Presidential trivia for President’s Day


With President’s Day approaching, we thought we would compile a list of relatively obscure facts, trivia, and some interesting stories about the forty-four men that have served in the office of president for the United States’ citizens throughout our nation’s relatively young history. These are not fun trivia questions, and one of my friends informed me that people enjoy questions that they have a chance of answering correctly. For those that sit in an office, and send out trivia questions to your team members, we thought we would provide some trivia for those that want one or two questions that office workers cannot Google up as easily. (Unless they cheat and Google up this page of course.)  

10) Which president was never on a ticket that won a presidential election?

Answer: Gerald Ford. Andrew Johnson never personally won a presidential election, but he was on the 1865, winning ticket as Abraham Lincoln’s vice-president. Gerald Ford was not present on Richard M. Nixon’s 1968, winning ticket. That honor went to Spiro Agnew, originator of the famous, erudite insult “Nattering nabobs of negativism”. A third trivia question spawns from Ford’s unsuccessful run for president in 1976. The vice-president listed on his 1976 ticket was future presidential candidate Bob Dole. The victor of the 1976 election was James Earl Carter, and his vice-president was future presidential candidate Walter Mondale. Both of these vice-presidents were unsuccessful in their future runs for office. 

9) Other than President Bill Clinton, what president was successfully impeached by the House of Representatives?

Andrew Johnson
Andrew Johnson

Answer: Andrew Johnson. Both were acquitted by the Senate, but Johnson’s presidency survived by a single vote, while Clinton’s presidency survived four separate charges of impeachment. Two of the charges passed in the House of Representatives, a vote that included five Democrats voting in favor of three of the four charges. As opposed to the House’s requirement of a simple majority to impeach, the Senate required a two-thirds majority to impeach. Both of the charges brought against Clinton failed to indict the impeached president. The obstruction of justice charge  failed by seventeen votes, and the perjury charge failed to reach the two-thirds majority requirement by twenty-two votes. Some say these votes were cast along party lines, and they were, almost exclusively, while others say that the charges themselves were partisan by nature. For those that suggest that Richard Nixon was impeached, he probably would have been, but he resigned from office before impeachment proceedings could begin.  

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8) Historians list President Donald J. Trump as the forty-fifth president, but he is the forty-fourth man to serve in this role. Is this a discrepancy or an error?

Grover Cleveland
Grover Cleveland

Answer: President Grover Cleveland served two terms that were non-consecutive. Thus, he is considered both the 22nd and the 24th president in U.S. History.

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7) We all use the idiom O.K. to inform others that we are doing well. “I’m O.K. How are you?” Some have stated that the idiom may have been mistakenly applied to a presidential candidate to describe his qualifications for office. What president was this?

Van BurenAnswer: President Martin Van Buren. The origins of O.K. are widely disputed, and there are many theories about its etymology. The most interesting one I’ve heard comes from the candidacy of Van Buren. He was from Old Kinderhook, New York. While in office, associates and voters began referring to him as Old Kinderhook, or O.K., as opposed to New Kinderhook, or N.K., and he continued to be referred to as O.K. in speeches and in print. O.K. clubs formed in support of Van Buren, and some began to believe that this idiom referred to his qualifications when supporters began chanting that Van Buren was “O.K.” at rallies, Voters soon began to believe that he was not as “O.K.” as they once thought when they booted him from power and refused him re-election on two other, subsequent bids for the office, but those losses did not affect the power of the idiom that some believed described his qualifications. Others state that the idiom predates Van Buren, and it only achieved national prominence through Van Buren’s successful use of it.

6) Is Abraham Lincoln related to Tom Hanks?

LincolnAnswer: Abraham Lincoln and Tom Hanks were first cousins and childhood friends. Lincoln’s Mother’s maiden name was Hanks, and there was a cousin on that side named Thomas, and the two of them were quite close. So, I cheated. The star of Forrest Gump that we know today was not the same as the one that Abe palled around, but Abe did have a first cousin named Tom Hanks. Recent genealogy tests have also revealed that the Forrest Gump actor, Tom Hanks, is a third cousin, four times removed, from Abraham Lincoln, so the question and answer works both ways for those seeking to trip their friends and colleagues up. {1}

5) Many people know that George H.W. Bush and George W. Bush were the second father-son presidents, following John Adams and John Quincy Adams, but there was one former Congressman that was the son of one president and the father of another. Who was that man?

John ScottAnswer: John Scott Harrison. Congressman John Scott was the son of President William Henry Harrison, and the father of President Benjamin Harrison. Unfortunately, William Henry did not live long enough to see his John Scott win his seat in Congress, and John Scott did not live long enough to see his son, Benjamin, win the presidency. The three of them did achieve quite a legacy in politics however, and we have to feel for all of the generations of Harrisons that followed in their attempts to continue and further such an historic legacy.

4) Which president was the most successful former president?

TaftAnswer: This is debatable, of course, but one-term President William Howard Taft was the only former president to achieve a nomination of Chief Justice of the Supreme Court. In an argument devoted solely to the positions former presidents  achieved, no former president matches Taft’s level of prestige.

3) Which president survived the first attempt at an assassination?

AndrewJackson(1)Answer: Andrew Jackson. This is primarily noteworthy, in history, because after two unsuccessful attempts to fire his pistol at Jackson, failed assassin Richard Lawrence secured his place in history as not only a failed assassin, but as a man that got beat down for his efforts by an angry old man. (It is reported that after the failed attempts at taking his life, Andrew Jackson participated in the subduing of the failed assassin by beating him down with his cane.){2}

2) Which president was the first to have an underwater car?

Answer: Lyndon Baines Johnson. This question is also included less for the mind bending quality and more for the story. History has it that LBJ loved to take unsuspecting aides and dignitaries for a ride in this submersible car to a lake. When approaching the lake, LBJ would begin screaming and hollering hysterically that the brakes were failing, only to say something along the lines of “Gentlemen, I’d like to introduce you to the world’s first submersible car” when they were all underwater together.{3} One has to imagine that the feminine shrieks these dignitaries would issue when approaching the lake would eventually give LBJ a lot of power in geopolitical negotiations.

1) Other than William Henry Harrison, which president served the shortest tenure?

GarfieldAnswer: James A. Garfield. Although Garfield technically served six months and fifteen days, he was shot four months into his tenure as president. He, then, suffered for eleven weeks following this assassination attempt, while attending doctors attempted to locate the bullet. Alexander Graham Bell was even brought in with an invention called the metal detector to try and locate the bullet. Most historians and medical experts now believe that Garfield probably would have survived had the attending doctors not placed their unsterilized fingers into the president’s wounds searching for the bullet. Some have even theorized that Garfield may have had a better chance at survival if these doctors did nothing, and that it was the anti-sepsis measures these doctors employed to locate the bullet that led to Garfield’s death.{4}

*bonus) The numbers:

  1. There have been 56 presidential elections.
  2. Five future presidents lost the popular vote and become presidents.
  3. Thirteen presidents have been reelected to office and served out that second term.
  4. The youngest president to ever take office was Theodore Roosevelt. He was not yet forty-three at the time. (The interesting note on this point is that Theodore Roosevelt stated that the one bad thing about being elected so young was that I had nowhere to go but down after that.) He was not yet fifty-years-old when he decided not to seek reelection. Roosevelt assumed office after President McKinley was assassinated, and Roosevelt ended up serving almost eight years. He considered that enough at the time, but changed his mind. This might be another mind bender, who was the last president to serve seven and a half years and decide not to seek reelection.   

{1}http://www.dailymail.co.uk/news/article-2207331/How-Tom-Hanks-related-Abraham-Lincoln-presidents-mother.html {2}http://en.wikipedia.org/wiki/Richard_Lawrence_(failed_assassin) {3}http://www.reddit.com/r/todayilearned/comments/17yg7l/til_president_lbj_owned_an_amphibious_car_the/ {4} http://en.wikipedia.org/wiki/Assassination_of_James_A._Garfield

How to Succeed in Writing VIII: Insatiable Curiosity


This is my letter to those of us who have an insatiable curiosity who haven’t achieved anything in the field yet. This is a letter to those who haven’t found their artistic voice just yet but know it’s somewhere between their favorite authors, and the thousands of other books they’ve read and them. Continue that search I say, and if you find it, follow it in any direction it leads you. The path through some odd rabbit holes and dark forests might not make much sense, but all paths eventually lead back to you. It might not make much sense why we a particularly obscure piece of literature by some obscure author interests us, but I advise you to purchase it and see if it pays some artistic dividends.

I didn’t know any of this when I started, but I ached to express myself in some way. I didn’t know how to express myself, but the desire to do so was enough to guide me passed the heartbreaking critiques I received. I was not the prodigy I thought I was when I first started in other words. I was not a gifted intellect who just needed a canvas, but I was a curious sort who loved processing the data I saw in my otherwise boring days into creative non-fiction. When I started this venture, I tried to hard to spin the stories I had into something gargantuan, but I found the truth, the whole truth, and nothing but the truth far more compelling. It took years to realize that I was never going to be Stephen King, Dean Koontz, or James Patterson, and it took me a little longer than that to be okay with that. Thanks to a couple of articles and books, I discovered that I was a creative non-fiction writer before being creative non-fiction was cool, who reported on the facts, as opposed to an out and out artist who could spin an organic web. 

I knew I was different, yet I didn’t know how to service those variables in a constructive manner. My worldview was different too, but I had no idea how to create a vehicle for it. This mystique I created of being a writer also became counterproductive over time. I wanted to create this world without doing the work. Every time I wrote, I received more evidence that I probably wasn’t as good as I thought.

Some of the people around me were quite generous in supplying notices to bolster this notion I had that I probably wasn’t as skilled as I thought I was. The one key characteristic that carried me through all that was that I had/have an insatiable curiosity. This level of curiosity can be embarrassing at times, as it can override good sense. When I’m involved in a relatively unique experience my curiosity gets the best of me, and while I might know how and why things work, on a certain level, some odd part of me wants to “rework them” with you to understand how we all arrived at that conclusion. It can be embarrassing, because most people provide the A-Z mechanics answer with that “of course” tone. I then share the “of course” tone in my answer, and both of us consider me a little dumber in the process.   

One element of the “of course” findings involved me wanting to be more interesting than I was, but I never quite made that leap. There is an A-Z checklist to being interesting, some have it, most don’t. How do you achieve it, in a room setting, at a Thanksgiving Day dinner? I compensated for my short comings by studying those around me. I developed a mental, A-Z checklist of those characteristics, but I was never able to employ them properly. 

“Why did you talk about that instead of this?” I would ask scintillating conversationalists. “Why would you think anyone would want to know how you roll out a sleeping bag, in a tent, while on a camping expedition? Everyone considered it hilarious, I know, but why did you think anyone would? Why did you say the in the third sentence of your presentation, instead of the more common the? Is it all about how we tell such stories, or provide a hilarious retort? Why do we react differently to two people who say almost the exact same thing?” Some people might add to such a story, others might take a leap from that joke to add one of their own, but I would study and later interrogate the storyteller to try to understand the process of joke telling, storytelling, and what separated them from those who can’t tell a joke or a story as well. I understood it on a macro level, but those finite details of being interesting plagued me. What’s the difference between Jerry and Lou and Daniel and Ron? It’s obvious to anyone paying attention that Daniel has simply checked out. I don’t know what roads he’s been down, but somewhere along the way, he determined that no one is interested in what he has to say. He gave up ever trying to be engaging. He just knew he wasn’t, and for reasons inherent to his nature, he knew he never would. Most entertaining and engaging people don’t put a lot of thought into it, they just have fun, but others learn the process as they go. I am perpetually frustrated by my separation from those who are entertaining, and I discovered that in the process of trying to understand the “it” factor they have, I was trying to understand more about myself.  

I didn’t do any of this for the purpose of developing high quality material, it’s more a byproduct of it. I am curious to a fault, and I write that word fault with the idea that some people who know me well consider me stupid, naive, and stupidly naive. When they explain it to me, I feel stupid and naive, because on some level I knew how it worked, but there is this sense that I want it reworked for me, so I can understand it again, more thoroughly, down to the grains of construction.  

How deep is our sense of curiosity? How deep into the organic grain of construction are we? What do we do with the information we find? Most of it is not useful, in an artistic sense, but organic curiosity often leads to aimless fascination that just might produce a grain of inspiration.   

It’s in these grains of construction that I discovered an individualistic interpretation of what it means to be a writer. A lot of new, and longtime, writers write, speak, and hypothesize about the process of writing. We speak about having post-it notes all around them to capture the ideas of the moment, or a moment, before they forget them. We talk about the tools we use to create, the mood we need for proper creation, the setting, the mindset, and everything that we’ve defined as the characteristics of being a writer, but how do we transport all of that into an interesting idea? 

The best route to developing interesting ideas is to have the most boring childhood imaginable. I don’t know how boring someone else might view my childhood, but I can report that I spent vast amounts of hours doing nothing. With the advent of cell phones, this might be a thing of the past, but I spent those hours doing nothing but thinking about stuff. I rewrote and editing real conversations I had thousands of ways, and I spent so many hours fantasizing that I became the adult and the storyteller I am today.  

Nothing replaces the human mind, it’s the best device for creative thought ever invented. We shouldn’t need post-it notes, recording devices, or anything more than a well-honed brain. We record that which is memorable, or noteworthy, material. If it is, in fact, noteworthy material, it will stick. It will gestate in your brain, until you have a completed idea of that which you have experienced. In the curiosity regarding the organic grain of construction, the creative mind will eventually understand as well as, if not better than, those who constructed it, for the purpose of rewriting, or reconstructing it with a creative spin. 

james-joyceAre you Kerouac or Joyce?  One style of writing that new writers, and complicated artistes, laud is the Jack Kerouac and James Joyce style of writing called stream-of-consciousness (SC) writing. SC writing is a style of writing that plays out exactly as it sounds: An author sits down and composes 300-700 pages of prose in a matter of months. The SC author does little to no editing and revising, because in the strictest definition of SC writing there are no mistakes in a contextual or conceptual sense. “One error is a mistake, two are jazz,” some say Miles Davis once said. Contextual mistakes, according to those who pursue this form of writing, and the painter Pablo Picasso, are subconscious leads. What could be seen as an errant stroke by some was something to build on for Picasso, Davis, and Joyce and Kerouac when it came to writing. They saw mistakes as the subconscious guiding them down a path they hadn’t consciously considered before. Both of these writers were forced to fight off editors and publishers in the belief that their works should remain as is.

kerouac“I write to entertain myself,” those who adhere to the Joyce/Kerouac style say. “If anyone else is entertained, that’s gravy.” The reason we started writing in the first place was to see if we could take all of our influences and combine them with our inner voices, to achieve stories that would entertain us. Too much editing and revising takes the spontaneity right out of an artistic creation, and trying to make my pieces relatable to all is impossible, so why would I spend too much time trying to correct conceptual and contextual mistakes?

Have you ever read James Joyce’s Ulysses? How about Finnegans Wake? Most normal humans, of adequate intelligence, need a guide to help them understand all of the references and allusions Joyce makes in these works. All of Joyce’s jokes and provocations were “in-house” references that he understood, and that you can understand too…with a reference guide that’s almost as lengthy, but they’re not enjoyable books as a standalone. No one will know what the heck you’re talking about, in other words, when you write in Joyce’s SC manner. You will know, as Joyce and those that lived in Ireland at the time knew, but your reader won’t know. You will only frustrate them. “Can’t you see that A led to B, and C was the result?” Oh ok, they say, now I get it. As frustrated as you were with them, it wasn’t their fault that they didn’t get it. It was yours, and you need to edit and revise more.

Most new writers should be advised to follow the editing and revising school of thought for just this reason. This line of thought suggests that a story matures in the editing process. It suggests that the framework of a story can be borne in the stream-of-consciousness (SC) stage, but that the marrow of a story is created when we go back and live through the story again and again, until we reach the readability stage. This theory also suggests that editing and revising stories gives the author greater objectivity than he can achieve in the creation process. Objectivity gives the author the chance to attempt to read the story in the manner a reader may read their story. It gives the author some distance from the relatively narrow position one is in while creating the piece, and they can correct some of the errors of flow and characterization that may not be apparent in the creative process.

We “editing and revising” writers find it hard to believe that Kerouac and Joyce were able to develop their story, their characters, their pace, and their setting on the fly in the manner they suggest. It just doesn’t seem feasible—no matter how brilliant they may be—that they could make all of the connections, and all of the asides mesh well into a story on the fly, but if you believe the Kerouac myth—that Kerouac created—he wrote his classic On the Road in a drug-frenzied three weeks on a scroll of paper. How much of this myth is true should be left up to historians to debate. What cannot be debated, however, is the fact that Kerouac and Joyce submitted relatively raw pieces of work that achieved historical status. What also cannot be debated is that—if everything they’ve said about their process is true—they should be held out as the exception to the rule that editing and revising are the keys to achieving a complete and readable story.

Most of us are not a “Man of Golden Words”, to borrow a phrase from lyricist Andrew Wood. Most of us write stupid things, bad scenes, flat characters, sloppy sentences, too much setting, unnecessary asides, and our flow isn’t quite right the first time through. We also write “great scenes” that appear foolish in revision. Most of us need advice, a second reader, and a vocal read-through. Most of us are not spontaneous, artistic geniuses, and our work could use a lot of sprucing and pruning. In this refutation, I go back to the organic construction of the grain. I believe that writing a brilliant line, as Hemingway would, requires numerous rewrites, reworking, and shape shifting. If I rework a line seven different ways, I might eventually produce enough material to isolates the germ and protect the interiority of my idea. If you are an artistic genius—and I’m not one of those who claims that no one is, out of spite for not being one—God love you. I wish I was one who could spontaneously create something that appears so simple without having to work so hard at it.

Editing and revising are definitely not the fun part of artistic creation. They are, for the most part, tedious activities that require training and discipline, and training and discipline are not the artistic principles that complicated, non-writing writers want to endure when they think about, talk about, and write about the process of their creations. The Joyce/Kerouac process appeals to them, because it makes them feel more like an artistic genius. Writing should be about writing, they are likely to say. It should be spontaneous, so that it’s still fun, and when they can’t spontaneously create, they tell people they have writer’s block. Writer’s block is a fundamental element of the complicated, non-writer’s writing life, and they all have their processes to help them out of it. True writers, in this writer’s humble opinion, never experience writer’s block. They may have moments in which they are more inspired than others, but to be unable to think of anything to write just seems impossible to those of us who have written so much that we’re now disciplined enough—after hours of exhaustive training—to always write something.

Fruit and Flowers: On that note, for the rest of us who don’t receive divine inspiration for artistic creations, there is a cure: “Paint fruit and flowers!” Flipping through various collections of art, I was surprised to find so many mundane and simple creations by artistic geniuses. Flip through any Van Gogh collection, Picasso collection, or Matisse collection and you’ll find them—relatively boring and mundane paintings of the sky, shrubs, trees, fruit, and flowers. I was shocked at how many of these paintings there were in the anthologies of these artists. Why would such talented artists waste their time painting such seemingly benign and boring paintings? Answer: They were keeping their artistic muscles taut and honed. They were learning the art of using color and contrast, and prominence and shadowing. They were finessing their God-given talent. They were becoming artists, in other words, and they were getting better, and when divine inspiration eventually struck they would be ready for it. Some of the complicated, non-writing writers have this Hollywood image of writers that tells them they need to be inspired to write. These writers know that their best material will occur when the Danube River is just outside their hotel’s window sill at a time when the first storks make their appearance in Petrovaradin. These writers know they can’t be too happy, or too sad, and that they need the finest Colombian coffee scents in their nose to receive divine inspiration. A drafty writing room with Gatorade and Diet Sunkist is just not conducive to inspired writing. They’ll tell you that they have writer’s block, when you ask them what they’re writing.  “Well,” I want to scream at them. “What are you doing about it? Try writing Fruit and Flower stories!”

“That’s easy for you to say,” will be the theme of the “complicated” writer’s reply, “but I can’t write when I’m not inspired.” If I were to see something they wrote that was at the artistic genius level, I would have no ammunition in these conversations, but they’re usually just boobs like me who want to purport some sort of artistic genius persona. They’re usually not writing anything at all. They’re usually just lazy, complicated, non-writing writers. “Write something stupid,” I want to say. “There are fruit and flowers everywhere. You don’t need to write Crime and Punishment every time out, but if you continue to write your Crime and Punishment may fall out from between the cracks.”

Therein lays the key to great writing, in my humble opinion, for if you continue to fertilize the seed with the dung of creating so many pieces that are not worthwhile, you might eventually create a flower. Others (most) will never produce a Ulysses, a World According to Garp or a Crime and Punishment style flower, and they may become so frustrated that they don’t want to continue. Those people probably shouldn’t continue. This isn’t for everyone. It’s for the incredibly talented individuals, and those with incredible amounts of perseverance.   

This may seem antithetical to everything I’ve written over the course of these How to Succeed in Writing blogs, but the question is a vital component to writing fiction, non-fiction, creative non-fiction, and everything in between. Do you enjoy writing, expression, and artistic creation, or do you want to be famous? Have you created a number of good works, but none of them are of the highest quality? How do you handle that? Do you feel like an utter failure, or are you aching for more? If you’re a complicated artiste that hasn’t achieved the fame you believe you should’ve at this point, you may want to give up. Maybe you just weren’t meant to be a writer in the first place. It’s a very important crossroads for you. If you have the temerity to push ahead, there are a number of things that you can do to keep ‘it’ all shiny and honed until you receive divine inspiration.

The History of Bloodletting by Mark Twain


“The change from reptile to bird was not as tremendous, it just took longer.” –Mark Twain on bloodletting

In 1890, the satirist Mark Twain published an essay called A Majestic Literary Fossil. In it he detailed “public reverence for old ideas and hostility to new ones” as it pertained to a medical procedure called bloodletting. Bloodletting was a medical practice that began in the age of antiquity, in Egypt. The logic behind the practice, then spread to the Greeks and Romans, the Arabs and Asians, and eventually throughout Europe during the Middle Ages and the Renaissance, and it remained atop prevailing wisdom for the next 3,000 years, until studies, performed in the 19th century showed that bloodletting could have harmful effects. Twain’s A Majestic Literary Fossil, details the life of those trapped in what we could call is one of historys first medical findings, findings that the most brilliant minds of medicine theorized could cure all that ailed us.

The theory behind bloodletting can be condensed in one succinct sentence: “A body’s “humors” (fluids) have to be in proper balance to sustain health.” That was the initial, old world translation. A modern translation would be that bloodletting involved the withdrawal of blood from a patient to prevent or cure illness or disease. That’s pretty much it, all of the theories that followed either supported, or contributed to that theory. Although Galen of Pergamon made some important discoveries regarding blood, he also contributed to this theory with the belief that blood “was created and eventually used up.” Galen did not know that blood circulated in the manner we do today, and as a result, he believed that some blood could stagnate in the extremities and cause ill health. Thus, he believed that the vagaries inherent in humoral balance were the basis for health and illness. He believed that blood was the dominant humor and the one in most need of control. In order to perpetuate this balance of the humors, a physician would have to either remove excess, or stagnant, blood from the patient, or give them an emetic to induce vomiting, or a diuretic to induce urination. A more modern interpretation of the theory, with less jargon, is that they believed there was “bad blood” and “good blood”. Bad blood caused various ailments, and it had to be drained periodically, or proactively, to signal to the body to start creating good blood, or fresh blood. When the body encountered ailments, their theory suggested, it was because the blood hadn’t been let out sufficiently, or proactively, and reactive bloodletting measures were required to address the ailment sufficiently.   

We can all laugh at the “brilliant minds” of medicine who developed and enhanced these theories now, Mark Twain included, for believing that bloodletting was ahead of its time as a medical marvel, and a cure for what ails you, in those first 3,000 years of modern medicine. Twain believed it too, however, for much of his life, because he was captive to his era, and a man of letters as opposed to medicine. It was only when his modern medical minds corrected the theories behind bloodletting that Twain saw the light, and began mocking the miracle minds of medicine for taking so long to modernize. 

Twain joined hands with those who helped his era see the light on bloodletting, and that’s when he lamented that “The change from reptile to bird was not as tremendous [as the change from bloodletting], it just took longer.” Yet, we might mock Twain’s 1890 definition of “modern medicine” 100 plus years hence, as much as he mocked the archaic practices of his past, and how many future readers will mock our definition 100 plus years from now? Will they be laughing at us for our prolific use of antibiotics to cure so much of what ails us? Will they be looking back at our use of chemotherapy as an archaic treatment of cancer? Are these the best of times in medical knowledge and technology, or will future readers consider our advancements in medicine as laughable as we do those in Twain’s time did with archaic idea of bloodletting as a cure-all?

***

Twain’s essay focuses much of its scorn on the bloodletting theories of the prominent physician, surgeon, and philosopher Galen of Pergamon from Rome (circa 129-216 A.D.). Historians considered Galen the father of Humorism, or bloodletting, and he based his theories on dissections of monkeys.

Twain writes that Galen would’ve been welcomed into his father’s home, but that Galen might have been left waiting, because “our family doctor didn’t allow blood to accumulate in the system.” [Author’s Note: Writings from the era detail that optimum use of bloodletting’s preventative measures required that a proactive doctor bleed his patients at least once a month.] Twain then added, with some spite for Galen and his theories on bloodletting, Whereas, if Galen should appear among us to-day [in the era after bloodletting], he could not stand anybody’s watch; he would inspire no awe; he would be told he was a back number, and it would surprise him to see that that fact counted against him, instead of in his favor. He wouldn’t know our medicines; he wouldn’t know our practice; and the first time he tried to introduce his own, we would hang him.”

The commentary provided in this essay focuses on what Twain knew in his modern age (circa 1890), versus what they thought they knew yesteryear. It focuses some scorn, some objective looks, and some hilarity on the prevailing wisdom of the previous eras. In their “modern era” of medicine, they saw how ridiculous collective wisdom could be, when viewed in the reflective “glare of the open day”. The essay details, without actually stating it, how much deference we offer doctors, their theories, and authority figures in general. The essay also focuses on how scientific theory can appear groundbreaking and miraculous in one era, until the “knowledge of the moderns” reveals the serious flaws of the previous era.   

Mark Twain, also known as Samuel Langhorne Clemens, was an American writer, humorist, satirist, and essayist who critiqued everything from the past to his definition of the present. Before going through the list of Twain’s hilarious documentation of the manner in which bloodletting was alleged to cure everything from the common to the severe, we should note the qualifiers author Thomas Morris added before “gently mocking” the medical cures of a bygone era in his book The Mystery of The Exploding Teeth.

“The methods [doctors] used were consistent with their understanding of how the body worked, and it is not their fault that medical knowledge has advanced considerably since then.”

It’s not their fault, I would add, and it’s wasn’t their doing. The doctors, family practitioners, or ear, nose, and throat specialists of the era were handcuffed by the constraints of knowledge at the time, and as Morris adds they performed admirably under such constraints.  

“One thing that these case histories demonstrate,” Morris adds, “is the admirably tenacious, even bloody-minded, determination of doctors to help their patients, in an age when their art left much to be desired.” 

Whenever we critique or complain about the constraints of modern medicine, we do so without considering how much time, effort, and concern occurred at every level of the modern medical pyramid. Their goal, no matter what defined their drive, was to redefine what was consider modern medicine for our health and prolonged life. Those at the bottom of this pyramid, our doctors, use that information, technology, and everything at their disposal to treat us. When we look back at what the “most brilliant minds of medicine” and their modern medical pyramid, we just laugh at them for being so foolish without considering how frustrating and agonizing it must’ve been for them to do everything they could, using everything at their disposal, only to lose a patient. They were their patient’s representative of modern technological advancement and knowledge, and when they came up short, their patients blamed them for their failures. How many parents sent their sons and daughters to these “brilliant minds of medicine” desperately seeking a cure, and those doctors desperately sought to satisfy their concerns? The narrative is funny when painted with a broad brush, but when we take a step back, we see the “admirably tenacious, even bloody-minded, determination of doctors to help their patients, in an age when their art left much to be desired.” 

No matter what era we live in, our family doctor, or our ear, nose and throat (ENT) family practitioner is our face of modern medicine, and we expect them to know every nugget of information our current modern medicine has at its disposal, and we expect them to have the latest, greatest technological assistance at their disposal, but they sit at the bottom of the medical community’s pyramid. They read the latest medical journals to learn what modern marvels and research might take away the pain, or cure us of what ails us. Yet, they play no role in the research that goes into the articles they read. They read it to help them make determinations on what courses to follow with treatment or prescriptions to write. They also use the technological innovations created by others to pinpoint our ailment, so we could say they are both the beneficiaries and captives of their era’s definition of modern medicine.

Thomas Morris’ qualifiers illustrate that as interesting, informative, and entertaining as Twain’s essay is, it is annoying to read an author assume some level of authority with a hint of intellectual superiority directed at the most brilliant minds of another era without similar qualifiers. It is so easy to criticize the past, and authors like Twain and others, critique past knowledge and technology from the pedestal of modern research, acquired knowledge, and technology as if they had something to do with it. Few of these authors acknowledge that they, like the rest of us, are the beneficiaries of modern advancements, even though they have not personally contributed anything to the difference between the eras. 

As low as the ENT sits on the pyramid of modern medicine, the writer and satirist is one step lower, just above us, as the purveyor of such information. Yet, there’s nothing wrong with a skilled satirist, on the level of Mark Twain, ridiculing the past in an entertaining manner, because it cements the George Santayana quote, “Those who don’t learn from the past are condemned to repeat it.” We all learn in different ways, some are visual learners, some have brains that need to hear information, but we all know comedy, humor, and mockery. Twain knows this, and he presents his information in an entertaining manner, but he still should’ve added some elements of humility as it pertains to the constraints of his knowledge and expertise in this arena.  

Even after placing Twain’s critiques and complaints of a bygone era in what I find proper context, I still find Twain’s drill down to the bloodletting cures of common ailments entertaining.

“[The change from the practice of bloodletting] is the utter reversal, in a couple of generations, of an attitude which had been maintained without challenge or interruption from the earliest antiquity. It amounts to creating man over again on a new plan; he was a canal boat before, he is an ocean greyhound to-day. The change from reptile to bird was not more tremendous, and it took longer.”

Headache: “One could die of a headache in the age of bloodletting,” Twain writes. “For bloodletting was listed as the proper cure of a headache back then. One such victim “seized with a violent pain in the head” required bloodletting in the arms, the application of leeches to the nostrils, the forehead, the temples, and behind the ears.

“Alas,” observed the doctor, named Bonetus, who was focused on this particular patient, “These procedures were not successful, and the patient dy’d (sic). Had the patient not dy’d, and a surgeon skilled in Arteriotomy been present, that procedure would’ve been called upon.” [Author’s note: Arteriotomy, as defined by Twain, “Is the opening of an artery with a view of taking away more blood” when the opening of the veins proved insufficient to cure what ailed the patient.]

“Here was a person being bled from the arms, forehead, nostrils, back, temples, and behind the ears,” Twain adds, “and when none of this worked the celebrated Bonetus was not satisfied, and he wanted to open an artery for a view of the cure. Now that we know what this celebrated Bonetus did to relive a headache, it is no trouble to infer that if he had a patient that suffered a stomachache, he would disembowel him. Bonetus labels his writings as “observations”. They sound more like to confessions to me.”

Frostbite: Twain cites several remedies listed in the 1745 Dictionary of Medicine by Dr. James of London and Samuel Johnson. According to this book, “One can cure frostbite by mixing the ashes of an ass’s hoof with a woman’s milk” and “Milk is bad for the teeth, for it causes them to rot, and loosens the gums.”

Dentures: “They did apparently have false teeth in those days,” Twain writes, “But they were lashed to neighboring teeth with wires or silk threads. Wearers of these teeth were encouraged not to eat with them, or laugh with them, as they usually fell out when not at rest. You could smile with them, but you should not do so without practicing first, or you may run the risk of overdoing it. These false teeth were not for business, just decoration.”

Malaria: The cure for malaria, according to a man named Paracelsus, is a spider, a spider’s web, or water distilled through a spider’s web. As evidence of their homeopathic properties, Paracelsus, notes that when he gave a spider to a monkey for consumption, “That monkey is usually free of the disorders from which they normally suffer.” Paracelsus then backs this up with the case of a dying woman who was bled dozens of times a day without response. When these constant bleedings failed to yield satisfactory results, the desperate doctors forced this woman to swallow several wads of spider web, and the results were immediate. “She straight-way mended,” Paracelsus wrote. “So,” writes Twain, “The sage (Paracelsus) is full of enthusiasm over the miracle cure that the spider web presented while mentioning, in only the most casual way, the discontinuance of the dozens of daily bleedings she had to endure. Paracelsus never suspected that this had anything to do with the cure.”

***

Twain’s essay, and all of the more modern books that followed with documented historical references to archaic medical practices of a bygone era, come equipped with two messages: be grateful for the time you live in, and if you ever achieve a method of time travel, make sure you can get back. Be grateful to all of the minds of medicine who have compiled information, through countless hours of testing and research, for giving you better health and a longer life through better medicine, greater technology, and improving the knowledge doctors have to treat us. We can all enjoy looking back at the procedures and prescriptions with a laugh, but don’t forget to be grateful. And if that ingenious mind ever comes along and figures out a way to thwart the seemingly impossible logistics of physics and achieves time travel, they should heed the warning: make sure you can get back. 

The eventual creator of the time machine should read all of these stories on archaic medical practices and procedures very carefully, and they should note that getting back might be just as important, if not more important than getting there. Before setting the world on fire with your physics defying version of the DeLorean, you might want to delay your incredible adventure a year or two to check and recheck your ability to get back. Going back to Ford’s Theater to see Abe and Mary Todd might be everything you hoped it would be, as everyone on the planet and presumably everyone in the history of man, will know your name as the one who cracked the code, but if you can’t get back, you could be subject to everything Twain, Morris, and others detail in their narratives about the relative definitions of modern medicine. If you are so brilliant that you’ve conquered the final block of physics preventing time travel, and you are able to visit your great grandfather, make sure you have enough gas, electrical power (through atomic fusion), or whatever elements, chemicals, or variations of energy you need to get back, because if you get stuck in his era, and if you’re not immune to everything they have traveling around in their sphere, you might fall prey to a doctor who knows that all they need to do is properly balance your humors.   

Humors of the body were broken down to four basic components by Galen: blood, phlegm, yellow bile, and black bile. “The theory of the four humors arose out of a Hellenic philosophy that attempted to relate all things to universal laws.” Another component of the theory was that bloodletting could produce beneficial and countering effects on the body that was subjected to deleterious effects incurred as a result of the effects changing seasons could have on humors, how a person’s dietary habits could affect these fluids, the zodiac, a person’s age, and even the compass directions’ effects. The theory held that any, and all, of these exterior forces could shake up a body’s humors and cause a body to produce more of one humor (fluid) than was necessary in that body. By releasing the blood from the body, the body could then re-regulate the humors better in regeneration.

Twain also takes some other cracks at the “home remedy” market of his day. He cites “Alexander’s Golden Antidote” that contains over one hundred ingredients, some of them common, others too complicated to mention, or attain over the counter. Twain concludes the lengthy description of this antidote, “Serve with a shovel,” but, he corrects, “We are only to take an amount that is the quantity of a hazelnut” according to the instruction on the listing. He then mocks the “Aqua Limacum” antidote that lists the “homeopathic” qualities of the garden snail when properly prepared by washing in beer, baked in fires contained in a cleaned chimney until “they make a noise”. “And with a knife and a coarse cloth to wipe away any green froth that develops; then combining those snails with a quart of saline scoured earthworms; which should then be laid on a bed of herbs and combined with two handfuls of goose dung, and two handfuls of sheep dung, then put in three gallons of strong ale, and fixed on the head and refrigeratory until distilled according to art.”

“The book does not say whether this is to be taken in one dose,” Twain writes, “or if you should split it and take a second shot at it … in case you live through the first one. The book does not specify what ailment this concoction is good for,” Twain continues, “But I have found that it is a formidable nostrum for raising good flatulencies from the stomach. It appears as though the advocates of this antidote sought to empty a sewer down the throats of those with malady so as to expel it. It is equivalent to dislodging larva from cheese with artillery fire.”

Most readers of this essay, yours truly included, would infer that Twain stood tall against homeopathy as a cure for anything, but he credits homeopathy for helping advance modern medicine beyond bloodletting and other archaic forms of medicine. He states, “When you reflect upon the fact that your father had to take such medicines as those listed above, and that you would be taking them today yourself but for the introduction of homeopathy, which forced the old-school doctor to stir around and learn something of a rational nature about his business, you may honestly feel grateful that homeopathy survived the attempts of the mainstream medical proponents to destroy it, even though you may never employ any homeopath but a mainstream medical proponent in your life.”

The takeaway from this essay, as I see it, harkens back to the Dickens’ quote: “It was the best of times. It was the worst of times…” Are we living in the best of times in regards to medical technology and advancement, or have we “advanced” to the worst of times where we run the risks of foregoing the natural, homeopathic, and organic cures of our forebears?

Twain writes that the collective brains of modern medicine might still be bleeding us if it hadn’t been for homeopaths injecting some sense into the conversation, but such a statement leads us to a confusing fork in the road that asks whether we should continue to follow homeopathy or the advancements in modern medicine, or as Twain seems to suggest a healthy combination of the two?

In our more modern era, there is a move toward advancements in modern medicine that is just as strong, in some quarters, as the movement against it. There is a common sentiment, among those against, that states that proponents of modern medicine are relatively neglectful of the consequences of modernity. An old biology teacher of mine captured this when he said, “Any time you put a foreign substance into your body; there will be other ramifications.” When a patient puts something foreign in their body, this theory states, something else might fall out as a result. When the patient repeatedly takes a foreign, synthetic substance to solve an ailment of the left eye, it might deplete the stomach of bile, or they might not be able to hear out of their right ear in a year. We’ve all read the research, heard the disclaimers, and experienced horror stories, but which side of medical knowledge do we trust more? Did the relative scarcity of medicinal techniques force our forebears to brilliantly, if simplistically, derive more natural –and in some opinions more effective– methods of survival in their age? Does our suspicion of advancement and technology cause us to reference old world, home remedies, and those remedies used by Native Americans, the Ancients, or any of those generations who preceded us, because they were forced to be more attuned to natural, more organic, and thus healthier cures?

Most of us are not students in the field of medicine, and we don’t understand how some guy in a lab can synthetically create some substance that makes our body work better, and what we don’t understand, we don’t trust. We’d much rather put our trust in the time-honored tradition of homeopathic remedies. Or, as my Biology teacher alluded, we’d much rather not introduce foreign, synthetic substances into our biology if we can avoid it, for fear of something else falling out. What if, as the idiot states, the cure is worse than the disease? What if it works? What if the medical marvel procures a cure with acceptable side effects? Will we trust it, or do we prefer nature’s natural products, because that just makes more sense than taking something, some egghead developed in a chemistry lab?

How many of us have watched those commercials promising cures that are so laced with disclaimers that the disclaimers take up the majority of the commercial. It’s almost laughable. It’s so ridiculous that we might want to put out a call on the Federal Drug Administration (FDA) to up the average twelve to twenty-four years of testing on medicinal drugs before they hit our shelves. “I don’t trust them,” we say when the Big Pharmaceutical Company puts another drug on the market, and we resort to the antidote that calls for snails, worms, goose dung, and lamb dung for a cure. “I just prefer the natural cures that we’re learning so much about nowadays,” we say, and that does sound more intelligent than those who seek modern, Western advancements in medical technology. “They’re only in it for profit.” Fair enough, but if one of those Big Pharmaceutical puts a drug on the market that leads to negative nationwide headlines, the effect those stories can have on the company stock, and the resultant effect on their quarterly profit statements are such that they want to do everything in their power to prevent it. They may not care about their customers in the sense that they only care about their stock price, their profit margin, and their corporate bottom line, but the results are often the same.

Bottom line for those who look back to a more natural, less synthetic era for their cures may want to consider the science that informed bloodletting and other cures and preventative measures that they considered sound science. Much of the science that informed those more traditional cures led to a 42.5 life expectancy, whereas modern science and medicine have our current life expectancy at 78.7. For every Eastern, homeopathic remedy that worked in Twain’s era, and could work now, there are also about one hundred, bloodletting type cures listed in the 1745 Dictionary of Medicine by Dr. James of London and Samuel Johnson that did not. Or, as the old saying goes, be careful what you ask for, because you just might get it.