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Edmondo Zacchini was the oldest son of Ildebrando Zacchini, an Italian portrait artist and amateur gymnast, and brother of Hugo Zacchini. Ildebrando brought his family up in a traveling circus . The family eventually formed their own circus , and Edmondo became a gifted clown , as well as doing acrobatics.
A Death in Belmont centers on the 1963 rape and murder of Bessie Goldberg. This was during the period from 1962 to 1964 of the infamous Boston Strangler crimes. Junger raises the possibility in his book that the real Strangler was Albert DeSalvo. He [clarification needed] eventually confessed to committing several Strangler murders, but not ...
Edmondo and Hugo Zacchini circa 1960-1970. Edmondo Zacchini (1894–1981) and Hugo Zacchini (1898–1975) were circus entertainers. They were the sons of Ildebrando Zacchini (1868–1948) and came from a large Italian family residing primarily in Tampa, Florida. While not all human cannonballs, all of papa Zacchini's children were circus ...
Ildebrando Zacchini (July 31, 1868 – July 17, 1948) was an Italian-born painter, inventor, and travelling circus owner. [1] Inspired by the works of Jules Verne, Zacchini came up with an idea for a human cannonball act. [2] Instead of explosives, Zacchini's human-firing cannon used compressed air, and he first tested it on his son Hugo Zacchini.
Her causes of death per one of her biographies were stomach and kidney failure and pneumonia. [638] Paulette Goddard (1910–1990; aged 79), American actress. She apparently survived breast cancer, but later died at her villa in Porto Ronco, Switzerland from heart failure under respiratory support due to emphysema. [639]
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The book won the 2020 Pulitzer Prize for General Nonfiction, and was a finalist for the PEN America's Jean Stein Book Award. [4] The Pulitzer committee described the book as "an elegant and unforgettable narrative about the brutality of illness and the capitalism of cancer care in America." [5]
Will Self discussed the idea of the death of the novel, as a microcosm of the wider debate about the death of the book itself, in relation to the transition from a Gutenberg era of printing to the post-Gutenberg era of the information age. [10] He has even questioned the longevity of the bookshelf, let alone the book. [11]