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re: BJORN-ARE DAVIDSEN:
Bjorn is writing a message referring to the European publication of
my "Lost Charts of Columbus" story which just appeared in Norway and Denmark
as a supplement-edition to the weekly DD with a special cover. This is my
combined sequel to "The Golden Helmet" (slightly) and "The Guardians of the
Lost Library". It was surprising to see another of my stories so soon,
immediately after they finished the 3rd chapter of "The Incredible Shrinking
Tightwad" -- and I think it was originally scheduled thus because I was, at
one time, going to be in Norway about now. That was during my trip to
Finland, but that was postponed several weeks. So, this is the first comment
I'll have seen about this new Columbus story -- and I look forward to
hearing Bjorn's remarks, as I am still in the frame of mind (as I am after
all the stories I do) that this Columbus thing was another long, tragic
mistake on my part. I usually think slightly better of my stuff after I
haven't seen it for a year or so. I work on each story for so long that by
the time I send it in to Egmont, I DETEST it!
I already have another nifty idea for a Columbus story, but I need
to leave it in the notes stage for a year or two. (After researching
Columbus for several stories, I've become a big fan of his -- he was a
classic nutball genius. He had a truly amazing life, the most intriguing
parts of which came long AFTER he discovered America, making the telling of
them too anti-climactic, otherwise his life would be a lot more well-known
than it even is.)
To any Norwegians: I've been told that they might get some extra
publicity out of this Columbus story because there is currently a hot public
debate between the elderly Thor Heyerdahl and some other famous, elderly
Norwegian historian/explorer (the guy who discovered the Viking settlement
in Newfoundland) about who actually discovered America. The DD weekly can
boast that everyone can "read this week's DONALD DUCK & CO. for the TRUE story".

My two almost indentical messages yesterday was due to the serious error on my part
of submitting the first to Disney-comics-request, and upon discovering that, mailing it
once more with minor improvements. I was not aware that request mesages are
forwarded to the list...

Some more comments on the Columbus story (SPOLIER ALERT ALERT ALERT):

The Junior Woodchuck Museum is a really great place for gags and historical artifacts. I
love it when you get going in that building, Don, with understatements and hidden action
between the panels, and incredible, hilarious exhibitions!

I especially enjoyed the story as a follow up to your own "Guardians of the Lost Library",
which I believe was an almost equal valid source for the story as "The Golden Helmet"!

The usual nit-picking:

I'm really not sure if 537 A.D. on an artifact would convince many historians, as our way
of counting years may have been introduced at a later stage. I believe that a more
proper dating would have been related to the founding of Rome, even in Ireland.
However, I'm quoting this from memory, and have not checked it.

That Mexican city (which I don't dare to spell without proper source material in front of
me) being "greater than Rome"? I'm not sure what you meant: in area, population,
wealth, as control centre of an larger empire or in beauty - or compared to Rome in a
late stage of decline? I believe any Mexican city will fail on most (all) of these accounts.
Or am I wrong?

The ending was good, very political correct (I love that, sometimes), however, perhaps
too similiar in principle to the Guardians of the Lost Library (upside down, I mean)?

And was it a translation error when the nephews wondered " why is North at the top"?

Nevertheless: One of your greatest stories! I read it twice at once and laughed, and
grinned and had people turning around to look at me on the bus, in short having that
experience of Joy which I believe the literary historian and story teller C.S. Lewis is the
clearest defender of as important to the real value of a story (see his "Experiment in
Criticism").

Bjorn-Are

bjorn-are.davidsen at s.prosjekt98.telenor.no

************************************************************************************
- The Weaver in the Web that he made -
************************************************************************************

DON:
The published an article and a picture (the text under the picture: The
duck artist Don Rosa in the middle of his Donald Duck collection) of you in
Aku Ankka:

---
KENO DON ROSA TO FINLAND!

The wish of many of the readers of Aku Ankka is fulfilled when their
favourite artist Don Rosa pays Finland a visit to meet his fans. In the first
half of November, on week 45 to be exact, Don Rosa visits in several book
stores to sign the new Finnish Rosa book /Guardians of the Lost Library and
Other Bests of Don Rosa/.
In Helsinki Don Rosa visits Akateeminen and Suomalainen book stores and
The Good Fellows comics shop and in Tampere at least in Kukunor comics store.
Do follow the adds in newspapers to be informed of the more exact dates and
times. You can get more info about the autograph-giving event at Good Fellows
on from Nov. 6th in the numbers (90)6949891 and (90)6949864.
In addition The Good Fellows will set up an exhibition of Don Rosa original
art-work in its gallery, which will open for four days at Friday the 10th.
The exhibition is open at Friday 17-20, Saturday 9-16, Sunday 9-16 and
Monday 10-18. Don Rosa will visit there on Saturday and Sunday mornings to
be chatted with by the audience, but he won't be signing his art then.
The whole exciting Rosa week gets to its top in the comics festival in
the Old Students' House in Helsinki where Rosa is the guest of honour. The
festival set up by the Suomen sarjakuvaseura (Comics Society of Finland)
are also the first event of the celebrations for the comics anniversary.
Comic-book is 100 years old in 1996.
The issue 45 of Aku Ankka will be a Don Rosa special, where a whole
long duck adventure story Lost Charts of Columbus will be published,
totally new Don Rosa that is. In the issue there will also be a cover drawn
by Don Rosa for this specific adventure. Try to stay calm!
---

Now to my questions:
DON ROSA ORIGINAL ART-WORK?!!-o Where did they get this if even you can't
have it? Did they purchase it directly from Gladstone/Egmont or what?
How is it possible that I've seen three pictures of you and in each one of
them you look exactly different?
I don't know if the issue 45 is in print yet, but if not, maybe it might be
a good place to publish your e-mail address OR fully detailed information of
this list? Whaddaysay, Don/Per? (I do have to ask the editors first, of course)
And I have a huge packet of Aku Ankka issues here and the piggy bank, but
when can I give them to you? In the festival at Saturday (when/where) or at
Sunday morning at the gallery?
Do you have a clue of the time the GotLLaOBoDR will be published?
How long is LCoC? Does this proof that they could also publish the Avatar
story?

ALL:
After all that disney-comics stuff I'll answer somebody else's disney-
noncomics question. Here is the official list of long Disney animations:
Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Fantasia (1940),
Dumbo (1941), Bambi (1942), Saludos Amigos (1943), The Three Caballeros (1945),
Make Mine Music (1946), Fun & Fancy Free (1947), Melody Time (1948), The
Adventures of Ichabod and Mr. Toad (1949), Cinderella (1950), Alice in
Wonderland (1951), Peter Pan (1953), Lady and the Tramp (1955), Sleeping Beauty
(1959), One Hundred and One Dalmatians (1960), The Sword in the Stone (1963),
The Jungle Book (1967), The AristoCats (1970), Robin Hood (1973), The Many
Adventures of Winnie-the-Pooh (1977), The Rescuers (1977), The Fox and the Hound
(1980), The Black Cauldron (1985), The Great Mouse Detective (1986), Oliver and
Company (1988), The Little Mermaid (1989), The Rescuers Down Under (1990),
Beauty and the Beast (1991), Aladdin (1992), The Lion King (1993), Pocahontas
(1995), The Hunchback of Notre Dame (1996).
34 movies all in such. The movies with some parts animation and some live-
action such as Song of the South, Jack's Dragon, Mary Poppins and Who framed,
Roger Rabbit?

--

Mike - The Finnish Trekkie

Wes:

| The discussion on the meaning of Gladstone led me to an American dictionary
| where it said:
|
| "a travelling bag with flexible sides on a rigid frame that opens flat into
| two compartments"

I wonder if we have the same dictionary:

/home/surt/b/jorgenb>def gladstone
glad.stone (n)
('glad-.st{o-}n, [italic chiefly Brit] -st*n)
i[often cap]
Etymology: W. E. Gladstone {dagger}1898 Brit. statesman
n, a traveling bag with flexible sides on a rigid frame that opens
into two compartments

/home/surt/b/jorgenb>man def

DEF(1) DEF(1)

NAME
def - define a word, using Webster's 7th edition
dictionary

Now to find an excuse to send this...

Jorgen

Actually, Gladstone is the name of a small town in Oregon, just outside
of Portland. I'm sure Carl had travelled through it many times before he
came up with the name of the character. (There was a period in his life,
just after he got divorced I think, when he practically lived in his
car. Many of his stories from that period were written and drawn on the
road in small towns like Gladstone.)

jg

On Wed, 18 Oct 1995 Cdoberman at aol.com wrote:

> The discussion on the meaning of Gladstone led me to an American dictionary
> where it said:
>
> "a travelling bag with flexible sides on a rigid frame that opens flat into
> two compartments"
>
> The definition says that it is often capitalized, which indicates that it was
> probably the name of the manufacturer of such a bag and became used to
> describe other similar bags, much in the same way Americans say Xerox for
> photocopy and Kleenex for tissue.
>
> But the definition makes me think that I've seen Gladstone Gander carrying
> such a bag.
>
> -- Wes
>
> "But, Mickey! It's SUICIDE! We'll be KILLED! How'll we ever land without
> wheels?" -- Captain Doberman
>

This is the last part of my essay, consisting of two paragraphs (was so close to
the end, I just decided to send both. The last installment will come tomarrow,
which is the Bibliography, in case any one is interested.
_______________________________________________________________________________
Joseph Campbell describes the standard path of the mythological hero in
three parts: separation, initiation, and return (Campbell 30). Scrooge McDuck
can truly have been said to undergo this initiation into the exhaled rank of
hero. His separation, the push from his ancestors; his initiation, his final
success as he washes mud from a rock to discover gold; his return is his return
to Castle McDuck. Scrooge McDuck has successfully navigated the rites of
passage required of a hero. But, a epic hero is different in the respect that
he must be seen as "representative of his or her culture" (Merchant). Again,
Scrooge delivers. For what can be more capitalistically American than an
immigrant who starts with a dime to his name, and becomes the richest duck in
the world. He represents the best and sometimes the worst of America. In
Bark's, "Only a Poor Old Duck", Scrooge explains to his nephews why he loves
his
money so much:
"'Well, all this money means something to me! Every coin in here has a
story . . . You'd love your money, too, boys, if you got it the way I
did -- by thinking a little harder than the other guy -- by jumping a
little quicker --" (Barks 35-36)
Scrooge made his money through hard work, and he values it all. Some would say
too much, as he only pays his nephew Donald 30 cents an hour to help treasure
hunt around the world. At his worst, Scrooge sees all things as an exploit for
making money. At times it is evident that Scrooge has a romantic strain in
him,
for as his sits eating his dinner during the Yukon winter:
"This frontier is like so many others I've known -- unspoiled by the
ravages of man, still glorious and unsullied! A man can face the world
on his own terms here! Enjoy the fruits of his own labor! Live in a
paradise of tranquillity and beauty and . . ." (Rosa 8:16)
Scrooge will never admit to this side of himself, and he continues: "BAH!
Sucker
Talk! When I find gold, I'll drain the creek with hydraulic mining, blast the
mountains apart, and feed the trees to lumber mills" (8:16). We might boo
Scrooge, if we weren't too busy laughing at him. Sometimes, thought, his good
side does get the best of him, even if it doesn't seem that way. In "Back To
the Klondike", Scrooge seems dead intent on collecting on a one thousand dollar
debt (compounded daily, totaling 1 billion dollars) from an old acquaintance,
Glittering Goldie. Though he gets a faraway look in his eyes when he mentions
her name, he swear that he is thinking of the billion dollars. In the end, he
forces her into a contest to absolve the debt, and loses. In the last
frame, we
learn, despite all his indignation, that Scrooge threw the contest ("Back to
the
Klondike" 7-8). For some reason or another, people who read Scrooge comics
can't help an ever so slight sense of awe for a duck who made his money "by
being tougher than the toughies, and smarter than the smarties! And I made it
square" ("Only a Poor Old Man" 1)! Scrooge appeals to the American pioneer
spirit, and the sense of fair play that the generation that first read him grew
up with.
Despite literary comparison and analysis, the true test of an epic is
its durability in time. Scrooges mark shows up in many place. Film director
George Lucas drew much of inspiration and style from the pages of Carl Bark's
comics (Cocks 78). In an excerpt from Paul Preuss' "Starfire" novel, a den is
describe containing all manner of items including "gold coins framed under
glass
. . . books about crystal, about china, about antique furniture . . . and Uncle
Scrooge comic books -- about every class of object worth collecting" (Cross
32).
But the most telling evidence comes from the fans who devotedly write to the
comic's mail page; from a fan who once told Barks: "I just want to shake your
hand and tell you that you made my childhood much happier with your stories"
(Boatner A-57); and of all the parents who fondly remember the comic, and thank
Carl Barks and Uncle Scrooge for helping their children to start reading all
those other epics.

Hello all!

I've gotten the publishing schedule for albums for autumn and winter by
Ehapa. Now it's for sure:

After the last chapters of Lo$ the series Disney: Don Rosa (also known as
Don Rosa Library) will be continued. :->
In December DR 7 will be available containing The Last Sled to Dawson.
In March 1996 DR 8 will be out containing Return to Xanadu.

The Barks Library continues with # 19, # 20 and # 21.
The Barks Library Special continues # 9, # 10 and # 11.
The Barks Libraries' numbers are equal to the American ones'.

A New series will start in November. After Carl Barks and Don Rosa it
seems that now William Van Horn will get his library. The New series is
named Disney: William Van Horn. Album # 1 is titled "Neue Abenteuer der
Ducks" (New Adventure of the Ducks).

An album of the comic-adaptation of the film Pocahontas will be out this
month continuing the Disney Classical Film-Comics series.
An book of the same film will be out this month, too, starting a new
series named Diney Das grosse Filmbuch (Disney The Great Film Book).

Still available is the Donald Duck Sunday pages series by Al Taliaferro.
Sadly no new album in this series was announced for this half-year.

And it's very sad that the series Micky's Klassiker (Mickey's Classics)
with Gottfredson stories is going out of print and no new album will be
published anymore. Only number 6 containing Mickey in the Foreign Legion
,if my memory is right, is still available by Ehapa.

These comics are all in German.

It's just an information!

-- Gilbert

----------------------------------------------------
Gilbert Roser A Disney Maniac
TUBerlin
Germany
efferd at cs.tu-berlin.de
----------------------------------------------------