davidaulloa/AmericanStories huggingface dataset:
Evening journal., 1922-12-26
MackS Mfeld
Is All Set

The purchase OF Sammy Hale
by Connie Mack. definitely set
ties the inheld question for the
tail leader OF the Athletics.
Hale will start AZ third. which
means Jimmy Dykes will go
back TO his original position,
second base. Chick Galloway.
the best shortstop IN the Ameri-
can League last season. will
again play that position. Haus-
er has won the first base job.
In Dykes and Galloway. Mack
has two great fielders who are
also good hitters. Hauser has
proved that ne can hit and his
n lding is showing constant i'm
provement. Hale always could
hit. His fielding since he was
turned loose by Detroit IS said
10 be much better.
Mack says the acquisition Of
Hale viii put him in a position
TO make a bid for = FIRST division
berth.
Evening journal., 1922-12-26

Changes in basketball rules
made by the rules committee in
New York last April are discuss
ed by players and fans at every
game. Most OF the changes
had 20 do with fouls. These
and the reasons for making
them. are explained in the fol-
lowing article written especially
for NEA Service by Lynn W.
St. John, director Of athletics at
Ohio State University and
rnenlber Of the rules committee.
Evening journal., 1922-12-26

foul for holding or pushing an OPP
ponent
It was felt that penalties should
more nearly ht the offense commit
ted.
Tho rules this yea provide there
fore hat technical violations OF the
rules, such as running with the ball
Kicking the ball or striking it with
tho hst. violation OF the jumping
Evening journal., 1922-12-26
BABY LEFT AT CHURCH

PITTSBURGH. Dec. 26.-Attract-
ed by the cries Of a baby, the Rev.
Joseph Canter, pastor OF the Saints
Peter and Paul Catholic Church. yes
terday hurried to the parish house
nearby and there found a fine boy,
apparently about a month old. wrap
ped in a costly blanket anc snugly
tucked into a basket.
a few minutes before he had
heard an automobile stop at the par
ish house and then drive away. The
baby was taken to a founding asy-
lum.
Evening journal., 1922-12-26

fouls needed some
revision.
For example,
practically { h q
only ponalty for
foul plays in bas-
ketban has been
a free throw and
this penalty has
b cen inflicted
whether a player
committed a tech-
nicai violation,
such as advancing
with the ball or
breaking a drib-
bic. OF whether
the foul COM
mitted waS a viz
orous personal
Evening journal., 1922-12-26
CUARDTNG.

II a player who IS closely guard
ed Is holding the ball on the moor
and making no attempt TO play IT,
Is # regarded as a foul or held ball?
The referee invariably regards 1t
as a held ball and puts II In play at
that point by tossing the ball to the
player who had possession OF the
ball and the one who was guarding
him.
Evening journal., 1922-12-26
CALLING TIME.

Has the umpire the same right
as the referee in ordering time out?
The umpire may stop the game II
some player IL injured and the ref
cree fails to notice II. but the ac-
tual taking OF time out" is entirely
up 70 the referee and the time
keeper takes orders from him.
Evening journal., 1922-12-26
Fight Results

man won from Bobby Barrett in a
fast eight round bouth> last night.
PHILADELPHIA-Alex Hart, of
Cleveland. won a popular decision
over George X. o. CLANCY, Balti-
more, in eight rounds.
Evening journal., 1922-12-26
SHOT IN LIQUOR DISPUTE

CHESTER. Pa. Dec. 26.--During
dispute over liquor yesterday az
213 Tilghman street, Carroll Adams
shot Malcolm Jordan in the right
breast. He Is in the Chester Hos
pital in a critical condition. Adams
was arrested by Frieumath, a city
detective, and Is held without bail.
Evening journal., 1922-12-26
MRS. CATHERINE RYAN DEAD.

Mrs. Catherine Ryan died at the
home Of her son, Michael f. Ryan
102 East Fourteenth street, Sunday
afternoon. Requiem mass will be
sung in st. Patrick's r. c. Church
tomorrow morning at o'clock. In
terment will be at Cathedral ceme-
tery.
Evening journal., 1922-12-26
DEFIANCE ACADEMY PRACTICE.

All players on Defiance Academy
basketball team are asked to report
at Third and Adams streets for prac-
tice at 7.sO o'clock tonight. The
team is making preparations for the
championship tilt next Saturday.
Evening journal., 1922-12-26
F. y. CURTIS CRITICALLY Ill.

F. Lindsay Curtis, treasurer OF
the Curtis and Brothers paper
mills. Newark. who has been Ill
for the past month with pneumonia
and heart trouble. continues in a
critical condition. Mr.. Curtis, DR..
James A. Draper has stated, showed
some improvement Sunday night
and his heart was stronger, but his
condition remains critical. Mr..
Curtis lives at Red Oak Road and
Willard street.
Evening journal., 1922-12-26

Frank Chance. who recently signed
10 manage the Boston team OF the
American League. has a regular Job
ahead OF him.
Chance evidently realizes this, for
he refused TO afix his signature for
more than one year. 1t Is said
Owner Frazee much preferred a two
or three-yssr contract.
zone year may be more than
enough for me-" explains Chance. II
I may early discover that baseball no
longer possesses the lure it once did.
II that proves 20 be the case 1 want
TO be able 10 get out without en-
barraseing anyone"
Chance will early discover that his
/ worthwhile material at Boston Is
I very limited. II a manager ,nherits
club thai has a couple OF ou:stand-
! ing stars. he can proceed TO build
around them. Chance takes charge
OF a team that has an unsettled in
field. a rather erratic outheld. fair
pitching and pretty good catching.
Mike Menosky will probably get
real opportunity 20 win a ,sgular
berth. in the outfeld. Chance likes
players OF the Menosky type. Mike
is always trying. That will make a
hit with Chance. Other managers
have always insisted Mike Is weak
against southpaws. Mike feels that
he can hit any kind OF pitching ~
given a real trial.
Two problems that Chance will
face are the cases OF Howard Ermks
and Lefty" O'Doul. Here are two
players who have a world OF natural
ability. yet neither has attained the
success that It seems should be their
portion.
Ehmke comes 70 Boston IN a trade .
for Rip Collins. No pitcher in the .
American League has more stun
than Ehmke. No twirler Is more
feared by American League batters.
Everything IS IN Ehmke's favor, ex-
cept that he lacks confidence in the
ability that opposing teams know he
possesses.
Can Chance make Ehmke over?
Chance has always had good pitch
ing stsffs. Realizing the important
part a brainy catcher plays in the
development OF pitchers. Chance has
secured Jimmy Archer TO coach the
Red Sox pitchers.
Problem number two for Chance Is
Lefty" O'Doul. For three years he
has done little more than warm the
bench for New York. D'Doul is A
southpaw pitcher. who is fast. can
hit and perform capably in the out
field. II is more than possible Chance
m turn him into an outfielder and
make a star out OF him.
Yes. indeed! Mr.. Chance has a
nan-size job ahead Of him at Boston. :
Evening journal., 1922-12-26

needed labor. The automobile in
dustry also was running 100 per
cent
Evening journal., 1922-12-26
By LYNN W. ST. JOHN

The changes IN basketball rules
FOR 1929 will net affect. in any
large way, the style OF play.
Il has been definitely recognized
for some time that penalties for
Evening journal., 1922-12-26
Babe Ruth Reforms
on $3.50 Basis

Home Run King Mixes His Weekly Trips to Broadway With
Wood d-Chopping Act in Effort to Do Comback. Waist
line Has Shrmk From As o a Perfect 49,
Evening journal., 1922-12-26
SPOR T S
Walter Camps AH-American Team
First Eleven,


End ......-.-. Taylor Annapolis .......
Tackle ...-.... Treat Princeton ..........
Guard ..schwab. Lafayette ........
Center ..---.. .Garbisoh. West Point ......
Guard ........ Hubbard. Harvard ........
Tackle .-..---. Thurman, Pennsylvania
End .......... Muller. California .......
Quarter Locke. Iowa ..........
Halfback -..... .Kaw. Cornell .......-.
Halfback ....... Kipke. Michigan .........
Fuliback ...... John Thomas, Chicago 80.
Copyright. 1929.
Evening journal., 1922-12-26
Second Eleven.

Kirk. Michigan ..........
Waldorf, Syracuse ........
Cross. Yale ..............
Bowser. PittsburE .........
Setron, W. Virginia .......
Dartmouth ....
Bomar, Vanderbilt ........
smythe. West Point .......
Morrison, California ......
owen. Harvard ........
Barron, Georgia Tech .....
2. F. Collier & Son Compa
Evening journal., 1922-12-26

zone year may be more than
enough for me-" explains Chance. II
may early discover that baseball no
longer possesses the lure it once did.
II that proves 20 be the case 1 want
10 be able 10 get out without en-
barrassing anyone"
Evening journal., 1922-12-26
Third Eleven.

.Kopf. wash. and Jeff.
Below, Wisconsin ....s..
.McMillen. Illinois ..........
Peterson. Nebraska ........
Dickinson. Princeton .......
.Gulian. Brown ............
kadesky. Iowa ............
uteritz, Michigan .........
Jordan, Yale ..............
Barchet Annapolis ........
Castner, Notre Dame. ....
nv.
Evening journal., 1922-12-26

Sing n song OF sixpcncc.
The game is getting deep,
Britton's looking for someone
To h. o. him 10 sleep.
Evening journal., 1922-12-26

Yes. indeed! Mr.. Chance has a
man-size job ahead Of him at Boston.
Evening journal., 1922-12-26

Chance evidently realizes this. for
he refused 10 afix his signature for
more than one year. II Is said
Owner Frazee much preferred a two
or three-yesr contract.
Evening journal., 1922-12-26

Two problems that Chance will
face are the cases OF Howard Ermks
and Lefty" O'Doul. Here are two
players who have a world OF natural
ability. yet neither has attained the
success that It seems should be their
portion.
Evening journal., 1922-12-26

Can Chance make Ehmke over?
Chance has always had good pitch
ing stsffs. Realizing the important
part a brainy catcher plays in the
development OF pitchers. Chance has
secured Jimmy Archer TO coach the
Red Sox pitchers.
Evening journal., 1922-12-26

produces many peculiar
The New York herald., 1922-02-08

of poets, and Of orators are needed in adver-
tisements. The dialogue in play must
come to you, the hearer, clear, understand
able, and unmistakable. When you are at
a performance of Macbeth or Lightnin'
you cannot turn back and read the pre-
ceding sentence. If you did not understand
it when it was spoken, you have lost it.
That suggests the way in which advertise
ments should be written. True, your
reader, if he miss the meaning of SEN
tence on the first reading, can 60 back and
read it again; but the chances are that he
will not.
All this points to quality Number One
in the style of the advertisement writer.
1t is clearness. Lacking that, our style is
bad. Let me repeat, if we are in the habit
of writing sentences that are not instantly
and luminously clear, we are not good
writer's of advertisements
Is simple clearness enough? | think not.
This reader whose habits we are reviewing
is not much interested in what you are
telling; and unless your style has the quail
ity that pleases readers, they will quit your
essay and go in search of more alluring
paragraphs. This means that your style,
if you would write good copy, must be
pleasing must have what the rhetori-
clans call charm and vividness. Here is
where the style and diction of poetry can
help. The good poet never has per-
functory or jaded vocabulary. A prose
writer may get along with the use of few
words which are worked to death. Not SO
the poet. Rhyme and rhythm and meter
force upon him flexible and varied vocab-
ulary. For example, he wanted to write
"love," but needed a rhyme for purning,"
so he used the word "yearning." He needs
word with first short and next long
syllable, while the one in mind has first
long and second short. Hence he'must
find term that will carry his meaning in
the meter, or he must recast his stanza, or
he must begin afresh. Whichever course
he may pursue, it remains that your good
poet, by the very nature of his mStier, is
forced to be hunter and fancier Of words.
Chesterton and Kipling and Poe and Mil
ton, even when they descend to prose, offer
you a racier and more havorous diction
than do most writers that have remained
all their lives in the less exciting highways
Of prose.
advise you therefore to study not only
the lucidity of Shakespeare the dramatist,
but also the diction Of Keats and Browning
the poets.
Obviously, there is more in charm of
style than mere diction or choice of words.
say this to escape the possibility of mis-
understanding. Nevertheless, the raw ma
terial of sentence and paragraph is words.
We are in the word business. We must
know words. We must know their mean
ing, their obvious meaning, their secondary
meaning. We must know their ancestry
and their part in literary history. To know
even rather small vocabulary as we need
The New York herald., 1922-02-08

to know our working vocabulary is life
time study. will give one or two examples
of sentences in which the words themselves
are well chosen and add much to the effect
sought by the writer.
In Isaiah we read: "He is despised and
rejected of men; man of sorrows, and
acquainted with grief; and we hid as it
were our faces from him." There is not
word in this sentence that is not simple
and clear as dew; yet the effect is most
powerful. Consider the thought; strip it
of the simple splendor of the King James
version; reduce it to distractions. Then
rewrite it in other terms, and you will have
a lesson in the choice Of words that will
last for lifetime.
Again, in what words should we express
the idea which the writer Of EcclesiasteS
puts thus: GAS the cracking of thorns
under pot, SO is the laughter of the fool!
Or how should we have phrased that sim
plest Of all invitations: Come unto Me,
all we that labor and are heavy laden, and
will give you rest?
If there are rules by which we may gain
mastery over the choice of words, do not
know them. We may, Of course, say that
short words are usually better than long
ones, Saxon more feeling than Latin, pic
ture-words more vivid than blank abstrac-
tions. Such precepts are good, but they
are only primary.
The best two roads to good dction are,
first, suspect, the friendly comradeship
of examples such as those Just cited, and
second, the habit of thinking carefully
what one has to say.
This brings back truth referred to be-
fore; namely, that every slovenly sentence
Of which we are guilty leaves our minds
just so much more slovenly.
When we use words and sentences we
are practicing self-expression, but this self
expression is different from any other. The
painter, the sculptor, the inventor, are all,
in their chosen work, expressing them
selves, but their medium is not words.
Therein lies stupendous difference. For
words and speech, either spoken or sup
pressed, are the mechanism of thought.
You cannot think of the things "foot," or
"house," or "man" without thinking of
the words "foot," "house," or "man. /"
While rather foolish person may know
a great many words, it remains true that
it is impossible for a man to know great
many facts without knowing great many
words.
Words thus being the symbols or coun-
tiers of things and concepts, it follows that
needless use of them results in blurred
thinking. But, conversely, if you will stub
bornly form the habit Of clear thinking, you
will find, little by little, that the right word
will more and more often be waiting at the
tip of your tongue or at the point of your
pen just when you want to use it. Quail
ties of style arc qualities Of thought,
whether expressed in that simple but
crashing retort, "The FAULT, dear Brutus.
The New York herald., 1922-02-08

ment consist merely Of the bare statement
of the attributes and merits of an article,
there are blunders possible in the choice of
words and in the ordering Of the ideas.
You must scrutinize every sentence,
every word, every arrangement of words,
and every ordering of thoughts in every
thing you write. 1t is only by such eternal
vigilance that you can rise superior to the
danger lurking in the fact that when writ
ing you are using the same words which in
ordinary conversation roll off your tongue
almost without choice or discrimination.
While the writer of advertisements
should be acquainted with all the depart
ments Of rhetoric, yet there are two or
three conditions governing our work that
specialize it:
First, we are writing to readers who are
not interested.
Second, we have strong competition for
the attention of those readers.
Third, we are in the work of persuasion.
Now, the publication in which our ad-
vertsement appears was bought by its
readers for purpose. That purpose was
not to read our advertisement. That pur-
pose was to read something very different,
and if our advertisement is to get read
ing, it must have certain catch-as-catch-
can qualities.
1t seems to me that merit Number One
in a good advertisement is Center of In
kren, a focus, spot to which the eye goes
and must 60 without question.
If this center of interest were only for
the eye, it would have no place in this dis
cussion, which has to do with writing, but
the mind must 60 with the eye. The center
of interest must be not only visual focus,
but also mental focus. /
Also, it must be so placed that it carries
the mind and the eye into the reading mat
ter. The headline separated from the text,
or the center of interest at the bottom of
the page, can hardly be logical arrange
ment.
NV belief is that in most cases the right
heading, properly exploited, is the best
sort of center of interest.
The center of interest has nothing to do,
Of course, with style of writing as such, but
it has everything to do with gaining the
attention and with getting the reader
started in our text. But more than this,
it will have an effect on our attitude of
mind in writing that will tend to make our
advertisements, even in their style, more
clear and logical. If at the very outset, in
our original conception of the advertise
mcnt, we begin with and through this CEN
ter of interest, we have at least definite
starting point. A definite starting point is
a great merit in an advertisement, and one
that great many advertisements lack.
Now let us consider the style necessi-
tated by the conditions under which ad-
vertisements must do their work. Certain
qualities of the styles of dramatic writers,
The New York herald., 1922-02-08

Write on bended Understanding
every word and sentence. Ren1em-
ber that easy zcriting makes hard
reading.
NNE of the reasons why writing is
~ most difficult art is that everybody
has smattering Of it. Letters were in
vented for use in commercial affairs. Our
alphabet and our writing are an inherit
ance from trading nations. Mercantile
records and bills had been expressed for
centuries in Sumerian and Ph9nician writ
ing before the Greek Iliad or the Aryan
Vedas were preserved by anything but
word of mouth.
This situation has lived into our own
day, for most of our writing has to do
with affairs that are not literary.
Writing is the only one of the arts of
which we all have smattering. The person
with trihing degree of education cannot
paint picture or carve a statue or play
violin. If he is to practice one of these arts,
he begins only after long study devoted to
the one end of learning the art.
In writing, on the other hand, we auto
matically attain certain degree of prof.
cheney, and at that stage we meet strong
tendency to rest. Consequently, as writers,
most of us are in the condition of arrested
development. Because we easily attain
degree Of ability that earns us a livelihood,
we are likely to cease study, and the IN
evitable follows. Few Of us can write
letter in terms so crystal clear that they
cannot be misunderstood. We cannot build
story in which the ordering of events and
ideas is SO logical that our readers follow us
through to the end. We fail to achieve
manner of writing that pleases the ear and
mind of our reader, or to understand how
to be energetic when force is needed, or to
be swift where slowness makes for dullness.
Some skill in writing we all have, but
none of us has enough, for those who elect
to spend their lives in the Word Business
choose thereby hard taskmaster. To the
few who by long and humble study acquire
merit he is bounteous, but the many who
will not pay the price Of skill he treats as
improbable servants.
Most of us have written one or two
things which we think extremely good, and
too often these achievements are source
Of stupid pride because we have made
them, rather than of humiliation because
we SO seldom equal them.
This hard taskmaster has hard laws.
Under his rule those, and only those, sue
ceed who do their writing on their knees.
Every unclear thought and every stodgy
sentence of which we are guilty infict
punishment then and there, and make our
minds just SO much more unclear and our
style just so much more stodgy.
Just as Willie Hoppe will tell you that
there is no such thing as an easy billiard
shot, so the true writer will tell you that
there is no such thing as sentence that it rs
easy to write well. Even if an advertise
The New York herald., 1922-02-08
Notes ON the Writing Of c4dvertisements

is not in our stars, but in ourselves, that
we are underlings"- or in Browning's
compact dictum that "a mans reach
should exceed his grasp, or what's heaven
fori"
have referred to the clearness of the
drama and the diction of poetry. The
third mode of composition that we must
try to understand and apply in the writing
of advertisements is that Of the orator.
From that early period of history when
grunts and gestures had finally evolved
into a system that deserved the name of
language, A has always been trying to
make B think as he, A, wants B to think.
That is the very heart Of our endeavor as
makers of advertisements, just as it is the
heart of the endeavor Of the orator. His
art and ours is only in part logical argu-
ment, but it is wholly the art of persuasion,
of touching the springs of human action.
Because / have said that our writing
calls for certain of the qualities Of drama,
poetry, and oratory, please do not under
stand me as advising that Armco should
be presented as the eternal triangle, or
that saws be sung in sonnet, or that bis
cults be treated in the manner of Daniel
Webster.
From the drama we should learn lucidity;
from poetry fresh, vivid diction; from ora
tory the charm and force that make for
persuasIveness.
have two practical suggestions:
First, read all you can = let some of it
be drama, some poetry, some oratory -
but read all in light of the question, "Ex-
actly what is meant - and how skilfully
is it expressed!"
Second, have all copy typed and read
aloud to you by someone that is not familiar
with the copy you offer. Tone, tempo, and
facial expression will offer unconscious but
correct criticism.
To sum up: From the very beginning of
your conception Of the advertisement, make
center of interest, either of words or pic
ture, to which the glimpser's eye must Of
necessity 60.
Make your meaning unmistakably clear
even to hasty reading.
Study words as painter studies colors,
or as trout-hsher studies his flies.
Study the art of persuasion. Qt is ex-
emplihed under your nose every day in
speech as we'll as in print.) :,
Read and keep on reading. That is
merely associating with the good workmcn
in the word business. You cannot hope to
keep on giving out unless you are con-
stantly taking in - adding to your store
of fact, Of expression, of alluson, of all the
raw material from which the ability to
produce good writing is built up.
Write on bended knees - studying every
word and sentence. s....
Lastly, remember that easy writing
makes hard reading.
Rrprinxd from BaA<s', Wtdss, Tolume
Xxx, No. 10,
The New York herald., 1922-02-08

Now let us consider the style necessi-
tated by the conditions under which ad
vertisements must do their work Certain
qualities of the styles of dramatic writers,
New-York tribune., 1922-12-10
Newark Apartment Builder

reist 4 Reist have sold 70 Anthony
sics, fes Brunsv4ek Street, Newark
n. j.. , thrse~stoTy epsrtmsnt on plot
l0x1og,' AbYam walrsteef vrs The