Becker, Maurice, (i), (ii)
Beecher, Julia, (i), (ii), (iii)
Beecher, Lyman, (i)
Beecher, Thomas K., (i), (ii)
Bell, Clive, (i)
Bell, Josephine, (i)
Bellows, George, (i)
Benedict, Ruth, (i)
Benedict, Wallace (“Bennie”), (i), (ii), (iii), (iv)
Berenson, Bernard, (i)
Berkman, Alexander, (i)
Bernays, Anna Freud, (i)n141
Biddle, George, (i), (ii)
Blok, Alexander, (i)
Boas, Franz, (i), (ii)
Boissevain, Eugen, (i), (ii), (iii), (iv)
Bolshevik regime, (i), (ii), (iii), (iv)
Boni, Charles and Albert, (i), (ii), (iii), (iv)
Booth, A. W., (i)
Boughton, Alice, (i), (ii)
Bourke-White, Margaret, (i)
Bourne, Randolph, (i)
Bowman, Muriel (“Mooley”), (i), (ii), (iii)
Bozell, L. Brent, (i), (ii)n50
Braggiotti, Mary, (i)
Brill, Abraham, (i), (ii), (iii)
Brink, The (Max’s property on Martha’s Vineyard), (i), (ii), (iii), (iv)
Brockway, Zebulon, (i), (ii)
Brooks, Van Wyck, (i)
Browder, Earl, (i)
Brown, Robert (“Bob”) Carleton, (i), (ii)
Bruno, Giordano, (i)
Bryan, Marion S., (i)
Bryant, Louise, (i)
Buckley, William F., Jr. (“Bill”): condolences on Max’s death, (i); God and Man at Yale, (i); Max’s interest in, (i); and National Review, (i); and religion in National Review, (i)
Buddha, (i), (ii)
Bukharin, Nikolai, (i)
Bullitt, William C., (i)n138
Bullock, Marie, (i)
Burke, Selma, (i), (ii), (iii)n126
Burleson, Albert S., (i), (ii)
Burnham, James, (i), (ii), (iii), (iv), (v)n92
Burr, Jane, (i)
Burton, Robert, Anatomy of Melancholy, (i)
Bye, George, (i), (ii)
Caldwell, Erskine, (i)
Calverton, V. F., (i)
Campbell, Frank, funeral parlor of, (i)
Canandaigua (NY), (i), (ii), (iii), (iv); Crystal attending school in, (i); Eastman family plot in cemetery at, (i), (ii); in Lot’s Wife, (i), (ii); as Max’s birthplace, (i), (ii), (iii)
Cannon, James P. (“Jim”), (i), (ii), (iii)n37
Carlson, Anna, (i)
Carroll, James Judson, (i)
Cerf, Bennett, (i)
Cesare, Oscar, (i), (ii)
Chamberlain, John, (i), (ii)
Chamberlin, William Henry, (i)
Chaplin, Charlie, (i), (ii), (iii); characterized by Max, (i), (ii); A Day’s Pleasure, (i), (ii)n93; The Kid, (i), (ii), (iii), (iv); relationship with Florence Deshon, (i), (ii), (iii), (iv); at Vevey, (i)
Chaplin, Sydney, (i)
Château des Enfants (Juan-les-Pins, France), (i), (ii)
Chicherin, Georgy, (i), (ii)
Christian Register, (i)
Clark, John Abbot, (i)
Clemens, Olivia Langdon, (i)
Cold War, (i)
Coleman, Glenn, (i)
Collins, Creigh (later Creigh C. Stern; Creigh C. Wagner), (i), (ii), (iii), (iv)n18; criticizes Max’s work, (i); Max’s infatuation with, (i); Max’s poetry about, (i), (ii); poetry by (i), (ii)
Collins, May, (i)
Columbia University: Crystal’s sociological studies at, (i); John Dewey at, (i); Max’s instructorship at, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); Max’s philosophical studies at, (i), (ii)
Comintern (Third International), (i), (ii)
Committee for Democratic Control, (i)
communism: end of, (i); front organizations, (i); Max’s anti-communism, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); Max’s lectures on, (i); Max’s naming of names, (i); and revolutionary action, (i). See also Marxism
Communist Manifesto, The, (i), (ii)
Communist Party of America, (i); Max’s membership in, (i), (ii), (iii)n2; and McCarthyism, (i); persecution of members, (i); Stalin’s influence on, (i)
Communist Party of the Soviet Union, (i), (ii), (iii), (iv); Twelfth Congress, (i)
Confucius, (i), (ii)
Coogan, Jackie, (i)
Cook, George Cram, (i), (ii)
Coulter, Douglas, (i)
Countryside magazine, Max’s portrait in, (i), (ii)
Croton-on-Hudson, Max’s home in, (i), (ii), (iii), (iv), (v), (vi), (vii)n13; acquired by Max, (i), (ii); George Andreytchine in, (i); in communist paradise, (i), (ii); Florence Deshon in, (i), (ii), (iii), (iv); Lisa Duncan in, (i); Eliena in, (i), (ii); as Max’s refuge, (i), (ii), (iii), (iv); Claude McKay in, (i); sold by Max, (i)
Crowther, Florence, (i)
Cummings, E. E., (i), (ii), (iii), (iv), (v), (vi)
Cummings, Marion Morehouse, (i), (ii), (iii)
Cup of Fury, The, (i), (ii)n73
Curzon Ultimatum, (i)
Daily Worker, The, Max’s lawsuit against, (i)
Dalí, Salvador, (i)
Daniel, Eula, (i), (ii), (iii), (iv), (v), (vi)
Daniel, Ted, (i)
Danks, Florence. See Deshon, Florence
Danks, Samuel, (i)
Dante Alighieri, (i)
Darr disaster, (i)
Das Kapital, (i), (ii)
Davidson, Jo, (i)
Davis, Stuart, (i)
Davison, George, (i)
Degas, Edgar, (i)
Dehn, Cynthia (née Cynthia Fuller), (i)
Delacroix, Eugène, (i)
Delbanco, Nicholas, (i)
Dell, Floyd, (i), (ii), (iii); on Art and the Life of Action, (i); on Colors of Life, (i); on Enjoyment of Living, (i), (ii); and The Liberator, (i); and The Masses, (i), (ii); and Max’s automobile accident, (i), (ii); on Max’s conservatism, (i)
DeMille, Cecil, (i)
Demuth, Charles, (i)
Denison, John H., (i), (ii)
Deren, Eleanora (Maya), (i)
Deshon, Florence, (i), (ii), (iii), (iv), (v), (vi), (vii); acting engagements of, (i), (ii), (iii), (iv), (v); background of, (i), (ii)n2, (iii)n3; books kept by Max, (i); career ambitions of, (i); cuts off her hair, (i); death of, (i), (ii)n136; first meeting with Max, (i), (ii); as “gypsy,” (i), (ii), (iii), (iv), (v), (vi)n4; Hollywood career of, (i), (ii), (iii), (iv); Jewish descent of, (i), (ii)n4; on The Liberator, (i); Mather’s photographs of, (i), (ii), (iii), (iv), (v), (vi), (vii); Max’s poems about, (i), (ii), (iii); poetry by, (i); relationship with Charlie Chaplin, (i), (ii), (iii), (iv); relationship with Max, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); relationship with Scudder Middleton, (i); The Sense of Humor dedicated to, (i), (ii); smile of, (i); in Venture, (i)
Deutsch, Babette, (i)
Dewey, John, (i), (ii), (iii), (iv), (v), (vi); criticized by Max, (i); egalitarianism of, (i); Max’s defense of, (i); Max’s relationship with, (i); Max’s studies under, (i), (ii), (iii), (iv)
Dewey Commission, (i)
Dexter, Emily, (i)
dialectical materialism, (i), (ii), (iii), (iv); Hook’s defense of, (i); Max’s disagreement with Trotsky, (i)
Dickens, Charles, Cricket on the Hearth, (i)
Diggins, John P., (i)
Diogenes, (i)
Dobert, Margarita, (i)
Dohrn, Anton, (i)
Dollars and Sense, (i)
Donne, John, (i)
Dos Passos, John, (i)
Doty, Madeleine, (i)
Drauden, Olga, (i), (ii)
Dreiser, Theodore, (i), (ii), (iii), (iv), (v)
Duncan, Irma, (i), (ii)
Duncan, Isadora, (i), (ii), (iii), (iv)
Duncan, Lisa (Elisabeth Milker), (i); affair with Max, (i); background, (i)n104; in Dresden, (i), (ii)n113; and Arnold Genthe, (i)n106; meets Max and Eliena in Paris, (i), (ii); portrayed by Max in “To Lisa in Summer,” (i); tours Europe as dancer, (i)
/> Eastman, Annis Ford (mother; née Annis Bertha Ford), (i); background of, (i); births of children, (i); bodily pleasure rejected by, (i); characterized, (i), (ii); as cyclist, (i); death of, (i); depression bouts of, (i); feminism of, (i); at Glenora farm, (i), (ii), (iii); in Harvard summer classes, (i); health of, (i); interest in nutrition, (i), (ii), (iii)n18, (iv)n48; liberal creed of, (i); marriage, (i), (ii); as minister’s wife, (i); ministry at Park Church, (i), (ii); nudity at Glenora opposed by, (i); poetry by, (i); psychoanalytic treatment of, (i); relationship with children, (i), (ii), (iii), (iv); relationship with Max, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii); scientific interests of, (i); sermons of, (i), (ii), (iii), (iv); and suffrage movement, (i), (ii); utopian ideas of, (i); and Walt Whitman, (i), (ii), (iii); Williamstown visit of, (i)
Eastman, Anstice Ford (brother; also known as Peter Eastman and Ford Eastman), (i), (ii), (iii), (iv), (v); characterized, (i); death of, (i); doctor at New York City Hospital, (i); on Sam Eastman, (i); at Glenora farm, (i), (ii), (iii); health of, (i), (ii)n4; imitated by Max, (i); at Princeton, (i), (ii), (iii)
Eastman, Crystal Catherine (sister), (i), (ii), (iii), (iv), (v); activism of, (i), (ii); birth of, (i); boyfriends of, (i), (ii); childhood and adolescence of, (i), (ii), (iii), (iv), (v); custody of orphaned children of, (i), (ii); death of, (i), (ii); death of mother, (i); and Florence Deshon’s death, (i); with Employers’ Liability Commission, (i); on Enjoyment of Poetry, (i); gender fluidity of, (i); at Glenora farm, (i), (ii), (iii), (iv), (v); and The Liberator, (i), (ii), (iii); marriage to Wallace Benedict, (i), (ii), (iii), (iv); marriage to Walter Fuller, (i); on Max’s femininity, (i); as model of perfection for family, (i), (ii), (iii); on nudity, (i), (ii); partying lifestyle of, (i), (ii); with Pittsburgh Survey, (i); relationship with mother, (i), (ii), (iii); sexuality of, (i), (ii); singing of, (i); sociology studies at Columbia University, (i); as teacher, (i); at Vassar College, (i), (ii); Work-Accidents and the Law, (i)
Eastman, Crystal-Max relationship, (i), (ii), (iii); boyfriends compared to Max, (i); competition for same girls, (i); erotic role playing games of, (i), (ii), (iii); incestuous label for, (i), (ii); lasting beyond Crystal’s death, (i), (ii); and Max’s marriage to Ida Rauh, (i); Max’s reaction to Crystal’s death, (i); sexual fantasies shared in, (i); shared life in New York City, (i), (ii), (iii); strong bond in, (i), (ii), (iii), (iv), (v)
Eastman, Daniel (son), (i), (ii), (iii), (iv); affected by parents’ separation, (i), (ii), (iii); birth of, (i); as conscientious objector, (i); Croton visit of, (i); death of, (i), (ii)n89; and death of father, (i), (ii); drinking by, (i); at Glenora, (i); inherits father’s property, (i), (ii)n87; Max’s involvement in life of, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); parental rights relinquished by Max, (i), (ii), (iii); as psychologist, (i), (ii), (iii)n108; takes care of mother, Ida Rauh, (i); as Trotskyist, (i), (ii)n48; work-in-progress admired by Max, (i); works for ACLU, (i), (ii)
Eastman, Eliena (Elena) Krylenko (second wife), (i), (ii); American life embraced by, (i), (ii), (iii); as artist, (i), (ii), (iii), (iv), (v), (vi), (vii); characterized, (i), (ii); as dancer, (i); departure from Russia, (i); diplomatic passport of, (i), (ii); employment of, (i), (ii), (iii), (iv); execution of family, (i), (ii), (iii); family background of, (i), (ii); first meeting with Max, (i), (ii), (iii); Fitzgerald’s praise for, (i); on Hemingway, (i); illness and death of, (i); jealousy of, (i), (ii), (iii); love and security provided by, (i), (ii), (iii), (iv); malaria of, (i); marries Max, (i); on Martha’s Vineyard, (i), (ii), (iii), (iv); and open marriage, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi); poetry by, (i), (ii), (iii); portrayed in Venture, (i); relationship with Max in Russia, (i), (ii), (iii), (iv), (v), (vi); and sexuality, (i), (ii), (iii); translation work of, (i), (ii)n61; on Venture, (i)
Eastman, George (of Eastman Kodak), (i), (ii), (iii)
Eastman, Ida Rauh (first wife). See Rauh, Ida
Eastman, Marie Jo (daughter-in-law), (i)
Eastman, Max Forrester, (i), (ii), (iii), (iv); on American character, (i); animal behavior studies of, (i), (ii); and Anstice, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix); anticommunism of, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); antimodernism of, (i), (ii), (iii); antistatism of, (i), (ii), (iii); antiwar position of, (i), (ii), (iii); artistic taste of, (i); atheism of, (i), (ii), (iii); autobiography of, (i), (ii), (iii), (iv), (v); birth of, (i), (ii); Boughton’s photographs of, (i), (ii); as Candide, (i); character of, (i); childhood and adolescence of, (i), (ii), (iii), (iv), (v); childhood sexual desires of, (i); coach to boys’ athletic club, (i); and Creigh Collins, (i), (ii), (iii); communist fellow travelers named by, (i); on communist infiltration of media, (i); and Communist Party membership, (i), (ii), (iii), (iv)n2; conscription notice received by, (i); courage in emergency situations, (i), (ii)n76; Croton-on-Hudson house of, (i), (ii), (iii), (iv), (v), (vi); and Crystal (see Eastman, Crystal-Max relationship); and Crystal’s orphaned children, (i), (ii); in Cuba, (i); as cyclist, (i); death of, (i), (ii); death of Crystal, (i); death of Eliena, (i); death of father, (i); death of mother, (i); and Florence Deshon, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x); John Dewey’s influence on, (i), (ii), (iii), (iv), (v); and diving, (i), (ii), (iii); and Lisa Duncan, (i); and Martha Ellis, (i); expatriate life in France, (i), (ii); extramarital affairs (“seizures”) of, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii)n76; and fatherhood, (i), (ii), (iii), (iv), (v), (vi), (vii); feminine side of, (i), (ii); on feminism, (i); financial problems of, (i), (ii), (iii), (iv), (v); first meeting with Eliena, (i), (ii), (iii); flea story narrated by, (i); and Freudian dream analysis, (i); Freud’s meeting with, (i), (ii); at Genoa Conference, (i); at Glenora farm, (i), (ii), (iii), (iv), (v), (vi), (vii); grave of, (i); in Greece, (i); in Hawaii, (i); health of, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)n82; healthy lifestyle of, (i), (ii), (iii); Hemingway, fisticuffs with, (i), (ii); Hemingway, relationship with, (i), (ii), (iii); hero-worship of, (i), (ii), (iii), (iv), (v), (vi), (vii); in Hollywood, (i), (ii); honeymoon with Ida Rauh, (i); Hook debates over Marxism, (i), (ii), (iii); humor theory of, (i), (ii); importance of individual morality, (i); income of, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii)n8; insomnia of, (i), (ii); in Ireland, (i); and June Johnson, (i); on Lenin, (i), (ii), (iii); Lenin’s Testament preserved by, (i), (ii), (iii); Lermontov translated by, (i), (ii); and Liberator editorship (see Liberator, The); as libertarian conservative, (i); male friendships of, (i); Malthusian beliefs of, (i); marriage to Eliena Krylenko, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); marriage to Ida Rauh, (i), (ii), (iii), (iv), (v), (vi), (vii); marriage to Yvette Szekely, (i), (ii), (iii); Martha’s Vineyard home of, (i), (ii), (iii); Marxist theory of, (i), (ii), (iii), (iv); Marx’s writings edited by, (i); and masculinity, (i), (ii); (i)n5; and Masses editorship (see Masses, The); Mather’s photographs of, (i), (ii), (iii); on McCarthyism, (i); and Claude McKay, (i), (ii), (iii); memorial service for, (i); at Mercersburg Academy, (i), (ii); mistaken for Jewish, (i), (ii)n8; mistaken for Mexican, (i); and Inez Milholland, (i), (ii), (iii); and National Review camp, (i); New York City apartment of, (i), (ii)n7; and Florence Norton, (i), (ii), (iii), (iv), (v), (vi); in Norway, (i); open marriage of, (i), (ii), (iii), (iv), (v), (vi), (vii); in Palestine, (i); parental rights relinquished by, (i), (ii); and pets, (i), (ii), (iii), (iv), (v), (vi); philosophy dissertation of, (i), (ii); philosophy graduate studies of, (i), (ii); physical appearance of, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii); physical decline of, (i), (ii); as poet, (i), (ii), (iii), (iv); on poetry, (i), (ii), (iii); on poetry of Cummings, (i); polyamory philosophy of, (i), (ii), (iii), (iv), (v); portrait by Eliena, (i), (ii); and pragmatism, (i), (ii); and preference for green ink, (i), (ii); productivity of, (i), (ii), (iii), (iv); in Provincetown, (i); on psychoanalysis, (i); and psychoanalytic therapy, (i), (ii), (iii); as public speaker (see public speaking,
Max’s); Puritanism of, (i); as radical conservative, (i); Radio Guide feature about, (i); as radio show host on Word Game, (i), (ii), (iii); with Reader’s Digest (see Reader’s Digest); rejects right-wing label, (i), (ii); relationship with father, (i), (ii), (iii), (iv); relationship with mother, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii); religious upbringing of, (i), (ii), (iii), (iv); return to U.S., (i); right-wing conversion of, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); in Rome, (i); in Russia (see Russia, Max’s visit to); as Russian affairs expert, (i), (ii); Russian language proficiency of, (i), (ii), (iii), (iv), (v); and seize-the-day philosophy, (i), (ii)n12; self-analysis of, (i), (ii), (iii), (iv); and sense of failure, (i), (ii); serial philandering of, (i); and sex drive decline, (i), (ii); sex drive of, (i); sexual liberation of, (i), (ii), (iii); sexual repression during adolescence, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n6; social equilibrium advocated by, (i), (ii); socialism renounced by, (i), (ii); suffering from Parkinson’s, (i), (ii)n84; in suffrage movement, (i); sun worship of, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv); in Tangier, (i), (ii); as teaching assistant at Columbia University, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); in theatrical performances, (i), (ii), (iii); in treatment for back pain, (i), (ii); and Trotsky’s biography of young Lenin, (i), (ii)n88; Trotsky’s quarrel with, (i); Trotsky’s works translated by, (i), (ii), (iii); and Tsar to Lenin documentary film, (i), (ii); and violence, (i); on voting, (i); Western travels of, (i); and Whitman’s poetry, (i), (ii), (iii); at Williams College, (i), (ii), (iii), (iv), (v), (vi); women’s attraction to, (i), (ii), (iii), (iv), (v), (vi), (vii); Woodrow Wilson’s meetings with, (i); and zest for life, (i), (ii), (iii)
Eastman, Max Forrester, writings of, (i), (ii), (iii); “Am I a Conservative?” (i), (ii)n50; “Animal” (poem), (i); Anthology for Enjoyment of Poetry, (i), (ii); Art and the Life of Action, (i); Artists in Uniform, (i), (ii); “At Santa Marguerita” (poem), (i)n12, (ii)n86; “At the Aquarium” (poem), (i), (ii), (iii), (iv), (v)n55; “Bull in the Afternoon,” (i), (ii); Child of the Amazons, (i), (ii), (iii); “Child of the Amazons” (poem), (i); “The City” (poem), (i); Colors of Life, (i), (ii), (iii), (iv); “Diogenes” (poem), (i); “Egrets” (poem), (i); “Eliena” (poem), (i); The End of Socialism in Russia, (i); Enjoyment of Laughter, (i), (ii), (iii), (iv), (v); Enjoyment of Living (autobiography), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix); Enjoyment of Poetry, (i), (ii), (iii), (iv); “Epitaph” (poem), (i), (ii), (iii)n86; Everybody’s Magazine articles on psychoanalysis, (i); Great Companions, (i), (ii); Heroes I Have Known, (i); “Is Woman Suffrage Important?” (i); Journalism Versus Art, (i); Kinds of Love, (i), (ii), (iii); The Last Stand of Dialectic Materialism, (i), (ii)n79; “Leif Ericson” (poem), (i); Leon Trotsky: The Portrait of a Youth, (i), (ii); Letter to Americans, (i); The Literary Mind, (i); “The Lonely Bather” (poem), (i); Lot’s Wife (poem), (i); “Love Among the Insects,” (i); Love and Revolution (autobiography), (i), (ii), (iii), (iv); Marx, Lenin, and the Science of Revolution, (i), (ii), (iii), (iv), (v), (vi); “Modernist Poetry” (poem), (i); “Mount Greylock” (poem), (i); “The New Art of Healing,” (i); for The New Masses, (i); “On the Folly of Growing Up,” (i), (ii); “The Paradox of Plato,” (i); Poems of Five Decades, (i), (ii); “The Poet’s Mind,” (i); political column for The Masses, 96 (i), (ii), (iii); “A Praiseful Complaint” (poem), (i); “Procreation” (poem), (i); “Provincetown” (poem), (i); “A Question to the National Review,” (i); Reflections on the Failure of Socialism, (i), (ii), (iii)n41; The Sense of Humor, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x); Seven Kinds of Goodness, (i); Since Lenin Died, (i), (ii); “Socialism and Human Nature,” (i); “Something French,” (i); Stalin’s Russia and the Crisis in Socialism, (i), (ii), (iii), (iv), (v); “The Sunrise Club,” (i); “The Swallow” (poem), (i); “Swamp Maple” (poem), (i); “Sweet Lovely Night” (poem), (i), (ii), (iii); “A Telegram” (poem), (i); “Those You Dined With” (poem), (i); “The Thought of Protagoras” (poem), (i); “To an Actress,” (i); “To a Tawny Thrush” (poem), (i); “To Lisa in Summer” (poem), (i), (ii); “To My Maltine with Cod-Liver Oil” (poem), (i); “Too Many People” (poem), (i); “To One Who Died” (poem), (i); “To the Twelfth Juror” (poem), (i); “Unsheathed” (poem), (i); Venture (novel), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); “A Visit” (poem), (i); “Walt Whitman’s Art,” (i); “What We Laugh At—and Why,” (i); “Whitman’s Morals,” (i); at Williams College, (i); “X Rays” (poem), (i)
Max Eastman Page 55