angelina Aparicio Reyes (Mexico City, 12 August 1928) in Guadalajara, Jalisco, on 24 April 1948; they had four children, Claudia Berenice (Mexico City, 29 January 1949), Juan Francisco (Guadalajara, Jalisco, 13 December 1950), Juan Pablo (México City, 18 April 1955) and Juan Carlos Rulfo (México City, 24 January 1964) 

Legacy
Gabriel García Márquez has said that he felt blocked as a novelist after writing his first four books and that it was only his life-changing discovery of Pedro Páramo in 1961 that opened the way to the composition of his masterpiece, One Hundred Years of Solitude  He noted that all of Rulfo's published writing, put together, "add up to no more than 300 pages; but that is almost as many and I believe they are as durable, as the pages that have come down to us from Sophocles" Jorge Luis Borges considered Pedro Páramo to be one of the greatest texts written in any language The Juan Rulfo Foundation, which was established by Rulfo's family after his death, holds more than 6,000 negatives of his photographs  A selection of Rulfo's photographs, accompanied by essays by Carlos Fuentes and others, has been published under the title of Juan Rulfo's Mexico 

Books
El llano en llamas (1953)  Translated by George D  Schade as The Burning Plain (University of Texas, 1967); Ilan Stavans and Harold Augenbraum as The Plain in Flames (University of Texas, 2012); Stephen Beechinor as El Llano in Flames (Structo, 2019) 
Pedro Páramo (1955)  Translated by Lysander Kemp (Grove Press, 1959) and Margaret Sayers Peden (Grove Press, 1994) 
El gallo de oro (1980; revised 2010)  Translated by Douglas J  Weatherford as The Golden Cockerel & Other Writings (Deep Vellum, 2017) 

Further reading
Spanish
Lecturas rulfianas / Milagros Ezquerro, 2006
Tríptico para Juan Rulfo: poesía, fotografía, crítica / Víctor Jiménez, 2006
La recepción inicial de Pedro Páramo / Jorge Zepeda (Editorial RM-Fundación Juan Rulfo, México, 2005  ISBN 84-933036-7-4)
Entre la cruz y la sospecha: los cristeros de Revueltas, Yáñez y Rulfo / Angel Arias Urrutia, 2005
Estructura y discurso de género en Pedro Páramo de Juan Rulfo / Alba Sovietina Estrada Cárdenas, 2005
Voces de la tierra: la lección de Rulfo / Felipe Garrido, 2004
Mito y poesía en la obra de Juan Rulfo / María Luisa Ortega, 2004
La ficción de la memoria: Juan Rulfo ante la crítica / Federico Campbell, 2003
Juan Rulfo / Nuria Amat, 2003
Análisis de Pedro Páramo, Juan Rulfo / César Pérez P, 2003
Homenaje a Juan Rulfo / Dante Medina, 2002
Perfil de Juan Rulfo / Sergio López Mena, 2001
Revisión crítica de la obra de Juan Rulfo / Sergio López Mena, 1998
Juan Rulfo / Alberto Vital Díaz, 1998
La sociedad en la obra de Juan Rulfo / Magdalena González Casillas, 1998
Rulfo en su lumbre: y otros temas latinoamericanos / Jaime Mejía Duque, 1998
Juan Rulfo, el eterno: caminos para una interpretación / Anita Arenas Saavedra, 1997
Juan Rulfo: la naturaleza hostil / Antonio Aliberti, 1996
Recopilación de textos sobre Juan Rulfo / La Habana, Cuba: Centro de Investigaciones Literarias, 1995
Los caminos de la creación en Juan Rulfo / Sergio López Mena, 1994
Juan Rulfo: la lengua, el tiempo y el espacio / Gustavo C Fares, 1994
Juan Rulfo, del Páramo a la esperanza: una lectura crítica de su obra / Yvette Jiménez de Báez, 1994
Juan Rulfo y el sur de Jalisco: aspectos de su vida y obra / Wolfgang Vogt, 1994
El laberinto y la pena: ensayo sobre la cuentística rulfiana / Rafael José Alfonzo, 1992
Imaginar Comala: el espacio en la obra de Juan Rulfo / Gustavo C Fares, 1991
Rulfo y el dios de la memoria / Abel Ibarra, 1991
Rulfo, dinámica de la violencia / Marta Portal, 1990

Photography
Mexico: Juan Rulfo Fotógrafo, 2001: The Spanish language edition of his photographs with essays by the same authors as the volume above, but written in Spanish 
Inframundo: El México de Juan Rulfo / 1st ed  1980, 2nd ed  1983 / Versions in Spanish and English with essays  Published in 1980/83 by Ediciones del Norte in Hanover, New Hampshire
Juan Rulfo: Letras e imágenes, RM, 2002  The book is outlined in: https://web archive org/web/20110613163940/http://www clubcultura com/clubliteratura/clubescritores/juanrulfo/letrasimagenes01 htm
http://www guiarte com/noticias/juan-rulfo-fotografo html
http://www elpais com/articulo/cultura/ojos/Pedro/Paramo/elpepuint/20070903elpepicul_2/Tes
https://web archive org/web/20110519065034/http://elangelcaido org/2005/11/200511jrulfo/200511jrulfoe html

Notes
Passage 10:
Joseph Hone
Joseph Marlow Hone (25 February 1937 – 15 August 2016) was a British writer of the spy novel  His most famous novels featured a British spy called Peter Marlow  The first of the series was The Private Sector (1971), set in the Six-Day War  Marlow's story continues in The Sixth Directorate (1975), The Flowers of the Forest (a k a  The Oxford Gambit) (1980), and The Valley of the Fox (1982)  During his heyday, in the 1970s, Hone was favourably compared with writers such as Len Deighton, Eric Ambler and John le Carré 

Early life and education
Hone was born in London in 1937, son of Nathaniel Marlow Hone (1917-1959), of South Hill, Killiney, County Dublin, Ireland, and Morley House, Chippenham, Wiltshire, and Bridget, daughter of Michael Anthony, of Diltown, County Kilkenny  The Hone family were Irish landed gentry; his grandfather, Joseph Hone, was biographer to George Moore and W  B  Yeats  Hone recounts having been "given away" by his parents and taken to Dublin in his autobiography Wicked Little Joe (2009)  He was educated at Kilkenny College and St  Columba's College, Dublin 

Career
Hone had a varied career, including working as an assistant in a second-hand bookshop in London, as a teacher at Drogheda Grammar School in Ireland, and with the Egyptian Ministry of Education in Cairo, Heliopolis and Suez  He also worked for a publishing firm, and in radio and television  In 1960 he became co-founder of Envoy Productions, Dublin, and co-produced a number of plays and musicals at the Theatre Royal, Stratford, East London  He was appointed Radio and Television Officer with the United Nations Secretariat in New York in 1968 and for the next two years he travelled to Ethiopia, Kenya, Uganda, Tanzania, Malawi, India, Pakistan and the Far East, producing documentary programmes based on these travels  The Dancing Waiters (1975) was also based on these experiences  He produced a number of radio programmes for U N  radio, later broadcast by the BBC 
Hone held various positions in radio and television, including radio and then television critic for The Listener (1971–1980), and an overseas posting with the British Broadcasting Corporation (BBC)  He died on 15 August 2016 

Novels
In his first novel, The Private Sector (1971), Marlow, a teacher in Cairo, finds himself becoming a spy for the British  This was based in part on Hone's experiences in 1957–58 as a teacher in Europe  He stated that he had not been associated with Intelligence work but that he had 'worked with and met such people, especially while I was a teacher in Egypt and in New York with the UN ' Hone's second book, The Sixth Directorate (1975), continues Marlow's story after his release from Durham jail, where he has been sent on a frame-up by his own Department; it deals with his impersonation of an Englishman, a captured KGB agent living in London, his subsequent adventures as a fall-guy agent in the UN in New York, and his eventual encounter with the KGB in Cheltenham  Hone's last novel was Goodbye Again  Hone's books, including his last novel, have been translated into various languages, including French 
Hone reviewed books for the New York Times Book Review, The Spectator, The New Statesman, and the Daily Telegraph Since 2000, Hone had been teaching creative writing and a course which looked at the history and culture of various countries, including India and China  He taught at Wroxton College in Oxfordshire, part of Fairleigh Dickinson University based in New Jersey, USA 

Personal life
In 1964, Hone married Jacqueline, daughter of J  M  Yeend, of Cheltenham, Gloucestershire  The Hones had two children  Hone's brother, Camillus, was adopted by the writer Pamela Travers, the creator of Mary Poppins 

Bibliography
Novels
The Private Sector [1971]
The Sixth Directorate [1975]
The Paris Trap [1977]
The Flowers of the Forest [1980], ISBN 978-0436200878, published in the U S  as The Oxford Gambit
The Valley of the Fox [1982]
Summer Hill [1990]
Return to Summer Hill [1990]
Firesong [1997]
Goodbye Again [2011]

Non-fiction
The Dancing Waiters [1975]
Gone Tomorrow [1981]
Children of the Country: Coast to Coast Across Africa [1986]
Duck Soup in the Black Sea [1988]
Wicked Little Joe [2009] ISBN 978-1843511472



ground_truth: Juan Rulfo