The Online Etymology Dictionary is an online dictionary that describes the origins of English-language words.^[1] Its acronym, OED, coincides with the frequently used acronym for the Oxford English Dictionary.

Description[link]

Douglas Harper created the etymology dictionary to record the history and evolution of more than 30,000 words, including slang and technical terms.^[2]

Reviews and reputation[link]

The Online Etymology Dictionary has been referenced by Ohio University's Library as a relevant etymological resource^[1] and cited in the Chicago Tribune as one of the "best resources for finding just the right word".^[3] It is cited in numerous articles as a source for explaining the history and evolution of words.^[4][5][6]

References[link]

External links[link]

• Official website

This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2011)

An etymological dictionary discusses the etymology of the words listed. Often, large dictionaries, such as the OED and Webster's, will contain some etymological information, without aspiring to focus on etymology.

Etymological dictionaries are the product of research in historical linguistics. For a large number of words in any language, the etymology will be uncertain, disputed, or simply unknown. In such cases, depending on the space available, an etymological dictionary will present various suggestions and perhaps make a judgement on their likelihood, and provide references to a full discussion in specialist literature.

The tradition of compiling "derivations" of words is pre-modern, found for example in Indian (nirukta), Arabic (al-ištiqāq) and also in Western tradition (in works such as the Etymologicum Magnum). Etymological dictionaries in the modern sense, however, appear only in the late 18th century (with 17th century predecessors such as Vossius' 1662 Etymologicum linguae Latinae or Stephen Skinner's 1671 Etymologicon Linguae Anglicanae), with the understanding of sound laws and language change and their production was an important task of the "golden age of philology" in the 19th century.

Notable examples[link]

• English language
  • Hoad, T.F., The Oxford Dictionary of English Etymology. Oxford, Oxford University Press (1986).
  • George William Lemon the English etymologist and author of A derivative dictionary of the English language: in two alphabets, tracing the etymology of those English words, that are derived I. From the Greek, and Latin languages; II. From the Saxon, and other Northern tongues. London, Printed for G. Robinson (1783).
  • Eric Partridge, Origins: A short etymological dictionary of Modern English. New York: Greenwich House (1958, 1959, 1961, 1966, 2008).
• Dravidian languages (Tamil, Telugu, Kannada, Brahui et al.)
• Finnish
  • Suomen sanojen alkuperä – The Origin of Finnish Words (first volume, A—K 1992; second volume, L—P 1995; third volume, R—Ö 2000), Helsinki, Kotimaisten kielten tutkimuskeskus and Suomalaisen Kirjallisuuden Seura.
• German language
  • Friedrich Kluge, Etymologisches Wörterbuch der deutschen Sprache, Berlin: Walter de Gruyter (first edn. 1883, 21st edn. 1975).
• Indo-Aryan languages
  • Manfred Mayrhofer, Etymologisches Wörterbuch des Altindoarischen (1986–2001)
• Old Irish
  • Sanas Cormaic, encyclopedic dictionary, 9th or 10th century
  • Joseph Vendryes, Lexique étymologique de l'irlandais ancien (first volume 1959; still incomplete), Dublin Institute for Advanced Studies and CNRC Éditions, Paris.
• Old Prussian
  • Vytautas Mažiulis, Prūsų kalbos etimologijos žodynas (1988–1997), Vilnius.
• Icelandic language
  • Ásgeir Blöndal Magnússon, Íslensk orðsifjabók
• Polish language
  • Aleksander Brückner, Słownik etymologiczny języka polskiego, first edition, Kraków, Krakowska Spółka Wydawnicza, 1927 (9th edition, Warsaw, Wiedza Powszechna, 2000).
  • Wiesław Boryś,"Słownik etymologiczny języka polskiego", first edition, Kraków, Wydawnictwo Literackie, 2005
• Portuguese
  • Dicionário Houaiss da Língua Portuguesa has much etymological information.
• Proto-Indo-European language
  • Carl Darling Buck, A dictionary of selected synonyms in the principal Indo-European languages, University of Chicago Press, 1949 (paperback edition 1988).
• Scots language
  • John Jamieson, An Etymological Dictionary of the Scottish Language (1808), revised 1879–97
• Spanish
  • Guido Gómez de Silva "Breve diccionario etimológico de la lengua española" (ISBN 968-16-2812-8)
• Turkish
  • Clauson, Gerard Leslie Makins, Sir; "An Etymological Dictionary of Pre-Thirteenth-Century Turkish", Oxford University Press, London, 1972.

Online etymological dictionaries[link]

Indo-European languages[link]

• [1] – Ancient Greek Etymological Dictionary by H. Frisk
• [2] – Indo-European Etymological Dictionary by S. A. Starostin et al.
• [3] – Gaelic Etymological Dictionary by A. MacBain
• [4] – Gothic Etymological Dictionary by Andras Rajki
• [5] – Nepali Etymological Dictionary by R. L. Turner
• [6] – Romanian Etymological Dictionary
• [7] – Russian Etymological Dictionary by Max Vasmer, Heidelberg (1962), 4 volumes
• [8] – Swedish Etymological Dictionary by Elof Hellquist

Afroasiatic languages[link]

• [9] – Afroasiatic Etymological Dictionary by S. A. Starostin et al.
• [10] – Arabic Etymological Dictionary by Andras Rajki
• [11] – Hebrew Etymological Dictionary by Isaac Fried

Altaic languages[link]

• [12] – Altaic Etymological Dictionary by S. A. Starostin et al.
• [13] – Chuvash Etymological Dictionary by M. R. Fedotov
• [14] – Gagauz Etymological Dictionary
• [15] – Mongolian Etymological Dictionary
• [16] – Turkish Etymological Dictionary by Sevan Nişanyan "Sözlerin Soyağacı – Çağdaş Türkçe'nin Etimolojik Sözlüğü" (Third ed. Adam Y. Istanbul 2007)

Austronesian languages[link]

• [17] – Indonesian Etymological Dictionary by S. M. Zain
• [18] – Maori Etymological Dictionary by E. Tregear
• [19] – Waray Etymological Dictionary

Bantu languages[link]

• [20] – Bantu Etymological Dictionary
• [21] – Swahili Etymological Dictionary

Creole languages and conlangs[link]

• [22] – Tok Pisin Etymological Dictionary by F. Mihalic
• [23] – Morisyen Etymological Dictionary
• [24] – Esperanto Etymological Dictionary

Uralic languages[link]

• [25] – Uralic Etymological Dictionary by S. A. Starostin et al.
• [26] – Finnish Etymological Dictionary
• [27] – Lapp Etymological Dictionary

Other languages and language families[link]

• [28] – Basque Etymological Dictionary based on the works of L. Trask
• [29] – Dravidian Etymological Dictionary by T. Burrow
• [30] – Kartvelian Etymological Dictionary by G. A. Klimov
• [31] – Mayan Etymological Dictionary by T. Kaufman and J. Justeson
• [32] – Munda Etymological Dictionary by D. Stampe & al.
• [33] – North Caucasian Etymological Dictionary by S. A. Starostin et al.
• [34] – Thai Etymological Dictionary by M. Haas
• South Dravidian Etymological Dictionary

External links[link]

• Etymological Bibliography of Take Our Word For It, the only Weekly Word-origin Webzine
• Indo-European Etymological Dictionary (IEED) at Leiden University
• Internet Archive Search: Etymological Dictionary Etymological Dictionaries in English at the Internet archive
• Internet Archive Search: Etymologisches Wörterbuch Etymological Dictionaries in German at the Internet archive
• Online Etymology Dictionary (see also its Wikipedia article)
• Open Directory - Reference: Dictionaries: Etymology at the Open Directory Project

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2011)

The iconic clock scene in Safety Last!

Harold Clayton Lloyd, Sr. (April 20, 1893 – March 8, 1971) was an American film actor and producer, most famous for his silent comedies.^[2]

Harold Lloyd ranks alongside Charlie Chaplin and Buster Keaton as one of the most popular and influential film comedians of the silent film era. Lloyd made nearly 200 comedy films, both silent and "talkies", between 1914 and 1947. He is best known for his "Glasses Character", a resourceful, success-seeking go-getter who was perfectly in tune with 1920s era America.

His films frequently contained "thrill sequences" of extended chase scenes and daredevil physical feats, for which he is best remembered today. Lloyd hanging from the hands of a clock high above the street in Safety Last! (1923) is one of the most enduring images in all of cinema.^{[citation needed]} Lloyd did many of these dangerous stunts himself, despite having injured himself in August, 1919 while doing publicity pictures for the Roach studio. An accident with a bomb mistaken as a prop resulted in the loss of the thumb and index finger of his right hand ^[3] (the injury was disguised on future films with the use of a special prosthetic glove, though the glove often did not go by unnoticed).

Although Lloyd's individual films were not as commercially successful as Charlie Chaplin's on average, he was far more prolific (releasing twelve feature films in the 1920s while Chaplin released just three), and made more money overall ($15.7 million to Chaplin's $10.5 million).

Early life and early roles[link]

Lloyd was born in Burchard, Nebraska to James Darsie Lloyd and Elizabeth Fraser; his paternal great-grandparents were from Wales. When he was a child, his parents divorced and Lloyd chose to stay with his father, who was always dreaming up grand get-rich-quick schemes that ended in disasters. They eventually ended up in Omaha where Lloyd had his first acting experience in a local stock company. He attended East High School and San Diego High School and received his stage training at the School of Dramatic Art (San Diego). In 1912, his father J. Darsie "Foxy" Lloyd was awarded the then-massive sum of $6,000 in a personal injury judgment (although this was split evenly between Lloyd and his lawyer) after being run over by an Omaha beer truck. Reportedly, on the toss of a coin ("Heads is New York or Nashville or where I decide!, tails is San Diego"), he and Lloyd moved west.

Lloyd had acted in theatre since boyhood, and started acting in one-reel film comedies shortly after moving to California. He soon began working with Thomas Edison's motion picture company, and eventually formed a partnership with fellow struggling actor and director Hal Roach, who had formed his own studio in 1913. The hard-working Lloyd became the most successful of Roach's comic actors between 1915 and 1919.

Lloyd hired Bebe Daniels as a supporting actress in 1914; the two of them were involved romantically and were known as "The Boy" and "The Girl." In 1919, she left Lloyd to pursue her dramatic aspirations. Lloyd replaced Daniels with Mildred Davis in 1919. Lloyd was tipped off by Hal Roach to watch Davis in a movie. Reportedly, the more Lloyd watched Davis the more he liked her. Lloyd's first reaction in seeing her was that "she looked like a big French doll!"^{[citation needed]} Davis retired from acting in 1923, and Jobyna Ralston became Lloyd's co-star.

From 1915 to 1917, Lloyd and Roach created more than 60 one-reel comedies.

Lloyd in A Sailor-Made Man (1921), his first feature.

Silent shorts and features[link]

By 1918, Lloyd and Roach had begun to develop his character beyond an imitation of his contemporaries. Harold Lloyd would move away from tragicomic personas, and portray an everyman with unwavering confidence and optimism. The "Glasses Character" (often named "Harold" in the silent films) was a much more mature comedy character with greater potential for sympathy and emotional depth, and was easy for audiences of the time to identify with. The Glasses Character is said to have been created after Roach suggested that Harold was too handsome to do comedy, without some sort of disguise; previously, he had worn a fake mustache as the Chaplinesque "Lonesome Luke". Unlike most silent comedy personas, "Harold" was never typecast to a social class, but he was always striving for success and recognition. Within the first few years of the character's debut, he had portrayed social ranks ranging from a starving vagrant in From Hand to Mouth to a wealthy socialite in Captain Kidd's Kids.

Harold Lloyd in Grandma's Boy (1922).

Beginning in 1921, Roach and Lloyd moved from shorts to feature length comedies. These included the acclaimed Grandma's Boy, which, (along with Chaplin's The Kid), pioneered the combination of complex character development and film comedy, the highly popular Safety Last! (1923), which cemented Lloyd's stardom (and is the oldest film on the American Film Institute's List of 100 Most Thrilling Movies), and Why Worry? (1923).

Lloyd and Roach parted ways in 1924, and Lloyd became the independent producer of his own films. These included his most accomplished mature features Girl Shy, The Freshman (his highest-grossing silent feature), The Kid Brother, and Speedy, his final silent film. Welcome Danger was originally a silent film but Lloyd decided late in the production to remake it with dialogue. All of these films were enormously successful and profitable, and Lloyd would eventually become the highest paid film performer of the 1920s.^[4] They were also highly influential and still find many fans among modern audiences, a testament to the originality and film-making skill of Lloyd and his collaborators. From this success he became one of the wealthiest and most influential figures in early Hollywood.

Talkies and transition[link]

In 1924, Lloyd formed his own independent film production company, the Harold Lloyd Film Corporation, with his films distributed by Pathé and later Paramount and Twentieth Century-Fox. Lloyd was a founding member of the Academy of Motion Picture Arts and Sciences.

Released a few weeks before the start of the Great Depression, Welcome Danger was a huge financial success, with audiences eager to hear Lloyd's voice on film. Lloyd's rate of film releases, which had been one or two a year in the 1920s, slowed to about one every two years until 1938.

The films released during this period were: Feet First, with a similar scenario to Safety Last which found him clinging to a skyscraper at the climax; Movie Crazy with Constance Cummings; The Cat's-Paw, which was a dark political comedy and a big departure for Lloyd; and The Milky Way, which was Lloyd's only attempt at the fashionable genre of the screwball comedy film.

To this point the films had been produced by Lloyd's company. However, his go-getting screen character was out of touch with Great Depression movie audiences of the 1930s. As the length of time between his film releases increased, his popularity declined, as did the fortunes of his production company. His final film of the decade, Professor Beware, was made by the Paramount staff, with Lloyd functioning only as actor and partial financier.

On March 23, 1937, Lloyd sold the land of his studio Harold Lloyd Motion Picture Company to The Church of Jesus Christ of Latter-day Saints. The location is now the site of the Los Angeles California Temple.^[5]

Lloyd produced a few comedies for RKO Radio Pictures in the early 1940s but otherwise retired from the screen until 1947. He returned for an additional starring appearance in The Sin of Harold Diddlebock, an ill-fated homage to Lloyd's career, directed by Preston Sturges and financed by Howard Hughes. This film had the inspired idea of following Harold's Jazz Age, optimistic character from The Freshman into the Great Depression years. Diddlebock opened with footage from The Freshman (for which Lloyd was paid a royalty of $50,000, matching his actor's fee) and Lloyd was sufficiently youthful-looking to match the older scenes quite well. Lloyd and Sturges had different conceptions of the material and fought frequently during the shoot; Lloyd was particularly concerned that while Sturges had spent three to four months on the script of the first third of the film, "the last two thirds of it he wrote in a week or less". The finished film was released briefly in 1947, then shelved by producer Hughes. Hughes issued a recut version of the film in 1951 through RKO under the title Mad Wednesday. Such was Lloyd's disdain that he sued Howard Hughes, the California Corporation and RKO for damages to his reputation "as an outstanding motion picture star and personality", eventually accepting a $30,000 settlement.

Marriage and home life[link]

Lloyd married his leading lady, Mildred Davis, on Saturday, February 10, 1923. Together, they had two children: Gloria Lloyd (1924–2012),^[6] and Harold Clayton Lloyd, Jr., (1931–1971).^[7] They also adopted Gloria Freeman (1924–1986) in September 1930, whom they renamed Marjorie Elizabeth Lloyd, but who was known as "Peggy" for most of her life. Lloyd, for a time, discouraged Davis from continuing her acting career. He later relented, but by that time her career momentum was lost. Davis died in 1969, two years before Lloyd's death. Lloyd's son was gay, and according to Annette D'Agostino Lloyd (no relation) in the book Harold Lloyd: Master Comedian, Harold Sr. took this in good spirit. Harold Jr. died from complications of a stroke.

Harold Lloyd and future wife: Mildred Davis in I Do in 1921.

Lloyd's Beverly Hills home, "Greenacres", was built in 1926–1929, with 44 rooms, 26 bathrooms, 12 fountains, 12 gardens, and a nine hole golf course. The estate left the possession of the Lloyd family in 1975, after a failed attempt to maintain it as a public museum.

The grounds were subsequently subdivided, but the main house and the estate's principal gardens remain and are frequently used for civic fundraising events and as a filming location, appearing in films like Westworld and The Loved One. It is listed on the National Register of Historic Places.

Radio and retirement[link]

In October 1944, Lloyd emerged as the director and host of The Old Gold Comedy Theater, an NBC radio anthology series, after Preston Sturges, who had turned the job down, recommended him for it. The show presented half-hour radio adaptations of recently successful film comedies, beginning with Palm Beach Story with Claudette Colbert and Robert Young.

Some saw The Old Gold Comedy Theater as being a lighter version of Lux Radio Theater, and it featured some of the best-known film and radio personalities of the day, including Fred Allen, June Allyson, Lucille Ball, Ralph Bellamy, Linda Darnell, Susan Hayward, Herbert Marshall, Dick Powell, Edward G. Robinson, Jane Wyman, and Alan Young, among others. But the show's half-hour format—which meant the material might have been truncated too severely—and Lloyd's sounding somewhat ill at ease on the air for much of the season (though he spent weeks training himself to speak on radio prior to the show's premiere, and seemed more relaxed toward the end of the series run) may have worked against it.

The Old Gold Comedy Theater ended in June 1945 with an adaptation of Tom, Dick and Harry, featuring June Allyson and Reginald Gardiner and was not renewed for the following season. Many years later, acetate discs of 29 of the shows were discovered in Lloyd's home, and they now circulate among old-time radio collectors.

Lloyd in 1946, when he was appointed to the Shriners' publicity committee.

Lloyd remained involved in a number of other interests, including civic and charity work. Inspired by having overcome his own serious injuries and burns, he was very active as a Shriner with the Shriners Hospital for Crippled Children. He was a Past Potentate of Al-Malaikah Shrine in Los Angeles, and was eventually selected as Imperial Potentate of the Shriners of North America for the year 1949–50.^[8]

He appeared as himself on several television shows during his retirement, first on Ed Sullivan's variety show Toast of the Town June 5, 1949 and again on July 6, 1958. He appeared as the Mystery Guest on What's My Line? on April 26, 1953, and twice on This Is Your Life: on March 10, 1954 for Mack Sennett, and again on December 14, 1955 on his own episode. During both appearances, Lloyd's hand injury can clearly be seen.^[9]

Lloyd studied colors, microscopy, and was very involved with photography, including 3D photography and color film experiments. Some of the earliest 2-color Technicolor tests were shot at his Beverly Hills home (These are included as extra material in the Harold Lloyd Comedy Collection DVD Box Set). He became known for his nude photographs of models, such as Bettie Page and stripper Dixie Evans, for a number of men's magazines. He also took photos of Marilyn Monroe lounging at his pool in a bathing suit, which were published after their deaths. In 2004, his granddaughter Suzanne produced a book of selections from his photographs, Harold Lloyd's Hollywood Nudes in 3D! (ISBN 1-57912-394-5).

Lloyd also provided encouragement and support for a number of younger actors, such as Debbie Reynolds, Robert Wagner, and particularly Jack Lemmon, whom Harold declared as his own choice to play him in a movie of his life and work.

Renewed interest[link]

Lloyd kept copyright control of most of his films and re-released them infrequently after his retirement. Lloyd did not grant cinematic release because in the main most theaters could not accommodate an organist, and Lloyd did not wish his work to be accompanied by a pianist: "I just don't like pictures played with pianos. We never intended them to be played with pianos". Similarly, his features were never shown on television as Lloyd's price was high: "I want $300,000 per picture for two showings. That's a high price, but if I don't get it, I'm not going to show it. They've come close to it, but they haven't come all the way up". As a consequence, his reputation and public recognition suffered in comparison with Chaplin and Keaton, whose work has generally been more available.

Also, Lloyd's film character was so intimately associated with the 1920s era that attempts at revivals in 1940s and 1950s were poorly received, when audiences viewed the 1920s (and silent film in particular) as old-fashioned.

In the early 1960s, Lloyd produced two compilation films, featuring scenes from his old comedies, Harold Lloyd's World of Comedy and The Funny Side of Life. The first film was premiered at the 1962 Cannes Film Festival, where Lloyd was feted as a major rediscovery. The renewed interest in Lloyd helped restore his status among film historians. Throughout his later years he screened his films for audiences at special charity and educational events, to great acclaim, and found a particularly receptive audience among college audiences: "Their whole response was tremendous because they didn't miss a gag; anything that was even a little subtle, they got it right away".

Following his death, and after extensive negotiations, most of his feature films were leased to Time-Life Films in 1974. As Tom Dardis confirms: "Time-Life prepared horrendously edited musical-sound-track versions of the silent films, which are intended to be shown on TV at sound speed, and which represent everything that Harold feared would happen to his best films".

Through the efforts of Kevin Brownlow and David Gill and the support of granddaughter Suzanne Lloyd Hayes, the British Thames Silents series re-released some of the feature films in the early 1990s on home video, at corrected projection speeds and with new orchestral scores by Carl Davis. More recently, the remainder of Lloyd's great silent features and many shorts were fully restored, with new orchestral scores by Robert Israel. These are now frequently shown on the Turner Classic Movies (TCM) cable channel. An acclaimed 1990 documentary (Harold Lloyd: The Third Genius) by Brownlow and Gill, which was shown as part of the PBS series American Masters, also created a renewed interest in Lloyd's work in the early 1990s. A DVD Collection of restored versions of most of his feature films (and his more important shorts) was released by New Line Cinema in partnership with the Harold Lloyd Trust in November 2005, along with limited theatrical screenings in New York and other cities in the US, Canada and Europe. Annette Lloyd has also said that if there is a large-enough show of support by fans, a second collection may be released in the future^{[citation needed]}.

Academy Award[link]

In 1953, Lloyd received a special Academy Award for being a "master comedian and good citizen." The second citation was a snub to Chaplin, who at that point had fallen foul of McCarthyism and who had had his entry visa to the United States revoked. Regardless of the political overtones, Lloyd accepted the award in good spirit.

Death[link]

Lloyd died at age 77 from prostate cancer on March 8, 1971, in Beverly Hills, California.^[4][10][11] He was interred in a crypt in the Great Mausoleum at Forest Lawn Memorial Park Cemetery in Glendale, California.

Walk of Fame[link]

Harold Lloyd has two stars on the Hollywood Walk of Fame. His was only the fourth ceremony preserving his handprints, footprints, autograph, and outline of his famed glasses (which were actually a pair of sunglasses with the lenses removed), at Grauman's Chinese Theatre, in 1927. In 1994, he was honored with his image on a United States postage stamp designed by caricaturist Al Hirschfeld.

Filmography[link]

Further reading[link]

• Lloyd, Harold and Stout, W.W. (1928, revised 1971). An American Comedy. Dover. 
• Agee, James (1958, 2000). "Comedy's Greatest Era" from Life magazine (9/5/1949), reprinted in Agee on Film. McDowell, Obolensky, Modern Library. 
• Cahn, William (1964). Harold Lloyd's World of Comedy. Duell, Sloane & Pearce. 
• Lahue, Kalton C. (1966). World of Laughter: The Motion Picture Comedy Short, 1910–1930. University of Oklahoma Press. 
• Brownlow, Kevin (1968, revised 1976). "Harold Lloyd" from The Parade's Gone By. Alfred A. Knopf, University of California Press. 
• McCaffrey, Donald W. (1968). 4 Great Comedians: Chaplin, Lloyd, Keaton, Langdon. A.S. Barnes. 
• Robinson, David (1969). The Great Funnies: A History of Film Comedy. E.P. Dutton. 
• Durgnat, Raymond (1970). "Self-Help with a Smile" from The Crazy Mirror: Hollywood Comedy and the American Image. Dell. 
• Lacourbe, Roland (1970). Harold Lloyd. Paris: Editions Seghers. 
• Gilliatt, Penelope (1973). "Physicists" from Unholy Fools: Wits, Comics, Disturbers of the Peace. Viking. 
• Mast, Gerald (1973, revised 1979). The Comic Mind: Comedy and the Movies. University of Chicago Press. 
• Schickel, Richard (1974). Harold Lloyd: The Shape of Laughter. New York Graphic Society. ISBN 0-8212-0595-1. 
• Kerr, Walter (1975, 1990). The Silent Clowns. Alfred A. Knopf, Da Capo Press. 
• McCaffrey, Donald W. (1976). Three Classic Silent Screen Comedies Starring Harold Lloyd. Associated University Presses. ISBN 0-8386-1455-8. 
• Byron, Stuart and Weis, Elizabeth (1977). The National Society of Film Critics on Movie Comedy. Grossman/Viking. 
• Reilly, Adam (1977). Harold Lloyd: The King of Daredevil Comedy. Macmillan. ISBN 0-02-601940-X. 
• Everson, William K. (1978). American Silent Film. Oxford University Press. 
• Maltin, Leonard (1978). The Great Movie Comedians. Crown Publishers. 
• Dardis, Tom (1983). Harold Lloyd: The Man on the Clock. Viking. ISBN 0-14-007555-0. 
• Hayes, Suzanne Lloyd (ed.), (1992). 3-D Hollywood with Photography by Harold Lloyd. Simon & Schuster. 
• D'Agostino, Annette M. (1994). Harold Lloyd: A Bio-Bibliography. Greenwood Press. ISBN 0-313-28986-7. 
• Dale, Alan (2002). Comedy is a Man in Trouble: Slapstick In American Movies. University of Minnesota Press. 
• Vance, Jeffrey, and Lloyd, Suzanne (2002). Harold Lloyd: Master Comedian. Harry N Abrams. ISBN 0-8109-1674-6. 
• Lloyd, Annette D'Agostino (2003). The Harold Lloyd Encyclopedia. McFarland & Company. ISBN 0-7864-1514-2. 
• Mitchell, Glenn (2003). A-Z of Silent Film Comedy. B.T. Batsford Ltd.. 
• Lloyd, Suzanne (2004). Harold Lloyd's Hollywood Nudes in 3-D. Black Dog & Leventhal. ISBN 978-1-57912-394-9. 
• Lloyd, Annette D'Agostino (2009). Harold Lloyd: Magic in a Pair of Horn-Rimmed Glasses. BearManor Media. ISBN 978-1-59393-332-6. 

See also[link]

• List of United States comedy films

References[link]

External links[link]

Wikimedia Commons has media related to: Harold Lloyd

• Harold Lloyd at the Internet Movie Database
• Official site – the official site of Harold Lloyd
• HaroldLloyd.us — a site with articles and information, maintained by Annette D'Agostino Lloyd
• Harold Lloyd Forum part of ComedyClassics.org
• Harold Lloyd Photos at Silent Ladies & Gents
• BBC Radio Interview with Suzanne Lloyd (2002)
• Harold Lloyd in The Sin Of Harold Diddlebock at The Internet Archive

• Photographs and bibliography

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (March 2010)

Marge Piercy (born March 31, 1936^[1]) is an American poet, novelist, and social activist. She is the author of the New York Times bestseller Gone to Soldiers,^[2] a sweeping historical novel set during World War II.

Biography[link]

Piercy was born in Detroit, Michigan,^[1] to a family deeply affected by the Great Depression. She was the first in her family to attend college, studying at the University of Michigan. Winning a Hopwood Award for Poetry and Fiction (1957) enabled her to finish college and spend some time in France, and her formal schooling ended with an M.A. from Northwestern University. Her first book of poems, Breaking Camp, was published in 1968.

An indifferent student in her early years, Piercy developed a love of books when she came down with rheumatic fever in her mid-childhood and could do little but read. "It taught me that there's a different world there, that there were all these horizons that were quite different from what I could see," she said in a 1984 interview.^[3]

As of 2004 she is author of seventeen volumes of poems, among them The Moon is Always Female (1980, considered a feminist classic) and The Art of Blessing the Day (1999), as well as fifteen novels, one play (The Last White Class, co-authored with her third and current husband Ira Wood), one collection of essays (Parti-colored Blocks for a Quilt), one nonfiction book, and one memoir.

Her novels and poetry often focus on feminist or social concerns, although her settings vary. While Body of Glass (published in the USA as He, She and It) is a science fiction novel that won the Arthur C. Clarke Award, City of Darkness, City of Light is set during the French Revolution. Other of her novels, such as Summer People and The Longings of Women are set during the modern day. All of her books share a focus on women's lives.

Woman on the Edge of Time (1976) mixes a time travel story with issues of social justice, feminism, and the treatment of the mentally ill. This novel is considered a classic of utopian "speculative" science fiction as well as a feminist classic. William Gibson has credited Woman on the Edge of Time as the birthplace of Cyberpunk. Piercy tells this in an introduction to Body of Glass. Body of Glass (He, She and It) (1991) postulates an environmentally ruined world dominated by sprawling mega-cities and a futuristic version of the Internet, through which Piercy weaves elements of Jewish mysticism and the legend of the Golem, although a key story element is the main character's attempts to regain custody of her young son.

Many of Piercy’s novels tell their stories from the viewpoints of multiple characters, often including a first-person voice among numerous third-person narratives. Her World War II historical novel, Gone To Soldiers (1987) follows the lives of nine major characters in the United States, Europe and Asia. The first-person account in Gone To Soldiers is the diary of French teenager Jacqueline Levy-Monot, who is also followed in a third-person account after her capture by the Nazis.^[4]

Piercy's poetry tends to be highly personal free verse and often addresses the same concern with feminist and social issues. Her work shows commitment to the dream of social change (what she might call, in Judaic terms, tikkun olam, or the repair of the world), rooted in story, the wheel of the Jewish year, and a range of landscapes and settings.

She lives in Wellfleet on Cape Cod, Massachusetts with her husband, Ira Wood.

Works[link]

Novels[link]

• Going Down Fast, 1969
• Dance The Eagle To Sleep, 1970
• Small Changes, 1973
• Woman on the Edge of Time, 1976
• The High Cost of Living, 1978
• Vida, 1980
• Braided Lives, 1982
• Fly Away Home, 1985
• Gone To Soldiers, 1988
• Summer People, 1989
• He, She And It (aka Body of Glass), 1991
• The Longings of Women, 1994
• City of Darkness, City of Light, 1996
• Storm Tide (novel)|Storm Tide, 1998 (with Ira Wood)
• Three Women, 1999
• The Third Child, 2003
• Sex Wars, 2005

^[5]

Poetry collections[link]

• Breaking Camp, 1968
• Hard Loving, 1969
• 4-Telling ( with Emmett Jarrett, Dick Lourie, Robert Hershon), 1971
• To Be of Use, 1973
• Living in the Open, 1976
• The Twelve-Spoked Wheel Flashing, 1978
• The Moon is Always Female, 1980
• Circles on the Water, Selected Poems, 1982
• Stone, Paper, Knife, l983
• My Mother's Body, 1985
• Available Light, 1988
• Early Ripening: American Women's Poetry Now (ed.), 1988; 1993
• Mars and her Children, 1992
• What are Big Girls Made Of, 1997
• Early Grrrl, 1999.
• The Art of Blessing the Day: Poems With a Jewish Theme, 1999
• Colours Passing Through Us, 2003

^[5]

Collected Other[link]

• The Last White Class, (play co-authored with Ira Wood), 1979
• Parti-Colored Blocks For a Quilt, (essays), 1982
• The Earth Shines Secretly: A book of Days, (daybook calendar), 1990
• So You Want to Write, (non-fiction), 2001
• Sleeping with Cats, (memoir), 2002

^[5]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Marge Piercy

• Piercy's homepage
• Piercy in conversation with Martin Espada May 20, 2009 from Lannan (audio file)