In 1926: living at the edge of time - Monoskop

OCEAN LINERS 171
couldn't understand this. How could he have signed on? He had no
sailors' card. No papers whatsoever. They'd kick him off right away.
Yet he didn't come to the surface. The Great Skipper had signed him
on. He'd taken him without papers. And the Great Skipper said to him:
"Come, Stanislaw Koslowski, give me your hand. Shake! Welcome
aboard, sailor! I'll sign you on, to crew for a fine ship. An honest and
decent ship. The finest we have. Never mind the papers. You won't need
any here. It's an honest ship. Go to your cabin, Stanislaw. Can you read
what's written above the crew's quarters? ... 'He who enters here shall
be forever free of pain!'" (216)
Related Entries
Americans in Paris, Bars, Boxing, Hunger Artists, Murder, Polarities,
Wireless Communication, Individuality vs. Collectivity, Present vs. Past,
Uncertainty vs. Reality, Center = Periphery (Infinitude), Immanence =
Transcendence (Death), Present = Past (Eternity)
References
Johannes R. Becher, Maschinenrhythmen. Berlin, 1926.
BertoIt Brecht, Der Lebenslauf des Boxers Samson-Korner (1926). In Brecht,
Gesammelte Werke, vol. 2. Frankfurt, 1967.
Agatha Christie, The Murder of Roger Ackroyd. London, 1926.
Chronik 1926: Tag fur Tag in Wort und Bild. Dortmund, 1985.
Jean Cocteau, Orphee: Tragedie en un acte et un intervalle (1926). Paris, 1927.
Simon Collier, Carlos Gardel: Su vida, su musica, su epoca. Buenos Aires, 1988.
Le Figaro.
Harry Graf Kessler, Tagebuchet; 1918-1937. Frankfurt, 1961.
Egon Erwin Kisch, Hetzjagd durch die Zeit. Berlin, 1926.
Gail Levin, Edward Hopper: The Art and the Artist. New York, 1980.
Paul Morand, Rien que la terre: Voyage. Paris, 1926.
Michael Morris, Madame Valentino: The Many Lives of Natasha Rambova.
New York, 1991.
New York Times.
B. Orbanz, ed., There's a New Star in Heaven-Valentino: Biographie, Filmographie,
Essays. Berlin, 1979.
B. Traven, Das Totenschiff (1926). Hamburg, 1954.