A Brief History of 7 Baby Basics

Let’s take a look at the origins of some of the baby basics on every new parent’s baby shower registry.

1. Stroller

The first perambulator, also known as a “pram,” was built in 1733 by famed architect William Kent as a way to entertain the children of the Duke of Devonshire. The pram consisted of a wicker basket set on an ornately decorated wooden frame with four wheels and a harness so it could be pulled by a pony, goat, or dog. The novelty vehicle caught on with the English elite, who commissioned similar models from local craftsmen who put their own spin on the design.

One of the first changes was replacing the harness with two handles, so an adult pulled the child instead of a pony. Later, after too many children fell out of prams, a bar was placed between the handles, allowing parents to push the cart in order to keep an eye on their little one. One design change was made to skirt the law: It was illegal to operate four-wheeled vehicles on footpaths, so after many mothers and nannies received citations for pushing a pram, manufacturers produced two- or three-wheeled prams to keep their patrons out of trouble.

Prams became more popular after World War I thanks to a post-war baby boom, as well as breakthroughs in plastic production. Replacing expensive wood and wicker bassinets with plastic shells, and brass fittings with chromed metal, meant the price of a pram came down considerably. More changes were made to the design too, including deeper baskets, thicker wheels, lower clearance to the ground, and foot brakes.

In the 1940s, strollers, or pushchairs, designed for toddlers were introduced.  Kids in strollers faced forward, rather than the more common parent-facing seats of prams. Early designs were little more than wheeled chairs with a metal hoop around the child.  But a major redesign occurred in 1965 when Owen Maclaren, an English aeronautical engineer, heard his daughter complaining about the struggles of taking a pram on an airplane.  Using his knowledge of aircraft manufacturing, Maclaren designed a stroller from lightweight aluminum that could be folded when not in use.  His “umbrella stroller” became a huge hit and is still popular today.

Another major design shift came in 1984, when Phil Baechler tried jogging with his infant son in tow.  Baechler soon realized that strollers were “awful for running and they come to a complete stop on grass or sand.”  So he began experimenting with aluminum tubing and bicycle wheels, eventually coming up with the three-wheeled Baby Jogger, which he initially sold out of the back of running magazines for $200 a piece.

2. Baby Monitor

Slate

Spurred by paranoia after the 1932 Lindbergh baby kidnapping, Eugene F. McDonald, Jr., head of General Electric, asked his engineers to come up with a way for him to listen in on his newborn daughter. The new gadget, called the Radio Nurse, was released in 1937 and consisted of two pieces: the Guardian Ear, which sat by the crib and served as the transmitter, and the Radio Nurse, the receiver, which could stand on a bedside table or hang over the headboard. Although the Guardian Ear isn’t much to look at, the Radio Nurse, with its striking, human-like appearance, is an example of the early work of designer Isamu Noguchi, now best known for his iconic coffee table

Unlike today’s monitors, the signal from the Ear to the Nurse was not broadcast over the air. Instead, the signal was sent through the home’s electrical wiring. However, the system wasn’t perfect, as it was not unusual to pick up other radio signals in the area. In addition, at $19.95 (about $325 today), it was too expensive for most people’s pocketbooks, so the Radio Nurse didn’t last long. The baby monitor would have to wait another 50 years, around the same time that wireless phones were coming into vogue in the 1980s, to became a staple in the nursery.

3. Infant Formula

For centuries, about the only options for women who were unable or chose not to breastfeed were to use whole cow’s milk, or find a wetnurse to handle the duties instead.  But as the Industrial Revolution ramped up, and the science of food became better understood, many companies began producing breastmilk replacements that were said to provide more nutritional value than plain old milk.

One of the most successful was Henri Nestlé.  A German pharmacist living in Switzerland, who would one day help revolutionize the chocolate business, he used wheat flour, milk, and sugar for his Farine Lactée Henri Nestlé (Henri Nestlé’s Milk Flour) released in 1867. Whereas most formula was difficult for babies to digest, Nestlé was able to remove the starch and acid from the flour to make it easier on little tummies, which helped make it a favorite. The formula sold for 50 cents a can (approximately $10.50 today), but mothers could try it first by sending away for a free sample that was good for about 12 meals.

4. Disposable Diapers

As Valerie Hunter Gordon was about to have her third child in 1947, she decided she’d had enough of the time-consuming duty of washing dirty cloth diapers. Using a bit of ingenuity and her trusty Singer sewing machine, Gordon came up with the Paddi, the first disposable diaper system. The Paddi consisted of two parts: a strip of inexpensive, cellulose-based gauze as an absorbing pad, and a nylon outer shell that held the pad in place, made from an old parachute she was able to procure on the Army base where her husband was stationed. To eliminate the need for cumbersome and dangerous safety pins, she added snap closures to make the shell adjust to nearly any size infant.

With her system, instead of washing the entire diaper, the gauze, which started to break down once it was soaked, could be removed and simply flushed down the toilet. The nylon shell could then be wiped off and reused with a new pad in place.

The Paddi was a major hit with her homemaker friends, and she wound up sewing over 400 sets for them at her kitchen table.  Although the diapers proved popular, Gordon couldn’t convince a company to manufacture them because it was thought there was little market for them. Finally, in 1949, Gordon was able to sell the idea to Robinson and Sons, a company that was one of the first to make disposable sanitary napkins. After a slow start, Paddi’s became quite popular, which led other companies to tweak Gordon’s two-part design and release their own disposable diapers. In fact, it wasn’t until 1961, when Pampers were introduced, that the completely disposable diaper became the norm.

Oddly enough, things are coming full circle, as the public has become more aware of the environmental impact of disposable diapers. Today, eco-friendly parents have a variety of choices, including new style cloth diapers, or gDiapers, which feature a flushable pad and a waterproof outer cover, proving that good ideas never truly die.

5. Pacifier

Met Museum

It’s impossible to know just how far back pacifiers go, but some believe the first were “sugar rags” or “sugar tits,” tied-off scraps of linen covering a lump of animal fat or bread mixed with honey or sugar. The child would suck on the fabric and their saliva would slowly dissolve the sugar for a sweet treat.  Sometimes the rags were dipped in brandy or whiskey to alleviate the pain of teething, with the unintended, but not unwelcome, side effect of helping the baby fall asleep.

In the 18th Century, commoners used wood or animal bones to keep kids quiet, but the rich had custom soothers called “corals,” made of polished coral, ivory, or mother of pearl with a gold or silver handle. It was not unusual for the handle to double as a whistle and a rattle, with small bells attached in order to keep the child entertained, but to also ward off evil spirits. Some believe silver corals might be the origin of the phrase “born with a silver spoon in his mouth.”

The pacifier we know today got its start around 1900.  Inspired by the hard rubber teething rings of the 19th Century, a patent filed by Christian Meinecke for a “baby comforter” features a rubber nipple, a circular guard, and a hard plastic handle, giving kids the option of sucking and chewing on either side.  Using a similar design, Sears & Roebuck sold a teething toy in 1902 that featured a hard, faux ivory ring with a soft rubber nipple attached.

6. Baby Bottles

Museum of Childhood

In the past, due to high rates of mortality among women during childbirth, it was not unusual for babies to be fed by artificial means. Until the late 19th Century, baby bottles made from ceramic or metal and shaped like flattened tea pots—tapered to a point for suckling, with a hole in the top to pour in the breastmilk substitute.  Unfortunately, because sanitary conditions were so poor, bottlefed babies often died after getting sick from bacteria built up inside improperly cleaned bottles.

The first glass baby bottle in the U.S. was patented by Charles Windship of Roxbury, Massachusetts in 1841. His design featured a teardrop-shaped bottle with a glass tube coming down from the neck to act as a straw.  Attached to the neck was a rubber hose, leading up to a bone mouth guard and a rubber nipple. Busy moms loved it because the baby could sit up with the bottle between his legs and suck on the nipple to eat; no adult assistance required. However, the rubber hose was nearly impossible to clean, so bacteria built up inside, and the baby inevitably fell ill. The design caused so many infant deaths that it earned the nickname “the killer bottle.” Despite its terrible reputation, and the insistence by doctors not to use that type of bottle, it was popular well into the 1920s.

7. Car Seats

For decades after the automobile’s invention, child seats were less about safety and more about keeping the kid contained in the car. Early child seats were nothing more than burlap sacks with a drawstring that hung over the headrest on the passenger’s seat. Later models, like the one produced by the Bunny Bear Company in 1933, were basically booster seats, propping backseat riders up so parents could keep an eye them. In the 40s, many manufacturers released canvas seats on a metal frame that attached to the car’s front seat so Junior could get a better view out the windshield.  To help complete the illusion, a toy steering wheel was often added to the frame so he could pretend to drive.

The first true safety seat for kids appeared in 1962 when Britain’s Jean Ames created a rear-facing car seat, complete with a Y-shaped strap system to securely hold the baby in an accident. He chose rear-facing because he was operating on the concept of “ride down,” which essentially says it’s safest to decelerate in the same direction the car is moving.  At about the same time, Leonard Rivkin of Denver, Colorado invented the Strolee National Safety Car Seat for Children, which saw the child buckled into a chair surrounded by a metal frame.  It could be used on the front or back bench seat, and even between the new-fangled bucket seats that were becoming popular at the time.

But probably the closest thing to a modern car seat is 1968’s “Tot-Guard” made by the Ford Motor Company. The molded plastic chair was buckled into place by the existing seat belt, and featured a padded console in front of the child to cushion the impact in an accident. General Motors soon came out with their own safety seat, the Loveseat for Toddlers, followed closely by the rear-facing Loveseat for Infants. 

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Marie Antoinette's Jewelry Is Up for Sale
Michael Bowles, Getty Images for Sotheby's
Michael Bowles, Getty Images for Sotheby's

Rare jewelry that once belonged to Marie Antoinette and hasn't been seen in public for 200 years will be heading to the auction block this fall, according to The Adventurine.

A diamond parure (jewelry set), three-strand pearl necklace, and other gems that once adorned the last queen of France will be sold on November 12 in Geneva, Switzerland, as part of Sotheby's "Royal Jewels from the Bourbon-Parma Family" auction. The family in question is related by blood to some of Europe's most important rulers, including former kings of France and Spain and emperors of Austria.

A diamond jewelry set
Courtesy of Sotheby's

Although Marie Antoinette was known for her opulent fashion choices, her jewels have scarcely been seen since the French Revolution, The Adventurine reports. The Smithsonian owns a pair of earrings that are believed to contain diamonds from the queen's collection, and a diamond necklace that appeared at a Christie's auction in 1971 "hasn't been seen since." The jewelry magazine notes that many of Marie Antoinette's jewels were dismantled, but a few—like the ones featured in this latest collection—managed to survive.

A pearl necklace
Courtesy of Sotheby's

According to Sotheby's, Marie Antoinette placed all her jewels in a wooden chest in March 1791 and shipped them off to her nephew, the Austrian Emperor, for safekeeping [PDF]. That following year, the royal family was imprisoned, and in 1793 Marie Antoinette and King Louis XVII were executed by guillotine. Their only surviving child, Marie Thérèse de France, retrieved the jewels and later passed them along to her niece, since she had no children of her own. They ultimately ended up with Robert I, the last ruling Duke of Parma in Italy.

The most valuable piece, a pearl pendant featuring a bow made of diamonds, is expected to fetch between $1 million and $2 million, according to the auction house's estimates. In the late 18th century, pearls were just as coveted as diamonds because of their rarity. Marie Antoinette, of course, wore them often.

A diamond and pearl pendant
Courtesy of Sotheby's

"It is one of the most important royal jewelry collections ever to appear on the market and each and every jewel is absolutely imbued with history," Daniela Mascetti, of Sotheby's European jewelry division, said in a statement.

[h/t The Adventurine]

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12 Facts About James Joyce
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Hulton Archive/Getty Images

June 16, 1904 is the day that James Joyce, the Irish author of Modernist masterpieces like Dubliners and A Portrait of the Artist as a Young Man, and who was described as “a curious mixture of sinister genius and uncertain talent,” set his seminal work, Ulysses. It also thought to be the day that he had his first date with his future wife, Nora Barnacle.

He was as mythical as the myths he used as the foundations for his own work. So in honor of that June day in 1904—known to fans worldwide as “Bloomsday,” after one of the book’s protagonists, Leopold Bloom—here are 12 facts about James Joyce.

1. HE WAS ONLY 9 WHEN HIS FIRST PIECE OF WRITING WAS PUBLISHED.

In 1891, shortly after he had to leave Clongowes Wood College when his father lost his job, 9-year-old Joyce wrote a poem called “Et Tu Healy?” It was published by his father John and distributed to friends; the elder Joyce thought so highly of it, he allegedly sent copies to the Pope.

No known complete copies of the poem exist, but the precocious student’s verse allegedly denounced a politician named Tim Healy for abandoning 19th century Irish nationalist politician Charles Stewart Parnell after a sex scandal. Fragments of the ending of the poem, later remembered by James’s brother Stanislaus, showed Parnell looking down on Irish politicians:

His quaint-perched aerie on the crags of Time
Where the rude din of this century
Can trouble him no more

While the poem was seemingly quaint, young Joyce equating Healy as Brutus and Parnell as Caesar marked the first time he’d use old archetypes in a modern context, much in the same way Ulysses is a unique retelling of The Odyssey.

As an adult, Joyce would publish his first book, a collection of poems called Chamber Music, in 1907. It was followed by Dubliners, a collection of short stories, in 1914, and the semi-autobiographical A Portrait of the Artist as a Young Man (in which Clongowes Wood College is prominently featured) in 1916.

2. HE CAUSED A CONTROVERSY AT HIS COLLEGE’S PAPER.

While attending University College Dublin, Joyce attempted to publish a negative review—titled “The Day of the Rabblement”—of a new local playhouse called the Irish Literary Theatre in the school’s paper, St. Stephen’s. Joyce’s condemnation of the theater’s “parochialism” was allegedly so scathing that the paper’s editors, after seeking consultation from one of the school’s priests, refused to print it.

Incensed about possible censorship, Joyce appealed to the school’s president, who sided with the editors—which prompted Joyce to put up his own money to publish 85 copies to be distributed across campus.

The pamphlet, published alongside a friend’s essay to beef up the page-count, came with the preface: “These two essays were commissioned by the editor of St. Stephen’s for that paper, but were subsequently refused insertion by the censor.” It wouldn’t be the last time Joyce would fight censorship.

3. NORA BARNACLE GHOSTED HIM FOR THEIR PLANNED FIRST DATE.

By the time Nora Barnacle and Joyce finally married in 1931, they had lived together for 27 years, traveled the continent and had two children. The couple first met in Dublin in 1904 when Joyce struck up a conversation with her near the hotel where Nora worked as a chambermaid. She initially mistook him for a Swedish sailor because of his blue eyes and the yachting cap he wore that day, and he charmed her so much that they set a date for June 14—but she didn’t show.

He then wrote her a letter, saying, “I looked for a long time at a head of reddish-brown hair and decided it was not yours. I went home quite dejected. I would like to make an appointment but it might not suit you. I hope you will be kind enough to make one with me—if you have not forgotten me!” This led to their first date, which supposedly took place on June 16, 1904.

She would continue to be his muse throughout their life together in both his published work (the character Molly Bloom in Ulysses is based on her) and their fruitful personal correspondence. Their notably dirty love letters to each other—featuring him saying their love-making reminded him of “a hog riding a sow” and signing off one by saying “Goodnight, my little farting Nora, my dirty littlef**kbird!"—have highlighted the NSFW nature of their relationship. In fact, one of Joyce’s signed erotic letters to Nora fetched a record £240,800 ($446,422) at a London auction in 2004.

4. HE HAD REALLY BAD EYES.

While Joyce’s persistent money problems caused him to lead a life of what could be categorized as creative discomfort, he had to deal with a near lifetime of medical discomfort as well. Joyce suffered from anterior uveitis, which led to a series of around 12 eye surgeries over his lifetime. (Due to the relatively unsophisticated state of ophthalmology at the time, and his decision not to listen to contemporary medical advice, scholars speculate that his iritis, glaucoma, and cataracts could have been caused by sarcoidosis, syphilis, tuberculosis, or any number of congenital problems.) His vision issues caused Joyce to wear an eye patch for years and forced him to do his writing on large white sheets of paper using only red crayon. The persistent eye struggles even inspired him to name his daughter Lucia, after St. Lucia, patron saint of the blind.

5. HE TAUGHT ENGLISH AT A BERLITZ LANGUAGE SCHOOL.

In 1904, Joyce—eager to get out of Ireland—responded to an ad for a teaching position in Europe. Evelyn Gilford, a job agent based in the British town of Market Rasen, Lincolnshire, notified Joyce that a job was reserved for him and, for two guineas, he would be told exactly where the position was. Joyce sent the money, and by the end of 1904, he and his future wife, Nora, had left Dublin for the job at a Berlitz language school in Zurich, Switzerland—but when they got there, the pair learned there was no open position. But they did hear a position was open at a Berlitz school in Trieste, Italy. The pair packed up and moved on to Italy only to find out they’d been swindled again.

Joyce eventually found a Berlitz teaching job in Pola in Austria-Hungary (now Pula, Croatia). English was one of 17 languages Joyce could speak; others included Arabic, Sanskrit, Greek, and Italian (which eventually became his preferred language, and one that he exclusively spoke at home with his family). He also loved playwright Henrik Ibsen so much that he learned Norwegian so that he could read Ibsen's works in their original form—and send the writer a fan letter in his native tongue.

6. HE INVESTED IN A MOVIE THEATER.

There are about 400 movie theaters in Ireland today, but they trace their history back to 1909, when Joyce helped open the Volta Cinematograph, which is considered “the first full-time, continuous, dedicated cinema” in Ireland.

More a money-making scheme than a product of a love of cinema, Joyce first got the idea when he was having trouble getting Dubliners published and noticed the abundance of cinemas while living in Trieste. When his sister, Eva, told him Ireland didn’t have any movie theaters, Joyce joined up with four Italian investors (he’d get 10 percent of the profits) to open up the Volta on Dublin’s Mary Street.

The venture fizzled as quickly as Joyce’s involvement. After not attracting audiences due to mostly showing only Italian and European movies unpopular with everyday Dubliners, Joyce cut his losses and pulled out of the venture after only seven months.

The cinema itself didn’t close until 1919, during the time Joyce was hard at work on Ulysses. (It reopened with a different name in 1921 and didn’t fully close until 1948.)

7. HE TURNED TO A COMPLETELY INEXPERIENCED PUBLISHER TO RELEASE HIS MOST WELL-KNOWN BOOK.

The publishing history of Ulysses is itself its own odyssey. Joyce began writing the work in 1914, and by 1918 he had begun serializing the novel in the American magazine Little Review with the help of poet Ezra Pound.

But by 1921, Little Review was in financial trouble. The published version of Episode 13 of Ulysses, “Nausicaa,” resulted in a costly obscenity lawsuit against its publishers, Margaret Anderson and Jane Heap, and the book was banned in the United States. Joyce appealed to different publishers for help—including Leonard and Virginia Woolf’s Hogarth Press—but none agreed to take on a project with such legal implications (and in Virginia Woolf’s case, length), no matter how supposedly groundbreaking it was.

Joyce, then based in Paris, made friends with Sylvia Beach, whose bookstore, Shakespeare and Company, was a gathering hub for the post-war expatriate creative community. In her autobiography, Beach wrote:

All hope of publication in the English-speaking countries, at least for a long time to come, was gone. And here in my little bookshop sat James Joyce, sighing deeply.

It occurred to me that something might be done, and I asked : “Would you let Shakespeare and Company have the honour of bringing out your Ulysses?”

He accepted my offer immediately and joyfully. I thought it rash of him to entrust his great Ulysses to such a funny little publisher. But he seemed delighted, and so was I. ... Undeterred by lack of capital, experience, and all the other requisites of a publisher, I went right ahead with Ulysses.

Beach planned a first edition of 1000 copies (with 100 signed by the author), while the book would continue to be banned in a number of countries throughout the 1920s and 1930s. Eventually it was allowed to be published in the United States in 1933 after the case United States v. One Book Called Ulysses deemed the book not obscene and allowed it in the United States.

8. ERNEST HEMINGWAY WAS HIS DRINKING BUDDY—AND SOMETIMES HIS BODYGUARD.

Ernest Hemingway—who was major champion of Ulysses—met Joyce at Shakespeare and Company, and was later a frequent companion among the bars of Paris with writers like Wyndham Lewis and Valery Larbaud.

Hemingway recalled the Irish writer would start to get into drunken fights and leave Hemingway to deal with the consequences. "Once, in one of those casual conversations you have when you're drinking," Hemingway said, "Joyce said to me he was afraid his writing was too suburban and that maybe he should get around a bit and see the world. He was afraid of some things, lightning and things, but a wonderful man. He was under great discipline—his wife, his work and his bad eyes. His wife was there and she said, yes, his work was too suburban--'Jim could do with a spot of that lion hunting.' We would go out to drink and Joyce would fall into a fight. He couldn't even see the man so he'd say, 'Deal with him, Hemingway! Deal with him!'"

9. HE MET ANOTHER MODERNIST TITAN—AND HAD A TERRIBLE TIME.

Marcel Proust’s gargantuan, seven-volume masterpiece, À la recherche du temps perdu, is perhaps the other most important Modernist work of the early 20th century besides Ulysses. In May 1922, the authors met at a party for composer Igor Stravinsky and ballet impresario Sergei Diaghilev in Paris. The Dubliners author arrived late, was drunk, and wasn’t wearing formal clothes because he was too poor to afford them. Proust arrived even later than Joyce, and though there are varying accounts of what was actually said between the two, every known version points to a very anticlimactic meeting of the minds.

According to author William Carlos Williams, Joyce said, “I’ve headaches every day. My eyes are terrible,” to which the ailing Proust replied, “My poor stomach. What am I going to do? It’s killing me. In fact, I must leave at once.”

Publisher Margaret Anderson claimed that Proust admitted, “I regret that I don’t know Mr. Joyce’s work,” while Joyce replied, “I have never read Mr. Proust.”

Art reviewer Arthur Power said both writers simply talked about liking truffles. Joyce later told painter Frank Budgen, “Our talk consisted solely of the word ‘No.’”

10. HE CREATED A 100-LETTER WORD TO DESCRIBE HIS FEAR OF THUNDER AND LIGHTNING.

Joyce had a childhood fear of thunder and lightning, which sprang from his Catholic governess’s pious warnings that such meteorological occurrences were actually God manifesting his anger at him. The fear haunted the writer all his life, though Joyce recognized the beginnings of his phobia. When asked by a friend why he was so afraid of rough weather, Joyce responded, “You were not brought up in Catholic Ireland.”

The fear also manifested itself in Joyce’s writing. In Portrait of the Artist as a Young Man, the autobiographical protagonist Stephen Dedalus says he fears “dogs, horses, firearms, the sea, thunderstorms, [and] machinery.”

But the most fascinating manifestation of his astraphobia is in his stream of consciousness swan song, Finnegans Wake, where he created the 100-letter word Bababadalgharaghtaka-mminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk to represent a symbolic biblical thunderclap. The mouthful is actually made up of different words for “thunder” in French (tonnerre), Italian (tuono), Greek (bronte), and Japanese (kaminari).

11. HE’S THOUGHT OF AS A LITERARY GENIUS, BUT NOT EVERYONE WAS A FAN.

Fellow Modernist Virginia Woolf didn't much care for Joyce or his work. She compared his writing to "a queasy undergraduate scratching his pimples," and said that "one hopes he’ll grow out of it; but as Joyce is 40 this scarcely seems likely."

She wasn't the only one. In a letter, D.H. Lawrence—who wrote such classics as Women in Love and Lady Chatterley’s Loversaid of Joyce: “My God, what a clumsy olla putrida James Joyce is! Nothing but old fags and cabbage stumps of quotations from the Bible and the rest stewed in the juice of deliberate, journalistic dirty-mindedness.”

“Do I get much pleasure from this work? No," author H.G. Wells wrote in his review of Finnegans Wake. “ ... Who the hell is this Joyce who demands so many waking hours of the few thousand I have still to live for a proper appreciation of his quirks and fancies and flashes of rendering?”

Even his partner Nora had a difficult time with his work, saying after the publication of Ulysses, “Why don’t you write sensible books that people can understand?”

12. HIS SUPPOSED FINAL WORDS WERE AS ABSTRACT AS HIS WRITING.

Joyce was admitted to a Zurich hospital in January 1941 for a perforated duodenal ulcer, but slipped into a coma after surgery and died on January 13. His last words were befitting his notoriously difficult works—they're said to have been, "Does nobody understand?"

Additional Source: James Joyce

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