John William Tuohy lives in Washington DC

Angel: A short story by John William Tuohy

When a resolute young fellow steps up to the great bully the world and takes him boldly by the beard he is often surprised to find it comes off in his hand and that it was Only tied On to scare away the timid adventurers.

300 quotes from Emerson
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Chapter Excerpt from "On the waterfront: The making of a great American Film"

FALL 1952

"I often think of film-making as a horse race in which teams of three or four or five horses must run together.  If they run at all, it is rather remarkable.  If they run as well as they can, manage not to trip each other up, and cross the finish line together, it is a not-so-small miracle. This may explain why the most gifted of film-makers, Ford, Stevens, Huston, Kazan, may achieve only three or four truly memorable films in a lifetime of hard work.”  Budd Schulberg in Writing in America

In late 1951, after three years of prowling the docks, Schulberg started writing the screenplay for On the Waterfront"   But when he finished the script, both Joe Curtis and Robert Siodmak had backed out of the project.  They had shown the play to Curtis’s uncle, Harry Cohn of Columbia Studios, who called it “Communistic” a Cohn-ism meaning, essentially, that a Hollywood haunted by the HUAC and a Red Baiting public, would never make the film.
 As Schulberg explained:  “A few months later, in the early spring of 1951, my script was finished.  Robert Siodmak, who was to direct it, seemed happy about it, and I thought my days on the waterfront were done. But the months melted away without production. The little film company was something less than a financial rock. In fact, it was unable to get up the ''scratch.'' The subject matter was a little too hot to handle. If the longshoremen's locals were gangster run, how could our picture company get on the docks? Why not make a nice Western or a musical? Prospective backers backed away.
Another year passed. Now the rights to the script had reverted to me. And, when Johnson's option with the original company lapsed, I took plunge number two and bought his material. Truth was I couldn't get the waterfront out of my mind.” 13
By the spring of 1952, Curtis, Siodmak and Miller had pulled from the project. Fox Studios had turned it down once and Columbia Studios had turned it down twice.  Regardless, Kazan, a director and Schulberg, a screenwriter, knew the story would make an excellent film, a great film. What they needed was the spark to make it happen.
Kazan, who had never met Schulberg, wrote to Schulberg to discuss building a film built around the Malcolm Johnson articles and suggested that they meet. Schulberg wrote back and invited Kazan to his farm in Pennsylvania. Kazan leaped on the offer, however, what he found was that Schulberg was willing to discuss the film but was reluctant to commit to the project. He told Kazan that he had quit films because he had never been permitted to make a film in his own way. “Because the writer” said Schulberg “Is always the low man. They take his script and everybody rewrites it, the director rewrites it, the actor rewrites it, the producer rewrites it. To hell with it” 14
and that  the recent bad experience with Joe Curtis had further soured his outlook on Hollywood. Kazan listened and said “Budd, I promise you this, if you’ll do this film, I promise I will treat the script with the same respect I would give to an Arthur Miller play or a Tennessee (Williams) play or a Bill Inge play. I’ll make all kinds of suggestions, I’ll criticize it, I may be hard on it, but you will have the final say.  I won’t change a line without you.
“And” Schulberg recalled five decades later “He lived up to it too, he really did” 15
 Convinced that Kazan was serious about making a meaningful film, Schulberg shared his recent creation with the director, a play based on his experiences on the docks, entitled, On the Waterfront. They read it on the floor of the writer’s living room. Kazan was enthralled. He pushed Schulberg to convert the play into script. Schulberg agreed and the rewrites began. They produced 8 script drafts over the next 2 years before completing a final draft with the working title "Golden Warriors" a name Schulberg was enamored with but was later changed by Kazan who saw it as  a potential trouble spot with the HUAC as  glorification of the working man. Schulberg kept it in the film, naming Terry Malloy's racing club The Golden Warriors.    (Another explanation, offered by Kazan, was his attempt to resurrect Clifford Odets' Golden Boy the stage play that had brought Kazan so much early success.)
Kazan did make his own "original golden warrior," in the character of Terry Malloy, a warrior who will take on the mob, rise from temporary defeat and depose of his corrupt adversary, Johnny Friendly. That optimistic theme, to face seemingly overwhelming adversity and win, was wholly suited to the outlook of the scrapping and determined immigrant inside of Kazan.  In prior stage work, especially Tennessee Williams' A Streetcar Named and of Arthur Miller's All My Sons and Death of a Salesman, Kazan often added bits and pieces that spoke out against exploitation, degradation, pointless materialism while advocating moral responsibility. However, the pessimism infused in those dramas by the playwrights was suited to Kazan’s true outlook on the American way of life as it would be in Waterfront.
To accomplish that, he turned to what he knew best and what had been his highest success to date, Streetcar. He would revive and meld Tennessee Williams' characters from Streetcar into his Waterfront script. Blanche DuBois "an ambivalent figure who is attracted and repulsed to the harshness and vulgarity surrounding her,  became in, some part the character of Edie Doyle. Her ambivalence, however, is transferred to the character of Terry Malloy (The original Terry Malloy as written by Schulberg was anything but ambivalent) and Terry shared several characteristics with Stanley Kowalski including the inability to control his violence or to comprehend his situations and actions. Terry, like Kowalski is vulnerable with a thin coat of sensitivity. However, unlike Kowalski, Terry holds the facility to grow and change.  (The original Terry Malloy, in both Siodmak’s and Miller’s versions, are driven, somewhat educated men on a mission.)
In the final script of Waterfront, Schulberg and Kazan delivered a
three-part structure, each marked by a death.   In part one, Terry goes along with corruption revealed in the "shape-up" scene and helps set up the death of Joey Doyle.  In part two, Terry discovers depth of his corruption. This part ends with the death of Kayo Dugan.  Part three, the martyrdom scene with Father Barry's sermon, Terry is resurrected and fights back after death of his brother Charlie.
 ”That picture is terribly simple. It's all up front” Kazan said “It's mostly about this dumb kid who's unprepared and to whom it's painful to do what he did, who realizes through the girl and through what he knows in his heart and sees with his eyes, that telling on his friends was the better of the two choices facing him.
The early death of Joey Doyle, who had obviously caused enough trouble within the rank and file to have the corrupt union bosses order his killing, signals, for Kazan, the birth of a new labor leader “In the labor movement” Kazan said “a new movement starts with the death of a person, through the memory of a martyr.”  16 This again is a possible allegory for Kazan’s testimony before the HUAC.
 While the reworked Waterfront script clearly displays Kazan-the -immigrants belief that determination of purpose leads to positive change, (his own remarkable life is a testament to that)
There was also in the Kazan credo, a lack of moral judgment. In immigrant Kazan’s view, there was no room for such lofty notions, as his testimony before the HUAC clearly showed.
He had, like so many of his characters,  a moral ambivalence. Clearly, the social consciences influence of Miller (and probably Schulberg) would define the scripts clear notion of good and evil, right and wrong.  Conversely, it was this combination of Kazan’s optimism and moral ambivalence and Miller /Schulberg’s social conscious, which would blend to make the script so perfect.     
Kazan had also reviewed the script that Schulberg had outlined for Curtis a few months before and determined that although the Curtis script although it had many similarities to the Waterfront script, it was, as Schulberg recalled, not as good.  In the Curtis script, the protagonist is a reporter who finds himself facing the Mobs vengeance for reporting about the real conditions on the docks.
In the new script, written by Kazan and Schulberg, the character was changed from a news reporter working on the outside of the docks to a dockworker thug working on the inside of the operation.
Even with those changes, there is a slight hint of the influence of director Rickard Siodmak left in the final Waterfront script. Most prominent (as it is in many of Siodmak films) domestic strife, such as sibling rivalry, is a key component that resonates in Waterfront in the relationship between Charlie and Terry Malloy. Another Siodmak trademark is the uneasiness in the family unit. Something either has gone wrong or is changing at a disturbingly rapid pace and one member of the family manipulates the other for material gain, as Charlie Malloy did with his brother Terry; fixing the fight of his life so Charlie can earn a fortune from Terry’s defeat. When change comes between the brothers, it comes fast and it comes violently. 
It is also interesting that in Siodmak’s brilliant film, The Killers, with its hard-boiled realism, a promising young boxer turns criminal and works with gangsters whom he later betrays and is killed as a result.
Both films, Waterfront and The Killers, open with a graphic murder scene by gangsters. 
The ever-present powerful mother figure in Siodmak’s films warns the protagonist of impending danger. In Waterfront, hoodlum Johnny Friendly is clearly the father figure to Terry Malloy and Charlie Malloy, who warns Terry of the contract to murder him, is the Mother-side of the relationship. 
Waterfront also echoes The Killers grimly purposeful mission and employees the same simple sets, atmospheric lighting and nightmarish nocturnal world of shadowy streets, seedy bars and brutish gangsters.  The Killers also includes a network of professional hoodlums, a devastating double cross, the spirit of heavy fatalism and a hard-boiled protagonist doomed by existential fate
Like Kazan, and probably not lost on Kazan, Siodmak was the benefactor of great actors and outstanding filmmakers and by his own ability to inspire stellar performances from minor characters.
Siodmak was also notorious for creating sets full of other psychological tensions, use of music, visual images and the expressionistic montage to convey sexual energy. Siodmak’s use of deep-focus, like Kazan’s in Waterfront, is also notable.
 Siodmak’s influence is also found in Terry Malloy’s jacket, the films motif noir, which symbolizes a form of lost identity. Siodmak frequently had his male characters wear uniforms as a means to help male characters reclaim their lost identity. In Terry Malloy’s case, the jacket symbolizes his lost innocence, his goodness.
On a less symbolic stance, the jacket also serves another, more practical purpose, to keep the wearer warm. Kazan’s longshoremen   are working poor and the script is filled with remarks about making ends meet and keeping food on the table. In their world, a fine leather jacket is expensive and not to be tossed aside because two men were murdered in it.
 None of these similarities was lost on Siodmak who entered suit against On the Waterfront producers shortly after the film was released.  Although the details of the suit were not made public was awarded $100,000 in a settlement.

Before Kazan went back to California, Schulberg took him on a tour of the Waterfront and introduced him to his friends down there including Father John Corridan. As Schulberg recalled “The day I brought Kazan, Father John was yelling, "I'm going to stop (New York’s powerful Cardinal) Spellman.”  He was cursing--"that son of a bitch"--and shouting. Kazan could not believe a priest would talk like that. That day he was going up in smoke. He was furious that (Powerful New York Cardinal) Spellman was giving an award to John McCormack--the "Mr. Big" of the waterfront. Mr. McCormack was a respectable man. He had lots and lots of money. He put Mayor Impellitteri in office. Nevertheless, the people under McCormack were monsters and killers. Kazan asked Schulberg "Are you sure he's a priest? Maybe he's working there for the waterfront rebels in disguise." Assured that Corridan was in fact a Priest, Kazan shook his head in amazement and said, "We have to make him the centerpiece of the movie." 17


The view from rock bottom is often the reason, the inspiration, for getting back up.” Maslow              

  At seventeen, I had hit rock bottom,  a high-school dropout living in my car. If I wanted to survive, if I wanted to get out of that car, I had to have a job. The war in Vietnam was still on so factories were hiring, but the minimum age for a job in the shops was eighteen. However, the working world, especially in Waterbury, was a different place then. If you said you were old enough, you were.
  Scovill Manufacturing, one of the largest and oldest mills in the city, hired me as a floor man in the rivet shop. I picked up enormous bales of nails and eyelets and poured them into eight rivet machines as they started to run empty. Since the machines ran empty only every half hour, and only took a minute to fill, it was the simple job, even if the hours—three p.m. to midnight—weren’t the best. Better yet, some of the rivets we made were used in car doors, so I was a member of the United Auto Workers union. I earned a large paycheck, considering my age: enough money to support a small family.
  The worst part of the job came after the shift ended. The rivet machines, all eight of them, made extremely loud slamming sound while pounding the nails through the rivet eyelet. One slam a second per machine, eight hours a shift. When the shift ended and the machines were shut down, everyone on the floor was temporarily deaf for the rest of the night. 
 The foundries were vast, dark castles built for efficiency, not comfort. Even in the mild New England summers, when the warm air combined with the stagnant heat from the machines or open flames in the huge melting rooms where the iron was cast, the effects were overwhelming. The heat came in unrelenting waves and sucked the soul from your body. In the winter, the enormous factories were impossible to heat and frigid New England air reigned supreme in the long halls.  
  The work was difficult, noisy, mind-numbing, sometimes dangerous and highly regulated. Bathroom and lunch breaks were scheduled down to the second. There was no place to make a private phone call. Company guards, dressed in drab uniforms straight out of a James Cagney prison film [those films were in black and white, notoriously tough, weren’t there to guard company property. They were there to keep an eye on us.
  No one entered or the left the building without punching in or out on a clock, because the doors were locked and opened electronically from the main office.
  Between management and workers was a very clearly defined line. Managers spoke first, and we spoke afterwards. There were other dividing lines. Skilled and semi-skilled labor kept apart from the common laborers, and within the ranks of the common laborers, during coffee and lunch breaks, women stayed with women, men with men, white with white, black with black.
 Although there was little fraternizing, the bosses played favorites and every boss had a rat, a fink on the floor who reported every detail of every single conversation and act. Our shop’s rat was a razor-thin Vietnam combat vet named Bobby Parent, a French Canadian tool and die maker. Two guys in the shop named Jimmy and Wayne, tough bikers with waist-long hair, beards, and serious dope problems, shot up heroin in a stall in the bathroom and again it was a surprisingly violent thing to watch, but Jimmy and Wayne were violent people and I was lucky they took a liking to me.  I soon found out how lucky I was.
 A secretary in the offices passed the word that Bobby Parent had told the bosses about the heroin. Management planned to have Jimmy and Wayne searched by the guards and arrested the next time Parent suspected they were high. A few nights later, when the shift ended, Bobby and I were walking through the dark parking lot to our cars when a squad of bikers, armed with chains and whips, encircled us.
 One said, “Which of youse is Parent?”
  “I am,” he said.
  “The biker turned to me and said, “Take a walk.”
  I watched the beating from my car. There was nothing I could do, even if I had wanted to. When they were done with Bobby, he couldn’t walk for a couple of weeks. The mills were tough places.
  With my first paycheck I rented an apartment close to the foundry, a furnished second- floor one-room walkup in a dicey neighborhood where my neighbor in the next apartment was an amiable streetwalker named Peaches. I didn’t care what the neighborhood was like. I was barely there. It was a place to hang my hat. But as modest as that tiny apartment was, it was mine. And when I walked through the front door, it was the first time in my life that I arrived someplace of my own free will.
  I had never been free to choose any aspect of my life. Other people, dozens of them, people I barely knew and some I didn’t know at all, had decided my fate without having to deal with the consequences of their decisions, and in the process they had reduced me to the status of a human basketball, bouncing me all over the state. Now I was free to screw up my own life, maybe not with their creative pizzazz, but now my life decisions were my own.

In 1962, six year old John Tuohy, his two brothers and two sisters entered Connecticut’s foster care system and were promptly split apart. Over the next ten years, John would live in more than ten foster homes, group homes and state schools, from his native Waterbury to Ansonia, New Haven, West Haven, Deep River and Hartford. In the end, a decade later, the state returned him to the same home and the same parents they had taken him from. As tragic as is funny compelling story will make you cry and laugh as you journey with this child to overcome the obstacles of the foster care system and find his dreams.


John William Tuohy is a writer who lives in Washington DC. He holds an MFA in writing from Lindenwood University. He is the author of numerous non-fiction on the history of organized crime including the ground break biography of bootlegger Roger Tuohy "When Capone's Mob Murdered Touhy" and "Guns and Glamour: A History of Organized Crime in Chicago."
His non-fiction crime short stories have appeared in The New Criminologist, American Mafia and other publications. John won the City of Chicago's Celtic Playfest for his work The Hannigan's of Beverly, and his short story fiction work, Karma Finds Franny Glass, appeared in AdmitTwo Magazine in October of 2008. His play, Cyberdate.Com, was chosen for a public performance at the Actors Chapel in Manhattan in February of 2007 as part of the groups Reading Series for New York project. In June of 2008, the play won the Virginia Theater of The First Amendment Award for best new play.


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 A Short story
John William Tuohy

Every afternoon at four, just before dinner crowd rush, Alexandros Goumas sat in the front booth and sipped a black coffee and checked the race results from the New York tracks and later he would lay a view bets with Nick the Greek.  They had a nice arrangement, him and Nick. When his horse won, Nick would pay him.  When his horse lost, Nick never collected. They looked on it as rent for the space Nick occupied in the place five days a week. 
Goumas had owned and operated the dinner for forty-eight years. Before that, as a teen, he had waited tables in the place when his father owned the place and before that, when he was just a kid, he had washed dishes in the back where his mother had been the cook and taught him the skills of working a short order grill.
 He knew the diner business from the inside out. He worked at it six days a week, Sunday’s he was an Usher at the Holy Trinity Greek Orthodox Church over on Hubbell Avenue.
Unlike him, his children had no interest in the business.  They were professional people, nice people.  Suburban people who didn’t eat in diners unless it was a last resort and even then, they tried to eat healthy. They told people that their father was a restaurateur, not a diner man.
Angel, the dishwasher, stepped out of the back and said “It’s slow”
Goumas nodded and answered him in a teachers tone “Yeah, it always is about this time, Angel, that’s how the business flows”
Angel used the statement to sit down in the booth, the boss’s booth where few people were ever invited to sit and was kept empty even when Goumas wasn’t using it.
  “The reason there is no one here” Angel said “Is because of advertising.
More people don’t come here because we don’t advertise the place.  You have to advertise to make your business grow if your business depends on pedestrian traffic”
Angel took a textbook out from under his arm and held it in the air
“It’s all in here”
Goumas waved for Angel to hand him the book and taking it he read the cover aloud “Principles of Business administration”
“It’s what I study at the college.” Angel said passively “Community college”
“Community college?”  Goumas asked “You’re a cook, what do you want that for?
“Do you know” Angel said “that we could double the breakfast rush in this place just by adding a few inexpensive items to the menu, like rice and beans, salsa, fried Yucca, boiled plantains.”
He was excited and spoke quickly and with passion “You see, every morning, all those construction guys lined up at that truck in the parking lot down the street?”
“Yeah” Goumas replied “It must be good. There’s always a line”
“No” Angel said loudly “It’s awful and full of grease and stale vegetables and you got to eat it out of those Styrofoam boxes and plastic forks and its freezing out there and that guy, the guy who owns the truck, he charges top dollar for that stuff. If we put that same stuff on the menu here, we can pull all of those guys in here every morning, you know why?”
Goumas shook his head “No”
“Because it’s warm in here and it doesn’t rain on your plate and we got real forks and knifes not no plastic crap and we got nice places to sit and pretty waitresses and we can undercut his prices and still make money”
He was excited and spoke rapidly and with all of the zeal of an evangelical “I’ll tell you something else; you know how to get people in here after the dinner rush?
“I’m guessing you’re going to tell me.” Goumas said 
“The menu again. We offer one diet item, tuna salad with a slice of tomato.  That’s all. Everybody in America is on a diet and we offer one diet item. Expand the diet items, you can charge more for them and place less food on the plate. This is the only country in the world that will pay more for less food”
 He stood and paced the floor “The menu we got now, it comes from, what? Thirty maybe forty years ago? I would change almost all of it, fewer items, less starch. We don’t have a kids menu, I would have a kids menu and a TV over the counter, you know, bring people in for the games. Stuff like that, you know, you combine all the things I’ve been talking about….this could work”
“You put a lot of thought into this I see” Goumas said.
“Yeah” Angel answered quickly
“Why?” Goumas asked just as quickly.
“Because when you decide to sell the place, I want you to sell it to me”
“No kid, I won’t sell you the business” Goumas said.
“Why not?” Angel asked “Why not?”
“Because you’ll go under in less than six month, that’s why” Goumas answered   
“There’s more to this business than filling seats and sling’n hash. That’s the basics of what we do here, but there’s a lot more to it than that”
“Then” Angel said “I want to tell you I will look for a place to buy and ….”
Goumas raised his hand to stop “Hold up, hold up, relax” he took a sip of his coffee and motioned Angel to sit down.
“You know” Goumas said slowly “ A long time ago, I’m talking before your parents were born, I stood in about the same spot where you’re standing now and told my old man that he needed to step aside and let me run the business”
“And he did right?” Angel asked
 “No” Goumas answered “But he laughed so hard he almost swallowed his cigar. For the next three days, every time he saw me, he would start to laugh, check behind my ears, see if they were still wet, you know, that kind of thing. I was like you, a young guy, full of piss and vinegar, so I got mad and told him I quit and I walked out. I stayed home for a week or so and one day he says “All right, I’ll tell you what, you order the stock this month. You take care of the whole thing. Do the inventory, call it in, unload the truck, shelf it, the whole thing, let’s see how you do with that”
“And how did you do with that?” Angel asked.
“I ordered three times as many fresh vegetables we used. It all went bad. We took a real hit on that. I didn’t order enough butter, so we ran out within a week I think it was. I forgot to order the hand towels and toilet paper for the bathrooms….boy oh boy, what a mess”
“So what happened?” Angel asked shirting himself in the booth.
“The next week I got it right” he answered “So he put on the counter, seating people, you know that sort of thing. So the mayor comes in. In those days Johnny Flynn was mayor. I can’t remember when he wasn’t mayor. He’s dead, he’s probably still mayor for all I know. So I seat him, I give him menu, he orders, he eats. I give him a check he pays it and leaves. A few hours later every health inspector in the country is in here citing me for this and for that, the cops are out in the parking lot writing tickets, and I’m thinking what the hells is going on and my old man sees all this and he checks behind my ears and says “Still wet behind there, huh?” Turns out Johnny Flynn, who ate here every day of his cheap miserable life, never paid a check, not even once. Same went for every cop above the rank of sergeant”
He leaned forward and clasped his large rough hands together and smiled at the memories “And that’s how it went for weeks and weeks. Turns out there was a million and two things you had to know about making this place click”
“I can run this place” Angel said “You know I can this place”
 He wasn’t listening. He was still in yesterday.
“I’ve never forget that goddamn Flynn, you know why?” he asked “Because I hated him. I hated how he took from us, after all out work, he just took. Be careful who you hate, kid, I’ll tell you, all it does is makes them live forever in your mind” 
“I can run this place” Angel said “You know I can run this place”
Goumas sat back in the booth and turned his face towards the young man and said “The truth is, I want to let go, but my heart don’t. My heart wants to stay here. I’m a businessman. I don’t think with my heart but…..”
“Letting go of this place” Angel said “it doesn’t make you like a…a….a…..uh….traitor or something. It don’t mean like, that you don’t care no more about this place. I know you do. Everybody knows that about you.  At least think about. That’s all I’m asking. Think about it.

What is love………….

Love is the river of life in the world. Henry Ward Beecher

Frederick H. Evans spent hours trying to take this portrait of illustrator and author Aubrey Beardsley, a close friend. It wasn’t until Beardsley grew exasperated that Evans was finally able to capture this image. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' “Lysistrata,” and his drawings for Oscar Wilde's play “Salome,” which premiered in Paris in 1896. Frederick H. Evans is best known for his platinum prints, also called platinotypes, of English and French cathedral interiors. However, he stopped printing shortly after World War I, when the cost of platinum began to rise.

HERE'S SOME GREAT ART TO ENJOY.......................................

Winter Landscape, Wassily Kandinsky

HERE, HERE'S A GREAT POEM FOR YOU.....................

"O Karma, Dharma, pudding and pie," 
by Philip Appleman

O Karma, Dharma, pudding and pie,
gimme a break before I die:
grant me wisdom, will, & wit,
purity, probity, pluck, & grit.
Trustworthy, loyal, helpful, kind,
gimme great abs & a steel-trap mind,
and forgive, Ye Gods, some humble advice—
these little blessings would suffice
to beget an earthly paradise:
make the bad people good—
and the good people nice;
and before our world goes over the brink,
teach the believers how to think.

Philip D. Appleman 

(born February 8, 1926) is an American poet. He is Professor Emeritus in the Department of English at Indiana University, Bloomington. He has published seven volumes of poetry, the first of which was Summer Love and Surf and the latest of which is Perfidious Proverbs (Humanity Books, 2011); three novels, including Apes and Angels (Putnam, 1989); and half a dozen nonfiction books, including the widely used Norton Critical Edition, Darwin and the Norton Critical Edition of Malthus' Essay on Population. His poetry and fiction have won many awards, including a fellowship in poetry from the National Endowment for the Arts, the Castagnola Award from the Poetry Society of America, the Friend of Darwin Award from the National Center for Science Education, and the Humanist Arts Award of the American Humanist Association, and have appeared in scores of publications, including Harper's Magazine, The Nation, New Republic, New York Times, Paris Review, Partisan Review, Poetry, Sewanee Review, and Yale Review. He has given readings of his poetry at the Library of Congress, the Guggenheim Museum, the Huntington Library, and many universities. He read several of his poems on the July 6, 2012, episode of Moyers & Company. He is a founding member of the Poets Advisory Committee of Poets House, New York, a former member of the governing board of the Poetry Society of America, and a member of the Academy of American Poets, PEN American Center, Friends of Poets & Writers, Inc., and the Authors Guild of America. Appleman has written many poems drawing on the work of Charles Darwin. In 2003 he signed the Humanist Manifesto.

GOOD WORDS TO HAVE....................................................

Leviathan: (li-VY-uh-thuhn) Something large and powerful.Via Latin from Hebrew liwyathan (whale). Earliest documented use: 1382.

Behemoth: (bi-HEE-muth, BEE-uh-) 1. A huge or monstrous creature.2. Something large and powerful, as an organization. From Hebrew behemoth, plural of behemah (beast). Earliest documented use: 1382. Behemoth is a huge beast mentioned in the Book of Job 40:15-24.

Tohubohu: (TOH-hoo-BO-hoo) noun: Chaos; confusion. From Hebrew tohu wa-bhohu, from tohu (formlessness) and bhohu (emptiness). Earliest documented use: 1619.

“Frugality has its place, but not in the larder of language. We rely on words to help us detail how we feel, what we once felt, what we can feel. When the blood drains out of language, one’s experience of life weakens and grows pale. It’s not simply a dumbing down, but a numbing.” Diane Ackerman, An Alchemy of Mind: The Marvel and Mystery of the Brain

Each Day, 731,000 People Are in Jail, Many Because They Can’t Afford Bail

    by NationSwell

Kalief Browder spent three years in jail despite never being convicted of a crime.
He was arrested for a stealing a backpack in the Bronx — a crime the then 16-year-old maintained he didn’t commit. His mother was unable to put up the $3,000 bail, so he was locked in solitary confinement on Rikers Island, New York City’s central jail, for roughly two years as he awaited trial. Browder tried to commit suicide several times — once with shredded bed sheets hung from a light fixture — and suffered physical abuse from guards and inmates alike, as detailed in The New Yorker.
In 2013, prosecutors dismissed the charges, and he was released. Last month, Browder committed suicide, sparking a wave outrage against the system that had imprisoned a young man for years only on the basis of an accusation. With its “unfortunately-long history of horrible abuses,” Rikers Island became an “example of failing to save jail for people who are convicted, as opposed to people who have just been accused,” Karin Martin, professor at John Jay College of Criminal Justice, tells NPR. “We’re realizing that we can’t afford, both financially and kind of morally, the horrible impacts of mass incarceration.”
In New York City, the emotional outpouring that resulted from Browder’s premature death recently crystallized into real reform as Mayor Bill de Blasio announced a sweeping, $18 million overhaul of the city’s bail system. Since 2009, the Big Apple had tested alternatives to monetary bail at a jail in Queens, offering “supervised release” through a nonprofit to low-level or nonviolent offenders. The only requirement? That a person had to do was check in regularly. Nearly nine out of 10 defendants — 87percent — still showed up to court. Similar to programs in Washington, D.C., Chicago, Charlotte and Phoenix and states like Kentucky, Arizona and New Jersey, nonprofits in the Big Apple will be following up with text messages reminders, visits with case managers and other check-ins to ensure that people keep their date with the judge.
“We know that there are thousands of people who are now being held pre-trial in the city’s jails simply because they cannot afford to pay a few hundred dollars in bail. Instead, they are held at great expense in jail and frequently lose their jobs, have to drop out of school and lose daily contact with their children and families,” Michael Jacobson, executive director of the CUNY Institute for State and Local Governance, says in a statement. “Using risk as a standard for pre-trial detention as opposed to how much money someone has will increase public safety, reduce unnecessary and costly detention and make our pre-trial system more fair and just.”
Jails don’t get the same attention as their larger counterparts, state and federal prisons, but the average American is 19 times more likely to be locked up locally than thrown in the slammer. On any given day, 731,000 people are in jail; about 12 million people are admitted in the course of a typical year, according to research by the Vera Institute of Justice. Some are serving out a sentence, but most are simply waiting for their case to be resolved, either through a trial or a plea.
Though the cash bail system is intended to ensure that a person shows up for trial, it’s the most significant reason why some remain locked up and others are released. Put simply, if the accused or his family can’t find the cash for baile fast enough (or at all), he or she will remain behind bars. Most of the time, bail isn’t astronomically expensive. In New York, more than half — 54 percent — of inmates held through the end of their case were behind bars because they couldn’t post bail of $2,500 or less, mostly for misdemeanors.
“There’s no reason to keep people in jail at great costs, when they are no threat to anybody,” says Jonathan Lippman, chief judge of New York State. It “strips our justice system of its credibility and distorts its operation.”
To aid cities and states in determining whether a person is likely to reoffend, the John and Laura Arnold Foundation developed risk assessment tools. Among the key factors that are considered are the person’s criminal history, whether the offense is violent, the age at their first arrest, any prior incarcerations and any prior failures to appear in court, Anne Milgram, the foundation’s vice president of criminal justice, tells NationSwell. Drug use, employment and other criteria traditionally weighed at arraignment hearings are almost meaningless, she adds.
The judges who used the Arnold Foundation’s criteria have seen notable drops in the jail population and correlated drops in crime. In Charlotte, for example, the number of inmates dropped 20 percent.
“The central challenge of our work has been getting people on board thinking a little differently about how these decisions are made,” says Milgram, a former criminal prosecutor. “There’s a lot of individual discretion for police, prosecutors and courts, but we haven’t used objective data to inform those decisions. We’re not taking away any decision making; we’re providing information that you both need and should want.”
New York will likely develop their own “updated science-driven risk assessment tool” in the near future (Manhattan District Attorney Cyrus Vance called for one), pending an update to state law in Albany.
There’s been some criticism leveled at the latest changes in Gotham by some of bail reform’s biggest promoters. Robin Steinberg, executive director of The Bronx Defenders, a legal aid service, and David Feige, board chair of The Bronx Freedom Fund, which assists those charged with a misdemeanor make bail for $2,000 or less, both called the reforms “long overdue” but stressed that the city must not intrude too far into the lives of defendants. There’s no benefit in being released from jail, they say, if an organization can impose even stricter pretrial requirements, the violation of which could result in reincarceration or other penalties.
“Here’s how it works: A young man arrested for shoplifting might plead guilty and be sentenced to perform one day of community service. But that same defendant who is innocent of the charge might, as a condition of his release, be ordered to attend a one-day drug education program, report to a pretrial-services officer every week, and undergo drug treatment or testing — all because he claimed to be innocent and sought to challenge his arrest,” Steinberg and Feige write in an op-ed for The Marshall Project. “The problem with the pretrial-services model is that these ‘services’ … are often identical to, and sometimes far more onerous than the sentence one would receive for actually being guilty of the crime.”
Natalie Grybauskas, assistant press secretary for the city, tells NationSwell that the only conditions for release will be “whatever check-ins are deemed appropriate by the provider.” Any added services, like a referral to drug education, will be voluntary.

The city expects to select providers from a group of applicants in the fall, she adds.

The paradox of happiness
Tom Westfall

We live in a pleasure-oriented society. We are told repeatedly by those in the advertising game to, proverbially speaking, "Find our beach." Images of "happy" people doing exotic things are thrust in our faces via social media, television and print media. If you aren't happy, you probably need a new car, a new television system, or some better grade tequila. You might be suffering low libido and there are any number of "cures" for what ails you. It's a constant message — happiness and fulfillment are out there waiting for you; all you have to do is take charge of your life and go out and find the happiness and joy that you deserve.

Many people buy into this message and the harder they try to find happiness, just like quicksilver, the more elusive it becomes. Looking around, many people find that their lives are empty and devoid of joy. Social media serves a useful purpose, but according to social researchers, it can also be very depressing for some people because their own lives never seem to measure up to those they see posted every day by friends, family, and acquaintances on Instagram and Facebook.

Another message that we receive on a daily basis is that "no one has to feel sad." Got the blues? Go shopping. Feeling like your life is going nowhere? Throw a party and make certain that everyone is well-lubricated. There are pills and substances for every sort of existential malaise. Not buying it? Watch three hours of prime time television and count how many advertisements you see for alcohol, anti-depressants and remedies for sexual dysfunction. The not-so-subtle message is that happiness is just a pill or a drink away.

I would propose that it is impossible to "find" happiness. Happiness isn't a product that can be purchased, nor is it a place. Real happiness and joy have very little to do with excitement and fun. Getting high may be fun, but even as a mood altering substance takes you up, it will always let you down, and if you weren't happy before you got high, you aren't going to be happy when you land.

Happiness and joy, in my opinion, are the by-products of a life well-lived. They are achieved through hard work and the recognition that the world is bigger than our own desires. I like to think of happiness and joy as sort of serendipitous experiences.

The term serendipity was coined by Horace Walpole in a letter to Horace Mann in 1754. He took the word from the Persian fairy tale, "The Three Princes of Serendip." In that particular tale, the heroes "were always making discoveries, by accidents and sagacity of things they were not in quest of," the message being that when we open ourselves up to life and we live in a manner that is kind, caring and compassionate; when we live to serve rather than living to attain; the by-product of that lifestyle will most likely be true happiness and joy.
Over the years the term serendipity has come to be associated with the notion of "good fortune" or a "happy coincidence" but that's not accurate. Serendipitous joy could be described as finding meaning in life as a by-product of having good relationships with those in your sphere of influence.

A young mother in one of my parenting classes was talking about how hard it is sometimes to want to play with her children after a full day of work. "I come home exhausted" she said. "The last thing I want to do is get down on the floor and play with the boys. But you know what," she continued, " when I put my children's needs ahead of my own; when I go ahead and embrace the task before me and get down there on the floor, time and time again I find that my spirits are lifted. I have renewed energy and I just sort of have this happiness in my heart." That's serendipity.

The paradox of happiness is that the more we seek it, the less we'll find it. On the other hand, when we put the needs of others ahead of our own; when we engage in relationships which build other people (and society) up, we are likely to find that at the end of the day, our lives will be enriched.

Tom Westfall teaches parenting classes at Family Resource Center.


Increased anxiety associated with sitting down

Low-energy activities that involve sitting down are associated with an increased risk of anxiety
Low energy activities that involve sitting down are associated with an increased risk of anxiety, according to research published in the open access journal BMC Public Health. These activities, which include watching TV, working at a computer or playing electronic games, are called sedentary behavior. Further understanding of these behaviors and how they may be linked to anxiety could help in developing strategies to deal with this mental health problem.
Many studies have shown that sedentary behavior is associated with physical health problems like obesity, heart disease, type 2 diabetes and osteoporosis. However, there has been little research into the link between sedentary behavior and mental health. This is the first systematic review to examine the relationship between anxiety and sedentary behavior.
Anxiety is a mental health illness that affects more than 27 million people worldwide. It is a debilitating illness that can result in people worrying excessively and can prevent people carrying out their daily life. It can also result in physical symptoms, which amongst others includes pounding heartbeat, difficulty breathing, tense muscles, and headaches.
Megan Teychenne, lead researcher and lecturer at Deakin University's Centre for Physical Activity and Nutrition Research (C-PAN) in Australia, said: "Anecdotally -- we are seeing an increase in anxiety symptoms in our modern society, which seems to parallel the increase in sedentary behavior. Thus, we were interested to see whether these two factors were in fact linked. Also, since research has shown positive associations between sedentary behavior and depressive symptoms, this was another foundation for further investigating the link between sedentary behavior and anxiety symptoms."
C-PAN researchers analyzed the results of nine studies that specifically examined the association between sedentary behavior and anxiety. The studies varied in what they classified as sedentary behavior from television viewing/computer use to total sitting time, which included sitting while watching television, sitting while on transport and work-related sitting. Two of the studies included children/adolescents while the remaining seven included adults.
It was found in five of the nine studies that an increase in sedentary behavior was associated with an increased risk of anxiety. In four of the studies it was found that total sitting time was associated with increased risk of anxiety. The evidence about screen time (TV and computer use) was less strong but one study did find that 36% of high school students that had more than 2 hours of screen time were more like to experience anxiety compared to those who had less than 2 hours.
The C-PAN team suggests the link between sedentary behavior and anxiety could be due to disturbances in sleep patterns, social withdrawal theory and poor metabolic health. Social withdrawal theory proposes that prolonged sedentary behavior, such as television viewing, can lead to withdrawal from social relationships, which has been linked to increased anxiety. As most of the studies included in this systematic-review were cross-sectional the researchers say more follow-up work studies are required to confirm whether or not anxiety is caused by sedentary behavior.
Megan Teychenne said: "It is important that we understand the behavioral factors that may be linked to anxiety -- in order to be able to develop evidence-based strategies in preventing/managing this illness. Our research showed that evidence is available to suggest a positive association between sitting time and anxiety symptoms -- however, the direction of this relationship still needs to be determined through longitudinal and interventional studies."

Story Source:
The above post is reprinted from materials provided by BioMed Central. Note: Materials may be edited for content and length.

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The Day Nixon Met Elvis
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Theodore Roosevelt: Letters to his Children. 1903-1918
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The Porchless Pumpkin: A Halloween Story for Children
A Halloween play for young children. By consent of the author, this play may be performed, at no charge, by educational institutions, neighborhood organizations and other not-for-profit-organizations.
A fun story with a moral
“I believe that Denny O'Day is an American treasure and this little book proves it. Jack is a pumpkin who happens to be very small, by pumpkins standards and as a result he goes unbought in the pumpkin patch on Halloween eve, but at the last moment he is given his chance to prove that just because you're small doesn't mean you can't be brave. Here is the point that I found so wonderful, the book stresses that while size doesn't matter when it comes to courage...ITS OKAY TO BE SCARED....as well. I think children need to hear that, that's its okay to be unsure because life is a ongoing lesson isn't it?”
Paperback: 42 pages

It's Not All Right to be a Foster Kid....no matter what they tell you: Tweet the books contents
Paperback 94 pages

From the Author
I spent my childhood, from age seven through seventeen, in foster care.  Over the course of those ten years, many decent, well-meaning, and concerned people told me, "It's okay to be foster kid."
In saying that, those very good people meant to encourage me, and I appreciated their kindness then, and all these many decades later, I still appreciate their good intentions. But as I was tossed around the foster care system, it began to dawn on me that they were wrong.  It was not all right to be a foster kid.
During my time in the system, I was bounced every eighteen months from three foster homes to an orphanage to a boy's school and to a group home before I left on my own accord at age seventeen.
In the course of my stay in foster care, I was severely beaten in two homes by my "care givers" and separated from my four siblings who were also in care, sometimes only blocks away from where I was living.
I left the system rather than to wait to age out, although the effects of leaving the system without any family, means, or safety net of any kind, were the same as if I had aged out. I lived in poverty for the first part of my life, dropped out of high school, and had continuous problems with the law.
 Today, almost nothing about foster care has changed.  Exactly what happened to me is happening to some other child, somewhere in America, right now.  The system, corrupt, bloated, and inefficient, goes on, unchanging and secretive.
Something has gone wrong in a system that was originally a compassionate social policy built to improve lives but is now a definitive cause in ruining lives.  Due to gross negligence, mismanagement, apathy, and greed, mostly what the foster care system builds are dangerous consequences. Truly, foster care has become our epic national disgrace and a nightmare for those of us who have lived through it.
Yet there is a suspicion among some Americans that foster care costs too much, undermines the work ethic, and is at odds with a satisfying life.  Others see foster care as a part of the welfare system, as legal plunder of the public treasuries.
 None of that is true; in fact, all that sort of thinking does is to blame the victims.  There is not a single child in the system who wants to be there or asked to be there.  Foster kids are in foster care because they had nowhere else to go.  It's that simple.  And believe me, if those kids could get out of the system and be reunited with their parents and lead normal, healthy lives, they would. And if foster care is a sort of legal plunder of the public treasuries, it's not the kids in the system who are doing the plundering.
 We need to end this needless suffering.  We need to end it because it is morally and ethically wrong and because the generations to come will not judge us on the might of our armed forces or our technological advancements or on our fabulous wealth.
 Rather, they will judge us, I am certain, on our compassion for those who are friendless, on our decency to those who have nothing and on our efforts, successful or not, to make our nation and our world a better place.  And if we cannot accomplish those things in the short time allotted to us, then let them say of us "at least they tried."
You can change the tragedy of foster care and here's how to do it.  We have created this book so that almost all of it can be tweeted out by you to the world.  You have the power to improve the lives of those in our society who are least able to defend themselves.  All you need is the will to do it.
 If the American people, as good, decent and generous as they are, knew what was going on in foster care, in their name and with their money, they would stop it.  But, generally speaking, although the public has a vague notion that foster care is a mess, they don't have the complete picture. They are not aware of the human, economic and social cost that the mismanagement of the foster care system puts on our nation.
By tweeting the facts laid out in this work, you can help to change all of that.  You can make a difference.  You can change things for the better.
We can always change the future for a foster kid; to make it better ...you have the power to do that. Speak up (or tweet out) because it's your country.  Don't depend on the "The other guy" to speak up for these kids, because you are the other guy.
We cannot build a future for foster children, but we can build foster children for the future and the time to start that change is today.

No time to say Goodbye: Memoirs of a life in foster 
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Scotish Ghost Stories
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The Mob Files: It Happened Here: Places of Note in Chicago gangland 1900-2000

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Rattling the Cup on Chicago Crime.
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When Capone’s Mob Murdered Roger Touhy. In Photos
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The New York Mafia: The Origins of the New York Mob

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Organized Crime 25 Years after Valachi. Hearings before the US Senate

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Early Street Gangs and Gangsters of New York City
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The Salerno Report: The Mafia and the Murder of President John F. Kennedy

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The Book of American-Jewish Gangsters: A Pictorial History.
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The Mob and the Kennedy Assassination
Paperback 414 pages


The Last Outlaw: The story of Cole Younger, by Himself
Paperback 152 pages

Chicago: A photographic essay.
 Paperback: 200 pages

Boomers on a train: A ten minute play
Paperback 22 pages

Four Short Plays
By John William Tuohy

Four More Short Plays
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High and Goodbye: Everybody gets the Timothy Leary they deserve. A full length play
By John William Tuohy

Cyberdate. An Everyday Love Story about Everyday People
By John William Tuohy

The Dutchman's Soliloquy: A one Act Play based on the factual last words of Gangster Dutch Schultz.
By John William Tuohy

Fishbowling on The Last Words of Dutch Schultz: Or William S. Burroughs intersects with Dutch Schultz
Print Length: 57 pages

American Shakespeare: August Wilson in his own words. A One Act Play
By John William Tuohy

She Stoops to Conquer

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OUT OF CONTROL: An Informal History of the Fairfax County Police

McLean Virginia. A short informal history


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Kahlil Gibran, an artist, poet, and writer was born on January 6, 1883 n the north of modern-day Lebanon and in what was then part of Ottoman Empire. He had no formal schooling in Lebanon. In 1895, the family immigrated to the United States when Kahlil was a young man and settled in South Boston. Gibran enrolled in an art school and was soon a member of the avant-garde community and became especially close to Boston artist, photographer, and publisher Fred Holland Day who encouraged and supported Gibran’s creative projects. An accomplished artist in drawing and watercolor, Kahlil attended art school in Paris from 1908 to 1910, pursuing a symbolist and romantic style. He held his first art exhibition of his drawings in 1904 in Boston, at Day's studio. It was at this exhibition, that Gibran met Mary Elizabeth Haskell, who ten years his senior. The two formed an important friendship and love affair that lasted the rest of Gibran’s short life. Haskell influenced every aspect of Gibran’s personal life and career. She became his editor when he began to write and ushered his first book into publication in 1918, The Madman, a slim volume of aphorisms and parables written in biblical cadence somewhere between poetry and prose. Gibran died in New York City on April 10, 1931, at the age of 48 from cirrhosis of the liver and tuberculosis.

The Quotable Dorothy Parker
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