Rail Stock Quotes

There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York--every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. By seven o'clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. The last swimmers have come in from the beach now and are dressing up-stairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names. The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light. Suddenly one of the gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvas platform. A momentary hush; the orchestra leader varies his rhythm obligingly for her, and there is a burst of chatter as the erroneous news goes around that she is Gilda Gray's understudy from the FOLLIES. The party has begun.

From the line, watching, three things are striking: (a) what on TV is a brisk crack is here a whooming roar that apparently is what a shotgun really sounds like; (b) trapshooting looks comparatively easy, because now the stocky older guy who's replaced the trim bearded guy at the rail is also blowing these little fluorescent plates away one after the other, so that a steady rain of lumpy orange crud is falling into the Nadir's wake; (c) a clay pigeon, when shot, undergoes a frighteningly familiar-looking midflight peripeteia -- erupting material, changing vector, and plummeting seaward in a corkscrewy way that all eerily recalls footage of the 1986 Challenger disaster. All the shooters who precede me seem to fire with a kind of casual scorn, and all get eight out of ten or above. But it turns out that, of these six guys, three have military-combat backgrounds, another two are L. L. Bean-model-type brothers who spend weeks every year hunting various fast-flying species with their "Papa" in southern Canada, and the last has got not only his own earmuffs, plus his own shotgun in a special crushed-velvet-lined case, but also his own trapshooting range in his backyard (31) in North Carolina. When it's finally my turn, the earmuffs they give me have somebody else's ear-oil on them and don't fit my head very well. The gun itself is shockingly heavy and stinks of what I'm told is cordite, small pubic spirals of which are still exiting the barrel from the Korea-vet who preceded me and is tied for first with 10/10. The two brothers are the only entrants even near my age; both got scores of 9/10 and are now appraising me coolly from identical prep-school-slouch positions against the starboard rail. The Greek NCOs seem extremely bored. I am handed the heavy gun and told to "be bracing a hip" against the aft rail and then to place the stock of the weapon against, no, not the shoulder of my hold-the-gun arm but the shoulder of my pull-the-trigger arm. (My initial error in this latter regard results in a severely distorted aim that makes the Greek by the catapult do a rather neat drop-and-roll.) Let's not spend a lot of time drawing this whole incident out. Let me simply say that, yes, my own trapshooting score was noticeably lower than the other entrants' scores, then simply make a few disinterested observations for the benefit of any novice contemplating trapshooting from a 7NC Megaship, and then we'll move on: (1) A certain level of displayed ineptitude with a firearm will cause everyone who knows anything about firearms to converge on you all at the same time with cautions and advice and handy tips. (2) A lot of the advice in (1) boils down to exhortations to "lead" the launched pigeon, but nobody explains whether this means that the gun's barrel should move across the sky with the pigeon or should instead sort of lie in static ambush along some point in the pigeon's projected path. (3) Whatever a "hair trigger" is, a shotgun does not have one. (4) If you've never fired a gun before, the urge to close your eyes at the precise moment of concussion is, for all practical purposes, irresistible. (5) The well-known "kick" of a fired shotgun is no misnomer; it knocks you back several steps with your arms pinwheeling wildly for balance, which when you're holding a still-loaded gun results in mass screaming and ducking and then on the next shot a conspicuous thinning of the crowd in the 9-Aft gallery above. Finally, (6), know that an unshot discus's movement against the vast lapis lazuli dome of the open ocean's sky is sun-like -- i.e., orange and parabolic and right-to-left -- and that its disappearance into the sea is edge-first and splashless and sad.

Keynes was a voracious reader. He had what he called ‘one of the best of all gifts – the eye which can pick up the print effortlessly’. If one was to be a good reader, that is to read as easily as one breathed, practice was needed. ‘I read the newspapers because they’re mostly trash,’ he said in 1936. ‘Newspapers are good practice in learning how to skip; and, if he is not to lose his time, every serious reader must have this art.’ Travelling by train from New York to Washington in 1943, Keynes awed his fellow passengers by the speed with which he devoured newspapers and periodicals as well as discussing modern art, the desolate American landscape and the absence of birds compared with English countryside.54 ‘As a general rule,’ Keynes propounded as an undergraduate, ‘I hate books that end badly; I always want the characters to be happy.’ Thirty years later he deplored contemporary novels as ‘heavy-going’, with ‘such misunderstood, mishandled, misshapen, such muddled handling of human hopes’. Self-indulgent regrets, defeatism, railing against fate, gloom about future prospects: all these were anathema to Keynes in literature as in life. The modern classic he recommended in 1936 was Forster’s A Room with a View, which had been published nearly thirty years earlier. He was, however, grateful for the ‘perfect relaxation’ provided by those ‘unpretending, workmanlike, ingenious, abundant, delightful heaven-sent entertainers’, Agatha Christie, Edgar Wallace and P. G. Wodehouse. ‘There is a great purity in these writers, a remarkable absence of falsity and fudge, so that they live and move, serene, Olympian and aloof, free from any pretended contact with the realities of life.’ Keynes preferred memoirs as ‘more agreeable and amusing, so much more touching, bringing so much more of the pattern of life, than … the daydreams of a nervous wreck, which is the average modern novel’. He loved good theatre, settling into his seat at the first night of a production of Turgenev’s A Month in the Country with a blissful sigh and the words, ‘Ah! this is the loveliest play in all the world.’55 Rather as Keynes was a grabby eater, with table-manners that offended Norton and other Bloomsbury groupers, so he could be impatient to reach the end of books. In the inter-war period publishers used to have a ‘gathering’ of eight or sixteen pages at the back of their volumes to publicize their other books-in-print. He excised these advertisements while reading a book, so that as he turned a page he could always see how far he must go before finishing. A reader, said Keynes, should approach books ‘with all his senses; he should know their touch and their smell. He should learn how to take them in his hands, rustle their pages and reach in a few seconds a first intuitive impression of what they contain. He should … have touched many thousands, at least ten times as many as he reads. He should cast an eye over books as a shepherd over sheep, and judge them with the rapid, searching glance with which a cattle-dealer eyes cattle.’ Keynes in 1927 reproached his fellow countrymen for their low expenditure in bookshops. ‘How many people spend even £10 a year on books? How many spend 1 per cent of their incomes? To buy a book ought to be felt not as an extravagance, but as a good deed, a social duty which blesses him who does it.’ He wished to muster ‘a mighty army … of Bookworms, pledged to spend £10 a year on books, and, in the higher ranks of the Brotherhood, to buy a book a week’. Keynes was a votary of good bookshops, whether their stock was new or second-hand. ‘A bookshop is not like a railway booking-office which one approaches knowing what one wants. One should enter it vaguely, almost in a dream, and allow what is there freely to attract and influence the eye. To walk the rounds of the bookshops, dipping in as curiosity dictates, should be an afternoon’s entertainment.

As he reached the landing midway down the stairs, however, his rapid steps slowed and halted at the sight of the disconsolate figure of Rose sitting on one of the carpeted steps. The sight of her, like a prim little doll in her ruffled muslin dress, plump calves encased in thick white stockings, tiny hands filled with her ever-present button string, made him smile. How different she was from the way his sister Elizabeth had been at this age. Rose was wellmannered, introspective, sweetly earnest, whereas Elizabeth had been a spirited little hellion. Holly had done a splendid job so far of sheltering her daughter in a safe, well-ordered existence, but in Zachary's opinion, Rose needed the influence of a father. Someone to help her understand about the world beyond park railings and neat brick-walled gardens, about children who did not wear clothes with lace collars, and people who toiled and sweated for their bread. About the ordinary business of living. However, Rose was not his daughter, and it was not his right to venture any opinions about her upbringing.

A protest poem, entitled “On Waiting in Vain for the New Masses to Denounce Nonvoting Stocks,” was published in the New York World. It is not a very good poem, but there are so few poems on corporate law issues that it is worth reprinting here in its entirety: Then you who drive the fractious nail, And you who lay the heavy rail, And all who bear the dinner pail And daily punch the clock – Shall it be said your hearts are stone? They are your brethren and they groan! Oh, drop a tear for those who own Nonvoting corporate stock.24

Besides helping to stock the library in San Marco, Vespasiano received another commission from Cosimo. Most of the codices were to be secured to their desks by chains attached to iron rails,

In Minnesota, they were seizing cars from every siding, from the Mesabi Range, from the ore mines of Paul Larkin where the cars had stood waiting for a dribble of iron. They were pouring wheat into ore cars, into coal cars, into boarded stock cars that went spilling thin gold trickles along the track as they clattered off. They were pouring wheat into passenger coaches, over seats, racks and fixtures, to send it off, to get it moving, even if it went moving into trackside ditches in the sudden crash of breaking springs, in the explosions set off by burning journal boxes. They fought for movement, for movement with no thought of destination, for movement as such, like a paralytic under a stroke, struggling in wild, stiff, incredulous jerks against the realization that movement was suddenly impossible. There were no other railroads: James Taggart had killed them; there were no boats on the Lakes: Paul Larkin had killed them. There was only the single line of rail and a net of neglected highways. The trucks and wagons of waiting farmers started trickling blindly down the roads, with no maps, no gas, no feed for horses—moving south, south toward the vision of flour mills awaiting them somewhere, with no knowledge of the distances ahead, but with the knowledge of death behind them—moving, to collapse on the roads, in the gullies, in the breaks of rotted bridges. One farmer was found, half a mile south of the wreck of his truck, lying dead in a ditch, face down, still clutching a sack of wheat on his shoulders. Then rain clouds burst over the prairies of Minnesota; the rain went eating the wheat into rot at the waiting railroad stations; it went hammering the piles spilled along the roads, washing gold kernels into the soil.

Because chains did away with the local proprietor, funneled money away from the local community, and traded skilled employees for stock boys and “order takers,” they were seen as waging a direct assault on the American way of life. Anti-chain protesters in the 1920s represented close to three hundred local and national organizations, comprising roughly 7 percent of the country’s population. Editorialists railed against the chains, as did many trade organizations. The National Association of Retail Druggists decried chain store owners as “privilege-seeking tycoons [and] would-be dictators.

Transforming a car-clogged street into inviting shared space doesn’t always require heavy machinery, complicated reconstruction, or millions of dollars. Planners can reorder a street without destroying a single building, double-decking a street, or building a streetcar, light rail system, or highway interchange. It can be accomplished quickly by using the basic materials that every city has access to—in New York City’s case more than six thousand miles of streets—and the basic stock that all city transportation agencies already have in their supply depots or available through existing contracts. Yes, I mean paint. Hundreds

One of the most ambitious men to exploit the timber trade was Hugh F. McDanield, a railroad builder and tie contractor who had come to Fayetteville along with the Frisco. He bought thousands of acres of land within hauling distance of the railroad and sent out teams of men to cut the timber. By the mid-1880s, after a frenzy of cutting in south Washington County, he turned his gaze to the untapped fortune of timber on the steep hillsides of southeast Washington County and southern Madison County, territory most readily accessed along a wide valley long since leveled by the east fork of White River. Mr. McDanield gathered a group of backers and the state granted a charter September 4, 1886, giving authority to issue capital stock valued at $1.5 million, which was the estimated cost to build a rail line through St. Paul and on to Lewisburg, which was a riverboat town on the Arkansas River near Morrilton. McDanield began surveys while local businessman J. F. Mayes worked with property owners to secure rights of way. “On December 4, 1886, a switch was installed in the Frisco main line about a mile south of Fayetteville, and the spot was named Fayette Junction.” Within six months, 25 miles of track had been laid east by southeast through Baldwin, Harris, Elkins, Durham, Thompson, Crosses, Delaney, Patrick, Combs, and finally St. Paul. Soon after, in 1887, the Frisco bought the so-called “Fayetteville and Little Rock” line from McDanield. It was estimated that in the first year McDanield and partners shipped out more than $2,000,000 worth of hand-hacked white oak railroad ties at an approximate value of twenty-five cents each. Mills ran day and night as people arrived “by train, wagon, on horseback, even afoot” to get a piece of the action along the new track, commonly referred to as the “St. Paul line.” Saloons, hotels, banks, stores, and services from smithing to tailoring sprang up in rail stop communities.

The S&P 500 Index originally contained exactly 425 industrial, 25 rail, and 50 utility firms, but these groupings were abandoned in 1988 in order to maintain, as Standard & Poor’s claimed, an index that included “500 leading companies in leading industries of the economy.

When the state did not provide the right direction to finance, developmental outcomes were different. Nineteenth-century Spain had a large number of investment banks which did nothing to promote industrialisation. This was largely because Spanish company law favoured railroad investment but discriminated against manufacturers. As a result, the Spanish banks financed thousands of kilometres of rail lines, for which all the rolling stock was imported and for which there were no manufactures to transport. After a banking crisis in the 1870s, Spain remained thoroughly un-industrialised.

Mixing culture war and capitalism is not just a personal quirk shared by these three individuals; it is writ in the very manifesto of the Kansas conservative movement, the platform of the state Republican Party for 1998. Moaning that “the signs of a degenerating society are all around us,” railing against abortion and homosexuality and gun control and evolution (“a theory, not a fact”), the document went on to propound a list of demands as friendly to plutocracy as anything ever dreamed up by Monsanto or Microsoft. The platform called for: • A flat tax or national sales tax to replace the graduated income tax (in which the rich pay more than the poor). • The abolition of taxes on capital gains (that is, on money you make when you sell stock). • The abolition of the estate tax. • No “governmental intervention in health care.” • The eventual privatization of Social Security. • Privatization in general. • Deregulation in general and “the operation of the free market system without government interference.” • The turning over of all federal lands to the states. • A prohibition on “the use of taxpayer dollars to fund any election campaign.” Along

Mixing culture war and capitalism is not just a personal quirk shared by these three individuals; it is writ in the very manifesto of the Kansas conservative movement, the platform of the state Republican Party for 1998. Moaning that “the signs of a degenerating society are all around us,” railing against abortion and homosexuality and gun control and evolution (“a theory, not a fact”), the document went on to propound a list of demands as friendly to plutocracy as anything ever dreamed up by Monsanto or Microsoft. The platform called for: • A flat tax or national sales tax to replace the graduated income tax (in which the rich pay more than the poor). • The abolition of taxes on capital gains (that is, on money you make when you sell stock). • The abolition of the estate tax. • No “governmental intervention in health care.” • The eventual privatization of Social Security. • Privatization in general. • Deregulation in general and “the operation of the free market system without government interference.” • The turning over of all federal lands to the states. • A prohibition on “the use of taxpayer dollars to fund any election campaign.” Along the way the document specifically endorsed the disastrous Freedom to Farm Act, condemned agricultural price supports, and came out in favor of making soil conservation programs “voluntary,” perhaps out of nostalgia for the Dust Bowl days, when Kansans learned a healthy fear of the Almighty.17

The Primary Act. As they entered the cinema, Dr Nathan confided to Captain Webster, ‘Talbert has accepted in absolute terms the logic of the sexual union. For him all junctions, whether of our own soft biologies or the hard geometries of these walls and ceilings, are equivalent to one another. What Talbert is searching for is the primary act of intercourse, the first apposition of the dimensions of time and space. In the multiplied body of the film actress - one of the few valid landscapes of our age - he finds what seems to be a neutral ground. For the most part the phenomenology of the world is a nightmarish excrescence. Our bodies, for example, are for him monstrous extensions of puffy tissue he can barely tolerate. The inventory of the young woman is in reality a death kit.’ Webster watched the images of the young woman on the screen, sections of her body intercut with pieces of modern architecture. All these buildings. What did Talbert want to do - sodomize the Festival Hall? Pressure Points. Koester ran towards the road as the helicopter roared overhead, its fans churning up a storm of pine needles and cigarette cartons. He shouted at Catherine Austin, who was squatting on the nylon blanket, steering her body stocking around her waist. Two hundred yards beyond the pines was the perimeter fence. She followed Koester along the verge, the pressure of his hands and loins still marking her body. These zones formed an inventory as sterile as the items in Talbert’s kit. With a smile she watched Koester trip clumsily over a discarded tyre. This unattractive and obsessed young man - why had she made love to him? Perhaps, like Koester, she was merely a vector in Talbert’s dreams. Central Casting. Dr Nathan edged unsteadily along the catwalk, waiting until Webster had reached the next section. He looked down at the huge geometric structure that occupied the central lot of the studio, now serving as the labyrinth in an elegant film version of The Minotaur . In a sequel to Faustus and The Shrew , the film actress and her husband would play Ariadne and Theseus. In a remarkable way the structure resembled her body, an exact formalization of each curve and cleavage. Indeed, the technicians had already christened it ‘Elizabeth’. He steadied himself on the wooden rail as the helicopter appeared above the pines and sped towards them. So the Daedalus in this neural drama had at last arrived. An Unpleasant Orifice. Shielding his eyes, Webster pushed through the camera crew. He stared up at the young woman standing on the roof of the maze, helplessly trying to hide her naked body behind her slim hands. Eyeing her pleasantly, Webster debated whether to climb on to the structure, but the chances of breaking a leg and falling into some unpleasant orifice seemed too great. He stood back as a bearded young man with a tight mouth and eyes ran forwards. Meanwhile Talbert strolled in the centre of the maze, oblivious of the crowd below, calmly waiting to see if the young woman could break the code of this immense body. All too clearly there had been a serious piece of miscasting. ‘Alternate’ Death. The helicopter was burning briskly. As the fuel tank exploded, Dr Nathan stumbled across the cables. The aircraft had fallen on to the edge of the maze, crushing one of the cameras. A cascade of foam poured over the heads of the retreating technicians, boiling on the hot concrete around the helicopter. The body of the young woman lay beside the controls like a figure in a tableau sculpture, the foam forming a white fleece around her naked shoulders.

Lack of originality has always, everywhere, in the whole world, from time immemorial, been considered the primary quality and finest recommendation of the efficient, businesslike and practical man, and at least ninety-nine per cent of men (at the very least) have always shared this view, while only one per cent has viewed, and continues to view, the matter differently. At the beginning of their careers (and very often at the end of them, too), inventors and geniuses have always been considered in society as not much more than fools - that is really a most routine observation, all too familiar to everyone. If, for example, for scores of years everyone put their money into a loan bank, depositing billions there at four per cent interest, then, of course, when the loan bank folded and everyone was left to act on their own initiative, the greater part of those billions would be bound to perish in the stock-market fever and the hands of swindlers - and this would even be demanded by decency and decorum. Precisely by decorum; if decorous shyness and a decent lack of originality have until now constituted for us, according to generally received opinion, the inalienable qualities of the businesslike and respectable man, it would be most indecorous and even indecent to so suddenly change it all. What mother, for example, tenderly loving her child, would not be dismayed and sick with fear if her son or daughter were to go off the rails by even the smallest of margins: ‘No, let him be happy and live comfortably, without originality,’ thinks every mother, as she rocks her child. And our nurses, as they rock their children, have wailed and intoned from time immemorial: ‘One day you’ll walk about in gold, the rank of general you’ll hold!’ Thus, even among our nurses the rank of general was considered the acme of Russian happiness and has therefore been the most popular national ideal of peaceful, radiant bliss. And indeed, having passed the examination and served for thirty-five years - which of us would not be able to become generals and amass a certain amount in a loan bank? In this way the Russian, almost without any effort, has at last attained the designation of a businesslike and practical man.