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Our agency can offer you so much more for your modelling career; A free termite check every year is certainly on the table.
Images of myself as Chantal Thierry, a 1960s French secret agent from my "Absolutely Smashing" franchise.
Drug Enforcement Agents and National Guard personnel staff a vehicle checkpoint on H Street in Northwest Washington.. On May 25, 2020, George Floyd, a black man, was killed in Minneapolis, Minnesota, United States. During an arrest, Derek Chauvin, a white American police officer, kept his knee on the side of Floyd's neck for almost nine minutes while Floyd was handcuffed and lying face down. During the last three minutes, Floyd was motionless. After Floyd's death, demonstrations and protests against racism and police brutality were held across the US and the world, despite the ongoing COVID-19 pandemic and the movement and gathering restrictions put in place by governments to prevent the spread of the coronavirus
I thought this scene was pretty funny. The girl photographing the window display who was or is about to be modelling underwear in the shop (she walked back in after taking the photo, or she works there i suppose but thats not as fun) and the guy walking with his girlfriend who seems quite interested in the scene himself.
Agent with blaster, Small buggy, and Antenna array for the Ultra Agents paired opposite a Scorpion themed villain with a pet, his double barreled blaster installation, and a separate vicious looking robot loaded with weaponry.
Well, one figure was certainly missing from the Heli-carrier set and that was Agent Hill. So I made my own.
Using the "mermaid" head from Whitecap Bay, the Series 7 Bride hair, an Alpha Team wave one torso and dark blue legs. I decided to add the gun as a last minute, one of my many aftermarket custom parts. Other than the weapon, this is a 100% purist figure.
In loving memory of
Reverend Frank W ISITT
October 3 1846 – November 11 1916
Patriot, Preacher, Prohibitionist
Friend of Children
Lover of Mankind
His life was a challenge not a truce
Charles Whitmore ISITT
Son of the Reverend F W ISITT
Born December 31st 1874
Died September 22nd 1946
Francis Charles ISITT
Son of C W ISITT
1898 – 1976
Marie LaMothe ISITT
Beloved wife of above
Honourable Leonard Monk ISITT M.L.C.
Methodist Minister
1855 – 1937
There are who triumph in a losing cause
Tis they who stand for freedom and Gods laws
Also Agnes ISITT
Beloved wife of above
1857 – 1938
Rifleman Willard Whitmore ISITT
Aged 22
The younger son of
Leonard Monk and Agnes ISITT
He died of wounds on the Flanders
Front, October 31st 1916, and is buried
In the Communal cemetery, Estaires.
He gladly gave his life for his country.
Francis Caverhill THORNTON
1889 – 1960
Herbert John ISITT
1844 – 1926
Brother of Frank and Leonard
Sons of
Rebecca and James ISITT
Bedford, England
Christine Scott CAVERHILL
1834 – 1918
L Miriam ISITT
1898 – 1992
Beloved wife of F C ISITT
**************************************
Rev. Frank W ISITT [Francis Whitmore]
Block 36 Plot 177
[Coroners Warrant]
See photograph in comments section below [1]
Born England and in NZ 45 years at time of death.
Died of hearth failure.
His obituary at time of death:
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
Rev Francis Whitmore (Frank) Isitt (1843[sic] –1916) was a New Zealand Methodist Minister, who was general secretary of the New Zealand Alliance (for prohibition) from 1900 to 1909. He was a brother of the Rev Leonard Isitt.
Rev Frank Isitt entered the ministry from the Sydenham Circuit, London and after a term at Richmond College went to New Zealand in 1871. He was a parish minister for a number of years, but after two breakdowns in health concentrated on temperance work. He stood in the 1902 election as a prohibition candidate for ten seats, and came second in eight. He also stood in the 1905 and 1908 elections.
In February 1874 he married Mary Campbell Purdie (Spinster, 22 years) in Dunedin; in the house of Dr. Wm Purdie of Upper Kaikorai, who was probably her father.
Also
“Here are buried Herbert John Isitt and his brothers who were Methodist ministers and deeply involved with politics and the social problems of their age.
The Rev. Frank Isitt was born in England in 1846, trained at the Wesleyan Training College, Richmond, came to New Zealand in 1870 and served at Balclutha, Port Chalmers and New Plymouth. After he had recovered from a breakdown in his health, he served at Nelson, Invercargill and the East Belt (FitzGerald Avenue), Christchurch. In the 1890s he took up work for the Prohibition organisation, the New Zealand Alliance, first as travelling agent and then as secretary. He edited the Prohibitionist, firstly with Thomas Edward Taylor and then on his own, ‘possessed rare gifts of organisation … [a] magnetic personality … passionate eloquence … and untiring energy’. He was a ‘man of very warm friendships … had a fine character in his private life …. [and] a host of friends throughout New Zealand’.
A ‘comrade’ wrote:
Today will be laid to rest the frail body in which tabernacled for 70 years the strong heroic soul of F. W. Isitt. Pure of heart, gentle of nature, strong and brave of soul, the wrong and oppression of the weak, the suffering of humanity ever kindled in him a passion of pity and a consuming desire to help and save.
Frank, with his brother, L. M. Isitt, T. E. Taylor and the Rev. P. R. Munro
… formed that quartet of great leaders which, for so many stirring and strenuous years led valiantly and wisely the crusade against the liquor trade throughout New Zealand and secured much restrictive and progressive licensing legislation.
The ‘comrade’ concluded:
He lived the truth he taught,
white-souled, clean-handed, pure in heart.
As God live, he must live always.
There is no end for souls like his,
No night for children of the day.
The gravestone states that Frank Isitt was ‘Patriot, Preacher, Prohibitionist: Friend of children, lover of mankind: his life was a challenge, not a truce’.
Leonard Monk Isitt was born in England in 1855 and, in New Zealand, joined the Methodist ministry, being ordained in 1881. He became an enemy of drink when he went to bury a victim of alcoholic poisoning. The coach-driver was scarcely able to control his horse, such was his state of inebriation; and the grave-digger was so drunk that he could only inadequately dig the grave.
With Thomas Edward Taylor, Leonard Isitt led the no-licence campaign which led to the closure of all the public hotels in Sydenham. The decision was fought all the way through the courts and up to the Privy Council where it was reversed. With the consent of the Methodist Conference, Isitt resigned from his ministry and devoted his time to campaigning for a ‘local option measure’ so that different areas could vote on whether they would have licensed premises.
Four times Isitt campaigned in England for the Great Britain Alliance. For 12 years he lectured on Prohibition virtually as a whole time job and ‘ruined a remarkably fine singing voice to the extent that … [he] had to give up singing altogether’.
Taylor died in 1911, Isitt taking his Christchurch North seat. When interest in Prohibition waned, he supported the Bible-in-schools campaign. He retired in 1925, dying in 1937.” [2]
Charles Whitmore ISITT
Block 36 Plot 181
Born Fairlie, NZ [3]
Francis Charles ISITT
Block 36 Plot 177
Born Hawera, NZ and a farmer at the time of his death
Died 22 July 1976 aged 76[4]
Marie LaMothe ISITT
Not recorded on CCC database – possibly cremated and ashes interred
[wife of Charles Whitmore ISITT]
Newspaper notice of her marriage that took place on 8 June 1897:
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
Her probate is available for year 1958:
www.archway.archives.govt.nz/ViewFullItem.do?code=1952621
Leonard Monk ISITT
Block 36 Plot 179
Born England and in NZ 60 years at time of death
Died 29 July 1937[4]
His probate is available [Occupation: retired stationer]:
www.archway.archives.govt.nz/ViewFullItem.do?code=20187931
"Methodist minister, temperance leader, politician.
Leonard Monk Isitt was born in a Methodist home in Bedford, England; his father died when he was two and his mother when he was 12. He was educated at Clevedon Methodist College, Northampton, and, afterwards, at the age of 15, joined a drapery firm. He came out to New Zealand to get experience and also to join his brother Francis Whitmore who was a Methodist minister at Balclutha. Isitt worked in the warehouse of Ross and Glendining at Dunedin, but the urge to enter the Methodist ministry became stronger, and he was sent to a Home Mission Station at Lawrence. Here occurred an incident which influenced his subsequent career. Called upon to conduct the burial service of a man who had died of alcoholic poisoning, whose body was hurried by a drunken driver to a grave left half-dug by a drunken gravedigger, Isitt scathingly denounced the publicans present at the funeral and set his whole energies to fight the drink evil.
Isitt became a minister in 1876 and was ordained in 1881. He was stationed successively at Auckland, Masterton, Wellington, Christchurch and, finally, in 1889 at Sydenham, where the drink evil was seen in its most sordid aspect. It was largely a working-class district, with grimy little cottages jammed into the smallest possible sections, many of them blackened with smoke from the railway yards. He met T. E. Taylor, a kindred spirit, and together they determined to fight for legislative prohibition. The campaign followed two chief lines of attack. One was propaganda spread by means of a paper, The Prohibitionist, which, although started for local consumption, was soon circulated throughout New Zealand under the name of the Vanguard. His brother Francis edited the paper. This propaganda was aided by one of the most powerful speaking campaigns ever carried out in New Zealand. Isitt had a natural eloquence which, fed by his burning enthusiasm for his cause, made him an orator of a type probably unequalled in New Zealand. He ruined a good singing voice by his efforts. Dr C. F. Aked described him in these words: “When did we hear such speaking as his? Clear pure Saxon, not a word misplaced, not a sentence which could be improved; every phrase a point; every point sent home; massive sentences falling like the strokes of a sledgehammer”. The Methodist Conference released him from his usual work to concentrate on his campaign.
Isitt's second line of attack was to gain control of the Licensing Committee and refuse licences to all Sydenham hotels. The first attempt in 1890 failed, but the next election resulted in all five members elected being Prohibitionists. The publicans, however, took a test case to Court and Judge Denniston ruled that the Licensing Committee had acted beyond its powers, which should be used in a judicial and impartial manner, not as an instrument of a campaign. The Court of Appeal unanimously upheld him.
Isitt made four speaking tours in England at the invitation of the United Kingdom Alliance. When T. E. Taylor died in 1911, he succeeded him as member of Parliament for Sydenham, and held the seat until 1925 when he was appointed to the Legislative Council. He worked hard to get the Local Option Bill through Parliament and was successful. Bible in Schools was another cause he worked for and he was prominent in the Boy Scout movement. He was a governor of Canterbury College and was vice-president of the Methodist Centenary Conference in 1922. He founded the firm of L. M. Isitt and Co., booksellers (Christ-church), and was its managing director.
In 1881 he married Agnes, daughter of John Scott Caverhill. One son, Sir Leonard Isitt, was head of the New Zealand Air Staff and another was killed in the 1914–18 war."[5]
Agnes Martha ISITT
Block 36 Plot 181
Born Lyttelton, NZ
Died 27 September 1938 [6]
Her probate is available:
www.archway.archives.govt.nz/ViewFullItem.do?code=20188681
Rifleman Willard Whitmore ISITT
Military number 12400
Poverty Bay Herald, Volume XLIII, Issue 14147, 15 November 1916, Page 4
“Private advice has been received that Private Willard Isitt, younger son of the Rev. L. M. Isitt, M.P. has died from wounds in France, aged 23 years of age. He was engaged in his father’s bookselling business when he enlisted with the 12th Reinforcements. He was a young man of fine grit and determination, and the story told of his enlistment shows the stuff he was made of. He had offered his services several times and been rejected because the sight of one eye was defective. Ultimately he found a way out of the difficulty when in a boxing bout with a friend. He invited and received a solid blow on the defective eye. The result, of course, was to close it up, and before the effect had time to disappear Isitt, presented himself for medical examination, and got through. The Rev. Mr Isitt’s only other son was wounded in the battle of the Somme.”[9]
Willard’s Cenotaph database record:
muse.aucklandmuseum.com/databases/Cenotaph/7539.detail?Or...
Willard’s Commonwealth War Graves Commission record:
www.cwgc.org/search/casualty_details.aspx?casualty=268264
His military records are available but with restrictions:
www.archway.archives.govt.nz/ViewFullItem.do?code=18052286
Interesting connection to Willard name:
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
Frances Caverhill THORNTON
Nee ISITT. Married Cuthbert THORNTON [registration 1912/3006] [8]
Daughter of Agnes Martha & Leonard Monk ISITT [8]
Herbert John ISITT
Block 36 Plot 177
Born Bedford, England, he was a labourer and had been in NZ 50 years at time of death
Died 14 September 1926 aged 82[7]
Christine Scott CAVERHILL
Block 36 Plot 84
Born Scotland, Spinster and in NZ 41 years at time of death
Died 4 August 1918[10]
L. Miriam ISITT
Nee Lily Miriam LYNN [Marriage registry to Francis Charles ISITT 1929/1800] [8]
References:
[1]
www.nzetc.org/tm/scholarly/MurTemp-fig-MurTemp016b.html
[2]
christchurchcitylibraries.com/Heritage/Cemeteries/Linwood...
[3]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
[4]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
[5]
www.teara.govt.nz/en/1966/isitt-leonard-monk/1
[6]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
[7]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
[8]
www.bdmhistoricalrecords.dia.govt.nz/search/
[9]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[10]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
The new armor piece, will be available in some of the new agent sets coming out later this year, it looks pretty good.
(Pictures by mania3)
Starring Richard Egan, Constance Dowling, Herbert Marshall, John Wengraf, Philip Van Zandt, and William Schallert. Directed by Herbert L. Strock.
When two scientists at a top-secret government installation devoted to space research are killed -- in their own test chamber, seemingly by an experiment gone awry -- Dr. David Sheppard (Richard Egan) is sent out from Washington to investigate. Sheppard mixes easily enough with the somewhat eccentric team of scientists, though he always seems in danger of being distracted by the presence of Joanne Merritt (Constance Dowling), who serves as the aide to the project director Dr. Van Ness (Herbert Marshall) but is, in reality, another security agent. Sheppard is as puzzled as anyone else by the seemingly inexplicable series of events overtaking the installation -- properly operating equipment suddenly undergoing lethal malfunctions, and the radar tracking aircraft that aren't there -- until he puts it together with the operations of NOVAC (Nuclear Operated Variable Automatic Computer), the central brain of the complex. But the mystery deepens when he discovers that NOVAC was shut down during one of the "accidents" -- and even the computer's operators can't account fully for the whereabouts of GOG and MAGOG, the two robots under the computer's control.
"...and then without warning, the machine became a frankenstein of steel," says the sensationalist poster text. This is the third story in Ivan Tors' OSI trilogy. His first "Office of Scientific Investigation" story was Magnetic Monster in early 1953. The second was Riders to the Stars in early '54. With Gog the loose trilogy is complete. Unlike the Star Wars trilogy in which the stories build upon each other, each of the three OSI stories are separate tales which have nothing to do with each other. The common thread is the idea of there being a sort of Science FBI agency whose job it is, is to check out the scientifically strange. In that regard, Tors' OSI is a bit like a foreshadowing of the X-Files TV series, but without any of the New Age paranormal focus.
In keeping with the previous two stories, Gog is more of a detective murder mystery movie. Tors was a huge fan of "hard" science, not fanciful fiction fluff, so Gog, like the other two movies, is chock full of reveling in sciencey stuff in an almost geeky way. This reverence for real science keeps things from getting out on shaky limb, as many sci-fi films to. The events are much more plausible, less fantastic.
Synopsis
At a secret underground research facility, far out in the desert, scientists working on preparations for a manned space mission, are getting murdered mysteriously. Two agents from the OSI are dispatched to solve the mystery and keep the super secret space station program on track. The scientists are killed in various ways, mostly through equipment malfunctions. The facility director and the agents suspect sabotage. Small transmitter/receiver boxes are found within equipment in different parts of the facility. They suggest that someone on the outside is transmitting in the "malfunctions" in order to kill off the program's scientists. Occasional alarms indicate some flying high intruder, but nothing is clearly found. One of the base's two robots, named Gog, kills another technician while it's mate, Magog, tries to set up an overload within the base's atomic pile. The OSI agents stop Magog with a flame thrower. Meanwhile, interceptor jets scramble and find the highflying spy jet and destroy it with missiles. Once the trouble is past, the Director announces that they will be launching their prototype space station the next day, despite the sabotage attempts to stop it. The End.
The time spent reveling in techno-geekery has a certain Popular Science charm to it. There's an evident gee-whiz air about space and defense sciences which is fun to see. People were fascinated with things rockety and atomic. For various fun bits, see the Notes section.
Gog oozes Cold War from every frame. First is the base's underground location to make them safe from A-bombs. Next is the mysterious killer trying to stop the space station program. The high-flying mystery plane is "not one of ours." (that leaves: Them, and we all knew who they were.) The space station is to be powered by a solar mirror. Even that benign mirror has sinister possibilities. While demonstrating the mirror, the scientists use it to burn a model of a city. "This could happen...if we're not the first to reach space," says the Director. Space is the next "high ground" to be contested. At the end of the movie, when discussing the launch (despite the sabotage attempt) of the prototype space station, the Director says, "Through it's eye, we'll be able to see everything that goes on upon this tired old earth." The Defense Secretary says, "Nothing will take us by surprise again." An obvious reference to Pearl Harbor.
B-films often re-used props and sets from prior films in order to save on their budgets. Gog, even though shot in Eastman Color, was no exception. Two old prop friends show up in Gog. One is our venerable old friend, the space suits from Destination Moon ('50). Look for the centrifuge scene. The research assistants are dressed in them, and as an added bonus, they wear the all-acrylic fish bowl helmets used in Abbot and Costello Go to Mars ('53). Our second old friend is scene in the radar / security room, (the one with the annoying tuning fork device). Check out the monitor wall. It's been gussied up a bit, but it is the spaceship control panel wall from Catwomen of the Moon and Project Moon Base -- complete with the empty 16mm film reels on the right side. It's fun to see old friends.
B-films often include stock footage of military units, tanks, jets, battleships, etc. to fill things out. Gog is no different, and even commits the common continuity error of showing one type of plane taking off, but a different kind in the air.
What amounts to a small treat amid the usual stock footage of jets, some shots of a rather obscure bit of USAF hardware -- the F-94C Starfire with its straight wings and huge wing tanks. In 1954, the Starfire was one of America's coolest combat jets, yet we hear little about it. The swept-wing F-86 Sabers (which we see taxiing and taking off) were the agile fighter which gained fame over Korea. They're common stock footage stars. The F-94, with its onboard radar (in the nose cone) was deemed too advanced to risk falling into enemy hands. So, it didn't see much action , and therefore little fame. The heavier, yet powerful F-94C (one of the first US jets to have an afterburner) was 1954 America's hottest Interceptor -- designed to stop high flying Soviet bombers. It's blatant cameo appearance in Gog, intercepting the high-flying mystery plane, was a fun little bit of patriotic showing off.
The very name of the movie, Gog, is charged with meaning to American audiences of the mid 50s, though virtually lost on viewers of the 21st century. The names of the two robots, Gog and Magog, come from the Bible. More specifically, from the prophecies of Ezekiel (Chapter 38) and the Book of Revelation (chapter 20). While just who they are (nations? kings?) has been debated for centuries, their role as tools of Satan in the battle of Armageddon is clear. Mainstream American patriotic Christendom had settled on the idea that the Soviet Union was the prophesied "nations from the north" who would join Satan to oppose God. This gives the title of the movie a special Cold War significance. It also puts an interesting spin on the Dr. Zeitman character for having named the two robots in the first place. Since they were tools of the mega-computer NOVAC, what was he saying about NOVAC?
It is interesting that the base's radar could not detect the mystery plane (which was beaming in the 'kill' instructions to NOVAC) because it was made of "fiberglass" which rendered it invisible to radar. Now, fiberglass itself isn't sturdy enough for high-speed jets, and it would take until the 1990s before composite materials advanced to make the dream of a stealth aircraft a reality. Nonetheless, the dream (or nightmare) of stealth aircraft was on-screen in 1954 in Gog.
The super computer, NOVAC, controlled everything on the base. Even though the machines were not really killing scientists on their own, but following human orders from the mystery plane, there was the on-screen depiction of machines having a murderous mind of their own. (all pre-Steven King) In the techno starry-eyed 50s, it was fairly uncommon for the technology itself to be turning on its masters. This idea would gain traction later in the 50s, and especially in the 60s, but in '54, it was unusual.
A cautionary subtext to Gog is the danger of trusting in a supercomputer to manage defenses and a whole base. NOVAC doesn't go bad on its own, as the computer will in The Invisible Boy, Hal in 2001 or Colossus in The Forbin Project. In this movie, it was the nefarious "others" who hacked into NOVAC to make it do the killing, but this just demonstrates the danger. People were getting a little nervous about letting machines take over too much responsibility. We were starting to distrust our creations.
Until Gog, robots were fairly humanoid.
They had two legs, two arms, a torso and a head. Audiences had seen the mechanical Maria in Metropolis ('27), the fedora-wearing metal men in Gene Autrey's Phantom Empire serial ('35). The water-heater-like Republic robot appeared in several rocketman serials. There was the gleaming giant Gort in The Day the Earth Stood Still ('51) and the cute left over fedora-dudes in Captain Video ('51). The metal giant in Devil Girl from Mars ('54) was also humaniod, in a chunky way. Gog and Magog were a departure from the stereotype. They were noticeably in-human, which was part of the mood.
Bottom line? Gog seems a bit bland, as far as sci-fi tends to go, but it has a lot in it for fans of 50s sci-fi.
CBP Air and Marine Operations agents conduct search and rescue operations in Abaco Island and Marsh Harbour Bahamas on Sept. 5, 2019. The islands were devastated by Hurricane Dorian. CBP Photo Kris Grogan
Maxim Gorky
Alexei Maximovich Peshkov (Russian: Алексе́й Макси́мович Пешко́в or Пе́шков;[1] 28 March [O.S. 16 March] 1868 – 18 June 1936), primarily known as Maxim Gorky (Russian: Макси́м Го́рький), was a Russian and Soviet writer, a founder of the socialist realism literary method, and a political activist.[2] He was also a five-time nominee for the Nobel Prize in Literature.[3] Around fifteen years before success as a writer, he frequently changed jobs and roamed across the Russian Empire; these experiences would later influence his writing. Gorky's most famous works were The Lower Depths (1902), Twenty-six Men and a Girl (1899), The Song of the Stormy Petrel (1901), My Childhood (1913–1914), Mother (1906), Summerfolk (1904) and Children of the Sun (1905). He had an association with fellow Russian writers Leo Tolstoy and Anton Chekhov; Gorky would later mention them in his memoirs.
Gorky was active with the emerging Marxist social-democratic movement. He publicly opposed the Tsarist regime, and for a time closely associated himself with Vladimir Lenin and Alexander Bogdanov's Bolshevik wing of the party. For a significant part of his life, he was exiled from Russia and later the Soviet Union. In 1932, he returned to the USSR on Joseph Stalin's personal invitation and lived there until his death in June 1936.
Contents
1 Life
1.1 Early years
1.2 Political and literary development
1.3 Capri years
1.4 Return from exile
1.5 Povolzhye famine
1.6 Second exile
1.7 Death of Lenin
1.8 Return to Russia: last years
1.9 Apologist for the gulag
1.10 Hostility to gays
1.11 Conflicts[citation needed] with Stalinists
1.12 Death
2 Depictions and adaptations
3 Selected works
3.1 Novels
3.2 Novellas
3.3 Short stories
3.4 Drama
3.5 Non-fiction
3.6 Collections
4 See also
5 Notes
6 Sources
7 Further reading
8 External links
Life
Early years
Born as Alexei Maximovich Peshkov on 28 March [O.S. 16 March] 1868, in Nizhny Novgorod, Gorky became an orphan at the age of eleven. He was brought up by his grandmother[2] and ran away from home at the age of twelve in 1880. After an attempt at suicide in December 1887, he travelled on foot across the Russian Empire for five years, changing jobs and accumulating impressions used later in his writing.[2]
As a journalist working for provincial newspapers, he wrote under the pseudonym Иегудиил Хламида (Jehudiel Khlamida).[4] He started using the pseudonym "Gorky" (from горький; literally "bitter") in 1892, when his first short story, "Makar Chudra", was published by the newspaper Kavkaz (The Caucasus) in Tiflis, where he spent several weeks doing menial jobs, mostly for the Caucasian Railway workshops.[5][6][7] The name reflected his simmering anger about life in Russia and a determination to speak the bitter truth. Gorky's first book Очерки и рассказы (Essays and Stories) in 1898 enjoyed a sensational success, and his career as a writer began. Gorky wrote incessantly, viewing literature less as an aesthetic practice (though he worked hard on style and form) than as a moral and political act that could change the world. He described the lives of people in the lowest strata and on the margins of society, revealing their hardships, humiliations, and brutalisation, but also their inward spark of humanity.[2]
Political and literary development
Anton Chekhov and Gorky. 1900, Yalta
Gorky's reputation grew as a unique literary voice from the bottom strata of society and as a fervent advocate of Russia's social, political, and cultural transformation. By 1899, he was openly associating with the emerging Marxist social-democratic movement, which helped make him a celebrity among both the intelligentsia and the growing numbers of "conscious" workers. At the heart of all his work was a belief in the inherent worth and potential of the human person. In his writing, he counterposed individuals, aware of their natural dignity, and inspired by energy and will, with people who succumb to the degrading conditions of life around them. Both his writings and his letters reveal a "restless man" (a frequent self-description) struggling to resolve contradictory feelings of faith and scepticism, love of life and disgust at the vulgarity and pettiness of the human world.[citation needed]
In 1916, Gorky said that the teachings of the ancient Jewish sage Hillel the Elder deeply influenced his life: "In my early youth I read...the words of...Hillel, if I remember rightly: 'If thou art not for thyself, who will be for thee? But if thou art for thyself alone, wherefore art thou'? The inner meaning of these words impressed me with its profound wisdom...The thought ate its way deep into my soul, and I say now with conviction: Hillel's wisdom served as a strong staff on my road, which was neither even nor easy. I believe that Jewish wisdom is more all-human and universal than any other; and this not only because of its immemorial age...but because of the powerful humaneness that saturates it, because of its high estimate of man."[8]
He publicly opposed the Tsarist regime and was arrested many times. Gorky befriended many revolutionaries and became a personal friend of Vladimir Lenin after they met in 1902. He exposed governmental control of the press (see Matvei Golovinski affair). In 1902, Gorky was elected an honorary Academician of Literature, but Tsar Nicholas II ordered this annulled. In protest, Anton Chekhov and Vladimir Korolenko left the Academy.[9]
Leo Tolstoy with Gorky in Yasnaya Polyana, 1900
From 1900 to 1905, Gorky's writings became more optimistic. He became more involved in the opposition movement, for which he was again briefly imprisoned in 1901. In 1904, having severed his relationship with the Moscow Art Theatre in the wake of conflict with Vladimir Nemirovich-Danchenko, Gorky returned to Nizhny Novgorod to establish a theatre of his own.[10] Both Konstantin Stanislavski and Savva Morozov provided financial support for the venture.[11] Stanislavski believed that Gorky's theatre was an opportunity to develop the network of provincial theatres which he hoped would reform the art of the stage in Russia, a dream of his since the 1890s.[11] He sent some pupils from the Art Theatre School—as well as Ioasaf Tikhomirov, who ran the school—to work there.[11] By the autumn, however, after the censor had banned every play that the theatre proposed to stage, Gorky abandoned the project.[11]
As a financially successful author, editor, and playwright, Gorky gave financial support to the Russian Social Democratic Labour Party (RSDLP), as well as supporting liberal appeals to the government for civil rights and social reform. The brutal shooting of workers marching to the Tsar with a petition for reform on 9 January 1905 (known as the "Bloody Sunday"), which set in motion the Revolution of 1905, seems to have pushed Gorky more decisively toward radical solutions. He became closely associated with Vladimir Lenin and Alexander Bogdanov's Bolshevik wing of the party, with Bogdanov taking responsibility for the transfer of funds from Gorky to Vpered.[12] It is not clear whether he ever formally joined, and his relations with Lenin and the Bolsheviks would always be rocky. His most influential writings in these years were a series of political plays, most famously The Lower Depths (1902). While briefly imprisoned in Peter and Paul Fortress during the abortive 1905 Russian Revolution, Gorky wrote the play Children of the Sun, nominally set during an 1862 cholera epidemic, but universally understood to relate to present-day events. He was released from the prison after a European-wide campaign, which was supported by Marie Curie, Auguste Rodin and Anatole France, amongst others.[13]
In 1906, the Bolsheviks sent him on a fund-raising trip to the United States with Ivan Narodny. When visiting the Adirondack Mountains, Gorky wrote Мать (Mat', Mother), his notable novel of revolutionary conversion and struggle. His experiences in the United States—which included a scandal over his travelling with his lover (the actress Maria Andreyeva) rather than his wife—deepened his contempt for the "bourgeois soul" but also his admiration for the boldness of the American spirit.[citation needed]
Capri years
In 1909–1911 Gorky lived on the island of Capri in the burgundy-coloured "Villa Behring".
From 1906 to 1913, Gorky lived on the island of Capri in southern Italy, partly for health reasons and partly to escape the increasingly repressive atmosphere in Russia.[2] He continued to support the work of Russian social-democracy, especially the Bolsheviks and invited Anatoly Lunacharsky to stay with him on Capri. The two men had worked together on Literaturny Raspad which appeared in 1908. It was during this period that Gorky, along with Lunacharsky, Bogdanov and Vladimir Bazarov developed the idea of an Encyclopedia of Russian History as a socialist version of Diderot's Encyclopedia. During a visit to Switzerland, Gorky met Lenin, who he charged spent an inordinate amount of his time feuding with other revolutionaries, writing: "He looked awful. Even his tongue seemed to have turned grey".[14] Despite his atheism,[15] Gorky was not a materialist.[16] Most controversially, he articulated, along with a few other maverick Bolsheviks, a philosophy he called "God-Building" (богостроительство, bogostroitel'stvo),[2] which sought to recapture the power of myth for the revolution and to create a religious atheism that placed collective humanity where God had been and was imbued with passion, wonderment, moral certainty, and the promise of deliverance from evil, suffering, and even death. Though 'God-Building' was ridiculed by Lenin, Gorky retained his belief that "culture"—the moral and spiritual awareness of the value and potential of the human self—would be more critical to the revolution's success than political or economic arrangements.
Return from exile
An amnesty granted for the 300th anniversary of the Romanov dynasty allowed Gorky to return to Russia in 1913, where he continued his social criticism, mentored other writers from the common people, and wrote a series of important cultural memoirs, including the first part of his autobiography.[2] On returning to Russia, he wrote that his main impression was that "everyone is so crushed and devoid of God's image." The only solution, he repeatedly declared, was "culture".
After the February Revolution, Gorky visited the headquarters of the Okhrana (secret police) on Kronversky Prospekt together with Nikolai Sukhanov and Vladimir Zenisinov.[17] Gorky described the former Okhrana headquarters, where he sought literary inspiration, as derelict, with windows broken, and papers lying all over the floor.[18] Having dinner with Sukhanov later the same day, Gorky grimly predicated that revolution would end in "Asiatic savagery".[19] Initially a supporter of the Socialist-Revolutionary Alexander Kerensky, Gorky switched over to the Bolsheviks after the Kornilov affair.[20] In July 1917, Gorky wrote his own experiences of the Russian working class had been sufficient to dispel any "notions that Russian workers are the incarnation of spiritual beauty and kindness".[21] Gorky admitted to feeling attracted to Bolshevism, but admitted to concerns about a creed that made the entire working class "sweet and reasonable-I had never known people who were really like this".[22] Gorky wrote that he knew the poor, the "carpenters, stevedores, bricklayers", in a way that the intellectual Lenin never did, and he frankly distrusted them.[22]
During World War I, his apartment in Petrograd was turned into a Bolshevik staff room, and his politics remained close to the Bolsheviks throughout the revolutionary period of 1917. On the day after the Bolshevik coup of 7 November 1917, Gorky observed a gardener working the Alexander Park who had cleared snow during the February Revolution while ignoring the shots in the background, asked people during the July Days not to trample the grass and was now chopping off branches, leading Gorky to write that he was "stubborn as a mole, and apparently as blind as one too".[23] Gorky's relations with the Bolsheviks became strained, however, after the October Revolution. One contemporary remembered at how Gorky would turn "dark and black and grim" at the mere mention of Lenin.[24] Gorky wrote that Lenin together with Trotsky "have become poisoned with the filthy venom of power", crushing the rights of the individual to achieve their revolutionary dreams.[24] Gorky wrote that Lenin was a "cold-blooded trickster who spares neither the honor nor the life of the proletariat. ... He does not know the popular masses, he has not lived with them".[24] Gorky went on to compare Lenin to a chemist experimenting in a laboratory with the only difference being the chemist experimented with inanimate matter to improve life while Lenin was experimenting on the "living flesh of Russia".[24] A further strain on Gorky's relations with the Bolsheviks occurred when his newspaper Novaya Zhizn (Новая Жизнь, "New Life") fell prey to Bolshevik censorship during the ensuing civil war, around which time Gorky published a collection of essays critical of the Bolsheviks called Untimely Thoughts in 1918. (It would not be re-published in Russia until after the collapse of the Soviet Union.) The essays call Lenin a tyrant for his senseless arrests and repression of free discourse, and an anarchist for his conspiratorial tactics; Gorky compares Lenin to both the Tsar and Nechayev.[citation needed]
"Lenin and his associates," Gorky wrote, "consider it possible to commit all kinds of crimes ... the abolition of free speech and senseless arrests."[25]
In 1921, he hired a secretary, Moura Budberg, who later became his unofficial wife. In August 1921, the poet Nikolay Gumilev was arrested by the Petrograd Cheka for his monarchist views. There is a story that Gorky hurried to Moscow, obtained an order to release Gumilev from Lenin personally, but upon his return to Petrograd he found out that Gumilev had already been shot – but Nadezhda Mandelstam, a close friend of Gumilev's widow, Anna Akhmatova wrote that: "It is true that people asked him to intervene. ... Gorky had a strong dislike of Gumilev, but he nevertheless promised to do something. He could not keep his promise because the sentence of death was announced and carried out with unexpected haste, before Gorky had got round to doing anything."[26] In October, Gorky returned to Italy on health grounds: he had tuberculosis.
Povolzhye famine
In July 1921, Gorky published an appeal to the outside world, saying that millions of lives were menaced by crop failure. The Russian famine of 1921–22, also known as Povolzhye famine, killed an estimated 5 million, primarily affecting the Volga and Ural River regions.[27]
Second exile
Gorky left Russia in September 1921, for Berlin. There he heard about the impending Moscow Trial of 12 Socialist Revolutionaries, which hardened his opposition to the Bolshevik regime. He wrote to Anatole France denouncing the trial as a "cynical and public preparation for the murder" of people who had fought for the freedom of the Russian people. He also wrote to the Soviet vice-premier, Alexei Rykov asking him to tell Leon Trotsky that any death sentences carried out on the defendants would be "premeditated and foul murder."[28] This provoked a contemptuous reaction from Lenin, who described Gorky as "always supremely spineless in politics", and Trotsky, who dismissed Gorky as an "artist whom no-one takes seriously."[29] He was denied permission by Italy's fascist government to return to Capri, but was permitted to settle in Sorrento, where he lived from 1922 to 1932, with an extended household that included Moura Budberg, his ex-wife Andreyeva, her lover, Pyotr Kryuchkov, who acted as Gorky's secretary for the remainder of his life, Gorky's son Max Peshkov, Max's wife, Timosha, and their two young daughters.
He wrote several successful books while there,[30] but by 1928 he was having difficulty earning enough to keep his large household, and began to seek an accommodation with the communist regime. The Soviet dictator Joseph Stalin was equally keen to entice Gorky back to the USSR. He paid his first visit in May 1928 – at the very time when the regime was staging its first show trial since 1922, the so-called Shakhty Trial of 53 engineers employed in the coal industry, one of whom, Pyotr Osadchy, had visited Gorky in Sorrento. In contrast to his attitude to the trial of the Socialist Revolutionaries, Gorky accepted without question that the engineers were guilty, and expressed regret that in the past he had intervened on behalf of professionals who were being persecuted by the regime. During the visit, he struck up friendships with Genrikh Yagoda, the corrupt and murderous head of the Ogpu and two other Ogpu officers, Semyon Firin and Matvei Pogrebinsky, who held high office in the Gulag. Pogrebinsky was Gorky's guest in Sorrento for four weeks in 1930. The following year, Yagoda sent his brother-in-law, Leopold Averbakh to Sorrento, with instructions to induce Gorky to return to Russia permanently.[31]
Death of Lenin
After the death of Lenin in 1924, Gorky wrote the following:
Vladimir Lenin, a big, real man of this world, has passed away. His death is a painful blow to all who knew him, a very painful blow! But the black line of death shall only underscore his importance in the eyes of all the world - the importance of the leader of the world’s working people. If the clouds of hatred for him, the clouds of lies and slander woven round him were even denser, it would not matter, for there is no such force as could dim the torch he has raised in the stifling darkness of the world gone mad. Never has there been a man who deserves more to be remembered forever by the whole world. Vladimir Lenin is dead. But those to whom he bequeathed his wisdom and his will are living. They are alive and working more successfully than anyone on Earth has ever worked before.[32]
Return to Russia: last years
Avel Enukidze, Joseph Stalin and Maxim Gorky celebrate 10th anniversary of Sportintern. Red Square, Moscow USSR. Aug 1931
Gorky's return from Fascist Italy was a major propaganda victory for the Soviets. He was decorated with the Order of Lenin and given a mansion (formerly belonging to the millionaire Pavel Ryabushinsky, which was for many years the Gorky Museum) in Moscow and a dacha in the suburbs. The city of Nizhni Novgorod, and the surrounding province were renamed Gorky. Moscow's main park, and one of the central Moscow streets, Tverskaya, were renamed in his honour, as was the Moscow Art Theatre. The largest fixed-wing aircraft in the world in the mid-1930s, the Tupolev ANT-20 was named Maxim Gorky in his honour.
He was also appointed President of the Union of Soviet Writers, founded in 1932, to coincide with his return to the USSR. On 11 October 1931 Gorky read his fairy tale "A Girl and Death" to his visitors Joseph Stalin, Kliment Voroshilov and Vyacheslav Molotov, an event that was later depicted by Viktor Govorov in his painting. On that same day Stalin left his autograph on the last page of this work by Gorky: "Эта штука сильнее чем "Фауст" Гёте (любовь побеждает смерть)"[33] ["This piece is stronger than Goethe's Faust (love defeats death)]".
Apologist for the gulag
In 1933, Gorky co-edited, with Averbakh and Firin, an infamous book about the White Sea-Baltic Canal, presented as an example of "successful rehabilitation of the former enemies of proletariat". For other writers, he urged that one obtained realism by extracting the basic idea from reality, but by adding the potential and desirable to it, one added romanticism with deep revolutionary potential.[34] For himself, Gorky avoided realism. His denials that even a single prisoner died during the construction of the aforementioned canal were refuted by multiple accounts of thousands of prisoners who froze to death not only in the evenings from the lack of adequate shelter and food, but even in the middle of the day.[35]
On his definitive return to the Soviet Union in 1932, Maxim Gorky received the Ryabushinsky Mansion, designed in 1900 by Fyodor Schechtel for the Ryabushinsky family. The mansion today houses a museum about Gorky.
Hostility to gays
Gorky strongly supported efforts in getting a law passed in 1934, making homosexuality a criminal offense. His attitude was coloured by the fact that several leading members of the Nazi Sturmabteilung, or Brownshirts, were overtly homosexual. Writing in Pravda on 23 May 1934, Gorky claimed "exterminate all homosexuals and fascism will vanish."[36]
Conflicts[citation needed] with Stalinists
By the summer of 1934, Gorky was increasingly in conflict with the Soviet authorities. He was angry that Leopold Averbakh, whom he regarded as a protege, was denied a role in the newly created Writers Union, and objected to interference by the Central Committee staff in the affairs of the union. This conflict, which may have been exacerbated by Gorky's despair over the early death of his son, Max, came to a head just before the first Soviet Writers Congress, in August 1934. On 11 August, he submitted an article for publication in Pravda which attacked the deputy head of the press department, Pavel Yudin with such intemperate language that Stalin's deputy, Lazar Kaganovich ordered its suppression, but was forced to relent after hundreds of copies of the article circulated by hand. Gorky's draft of the keynote speech he was due to give at the congress caused such consternation when he submitted it to the Politburo that four of its leading members – Kaganovich, Vyacheslav Molotov, Kliment Voroshilov, and Andrei Zhdanov – were sent to persuade him to make changes.[37] Even in its toned-down version – very unusually for the Stalin era – he did not praise Stalin, did not mention any of the approved writers turning out 'socialist realist' novels, but singled out Fyodor Dostoevsky for "having painted with the most vivid perfection of word portraiture a type of egocentrist, a type of social degenerate in the person of the hero of his Memoirs from Underground. ... Dostoyevsky in the figure of his hero has shown the depths of whining despair that are reached by the individualist from among the young men of the nineteenth and twentieth centuries who are cut off from real life."[38]
Death
With the increase of Stalinist repression and especially after the assassination of Sergei Kirov in December 1934, Gorky was placed under unannounced house arrest in his house near Moscow. His long-serving secretary Pyotr Kryuchkov had been recruited by Yagoda as a paid informer.[39] Before his death from a lingering illness in June 1936, he was visited at home by Stalin, Yagoda, and other leading communists, and by Moura Budberg, who had chosen not to return to the USSR with him but was permitted to stay for his funeral.
The sudden death of Gorky's son Maxim Peshkov in May 1934 was followed by the death of Maxim Gorky himself in June 1936 from pneumonia. Speculation has long surrounded the circumstances of his death. Stalin and Molotov were among those who carried Gorky's coffin during the funeral. During the Bukharin trial in 1938 (one of the three Moscow Trials), one of the charges was that Gorky was killed by Yagoda's NKVD agents.[40]
In Soviet times, before and after his death, the complexities in Gorky's life and outlook were reduced to an iconic image (echoed in heroic pictures and statues dotting the countryside): Gorky as a great Soviet writer who emerged from the common people, a loyal friend of the Bolsheviks, and the founder of the increasingly canonical "socialist realism".
Depictions and adaptations
The Gorky Trilogy is a series of three films based on the three autobiographical books: The Childhood of Maxim Gorky, My Apprenticeship, and My Universities, directed by Mark Donskoy, filmed in the Soviet Union, released 1938–1940. The trilogy was adapted from Gorky's autobiography.[41]
The German modernist Bertolt Brecht based his epic play The Mother (1932) on Gorky's novel of the same name.
Gorky's novel was also adapted for an opera by Valery Zhelobinsky in 1938. In 1912, the Italian composer Giacomo Orefice based his opera Radda on the character of Radda from Makar Chudra. Our Father is the title given to Gorky's The Last Ones in its English translation by William Stancil.
The play[clarification needed] made its New York debut in 1975 at the Manhattan Theater Club, directed by Keith Fowler.
In 1985 Enemies was performed in London with a multi-national cast directed by Ann Pennington in association with Internationalist Theatre. The cast included South African Greek actress Angelique Rockas and Bulgarian Madlena Nedeva playing the parts of Tatiana, and Kleopatra respectively.[42] Tom Vaughan of The Morning Star affirmed "this is a great revolutionary play, by a great revolutionary writer, performed with elegance and style, great passion and commitment".[43] BBC Russian Service was no less complimentary.[44]
Selected works
Main article: Maxim Gorky bibliography
Source: Turner, Lily; Strever, Mark (1946). Orphan Paul; A Bibliography and Chronology of Maxim Gorky. New York: Boni and Gaer. pp. 261–270.
Novels
Goremyka Pavel, 1894. Published in English as Orphan Paul[45]
Foma Gordeyev (Фома Гордеев), 1899. Also translated as The Man Who Was Afraid
Three of Them (Трое), 1900. Also translated as Three Men
The Mother (Мать), 1907. First published in English, in 1906
The Life of a Useless Man (Жизнь ненужного человека), 1908
A Confession (Исповедь), 1908
Okurov City (Городок Окуров), 1908
The Life of Matvei Kozhemyakin (Жизнь Матвея Кожемякина), 1910
The Artamonov Business (Дело Артамоновых), 1927
Life of Klim Samgin (Жизнь Клима Самгина), unfinished:[46]
The Bystander, 1927
The Magnet, 1928
Other Fires, 1930
The Specter, 1936
Novellas
The Orlovs (Супруги Орловы), 1897
Creatures That Once Were Men (Бывшие люди), 1897
Varenka Olesova (Варенька Олесова), 1898
Summer (Лето), 1909
Great Love (Большая любовь), 1911
Short stories
"Makar Chudra" (Макар Чудра), 1892
"Old Izergil" (Старуха Изергиль), 1895
"Chelkash" (Челкаш), 1895
"Konovalov" (Коновалов), 1897
"Malva" (Мальва), 1897
"Twenty-six Men and a Girl" (Двадцать шесть и одна), 1899
"Song of a Falcon" (Песня о Соколе), 1902. Also referred to as a poem in prose
Drama
The Philistines (Мещане), translated also as The Smug Citizens and The Petty Bourgeois (Мещане), 1901
The Lower Depths (На дне), 1902
Summerfolk (Дачники), 1904
Children of the Sun (Дети солнца), 1905
Barbarians (Варвары), 1905
Enemies, 1906.
The Last Ones (Последние), 1908. Translated also as Our Father[47]
Children (Дети), 1910. Translated also as The Reception (and called originally "Встреча")
Queer People (Чудаки), 1910. Translated also as Eccentrics
Vassa Zheleznova (Васса Железнова), 1910, 1935 (revised version)
The Zykovs (Зыковы), 1913
Counterfeit Money (Фальшивая монета), 1913
The Old Man (Старик), 1915, Revised 1922, 1924. Translated also as The Judge
Workaholic Slovotekov (Работяга Словотеков), 1920
Somov and Others (Cомов и другие), 1930
Yegor Bulychov and Others (Егор Булычов и другие), 1932
Dostigayev and Others (Достигаев и другие), 1933
Non-fiction
Chaliapin, articles in Letopis, 1917[48]
Untimely Thoughts, articles, 1918
My Recollections of Tolstoy, 1919
Reminiscences of Tolstoy, Chekhov, and Andreyev, 1920–1928
V.I. Lenin (В.И. Ленин), reminiscence, 1924–1931
The I.V. Stalin White Sea – Baltic Sea Canal, 1934 (editor-in-chief)
Literary Portraits [c.1935].[49]
Poems
"The Song of the Stormy Petrel" (Песня о Буревестнике), 1901
Autobiography
My Childhood (Детство), Part I, 1913–1914
In the World (В людях), Part II, 1916
My Universities (Мои университеты), Part III, 1923
Collections
Sketches and Stories, three volumes, 1898–1899
Creatures That Once Were Men, stories in English translation (1905). This contained an introduction by G. K. Chesterton[50] The Russian title, Бывшие люди (literally "Former people") gained popularity as an expression in reference to people who severely dropped in their social status
Tales of Italy (Сказки об Италии), 1911–1913
Through Russia (По Руси), 1923
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