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Complete Run of the Sherlock Holmes Stories

Complete Run of the Sherlock Holmes Stories, As Well as 2 Complete Novels, in the Individual Strand Magazines

Doyle, Arthur Conan 75 vols. 1st appearances anywhere, in the original monthly parts, of all 56 stories and both of the novels (The Adventures, The Memoirs, Hound of the Baskervilles, The Return, Valley of Fear, His Last Bow, and The Casebook), being every Holmes story that Doyle ever wrote, and the 2 novels published serially in these magazines (only A Study in Scarlet and The Sign of Four were not published in the Strands). All are the "London and NY" issues except The Hound which is imprinted "NY and London." Half the spines faded, some chips, tears, and strengthening, else very good, and most crucially, it’s all here, and rarer than a football player blaming God for a defeat, and it’s quite a beguiling time capsule of wide ranging content, fashion, illustration and advertising. The first modern media spectacle, and the model for all that followed, exploded when these Strands were issued. After the first 2 or 3 stories, unprecedented buzz generated long queues, stretching for blocks, at newsstands on the day of the months that each was published. Yet, despite those sales, sets in wrappers are now of the utmost rarity, but in reverse of their chronology. The Adventures and The Memoirs are seen occasionally, and sets of them are 100 times rarer in wrappers than when they’ve been rebound, or in the annual Strand collected clothbound form that is so often seen, or even the later cloth 1st editions. The Hound is 5 times scarcer again than The Adventures or Memoirs and the same proportions hold true for its relative scarcity over the bound Strands or the clothbound 1st edition. Then it gets crazy. Complete sets of The Return and Valley of Fear, in wrappers, are rare, and significantly less obtainable than their predecessors, and complete runs of His Last Bow and The Casebook, might as well be impossible. In fact, hopes for finding any of the last 4 in wrappers, complete with all their covers, other contents and ads, belong in the morgue, as few booksellers, collectors or librarians, have ever seen a single set of them for sale, at any price, in any condition. Sherlock Holmes is the most durable, and most famous, character in the entire landscape of literature, and the stories are sheer stardust, the morphine drip of impeccably contrived, mind expanding detective fiction, and the most often imitated, parodied and adapted works in the English language.
Comedies

Comedies, Histories, and Tragedies. Published according to the true Original Copies. Unto which is added seven plays never before printed in folio.; Fourth Folio

Shakespeare, William 4th folio, 1st issue, of Shakespeare’s complete plays, the paramount work in all of English literature. Fine 19th century full blind-tooled morocco, gilt titled, gilt edges, satisfying condition by any standard, with no repair, a nicely executed, beautiful and distinctive antique, but here’s your scrupulously dissected examination: Portrait, title page and 25 other leaves lightly stained, minor chips and short tears to some blank margins (and only the blank margins), a dozen tiny pin holes (mostly rust), Ccc6 with the margin slightly miscut by 1/16" at 2 corners, a paper flaw just under the upper rule of Ii2, but don’t be distracted. This is (withal) a complete and perfect folio, tall (14 1/16"), wide (8 15/16"), and read the next sentence with attention, because you won’t read it often. Far beyond the usual, every single page, and every single letter of text is present and valid, with no facsimile. That means there are no holes creating any missing letters, and (even more remarkably) no (zero) leaves have been remargined or extended, meaning no leaves were supplied from another copy so our 4th folio is complete as issued. The provenance is soothing. Ex-Elizabeth Young, the initial owner, with her ink signature to the title page, a few letters of her signature are rusted. Ex-Thomas Jefferson McKee (bookplate) sold at his auction (Anderson’s, NY, April 30, 1901, lot 2602), and the McKee sale was a spectacular one, featuring rarities that have become impossibilities (for example, he had 529 English quarto plays printed before 1700). And that connects this folio to a strictly applied quality standard that was high 110 years ago, being once a part of the greatest American library auctioned up until that time. Collation: O2, A4, A-Y6, Z4, BB-ZZ6, *AAA-DDD6, EEE8, AAA-ZZZ6, AAAA-BBBB6, CCCC2, 458 leaves with the usual mispaginations. References: Wing S 2915. Greg III 1119. Bartlett 123. Pforzheimer 910. Jaggard 497.
Coelebs In Search of a Wife

Coelebs In Search of a Wife

More, Hannah 2 vols. 1st edition. Her first (and only) novel, and a scarce one. Contemporary full calf, smoothly rebacked, sides rubbed, contemporary ownership signature on title page of volume 1, else very good, a complete set with errata in both volumes, that in vol. II (A1) often missing (not issued with half-titles). A suitable and sound binding, not a decaying one, or worse, a new one glowing with all the glossy dumbness of a dead fish. Collation: pp.[xii],+351+[i (blank)]. [iv]+ 469+[i (blank)]. Reference: Block, 166. Hannah More was a literary giant, the most famous and successful woman author of her time, and the best-selling of the female blue stocking writers in the later period of that salon, comprised of both genders, and devoted to establishing the intellectual credentials of women. In 1876 she wrote their anthem (the poem Bas Bleu), and during her career as a literary figure, she transcended the others without ever becoming pedantic. She was a triumphant playwright and poet, and the primary fount of the cheap repository tract, those little 8 page tales of whimsy published with the focused aim of encouraging the poor to read, and surprisingly, she pulled off the miracle, selling 2 million copies of one of them (The Shepherd of Salisbury Plain), an unprecedented feat in the 1790s. She spent her loot setting up Sunday schools to fight illiteracy, then turned to the novel in 1808. Expectedly, her publishers imagined Coelebs would be overlooked since Hanna More was not known as a "novelist." But she had an eerie sense of the public pulse, and publishers notoriously surround themselves with smart people, the way a hole surrounds itself with a doughnut, then ignore those smart people, and make dumb decisions. So the book was issued in a small edition, that was quickly consumed, and read to rag, to be followed by a superfluity of reprints (beginning in 1809) and status as a huge bestseller. Those tears on her cheeks are from laughing.
Coelebs In Search of a Wife

Coelebs In Search of a Wife

More, Hannah 2 vols. 1st edition. Contemporary half calf, marbled boards, industrially rebacked with new (Spartan) spines and labels. No half-titles (apparently not called for). Errata for both vols. Vol. II title page expertly extended at lower blank margin and a few other lesser flaws. Hannah More was a literary giant, the most famous and successful woman author of her time, and the best-selling of the female blue stocking writers in the later period of that salon, comprised of both genders, and devoted to establishing the intellectual credentials of women. In 1876 she wrote their anthem (the poem Bas Bleu), and during her career as a literary figure, she transcended the others without ever becoming pedantic. She was a triumphant playwright and poet, and the primary fount of the cheap repository tract, those little 8 page tales of whimsy published with the focused aim of encouraging the poor to read, and surprisingly, she pulled off the miracle, selling 2 million copies of one of them (The Shepherd of Salisbury Plain), an unprecedented feat in the 1790s. She spent her loot setting up Sunday schools to fight illiteracy, then turned to the novel in 1808. Expectedly, her publishers imagined Coelebs would be overlooked since Hanna More was not known as a "novelist." But she had an eerie sense of the public pulse, and publishers notoriously surround themselves with smart people, the way a hole surrounds itself with a doughnut, then ignore those smart people, and make dumb decisions. So the book was issued in a small edition, that was quickly consumed, and read to rag, to be followed by a superfluity of reprints (beginning in 1809) and status as a huge bestseller. Those tears on her cheeks are from laughing.
Les Deux Diane [The Two Dianas]

Les Deux Diane [The Two Dianas]

Dumas, Alexandre 10 vols. 1st edition (?), maybe preceded by Cadot’s Paris edition (maybe not), and parallel to the Brussels editions of Lebégue’s and Muquardt. The timing is close and Munro only addresses his guess towards the first volume published, not the last. He lists Lebégue’s edition before Méline’s based on the former having 3 vols. (of the 10) dated 1846, versus Méline’s, which has 2 vols. so dated. But digging a little deeper than the superficial, his chronology is reversible. The 3 Lebégue volumes dated 1846, have 354 total pages in 24mo. whereas the 2 Méline volsumes dated 1846 have 464 total pages in 16mo. so more of the novel’s text is dated 1846 in Méline’s edition compared to Lebégue’s (the same relationship also applies to the edition of Muquardt). Further, Munro notes 2 states of Méline’s imprint, but the books are without textual differences, and there is no priority between them. Half calf, uncut, very good condition, and with some of the (grubby) original wrappers preserved. I had the doubts of a purest (always dangerous) about whether to sell this title without some warning attached to the authorship. It is found in many of the major sets of Dumas’ collected novels that include only his most popular books, and attempt to be concise about which titles they contain, but it is not entirely his work. It is set very early on the chronological line (1521-1574) of Dumas’ most famous novels, and Dumas did wrangle the characters and devise the plotline, but he was so busy with 5 simultaneous serializations that he turned over more than the usual amount of the writing to another, in this case Paul Meurice. Nonetheless, the novel remains popular, and in print, despite it lacking the requisite full compliment of Dumas’ style and energy.
Vintage Poster from The Perils of Pauline

Vintage Poster from The Perils of Pauline

Charles Goddard] Striking color pictorial one sheet, 41" X 27" (lithograph). A classic of cinema incunabula, from the original serial by Charles Goddard for the Eclectic Film Co. (episode 4). Little specks of wear and rubbing restored, near fine, neatly backed. Framed. Rarer than an honest movie trailer, especially when compared to posters from the talking pictures era. My tracking of posters is imprecise but I found 3 Perils of Pauline one sheet auction records from Christie’s long ago (random, from among 20 serial episodes, each with a different image), $6,600 in 1992, $8,000 in 1995, and $7,500 in 1996. Ex-Camden House, 1985 (their grade was "condition A"). Pauline (Pearl White) evades attempts on her life by pirates, rats, Indians, gypsies, sharks and her dastardly guardian Her most symbolic plight is being tied to railroad tracks in front of a rapidly approaching train. The upcoming 21st century sequel, with a plot that turns towards realism, finds a periled Pauline giving her Visa number, expiration date, billing address, and social security number to 15 different, now defunct and desperate dot-coms. And speaking of modern movements in the 21st century, as the adverse dominates movies, artists across American feed on the new economy and rape the new culture with their own movement for film, theater, literature, music, sculpture, paper, and canvas, begging to be called 21st century depressionism.
The Piazza Tales

The Piazza Tales

Melville, Herman 1st edition of Melville’s first (and only) book of short stories. Original brown cloth, gilt sharp (usually oxidized away), wear to spine tips, lightly foxed, else very good, tolerable for this cheaply made book. Looking back to the American short story’s roots there was Irving’s Sketch Book (1820), the invention of the modern short story, and the first American book that was a bestseller here and in Europe. Then came Poe’s Tales (1845), Hawthorne’s Mosses From an Old Manse (1846), and after The Piazza Tales, there were Twain, James, Crane, Bierce, and O. Henry, then Fitzgerald and Hemingway but this is the one book that touches them all. Its 431 pages are filled with 6 stories. The Bell Tower is a psychological gripper that’s an advance of Edgar Poe. The Lightning-Rod Man is the shortest but it’s of such absorbing invention and depth that it would be a career marker if credited to any other name. The Piazza (the delusions of idealism) and The Encantadas (sketches of the Galápagos Islands) are longer and just as fine. All 4 are half a century ahead of their time and more intricate than most novels, but it is the 161 pages of Benito Cereno (good versus evil) and the 77 pages of Bartleby the Scrivener (isolation) that soar to the heights and stand tall at the pinnacle. Every word of plot, theme, characterization, and atmosphere are fused in an unfamiliar manner that is nonetheless easily recognized as truthful, seamlessly symmetrical, and readily welcomed, but it was all too late for Melville. By 1856 he couldn’t believe what wasn’t happening to him. He’d already decided that mind is to soul as wave is to ocean, and unbumped by the threat of failure, he wrote as brilliantly as he could for as long as someone would publish him, and dismissed his editor’s advice to write down to his readers and enjoy a successful commercial career (Herman was a genius who never realized that money is coined liberty). But Melville’s martyrdom or the ignorance of 19th century readers does not justify why in the 21st century, 95 years after Melville’s rediscovery, this 1st edition continues to be undervalued beyond reason. In many ways it reads like it was written 62 years ago not 162, and I can cogently argue that it’s American literature’s finest collection of short fiction. The 1st edition (which may include 3 printings) was a small one (2,500 copies), sales were slower than bluff erosion (1,051 sold), the publishers (Dix & Edwards) went bankrupt, and Melville himself was dismissed from literature a year later, all these events ironically, though repeatedly, the journey of real art.
Typed Manuscript Lyrics for "Lonesome Susie"

Typed Manuscript Lyrics for "Lonesome Susie"

The Band] Richard Manuel’s typed, working manuscript of Lonesome Susie, with his 5 final handwritten changes, amending the lyrics from the song he typed to the song as recorded. The 9th track on The Band’s 1968 first album, Music From Big Pink. The complete lyrics in 19 lines (159 words), on one side of a sheet of 8 1/2" X 11" paper. Some stains and edge wear, a few unrelated, typed words and a pencil scribble on the back, else very good. The only manuscript from Music From Big Pink that I have ever seen for sale, and this one is cooler than sending somebody else to pick up your laziest person award. Ex-Sotheby’s NY, Dec. 10, 2016, lot 3 (purchased by private treaty). In 1966 and 1967, the 5 members of The Band played behind Bob Dylan in all his live concerts, and were his co-musicians on The Basement Tapes. Big Pink was the name given to personify the house shared by 3 of them in West Saugerties, New York. Dylan wrote 2 of the album’s songs, painted the cover, and guided their debut with élan. The album became legendarily influential. Eric Clapton said Music From Big Pink’s roots rock style convinced him to quit Cream, and Roger Waters said it affected Pink Floyd deeply, calling it, "the second most influential record in the history of rock, after Sgt. Pepper." All 5 musicians played on Lonesome Susie, Richard Manuel-piano (he also sang the lead vocal), Robbie Robertson-electric guitar, Rick Danko-bass guitar, Garth Hudson-organ and soprano saxophone, and Levon Helm-drums.
Sense and Sensibility

Sense and Sensibility

Austen, Jane 3 vols. 1st edition, whispering in a voice quieter than decency, that the days that make us happy are the days that set us free. 19th century 3/4 morocco. A fine set, cleaner than fresh air, and it’s a complete one too with all 3 genuine half-titles, and though this 1st edition is regularly stalked by all collectors, it has a history of amplified appeal to those who are women, so heed this ladies: Buying a 1st edition of Sense and Sensibility without authentic half-titles is more dangerous than open-knife night at the blow fish bar, and more naïve than sexting your face and your kitty in the same picture. Ex-3 significant women collectors (bookplates) of élan who deserve snaps, Dorothy Stewart, Pamela Kingzett, and Sarah Peter, the last named of the 3, a modern goddess who gathered her 1st editions of fiction in English by women, 1 book at a time, and now stands tall with the greatest collection of them ever assembled. By anyone. Anywhere. Austen invented modern romantic comedy beginning with Sense and Sensibility, and started schooling 7 generations of readers about the intricate convolutions of affection. What they learned from it right away is that all tests of love end badly, that excitement and familiarity are hard to find in one person, that the first duty of love is to listen, and that when the heart speaks, the mind should know it’s tacky to object. In the 20th century they came to understand that the only real proof of love is trust, that sometimes there are more differences within the genders than between them, that love must be transformed from the flame at first into the light that lasts, and that all men fall somewhere between apes and gods, and the best a wise woman can hope to do, is pick one that’s traveling in the right direction. Now we’re in the 21st century and a new generation of readers just balance Austen’s charm against the realities of daily life, appreciating that "desperate" is not a sexual preference, that the fastest way to improve a relationship is to see love as a verb rather than a feeling, and that a woman can find a blunt equality with men by going to therapy, where she can talk about herself for an hour, just like a guy on a date.
Hand Corrected Manuscript of One Lonely Night

Hand Corrected Manuscript of One Lonely Night

Spillane, Mickey Setting copy of an important novel, the actual hand corrected typescript, with hundreds of changes, corrections, deletions and additions, signed twice ("Mickey" and "M. S.") and dated "9-27-50" (the book was published in 1951). Complete in 251 pages (rectos only), with 7 pages of preliminaries, and 244 pages of novel numbered 1-3, 5-240, plus 5 inserted pages. Some corrections are in the hand of a proof reader, or type setter, but Spillane’s deletions are substantial and his own changes and corrections are considerable (found on nearly every page), and all are in his own handwriting. Usual signs of production rites, but very good. Rare. Prominent in its clique. Full morocco case. itself scarce in a ne dustjacket, as are proofs, but what we’re offering is both unique, and geometrically greater, the complete manuscript from which the book was actually typeset and printed, and these days noir manuscripts of such magnitude and vintage, are usually not within my (your) frustrated reach, at any price. Spillane wrote in a distinctively blunt narrative prose, with no attempt to make his reader giggle like an Asian princess. Beginning in 1947 he achieved early and immense popularity, wrote steadily for 25 years, took a 12 year break in 1972, then returned to fame with a new generation in 1984. One Lonely Night is a mystery, written at the summit of his energy and imagination. It features his impudent Mike Hammer (4th book in the Hammer series), in a furious spy thriller with more ins and outs than a ddler’s elbow. The plot is charged by a surfeit of violence, love, hate, sex, deceit, sadistic crime, corrupt politics, moral ambiguity, and national peril, following a case that sets Hammer (as the angel of death) against an American cell of Communist agents (anticipating 007 and his license to kill by 3 years) in the earliest days of the cold war, when everyone assumed (based on every precedent) it would heat up lethally at any moment.
Ten Thousand Dollar Bill

Ten Thousand Dollar Bill

U. S. Currency] An authentic $10,000 U. S. gold certificate (states "payable in gold"). Serial No. M147694 (plate A9). 1900 was the last series of American $10,000 gold certificates (replaced by Federal Reserve Notes in 1918). Obverse portrait of Andrew Jackson, highlights in gold, red seal, 4 full, balanced margins, reverse blank as issued (former owner’s neat signature on back). 3 vertical folding creases else near fine (authenticated, slabbed and graded by PCGS as "very fine 20"). That’s all nice enough, but here’s what’s meaningful. When the government recalled this denomination, each bill was punched with numerous holes and then perforated with a treasury stencil. Ours is unpunched and unstenciled and it’s of redoubtable rarity in this natural state, but since $10,000 gold certificates are no longer legal tender, you can’t take it to the (any) bank and demand your tower of gold coins. Small stamp ("to the order of") Federal Reserve Bank of NY, dated Aug. 3, 1917. Reference: Friedberg (1995), page 144, design No. 156, reference No. 1225, stating that there were 3 series of $10,000 gold certificates (all of them printed between 1882 and 1900) consisting of 12 total varieties, and here’s a reality check. Finding one of the other 11 is harder than taking an eel out of a tub of water. Friedberg’s census, and his analysis that flows from it, clearly states that of the 11 other varieties that were issued, there is one type that he calls "extremely rare" (so much so that he lists no value for it). 7 others are characterized as "unknown" and the other 3 are remarked upon as "all redeemed [with] none outstanding.".
Dream of the Red Chamber

Dream of the Red Chamber

Tsao Hsueh-Chin, Kao Ngoh, [Translated by] Chi-Chen Wang 1st American edition (in English) of the all-time best selling Chinese novel. A laid-in clipping has offset at page 208 else very good in a price clipped dustjacket with chips, tears, and neat strengthening, but a good jacket, and yes it’s flawed, but the old anvil laughs at many broken hammers, and it’s the only one I’ve had (the cleanest shirt in the hamper) because this book has been hard to find in jacket since the ark docked. A novel written in, and set in, the 18th century (Qing dynasty) about conflicts undermining a sizable household, their rise and fall, contrasted alongside their loyalties to, and their plots against, one another, a microcosm that often mirrors the macrocosm of Qing Imperial politics, its ethics, customs, education, religion, economics, laws, culture, and intrigues, during the last period of China’s feudal era. Our 1st American edition is preceded in English by a quirky 1892-1893 Hong Kong edition, but quirky or not, that’s the real 1st edition in English and thus it’s worth more money. The rule that "1st editions are always more valuable than reprints of them" has its exceptions, but the exceptions are so few, and the individual reasons for their exception vary, and vary so haphazardly, that all attempts to form guidelines turn into a long climb up Mt. Anthill, and habitually lead to treeing the wrong bobcat. And in the "so few exceptions to the rule department" here’s my query: Is Kim Jong-un, the only Asian who tests badly?
Les Trois Mousquetaires ; [The Three Musketeers]

Les Trois Mousquetaires ; [The Three Musketeers]

Dumas, Alexandre 5 vols. in 2. 1st edition preceding all others, 1st issue (published by Lebègue in 18mo.). The real 1st edition, 1 of 4 known sets, listed first by Munro (Alexandre Dumas Pere. A Bibliography of Works Published in French), without dispute, and prior to anybody else’s 1844 edition, including multiple editions listed by Munro from Meline, Hauman, and Muquardt, as well as Lebègue’s reissue in 24mo., and Baudry’s 1844 Paris edition (issued last of all the 1844 editions). Contemporary half morocco, marbled boards, a complete copy with all 5 half-titles, in very good condition. An amazing unearthing, rare by any criterion. Munro lists a set (not ours), and we know 2 others off a dedicated worldwide search, so that makes 4 recorded, and again, if anyone knows of another real set I’d like to hear about it, but let me continue. No copies of this Lebègue edition at auction in 50 years (the only Brussels editions of Les Trois Mousquetaires recorded as sold at auction were 2 copies, of Meline’s Brussels and Leipzig imprint 13 years ago, and that issue is the 2nd Meline edition, the 6th overall, and the most common of the 7 Brussels editions in 1844. More surprisingly, OCLC located no (zero) sets of this Lebègue 1st edition in any National or University library, and only single volumes I, II, and V at Sommerpalais, Germany (OCLC does record libraries holding sets of the other Brussels editions). Collation: [1]-181, [1,blank]. [1]-172. [1]-171, [1 blank]. [1]-163. [1 blank]. [1]-223, [1 blank] pp. Let me repeat. This is, inarguably, the real 1st edition of Les Trois Mousquetaires, as recorded in the most comprehensive bibliography, and with only 4 known sets, that says something huge, so think about this. No other 19th century novel by anybody, with stature comparable to Les Trois Mousquetaires has a census that shows it to be anywhere near as rare. Tous pour un, un pour tous. The 1st appearance was a daily serialization in the newspaper Le Siècle (The Age) from March 14 to July 14, 1844, and the mosh pit frenzy of the Brussels publishers to get the progressive volumes of their editions out as quickly as possible, insures that each individual volume’s exact date of publication, and the exact order of those individual volumes will remain an open question. However, Lebègue’s edition holds supremacy as the first of all, because their edition had both its first volume and last volume issued before the others. It also holds supremacy as the rarest of all. And all the 1844 Brussels editions precede the 1844 Paris edition (it’s more sure with this title than with many of the others) because after the serial was completed, and with the Brussels editions fully published and already being sold, Dumas casually opened Paris book publication rights for bidding while he unnecessarily revised the text (most who have read both texts agree that the original is better than the revised). The winner (in a feisty rivalry) was finally Baudry, and he paid a lot for the rights so he printed a larger than usual edition, but despite his edition not having any priority against the Brussels editions, and being more frequently seen than any of the other Paris editions of Dumas’ foremost novels, it would still get hyped as more desirable by some Continental sellers than the Brussels editions that precede it, although in other, wider circles "real 1st edition" still carries all the weight. And yes, it’s odd that Baudry’s 1st Paris edition of Les Trois Mousquetaires is the most common of the Paris 1st editions of Dumas’ major novels (11 copies of Baudry’s Paris edition have sold at auction since 1978, 4 copies are for sale right now, and we have a 5th set in hand that’s not cataloged yet), while Lebègue’s true 1st edition of it is the rarest Brussels 1st edition of them all (no sales at auction and no other set for sale anywhere).
Das Relativitätsprinzip Drei Vorlesungen Gehalten In Teylers Stiftung Zu Haarlem; [1st appearance in print of e=Mc2]

Das Relativitätsprinzip Drei Vorlesungen Gehalten In Teylers Stiftung Zu Haarlem; [1st appearance in print of e=Mc2]

Lorentz, Hendrik 1st edition (in German), containing the first appearance in print anywhere (page 24, note 50) of H. A. Lorentz’s (the 1902 Nobel Laureate in physics) distilling of Einstein’s original 1905 formula for the Special Theory of Relativity, L / V 2 ? A, or something like that, into its most basic and famous form, e=Mc2, with "e" being energy, "M" for mass and "c" for the speed of light (3X108 ms, in a vacuum). Original wrappers. Very good. Einstein’s General Theory of Relativity followed in 1916, though a unified theory, fusing the cosmic and atomic, eluded him. But wait, there’s less. What surprised me was that Lorentz didn’t single out e=Mc2 from more than a dozen other variations of the formula in his article, and Einstein did not adopt what Lorentz discovered (the exquisite universally praised as true art), form, in a printed article until the April, 1946 issue of Science Illustrated (page 16), and a very good copy of that magazine is included here. An affinity for science and an eye for the art in it, do not necessarily exist in the same person, and though experimental proofs would fail to confirm it, I see indications, not without allure, that the strongest force in the universe is gossip, and that twerking will shake out all your luck. And here’s my science question: How much deeper would the ocean be if there weren’t any sponges in it?