This paper consists of commentaries about and the reprint of an autobiographical essay authored by Italian medium Eusapia Palladino and published in 1910. The details of the essay are discussed in terms of the writings of other individuals about the life and performances of the medium. The essay conveys a view of Palladino as a person who has suffered much in life and has a mission to help scientific research into mediumship. Typical of the positive emphasis in autobiographies in general, (...) the medium did not discuss negative aspects of her performances. Due to the fact that the essay appeared during Palladino's visit to New York City in which many authors branded her as a fraud, it may be speculated that the purpose of this autobiography was to elicit sympathy from the American public. While some of the statements that Palladino made about phenomena are consistent with the statements of other authors who have written about her, there are several statements that show alternate or incomplete versions of particular events in her life. The differences suggests that Palladino's essay and other discussions about the medium's life are not reliable when it comes to specific details and to biographical accuracy. (shrink)

This is an essay review of Eusapia Paladino: Materialisations and Intellergetic Phenomena in Physical Mediumship, compiled by Scott Dickerson (No publication place: Runabout, 2016. 286 pp. ISBN-13: 978-1530915859).

This paper chronicles my introduction to and subsequent investigation of the Felix Experimental Group (FEG) and its exhibitions of classical physical mediumship. It’s been nearly a century since investigators have had the opportunity to carefully study standard spiritistic phenomena, including the extruding of ectoplasm, and the FEG is the only current physical mediumistic circle permitting any serious controls. The paper details a progressively stringent, personally supervised series of séances, culminating in some well-controlled experiments with video documentation in a secure and (...) private location belonging to one of the investigators. Regrettably, recent indications of fraud (explored also by Michael Nahm in this issue) have tarnished the case as a whole. However, it remains unclear how extensive the fraud has been. Accordingly, this paper evaluates the arguments both for and against the paranormality of the phenomena displayed under the author’s supervision. (shrink)

Composer and musicologist Nicolas Slonimsky published a fascinating and delightful book entitled Lexicon of Musical Invective: Critical Assaults on Composers Since Beethoven’s Time (Slonimsky 1965). The book is a collection of what Slonimsky called “biased, unfair, ill-tempered, and singularly unprophetic judgments” (p. 3) about famous composers and their works. We find, for example, the Gazette Musicale de Paris on August 1, 1847, saying of Verdi, “there has not yet been an Italian composer more incapable of producing what is commonly called (...) a melody.” And this publication stuck to its guns. On May 22, 1853, it said of Rigoletto that it “lacks melody. This opera has hardly any chance to be kept in the repertoire.” The May 1804 issue of Zeitung für die Elegente Welt proclaimed Beethoven’s Second Symphony is a crass monster, a hideously writhing wounded dragon, that refuses to expire, and though bleeding in the Finale, furiously beats about with its tail erect................ (shrink)