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MessagePad

The MessagePad was a series of personal digital assistant devices developed by Apple Computer for the Newton platform in 1993. Some electronic engineering and the manufacture of Apple's MessagePad devices was undertaken in Japan by Sharp. The devices are based on the ARM 610 RISC processor and all featured handwriting recognition software and were developed and marketed by Apple. The devices run Newton OS.

History
The development of the Newton MessagePad first began with Apple's former senior vice president of research and development, Jean-Louis Gassée; his team included Steve Capps, co-writer of Mac OS Finder, and an employed engineer named Steve Sakoman. The development of the Newton MessagePad operated in secret until it was eventually revealed to the Apple Board of Directors in late 1990.

When Gassée resigned from his position due to a significant disagreement with the board, seeing how his employer was treated, Sakoman also stopped developing the MessagePad on March 2, 1990.

Bill Atkinson, an Apple Executive responsible for the company's Lisa graphical interface, invited Steve Capps, John Sculley, Andy Hertzfeld, Susan Kare, and Marc Porat to a meeting on March 11, 1990. There, they brainstormed a way of saving the MessagePad. Sculley suggested adding new features, including libraries, museums, databases, or institutional archives features, allowing customers to navigate through various window tabs or opened galleries/stacks. The Board later approved his suggestion; he then gave Newton it is official and full backing.

The first MessagePad was unveiled by Sculley on the 29th of May 1992 at the summer Consumer Electronics Show (CES) in Chicago. Sculley caved in to pressure to unveil the product early because the Newton did not officially ship for another 14 months on August 2, 1993, starting at a price of $$699$. Over 50,000 units were sold by late November 1993.

Screen and input
With the MessagePad 120 with Newton OS 2.0, the Newton Keyboard by Apple became available, which can also be used via the dongle on Newton devices with a Newton InterConnect port, most notably the Apple MessagePad 2000/2100 series, as well as the Apple eMate 300.

Newton devices featuring Newton OS 2.1 or higher can be used with the screen turned horizontally ("landscape") as well as vertically ("portrait"). A change of a setting rotates the contents of the display by 90, 180 or 270 degrees. Handwriting recognition still works properly with the display rotated, although display calibration is needed when rotation in any direction is used for the first time or when the Newton device is reset.

Handwriting recognition
In initial versions (Newton OS 1.x) the handwriting recognition gave extremely mixed results for users and was sometimes inaccurate. The original handwriting recognition engine was called Calligrapher, and was licensed from a Russian company called Paragraph International. Calligrapher's design was quite sophisticated; it attempted to learn the user's natural handwriting, using a database of known words to make guesses as to what the user was writing, and could interpret writing anywhere on the screen, whether hand-printed, in cursive, or a mix of the two. By contrast, Palm Pilot's Graffiti had a less sophisticated design than Calligrapher, but was sometimes found to be more accurate and precise due to its reliance on a fixed, predefined stroke alphabet. The stroke alphabet used letter shapes which resembled standard handwriting, but which were modified to be both simple and very easy to differentiate. Palm Computing also released two versions of Graffiti for Newton devices. The Newton version sometimes performed better and could also show strokes as they were being written as input was done on the display itself, rather than on a silkscreen area.

For editing text, Newton had a very intuitive system for handwritten editing, such as scratching out words to be deleted, circling text to be selected, or using written carets to mark inserts.

Later releases of the Newton operating system retained the original recognizer for compatibility, but added a hand-printed-text-only (not cursive) recognizer, called "Rosetta", which was developed by Apple, included in version 2.0 of the Newton operating system, and refined in Newton 2.1. Rosetta is generally considered a significant improvement and many reviewers, testers, and most users consider the Newton 2.1 handwriting recognition software better than any of the alternatives even 10 years after it was introduced. HWR accuracy:

 * See comments in Wired's Apple Newton Just Won't Drop:
 * See text under "Handwriting Recognition" in Pen Computing's First Look at Newton OS 2.0:
 * See "Opportunity Squandered" in Pen Computing's Why did Apple kill the Newton?:
 * See comments under "Software" in MacTech's MessagePad 2000 review:
 * Comments by Pen Computing's editor:
 * See user testing results discussed in part 6 of this A.I. Magazine article on Newton HWR:
 * MessagePad 2000 review at Small Dog Electronics:
 * See comments under "Note-taking" in MessagePad 2000 review at "The History and Macintosh Society":
 * What's Right With The Newton: HWR:
 * Assessment by Apple developer:
 * Prof. Warden's MessagePad 130 review:  Recognition and computation of handwritten horizontal and vertical formulas such as "1 + 2 =" was also under development but never released. However, users wrote similar programs which could evaluate mathematical formulas using the Newton OS Intelligent Assistant, a unique part of every Newton device.

The handwriting recognition and parts of the user interface for the Newton are best understood in the context of the broad history of pen computing, which is quite extensive.

A vital feature of the Newton handwriting recognition system is the modeless error correction. That is, correction done in situ without using a separate window or widget, using a minimum of gestures. If a word is recognized improperly, the user could double-tap the word and a list of alternatives would pop up in a menu under the stylus. Most of the time, the correct word will be in the list. If not, a button at the bottom of the list allows the user to edit individual characters in that word. Other pen gestures could do such things as transpose letters (also in situ). The correction popup also allowed the user to revert to the original, un-recognized letter shapes - this would be useful in note-taking scenarios if there was insufficient time to make corrections immediately. To conserve memory and storage space, alternative recognition hypotheses would not be saved indefinitely. If the user returned to a note a week later, for example, they would only see the best match. Error correction in many current handwriting systems provides such functionality but adds more steps to the process, greatly increasing the interruption to a user's workflow that a given correction requires.

User interface
Text could also be entered by tapping with the stylus on a small on-screen pop-up QWERTY virtual keyboard, although more layouts were developed by users. Newton devices could also accept free-hand "Sketches", "Shapes", and "Ink Text", much like a desktop computer graphics tablet. With "Shapes", Newton could recognize that the user was attempting to draw a circle, a line, a polygon, etc., and it would clean them up into perfect vector representations (with modifiable control points and defined vertices) of what the user was attempting to draw. "Shapes" and "Sketches" could be scaled or deformed once drawn. "Ink text" captured the user's free-hand writing but allowed it to be treated somewhat like recognized text when manipulating for later editing purposes ("ink text" supported word wrap, could be formatted to be bold, italic, etc.). At any time a user could also direct their Newton device to recognize selected "ink text" and turn it into recognized text (deferred recognition). A Newton note (or the notes attached to each contact in Names and each Dates calendar or to-do event) could contain any mix of interleaved text, Ink Text, Shapes, and Sketches.

While the Newton offered handwriting recognition training and would clean up sketches into vector shapes, both were unreliable and required much rewriting and redrawing. The most reliable application of the Newton was collecting and organizing address and phone numbers. While handwritten messages could be stored, they could not be easily filed, sorted or searched. While the technology was a probable cause for the failure of the device (which otherwise met or exceeded expectations), the technology has been instrumental in producing the future generation of handwriting software that realizes the potential and promise that began in the development of Newton-Apple's Ink Handwriting Recognition.

Connectivity
The MessagePad 100 series of devices used Macintosh's proprietary serial ports—round Mini-DIN 8 connectors. The MessagePad 2000/2100 models (as well as the eMate 300) have a small, proprietary Newton InterConnect port. However, the development of the Newton hardware/software platform was canceled by Steve Jobs on February 27, 1998, so the InterConnect port, while itself very advanced, can only be used to connect a serial dongle. A prototype multi-purpose InterConnect device containing serial, audio in, audio out, and other ports was also discovered. In addition, all Newton devices have infrared connectivity, initially only the Sharp ASK protocol, but later also IrDA, though the Sharp ASK protocol was kept in for compatibility reasons. Unlike the Palm Pilot, all Newton devices are equipped with a standard PC Card expansion slot (two on the 2000/2100). This allows native modem and even Ethernet connectivity; Newton users have also written drivers for 802.11b wireless networking cards and ATA-type flash memory cards (including the popular CompactFlash format), as well as for Bluetooth cards. Newton can also dial a phone number through the built-in speaker of the Newton device by simply holding a telephone handset up to the speaker and transmitting the appropriate tones. Fax and printing support is also built in at the operating system level, although it requires peripherals such as parallel adapters, PCMCIA cards, or serial modems, the most notable of which is the lightweight Newton Fax Modem released by Apple in 1993. It is powered by 2 AA batteries, and can also be used with a power adapter. It provides data transfer at 2,400 bit/s, and can also send and receive fax messages at 9,600 and 4,800 bit/s respectively.

Power options
The original Apple MessagePad and MessagePad 100 used four AAA batteries. They were eventually replaced by AA batteries with the release of the Apple MessagePad 110.

The use of 4 AA NiCd (MessagePad 110, 120 and 130) and 4x AA NiMH cells (MP2x00 series, eMate 300) give a runtime of up to 30 hours (MP2100 with two 20 MB Linear Flash memory PC Cards, no backlight usage) and up to 24 hours with backlight on. While adding more weight to the handheld Newton devices than AAA batteries or custom battery packs, the choice of an easily replaceable/rechargeable cell format gives the user a still unsurpassed runtime and flexibility of power supply. This, together with the flash memory used as internal storage starting with the Apple MessagePad 120 (if all cells lost their power, no data was lost due to the non-volatility of this storage), gave birth to the slogan "Newton never dies, it only gets new batteries".

Later efforts and improvements
The Apple MessagePad 2000/2100, with a vastly improved handwriting recognition system, 162 MHz StrongARM SA-110 RISC processor, Newton OS 2.1, and a better, clearer, backlit screen, attracted critical plaudits.

eMate 300
The eMate 300 was a Newton device in a laptop form factor offered to schools in 1997 as an inexpensive ($799 US, originally sold to education markets only) and durable computer for classroom use. However, in order to achieve its low price, the eMate 300 did not have all the speed and features of the contemporary MessagePad equivalent, the MessagePad 2000. The eMate was cancelled along with the rest of the Newton products in 1998. It is the only Newton device to use the ARM710 microprocessor (running at 25 MHz), have an integrated keyboard, use Newton OS 2.2 (officially numbered 2.1), and its batteries are officially irreplaceable, although several users replaced them with longer-lasting ones without any damage to the eMate hardware whatsoever.

Prototypes
Many prototypes of additional Newton devices were spotted. Most notable was a Newton tablet or "slate", a large, flat screen that could be written on. Others included a "Kids Newton" with side handgrips and buttons, "VideoPads" which would have incorporated a video camera and screen on their flip-top covers for two-way communications, the "Mini 2000" which would have been very similar to a Palm Pilot, and the NewtonPhone developed by Siemens, which incorporated a handset and a keyboard.

Market reception
Fourteen months after Sculley demoed it at the May 1992, Chicago CES, the MessagePad was first offered for sale on August 2, 1993, at the Boston Macworld Expo. The hottest item at the show, it cost $900. 50,000 MessagePads were sold in the device's first three months on the market.

The original Apple MessagePad and MessagePad 100 were limited by the very short lifetime of their inadequate AAA batteries.

Later versions of Newton OS offered improved handwriting recognition, quite possibly a leading reason for the continued popularity of the devices among Newton users. Even given the age of the hardware and software, Newtons still demand a sale price on the used market far greater than that of comparatively aged PDAs produced by other companies. In 2006, CNET compared an Apple MessagePad 2000 to a Samsung Q1, and the Newton was declared better. In 2009, CNET compared an Apple MessagePad 2000 to an iPhone 3GS, and the Newton was declared more innovative at its time of release.

A chain of dedicated Newton-only stores called Newton Source, independently run by Stephen Elms, existed from 1994 until 1998. Locations included New York, Los Angeles, San Francisco, Chicago and Boston. The Westwood Village, California, near UCLA featured the trademark red and yellow light bulb Newton logo in neon. The stores provided an informative educational venue to learn about the Newton platform in a hands on relaxed fashion. The stores had no traditional computer retail counters and featured oval desktops where interested users could become intimately involved with the Newton product range. The stores were a model for the later Apple Stores.

Newton device models
* Varies with installed OS

Notes: The eMate 300 actually has ROM chips silk screened with 2.2 on them. Stephanie Mak on her website discusses this: If one removes all patches to the eMate 300 (by replacing the ROM chip, and then putting in the original one again, as the eMate and the MessagePad 2000/2100 devices erase their memory completely after replacing the chip), the result will be the Newton OS saying that this is version 2.2.00. Also, the Original MessagePad and the MessagePad 100 share the same model number, as they only differ in the ROM chip version. (The OMP has OS versions 1.0 to 1.05, or 1.10 to 1.11, while the MP100 has 1.3 that can be upgraded with various patches.)

Third party licenses
The Newton OS was also licensed to a number of third party developers including Sharp and Motorola who developed additional PDA devices based on the Newton platform. Motorola added wireless connectivity, as well as made a unique two-part design, and shipped additional software with its Newton device, called the Marco. Sharp developed a line of Newton devices called the ExpertPad PI-7000/7100; those were the same as Apple's MessagePad and MessagePad 100, the only difference is the physical design (the ExpertPads feature a screen lid, which Apple added in 1994 with the release of the MessagePad 110) and the naming.

Other uses
There were a number of projects that used the Newton as a portable information device in cultural settings such as museums. For example, Visible Interactive created a walking tour in San Francisco's Chinatown but the most significant effort took place in Malaysia at the Petronas Discovery Center, known as Petrosains.

In 1995, an exhibit design firm, DMCD Inc., was awarded the contract to design a new 100,000 sqft science museum in the Petronas Towers in Kuala Lumpur. A major factor in the award was the concept that visitors would use a Newton device to access additional information, find out where they were in the museum, listen to audio, see animations, control robots and other media, and to bookmark information for printout at the end of the exhibit.

The device became known as the ARIF, a Malay word for "wise man" or "seer" and it was also an acronym for A Resourceful Informative Friend. Some 400 ARIFS were installed and over 300 are still in use today. The development of the ARIF system was extremely complex and required a team of hardware and software engineers, designers, and writers. ARIF is an ancestor of the PDA systems used in museums today and it boasted features that have not been attempted since.

Anyway & Company firm was involved with the Petronas Discovery Center project back in 1998 and NDAs were signed which prevents getting to know more information about this project. It was confirmed that they purchased of MP2000u or MP2100's by this firm on the behalf of the project under the name of "Petrosains Project Account". By 1998 they had invested heavily into the R&D of this project with the Newton at the center. After Apple officially cancelled the Newton in 1998 they had to acquire as many Newtons as possible for this project. It was estimated initially 1000 Newtons, but later readjusted the figure to possibly 750 Newtons. They placed an “Internet Call” for Newtons. They purchased them in large and small quantities.

The Newton was also used in healthcare applications, for example in collecting data directly from patients. Newtons were used as electronic diaries, with patients entering their symptoms and other information concerning their health status on a daily basis. The compact size of the device and its ease of use made it possible for the electronic diaries to be carried around and used in the patients' everyday life setting. This was an early example of electronic patient-reported outcomes (ePRO).

Additional resources and information

 * Defying Gravity: The Making of Newton, by Kounalakis & Menuez (Hardcover)
 * Hardcover: 192 pages
 * Publisher: Beyond Words Publishing (October 1993)
 * ISBN 0941831949
 * ISBN 978-0941831949
 * Complete Developer's manual for the StrongARM SA-110
 * Beginner's overview of the StrongARM SA-110 Microprocessor
 * Beginner's overview of the StrongARM SA-110 Microprocessor

Reviews

 * MessagePad 2000 review at "The History and Macintosh Society"
 * Prof. Wittmann's collection of Newton & MessagePad reviews

title: MessagePad


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A. E. van Vogt

Alfred Elton van Vogt (April 26, 1912 – January 26, 2000) was an American science fiction writer. His fragmented, bizarre narrative style influenced later science fiction writers, notably Philip K. Dick. He was one of the most popular and influential practitioners of science fiction in the mid-twentieth century, the genre's so-called Golden Age, and one of the most complex. The Science Fiction Writers of America named him their 14th Grand Master in 1995 (presented 1996).

Early life
Alfred Vogt (both "Elton" and "van" were added much later) was born on April 26, 1912, on his grandparents' farm in Edenburg, Manitoba, a tiny (and now defunct) Russian Mennonite community east of Gretna, Manitoba, Canada, in the Mennonite West Reserve. He was the third of six children born to Heinrich "Henry" Vogt and Aganetha "Agnes" Vogt (née Buhr), both of whom were born in Manitoba and grew up in heavily immigrant communities. Until he was four, van Vogt spoke only Plautdietsch at home.

For the first dozen or so years of his life, van Vogt's father, Henry Vogt, a lawyer, moved his family several times within central Canada, moving to Neville, Saskatchewan; Morden, Manitoba; and finally Winnipeg, Manitoba. Alfred Vogt found these moves difficult, later remarking:

"Childhood was a terrible period for me. I was like a ship without anchor being swept along through darkness in a storm. Again and again I sought shelter, only to be forced out of it by something new."

By the 1920s, living in Winnipeg, father Henry worked as an agent for a steamship company, but the stock market crash of 1929 proved financially disastrous, and the family could not afford to send Alfred to college. During his teen years, Alfred worked as a farmhand and a truck driver, and by the age of 19, he was working in Ottawa for the Canadian Census Bureau.

In "the dark days of '31 and '32," van Vogt took a correspondence course in writing from the Palmer Institute of Authorship. He sold his first story in fall 1932. His early published works were stories in the true confession style of magazines such as True Story. Most of these stories were published anonymously, with the first-person narratives allegedly being written by people (often women) in extraordinary, emotional, and life-changing circumstances.

After a year in Ottawa, he moved back to Winnipeg, where he sold newspaper advertising space and continued to write. While continuing to pen melodramatic "true confessions" stories through 1937, he also began writing short radio dramas for local radio station CKY, as well as conducting interviews published in trade magazines. He added the middle name "Elton" at some point in the mid-1930s, and at least one confessional story (1937's "To Be His Keeper") was sold to the Toronto Star, who misspelled his name "Alfred Alton Bogt" in the byline. Shortly thereafter, he added the "van" to his surname, and from that point forward he used the name "A. E. van Vogt" both personally and professionally.

Career
By 1938, van Vogt decided to switch to writing science fiction, a genre he enjoyed reading. He was inspired by the August 1938 issue of Astounding Science Fiction, which he picked up at a newsstand. John W. Campbell's novelette "Who Goes There?" (later adapted into The Thing from Another World and The Thing) inspired van Vogt to write "Vault of the Beast", which he submitted to that same magazine. Campbell, who edited Astounding (and had written the story under a pseudonym), sent van Vogt a rejection letter in which Campbell encouraged van Vogt to try again. Van Vogt sent another story, entitled "Black Destroyer", which was accepted. It featured a fierce, carnivorous alien stalking the crew of a spaceship, and served as the inspiration for multiple science fiction movies, including Alien (1979). A revised version of "Vault of the Beast" was published in 1940.

While still living in Winnipeg, in 1939 van Vogt married Edna Mayne Hull, a fellow Manitoban. Hull, who had previously worked as a private secretary, went on to act as van Vogt's typist, and was credited with writing several SF stories of her own throughout the early 1940s.

The outbreak of World War II in September 1939 caused a change in van Vogt's circumstances. Ineligible for military service due to his poor eyesight, he accepted a clerking job with the Canadian Department of National Defence. This necessitated a move back to Ottawa, where he and his wife stayed for the next year and a half.

Meanwhile, his writing career continued. "Discord in Scarlet" was van Vogt's second story to be published, also appearing as the cover story. It was accompanied by interior illustrations created by Frank Kramer and Paul Orban. (Van Vogt and Kramer thus debuted in the issue of Astounding that is sometimes identified as the start of the Golden Age of Science Fiction. ) Among his most famous works of this era, "Far Centaurus" appeared in the January 1944 edition of Astounding.

Van Vogt's first completed novel, and one of his most famous, is Slan (Arkham House, 1946), which Campbell serialized in Astounding (September to December 1940). Using what became one of van Vogt's recurring themes, it told the story of a nine-year-old superman living in a world in which his kind are slain by Homo sapiens.

Others saw van Vogt's talent from his first story, and in May 1941 van Vogt decided to become a full-time writer, quitting his job at the Canadian Department of National Defence. Freed from the necessity of living in Ottawa, he and his wife lived for a time in the Gatineau region of Quebec before moving to Toronto in the fall of 1941.

Prolific throughout this period, van Vogt wrote many of his more famous short stories and novels in the years from 1941 through 1944. The novels The Book of Ptath and The Weapon Makers both appeared in magazines in serial form during this period; they were later published in book form after World War II. As well, several (though not all) of the stories that were compiled to make up the novels The Weapon Shops of Isher, The Mixed Men and The War Against the Rull were published during this time.

California and post-war writing (1944–1950)
In November 1944, van Vogt and Hull moved to Hollywood; van Vogt would spend the rest of his life in California. He had been using the name "A. E. van Vogt" in his public life for several years, and as part of the process of obtaining American citizenship in 1945 he finally and formally changed his legal name from Alfred Vogt to Alfred Elton van Vogt. To his friends in the California science fiction community, he was known as "Van".

Method and themes
Van Vogt systematized his writing method, using scenes of 800 words or so where a new complication was added or something resolved. Several of his stories hinge on temporal conundra, a favorite theme. He stated that he acquired many of his writing techniques from three books: Narrative Technique by Thomas Uzzell, The Only Two Ways to Write a Story by John Gallishaw, and Twenty Problems of the Fiction Writer by Gallishaw. He also claimed many of his ideas came from dreams; throughout his writing life he arranged to be awakened every 90 minutes during his sleep period so he could write down his dreams.

Van Vogt was also always interested in the idea of all-encompassing systems of knowledge (akin to modern meta-systems). The characters in his very first story used a system called "Nexialism" to analyze the alien's behavior. Around this time, he became particularly interested in the general semantics of Alfred Korzybski.

He subsequently wrote a novel merging these overarching themes, The World of Ā, originally serialized in Astounding in 1945. Ā (often rendered as Null-A), or non-Aristotelian logic, refers to the capacity for, and practice of, using intuitive, inductive reasoning (compare fuzzy logic), rather than reflexive, or conditioned, deductive reasoning. The novel recounts the adventures of an individual living in an apparent Utopia, where those with superior brainpower make up the ruling class... though all is not as it seems. A sequel, The Players of Ā (later re-titled The Pawns of Null-A) was serialized in 1948–49.

At the same time, in his fiction, van Vogt was consistently sympathetic to absolute monarchy as a form of government. This was the case, for instance, in the Weapon Shop series, the Mixed Men series, and in single stories such as "Heir Apparent" (1945), whose protagonist was described as a "benevolent dictator". These sympathies were the subject of much critical discussion during van Vogt's career, and afterwards.

Van Vogt published "Enchanted Village" in the July 1950 issue of Other Worlds Science Stories. It was reprinted in over 20 collections or anthologies, and appeared many times in translation.

Dianetics and fix-ups (1950–1961)
In 1950, van Vogt was briefly appointed as head of L. Ron Hubbard's Dianetics operation in California. Van Vogt had first met Hubbard in 1945, and became interested in his theories, which were published shortly thereafter. Dianetics was the secular precursor to Hubbard's Church of Scientology; van Vogt would have no association with Scientology, as he did not approve of its mysticism.

The California Dianetics operation went broke nine months later, but never went bankrupt, due to van Vogt's arrangements with creditors. Shortly afterward, van Vogt and his wife opened their own Dianetics center, partly financed by his writings, until he "signed off" around 1961. From 1951 until 1961, van Vogt's focus was on Dianetics, and no new story ideas flowed from his typewriter.

Fix-ups
However, during the 1950s, van Vogt retrospectively patched together many of his previously published stories into novels, sometimes creating new interstitial material to help bridge gaps in the narrative. Van Vogt referred to the resulting books as "fix-ups", a term that entered the vocabulary of science-fiction criticism. When the original stories were closely related this was often successful, although some van Vogt fix-ups featured disparate stories thrown together that bore little relation to each other, generally making for a less coherent plot. One of his best-known (and well-regarded) novels, The Voyage of the Space Beagle (1950) was a fix-up of four short stories including "Discord in Scarlet"; it was published in at least five European languages by 1955.

Although Van Vogt averaged a new book title every ten months from 1951 to 1961, none of them were entirely new content; they were all fix-ups, collections of previously published stories, expansions of previously published short stories to novel length, or republications of previous books under new titles and all based on story material written and originally published between 1939 and 1950. Examples include The Weapon Shops of Isher (1951), The Mixed Men (1952), The War Against the Rull (1959), and the two "Clane" novels, Empire of the Atom (1957) and The Wizard of Linn (1962), which were inspired (like Asimov's Foundation series) by Roman imperial history; specifically, as Damon Knight wrote, the plot of Empire of the Atom was "lifted almost bodily" from that of Robert Graves' I, Claudius. (Also, one non-fiction work, The Hypnotism Handbook, appeared in 1956, though it had apparently been written much earlier.)

After more than a decade of running their Dianetics center, Hull and van Vogt closed it in 1961. Nevertheless, van Vogt maintained his association with the organization and was still president of the Californian Association of Dianetic Auditors into the 1980s.

Return to writing and later career (1962–1986)
Though the constant re-packaging of his older work meant that he had never really been away from the book publishing world, van Vogt had not published any wholly new fiction for almost 12 years when he decided to return to writing in 1962. He did not return immediately to science fiction, but instead wrote the only mainstream, non-sf novel of his career. Van Vogt was profoundly affected by revelations of totalitarian police states that emerged after World War II. Accordingly, he wrote a mainstream novel that he set in Communist China, The Violent Man (1962). Van Vogt explained that to research this book he had read 100 books about China. Into this book he incorporated his view of "the violent male type", which he described as a "man who had to be right", a man who "instantly attracts women" and who he said were the men who "run the world". Contemporary reviews were lukewarm at best, and van Vogt thereafter returned to science fiction.

From 1963 through the mid-1980s, van Vogt once again published new material on a regular basis, though fix-ups and reworked material also appeared relatively often. His later novels included fix-ups such as The Beast (also known as Moonbeast) (1963), Rogue Ship (1965), Quest for the Future (1970) and Supermind (1977). He also wrote novels by expanding previously published short stories; works of this type include The Darkness on Diamondia (1972) and Future Glitter (also known as Tyranopolis; 1973).

Novels that were written simply as novels, and not serialized magazine pieces or fix-ups, had been very rare in van Vogt's oeuvre, but began to appear regularly beginning in the 1970s. Van Vogt's original novels included Children of Tomorrow (1970), The Battle of Forever (1971) and The Anarchistic Colossus (1977). Over the years, many sequels to his classic works were promised, but only one appeared: Null-A Three (1984; originally published in French). Several later books were initially published in Europe, and at least one novel only ever appeared in foreign language editions and was never published in its original English.

Final years
When the 1979 film Alien appeared, it was noted that the plot closely matched the plots of both Black Destroyer and Discord in Scarlet, both published in Astounding magazine in 1939, and then later published in the 1950 book Voyage of the Space Beagle. Van Vogt sued the production company for plagiarism, and eventually collected an out-of-court settlement of $50,000 from 20th Century Fox.

In increasingly frail health, van Vogt published his final short story in 1986.

Personal life
Van Vogt's first wife, Edna Mayne Hull, died in 1975. Van Vogt married Lydia Bereginsky in 1979; they remained together until his death.

Death
On January 26, 2000, A. E. van Vogt died in Los Angeles from Alzheimer's disease. He was survived by his second wife.

Critical reception
Critical opinion about the quality of van Vogt's work is sharply divided. An early and articulate critic was Damon Knight. In a 1945 chapter-long essay reprinted in In Search of Wonder, entitled "Cosmic Jerrybuilder: A. E. van Vogt", Knight described van Vogt as "no giant; he is a pygmy who has learned to operate an overgrown typewriter". Knight described The World of Null-A as "one of the worst allegedly adult science fiction stories ever published". Concerning van Vogt's writing, Knight said:

"In general van Vogt seems to me to fail consistently as a writer in these elementary ways: 1. His plots do not bear examination. 2. His choice of words and his sentence-structure are fumbling and insensitive. 3. He is unable either to visualize a scene or to make a character seem real."

About Empire of the Atom Knight wrote:

"If you can only throw your reasoning powers out of gear—something many van Vogt fans find easy to do—you'll enjoy this one."

Knight also expressed misgivings about van Vogt's politics. He noted that van Vogt's stories almost invariably present absolute monarchy in a favorable light. In 1974, Knight retracted some of his criticism after finding out about Vogt's writing down his dreams as a part of his working methods:

"This explains a good deal about the stories, and suggests that it is really useless to attack them by conventional standards. If the stories have a dream consistency which affects readers powerfully, it is probably irrelevant that they lack ordinary consistency."

Knight's criticism greatly damaged van Vogt's reputation. On the other hand, when science fiction author Philip K. Dick was asked which science fiction writers had influenced his work the most, he replied:

"I started reading [science fiction] when I was about twelve and I read all I could, so any author who was writing about that time, I read. But there's no doubt who got me off originally and that was A. E. van Vogt. There was in van Vogt's writing a mysterious quality, and this was especially true in The World of Null-A. All the parts of that book did not add up; all the ingredients did not make a coherency. Now some people are put off by that. They think that's sloppy and wrong, but the thing that fascinated me so much was that this resembled reality more than anybody else's writing inside or outside science fiction."

Dick also defended van Vogt against Damon Knight's criticisms:

"Damon feels that it's bad artistry when you build those funky universes where people fall through the floor. It's like he's viewing a story the way a building inspector would when he's building your house. But reality really is a mess, and yet it's exciting. The basic thing is, how frightened are you of chaos? And how happy are you with order? Van Vogt influenced me so much because he made me appreciate a mysterious chaotic quality in the universe which is not to be feared."

In a review of Transfinite: The Essential A. E. van Vogt, science fiction writer Paul Di Filippo said:

"Van Vogt knew precisely what he was doing in all areas of his fiction writing. There's hardly a wasted word in his stories. ... His plots are marvels of interlocking pieces, often ending in real surprises and shocks, genuine paradigm shifts, which are among the hardest conceptions to depict. And the intellectual material of his fictions, the conceits and tossed-off observations on culture and human and alien behavior, reflect a probing mind. ... Each tale contains a new angle, a unique slant, that makes it stand out."

In The John W. Campbell Letters, Campbell says, "The son-of-a-gun gets hold of you in the first paragraph, ties a knot around you, and keeps it tied in every paragraph thereafter—including the ultimate last one".

Harlan Ellison (who had begun reading van Vogt as a teenager) wrote, "Van was the first writer to shine light on the restricted ways in which I had been taught to view the universe and the human condition".

Writing in 1984, David Hartwell said:

"No one has taken van Vogt seriously as a writer for a long time. Yet he has been read and still is. What no one seems to have noticed is that van Vogt, more than any other single SF writer, is the conduit through which the energy of Gernsbackian, primitive wonder stories have been transmitted through the Campbellian age, when earlier styles of SF were otherwise rejected, and on into SF of the present."

The literary critic Leslie A. Fiedler said something similar:

"Van Vogt is a test case ... since an apology for or analysis of science fiction which fails to come to terms with his appeal and major importance, defends or defines the genre by falsifying it."

American literary critic Fredric Jameson says of van Vogt:

"that van Vogt's work clearly prepares the way for that of the greatest of all Science Fiction writers, Philip K. Dick, whose extraordinary novels and stories are inconceivable without the opening onto that play of unconscious materials and fantasy dynamics released by van Vogt, and very different from the more hard-science aesthetic ideologies of his contemporaries (from Campbell to Heinlein)."

Van Vogt still has his critics. For example, Darrell Schweitzer, writing to The New York Review of Science Fiction in 1999, quoted a passage from the original van Vogt novelette "The Mixed Men", which he was then reading, and remarked:

"This is the realism, and logic, of a small boy playing with toy soldiers in a sandbox. I'm tougher than you. I've got a billion spaceships! They're brand-new. They only took 800 years to develop. And this is a story in which most of the cast either have two brains or are really robots ... and even the emotions of the human characters are programmed or deprogrammed as part of plots within counter plots. Next to this, Doc Smith was an icy realist. There is no intersection with adult reality at any point, for all van Vogt was able to write was that small boy's sandbox game with an adult level of intensity. This is, I think, the secret of van Vogt's bizarre fascination, as awful as his actual writing might be, and why he appealed so strongly to Philip K. Dick, who managed to put more adult characters and emotions into equally crazy situations. It's ultimately very strange to find this sort of writing so prominently sponsored by supposedly rational and scientifically minded John W. Campbell, when it seems to contravene everything the Golden Age stood for."

Recognition
In 1946, van Vogt and his first wife, Edna Mayne Hull, were Guests of Honor at the fourth World Science Fiction Convention.

In 1980, van Vogt received a "Casper Award" (precursor to the Canadian Prix Aurora Awards) for Lifetime Achievement.

The Science Fiction Writers of America (SFWA) named him its 14th Grand Master in 1995 (presented 1996). Great controversy within SFWA accompanied its long wait in bestowing its highest honor (limited to living writers, no more than one annually ). Writing an obituary of van Vogt, Robert J. Sawyer, a fellow Canadian writer of science fiction, remarked:

"There was no doubt that van Vogt should have received this honor much earlier—the injustice of him being overlooked, at least in part because of damnable SFWA politics, had so incensed Harlan Ellison, a man with an impeccable moral compass, that he'd lobbied hard on the Sci-Fi Channel and elsewhere on van Vogt's behalf."

It is generally held that a key factor in the delay was "damnable SFWA politics" reflecting the concerns of Damon Knight, the founder of the SFWA, who abhorred van Vogt's style and politics and thoroughly demolished his literary reputation in the 1950s.

Harlan Ellison was more explicit in 1999 introduction to Futures Past: The Best Short Fiction of A. E. van Vogt:

"[A]t least I was able to make enough noise to get Van the Science Fiction Writers of America Grand Master Award, which was presented to him in full ceremony during one of the last moments when he was cogent and clearheaded enough to understand that finally, at last, dragged kicking and screaming to honor him, the generation that learned from what he did and what he had created had, at last, 'fessed up to his importance.

... were the same ones who assured me that Van would never get the Grand Master until Damon Knight had gotten it first, because Damon had loathed Van's work and had, in fact written the essay that ridiculed Van and held him up to opprobrium for decades thereafter, and Damon having founded SFWA it would be an affront to him if Van got it first. Well, I don't know if that's true or not, though it was common coin in the field for years; but Damon got the Grand Master award in 1994. And Van got it in 1995. As they say during sweeps week on television: coincidence or conspiracy?"

In 1996, van Vogt received a Special Award from the World Science Fiction Convention "for six decades of golden age science fiction". That same year, the Science Fiction and Fantasy Hall of Fame inducted him in its inaugural class of two deceased and two living persons, along with writer Jack Williamson (also living) and editors Hugo Gernsback and John W. Campbell.

The works of van Vogt were translated into French by the surrealist Boris Vian (The World of Null-A as Le Monde des Å in 1958), and van Vogt's works were "viewed as great literature of the surrealist school". In addition, Slan was published in French, translated by Jean Rosenthal, under the title À la poursuite des Slans, as part of the paperback series 'Editions J'ai Lu: Romans-Texte Integral' in 1973. This edition also listing the following works by van Vogt as having been published in French as part of this series: Le Monde des Å, La faune de l'espace, Les joueurs du Å, L'empire de l'atome, Le sorcier de Linn, Les armureries d'Isher, Les fabricants d'armes, and Le livre de Ptath. Van Vogt's last novel, 1985's To Conquer Kiber, has only been released in French (as À la conquête de Kiber.)

Special works published as books

 * Planets for Sale by E. Mayne Hull (1954). A fix-up of five stories by Hull, originally published 1942 to 1946. Certain later editions (from 1965) credit both authors.
 * The Enchanted Village (1979). A 25-page chapbook of a short story originally published in 1950.
 * Slan Hunter by Kevin J. Anderson (2007). A sequel to Slan, based an unfinished draft by van Vogt.
 * Null-A Continuum by John C. Wright (2008). An authorized continuation of the Null-A series which ignored the events of Null-A Three.

Collections

 * Out of the Unknown (1948), with Edna Mayne Hull
 * Masters of Time (1950) (a.k.a. Recruiting Station) [also includes The Changeling, both works were later published separately]
 * Triad (1951) omnibus of The World of Null A, The Voyage of the Space Beagle, Slan.
 * Away and Beyond (1952) (abridged in paperback in 1959; abridged (differently) in paperback in 1963)
 * Destination: Universe! (1952)
 * The Twisted Men (1964)
 * Monsters (1965) (later as SF Monsters (1967)) abridged as The Blal (1976)
 * A Van Vogt Omnibus (1967), omnibus of Planets for Sale (with Edna Mayne Hull), The Beast, The Book of Ptath
 * The Far Out Worlds of Van Vogt (1968)
 * The Sea Thing and Other Stories (1970) (expanded from Out of the Unknown by adding an original story by Hull; later abridged in paperback as Out of the Unknown by removing 2 of the stories)
 * M33 in Andromeda (1971)
 * More Than Superhuman (1971)
 * The Proxy Intelligence and Other Mind Benders, ), with Edna Mayne Hull (1971), revised as The Gryb (1976)
 * Van Vogt Omnibus 2 (1971), omnibus of The Mind Cage, The Winged Man (with Edna Mayne Hull), Slan.
 * The Book of Van Vogt (1972), also published as Lost: Fifty Suns (1979)
 * The Three Eyes of Evil Including Earth's Last Fortress (1973)
 * The Best of A. E. van Vogt (1974) later split into 2 volumes
 * The Worlds of A. E. van Vogt (1974) (expanded from The Far Out Worlds of Van Vogt by adding 3 stories)
 * The Best of A. E. van Vogt (1976) [differs to 1974 edition]
 * Away and Beyond (1977)
 * Pendulum (1978) (almost all original stories and articles)
 * Tales from the Vulgar Unicorn(1980) (one short story by Van Vogt in a fantasy anthology by various authors)
 * Futures Past: The Best Short Fiction of A.E. Van Vogt (1999)
 * Transfinite: The Essential A.E. van Vogt (2002)
 * Transgalactic (2006)

Nonfiction

 * The Hypnotism Handbook (1956, Griffin Publishing Company, with Charles Edward Cooke)
 * The Money Personality (1972, Parker Publishing Company Inc., West Nyack, NY, ISBN 978-0-13-600676-3)
 * Reflections of A. E. Van Vogt: The Autobiography of a Science Fiction Giant (1979, Fictioneer Books Ltd., Lakemont, GA)
 * A Report on the Violent Male (1992, Paupers' Press, UK, ISBN 978-0-946650-40-8)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: A. E. van Vogt


text:
Anna Kournikova

Anna Sergeyevna Kournikova (Анна Сергеевна Курникова; born 7 June 1981) is a Russian model and television personality, and former professional tennis player. Her appearance and celebrity status made her one of the best known tennis stars worldwide. At the peak of her fame, fans looking for images of Kournikova made her name one of the most common search strings on Google Search.

Despite never winning a singles title, she reached No. 8 in the world in 2000. She achieved greater success playing doubles, where she was at times the world No. 1 player. With Martina Hingis as her partner, she won Grand Slam titles in Australia in 1999 and 2002, and the WTA Championships in 1999 and 2000. They referred to themselves as the "Spice Girls of Tennis".

Kournikova retired from professional tennis in 2003 due to serious back and spinal problems, including a herniated disk. She lives in Miami Beach, Florida, and played in occasional exhibitions and in doubles for the St. Louis Aces of World Team Tennis before the team folded in 2011. She was a new trainer for season 12 of the television show The Biggest Loser, replacing Jillian Michaels, but did not return for season 13. In addition to her tennis and television work, Kournikova serves as a Global Ambassador for Population Services International's "Five & Alive" program, which addresses health crises facing children under the age of five and their families.

Early life
Kournikova was born in Moscow, Russia, on 7 June 1981. Her father, Sergei Kournikov (born 1961), a former Greco-Roman wrestling champion, eventually earned a PhD and was a professor at the University of Physical Culture and Sport in Moscow. As of 2001, he was still a part-time martial arts instructor there. Her mother Alla (born 1963) had been a 400-metre runner. Her younger half-brother, Allan, is a youth golf world champion who was featured in the 2013 documentary film The Short Game.

Sergei Kournikov has said, "We were young and we liked the clean, physical life, so Anna was in a good environment for sport from the beginning".

Kournikova received her first tennis racquet as a New Year gift in 1986 at the age of five. Describing her early regimen, she said, "I played two times a week from age six. It was a children's program. And it was just for fun; my parents didn't know I was going to play professionally, they just wanted me to do something because I had lots of energy. It was only when I started playing well at seven that I went to a professional academy. I would go to school, and then my parents would take me to the club, and I'd spend the rest of the day there just having fun with the kids." In 1986, Kournikova became a member of the Spartak Tennis Club, coached by Larissa Preobrazhenskaya. In 1989, at the age of eight, Kournikova began appearing in junior tournaments, and by the following year, was attracting attention from tennis scouts across the world. She signed a management deal at age ten and went to Bradenton, Florida, to train at Nick Bollettieri's celebrated tennis academy.

1989–1997: early years and breakthrough
Following her arrival in the United States, she became prominent on the tennis scene. At the age of 14, she won the European Championships and the Italian Open Junior tournament. In December 1995, she became the youngest player to win the 18-and-under division of the Junior Orange Bowl tennis tournament. By the end of the year, Kournikova was crowned the ITF Junior World Champion U-18 and Junior European Champion U-18.

Earlier, in September 1995, Kournikova, still only 14 years of age, debuted in the WTA Tour, when she received a wildcard into the qualifications at the WTA tournament in Moscow, the Moscow Ladies Open, and qualified before losing in the second round of the main draw to third-seeded Sabine Appelmans. She also reached her first WTA Tour doubles final in that debut appearance – partnering with 1995 Wimbledon girls' champion in both singles and doubles Aleksandra Olsza, she lost the title match to Meredith McGrath and Larisa Savchenko-Neiland.

In February–March 1996, Kournikova won two ITF titles, in Midland, Michigan and Rockford, Illinois. Still only 14 years of age, in April 1996 she debuted at the Fed Cup for Russia, the youngest player ever to participate and win a match.

In 1996, she started playing under a new coach, Ed Nagel. Her six-year association with Nagel was successful. At 15, she made her Grand Slam debut, reaching the fourth round of the 1996 US Open, losing to Steffi Graf, the eventual champion. After this tournament, Kournikova's ranking jumped from No. 144 to debut in the Top 100 at No. 69. Kournikova was a member of the Russian delegation to the 1996 Olympic Games in Atlanta, Georgia. In 1996, she was named WTA Newcomer of the Year, and she was ranked No. 57 in the end of the season.

Kournikova entered the 1997 Australian Open as world No. 67, where she lost in the first round to world No. 12, Amanda Coetzer. At the Italian Open, Kournikova lost to Amanda Coetzer in the second round. She reached the semi-finals in the doubles partnering with Elena Likhovtseva, before losing to the sixth seeds Mary Joe Fernández and Patricia Tarabini.

At the French Open, Kournikova made it to the third round before losing to world No. 1, Martina Hingis. She also reached the third round in doubles with Likhovtseva. At the Wimbledon Championships, Kournikova became only the second woman in the open era to reach the semi-finals in her Wimbledon debut, the first being Chris Evert in 1972. There she lost to eventual champion Martina Hingis.

At the US Open, she lost in the second round to the eleventh seed Irina Spîrlea. Partnering with Likhovtseva, she reached the third round of the women's doubles event. Kournikova played her last WTA Tour event of 1997 at Porsche Tennis Grand Prix in Filderstadt, losing to Amanda Coetzer in the second round of singles, and in the first round of doubles to Lindsay Davenport and Jana Novotná partnering with Likhovtseva. She broke into the top 50 on 19 May, and was ranked No. 32 in singles and No. 41 in doubles at the end of the season.

1998–2000: success and stardom
In 1998, Kournikova broke into the WTA's top 20 rankings for the first time, when she was ranked No. 16. At the Australian Open, Kournikova lost in the third round to world No. 1 player, Martina Hingis. She also partnered with Larisa Savchenko-Neiland in women's doubles, and they lost to eventual champions Hingis and Mirjana Lučić in the second round. Although she lost in the second round of the Paris Open to Anke Huber in singles, Kournikova reached her second doubles WTA Tour final, partnering with Larisa Savchenko-Neiland. They lost to Sabine Appelmans and Miriam Oremans. Kournikova and Savchenko-Neiland reached their second consecutive final at the Linz Open, losing to Alexandra Fusai and Nathalie Tauziat. At the Miami Open, Kournikova reached her first WTA Tour singles final, before losing to Venus Williams in the final.

Kournikova then reached two consecutive quarterfinals, at Amelia Island and the Italian Open, losing respectively to Lindsay Davenport and Martina Hingis. At the German Open, she reached the semi-finals in both singles and doubles, partnering with Larisa Savchenko-Neiland. At the French Open Kournikova had her best result at this tournament, making it to the fourth round before losing to Jana Novotná. She also reached her first Grand Slam doubles semi-finals, losing with Savchenko-Neiland to Lindsay Davenport and Natasha Zvereva. During her quarterfinals match at the grass-court Eastbourne Open versus Steffi Graf, Kournikova injured her thumb, which would eventually force her to withdraw from the 1998 Wimbledon Championships. However, she won that match, but then withdrew from her semi-finals match against Arantxa Sánchez Vicario. Kournikova returned for the Du Maurier Open and made it to the third round, before losing to Conchita Martínez. At the US Open Kournikova reached the fourth round before losing to Arantxa Sánchez Vicario. Her strong year qualified her for the year-end 1998 WTA Tour Championships, but she lost to Monica Seles in the first round. However, with Seles, she won her first WTA doubles title, in Tokyo, beating Mary Joe Fernández and Arantxa Sánchez Vicario in the final. At the end of the season, she was ranked No. 10 in doubles.

At the start of the 1999 season, Kournikova advanced to the fourth round in singles at the Australian Open before losing to Mary Pierce. In the doubles Kournikova won her first Grand Slam title, partnering with Martina Hingis to defeat Lindsay Davenport and Natasha Zvereva in the final. At the Tier I Family Circle Cup, Kournikova reached her second WTA Tour final, but lost to Martina Hingis. She then defeated Jennifer Capriati, Lindsay Davenport and Patty Schnyder on her route to the Bausch & Lomb Championships semi-finals, losing to Ruxandra Dragomir. At The French Open, Kournikova reached the fourth round before losing to eventual champion Steffi Graf. Once the grass-court season commenced in England, Kournikova lost to Nathalie Tauziat in the semi-finals in Eastbourne. At Wimbledon, Kournikova lost to Venus Williams in the fourth round. She also reached the final in mixed doubles, partnering with Jonas Björkman, but they lost to Leander Paes and Lisa Raymond. Kournikova again qualified for year-end WTA Tour Championships, but lost to Mary Pierce in the first round, and ended the season as World No. 12.

While Kournikova had a successful singles season, she was even more successful in doubles. After their victory at the Australian Open, she and Martina Hingis won tournaments in Indian Wells, Rome, Eastbourne and the WTA Tour Championships, and reached the final of The French Open where they lost to Serena and Venus Williams. Partnering with Elena Likhovtseva, Kournikova also reached the final in Stanford. On 22 November 1999 she reached the world No. 1 ranking in doubles, and ended the season at this ranking. Kournikova and Hingis were presented with the WTA Award for Doubles Team of the Year.

Kournikova opened her 2000 season winning the Gold Coast Open doubles tournament partnering with Julie Halard. She then reached the singles semi-finals at the Medibank International Sydney, losing to Lindsay Davenport. At the Australian Open, she reached the fourth round in singles and the semi-finals in doubles. That season, Kournikova reached eight semi-finals (Sydney, Scottsdale, Stanford, San Diego, Luxembourg, Leipzig and Tour Championships), seven quarterfinals (Gold Coast, Tokyo, Amelia Island, Hamburg, Eastbourne, Zürich and Philadelphia) and one final. On 20 November 2000 she broke into top 10 for the first time, reaching No. 8. She was also ranked No. 4 in doubles at the end of the season. Kournikova was once again, more successful in doubles. She reached the final of the US Open in mixed doubles, partnering with Max Mirnyi, but they lost to Jared Palmer and Arantxa Sánchez Vicario. She also won six doubles titles – Gold Coast (with Julie Halard), Hamburg (with Natasha Zvereva), Filderstadt, Zürich, Philadelphia and the Tour Championships (with Martina Hingis).

2001–2003: injuries and final years
Her 2001 season was plagued by injuries, including a left foot stress fracture which made her withdraw from 12 tournaments, including the French Open and Wimbledon. She underwent surgery in April. She reached her second career grand slam quarterfinals, at the Australian Open. Kournikova then withdrew from several events due to continuing problems with her left foot and did not return until Leipzig. With Barbara Schett, she won the doubles title in Sydney. She then lost in the finals in Tokyo, partnering with Iroda Tulyaganova, and at San Diego, partnering with Martina Hingis. Hingis and Kournikova also won the Kremlin Cup. At the end of the 2001 season, she was ranked No. 74 in singles and No. 26 in doubles.

Kournikova regained some success in 2002. She reached the semi-finals of Auckland, Tokyo, Acapulco and San Diego, and the final of the China Open, losing to Anna Smashnova. This was Kournikova's last singles final. With Martina Hingis, she lost in the final at Sydney, but they won their second Grand Slam title together, the Australian Open. They also lost in the quarterfinals of the US Open. With Chanda Rubin, Kournikova played the semi-finals of Wimbledon, but they lost to Serena and Venus Williams. Partnering with Janet Lee, she won the Shanghai title. At the end of 2002 season, she was ranked No. 35 in singles and No. 11 in doubles.

In 2003, Anna Kournikova achieved her first Grand Slam match victory in two years at the Australian Open. She defeated Henrieta Nagyová in the first round, and then lost to Justine Henin-Hardenne in the 2nd round. She withdrew from Tokyo due to a sprained back suffered at the Australian Open and did not return to Tour until Miami. On 9 April, in what would be the final WTA match of her career, Kournikova dropped out in the first round of the Family Circle Cup in Charleston, due to a left adductor strain. Her singles world ranking was 67. She reached the semi-finals at the ITF tournament in Sea Island, before withdrawing from a match versus Maria Sharapova due to the adductor injury. She lost in the first round of the ITF tournament in Charlottesville. She did not compete for the rest of the season due to a continuing back injury. At the end of the 2003 season and her professional career, she was ranked No. 305 in singles and No. 176 in doubles.

Kournikova's two Grand Slam doubles titles came in 1999 and 2002, both at the Australian Open in the Women's Doubles event with partner Martina Hingis. Kournikova proved a successful doubles player on the professional circuit, winning 16 tournament doubles titles, including two Australian Opens and being a finalist in mixed doubles at the US Open and at Wimbledon, and reaching the No. 1 ranking in doubles in the WTA Tour rankings. Her pro career doubles record was 200–71. However, her singles career plateaued after 1999. For the most part, she managed to retain her ranking between 10 and 15 (her career high singles ranking was No.8), but her expected finals breakthrough failed to occur; she only reached four finals out of 130 singles tournaments, never in a Grand Slam event, and never won one.

Her singles record is 209–129. Her final playing years were marred by a string of injuries, especially back injuries, which caused her ranking to erode gradually. As a personality Kournikova was among the most common search strings for both articles and images in her prime.

2004–present: exhibitions and World Team Tennis

Kournikova has not played on the WTA Tour since 2003, but still plays exhibition matches for charitable causes. In late 2004, she participated in three events organized by Elton John and by fellow tennis players Serena Williams and Andy Roddick. In January 2005, she played in a doubles charity event for the Indian Ocean tsunami with John McEnroe, Andy Roddick, and Chris Evert. In November 2005, she teamed up with Martina Hingis, playing against Lisa Raymond and Samantha Stosur in the WTT finals for charity. Kournikova is also a member of the St. Louis Aces in the World Team Tennis (WTT), playing doubles only.

In September 2008, Kournikova showed up for the 2008 Nautica Malibu Triathlon held at Zuma Beach in Malibu, California. The Race raised funds for children's Hospital Los Angeles. She won that race for women's K-Swiss team. On 27 September 2008, Kournikova played exhibition mixed doubles matches in Charlotte, North Carolina, partnering with Tim Wilkison and Karel Nováček. Kournikova and Wilkison defeated Jimmy Arias and Chanda Rubin, and then Kournikova and Novacek defeated Rubin and Wilkison.

On 12 October 2008, Anna Kournikova played one exhibition match for the annual charity event, hosted by Billie Jean King and Elton John, and raised more than $400,000 for the Elton John AIDS Foundation and Atlanta AIDS Partnership Fund. She played doubles with Andy Roddick (they were coached by David Chang) versus Martina Navratilova and Jesse Levine (coached by Billie Jean King); Kournikova and Roddick won.

Kournikova was one of "four former world No. 1 players" who participated in "Legendary Night", held on 2 May 2009, at the Turning Stone Event Center in Verona, New York, the others being John McEnroe (who had been No. 1 in both singles and doubles), Tracy Austin and Jim Courier (both of whom who had been No. 1 in singles but not doubles). The exhibition included a mixed doubles match in which McEnroe and Kournikova defeated Courier and Austin.

In 2008, she was named a spokesperson for K-Swiss. In 2005, Kournikova stated that if she were 100% fit, she would like to come back and compete again.

In June 2010, Kournikova reunited with her doubles partner Martina Hingis to participate in competitive tennis for the first time in seven years in the Invitational Ladies Doubles event at Wimbledon. On 29 June 2010 they defeated the British pair Samantha Smith and Anne Hobbs.

Playing style
Kournikova plays right-handed with a two-handed backhand. She is a great player at the net. She can hit forceful groundstrokes and also drop shots.

Her playing style fits the profile for a doubles player, and is complemented by her height. She has been compared to such doubles specialists as Pam Shriver and Peter Fleming.

Personal life
Kournikova was in a relationship with fellow Russian, Pavel Bure, an NHL ice hockey player. The two met in 1999, when Kournikova was still linked to Bure's former Russian teammate Sergei Fedorov. Bure and Kournikova were reported to have been engaged in 2000 after a reporter took a photo of them together in a Florida restaurant where Bure supposedly asked Kournikova to marry him. As the story made headlines in Russia, where they were both heavily followed in the media as celebrities, Bure and Kournikova both denied any engagement. Kournikova, 10 years younger than Bure, was 18 years old at the time.

Fedorov claimed that he and Kournikova were married in 2001, and divorced in 2003. Kournikova's representatives deny any marriage to Fedorov; however, Fedorov's agent Pat Brisson claims that although he does not know when they got married, he knew "Fedorov was married".

Kournikova started dating singer Enrique Iglesias in late 2001 after she had appeared in his music video for "Escape". The couple have three children together, fraternal twins, a son and daughter, born on 16 December 2017, and another daughter born on 30 January 2020.

It was reported in 2010 that Kournikova had become an American citizen.

Media publicity
In 2000, Kournikova became the new face for Berlei's shock absorber sports bras, and appeared in the "only the ball should bounce" billboard campaign. Following that, she was cast by the Farrelly brothers for a minor role in the 2000 film Me, Myself & Irene starring Jim Carrey and Renée Zellweger. Photographs of her have appeared on covers of various publications, including men's magazines, such as one in the much-publicized 2004 Sports Illustrated Swimsuit Issue, where she posed in bikinis and swimsuits, as well as in FHM and Maxim.

Kournikova was named one of People's 50 Most Beautiful People in 1998 and was voted "hottest female athlete" on ESPN.com. In 2002, she also placed first in FHM's 100 Sexiest Women in the World in US and UK editions. By contrast, ESPN – citing the degree of hype as compared to actual accomplishments as a singles player – ranked Kournikova 18th in its "25 Biggest Sports Flops of the Past 25 Years". Kournikova was also ranked No. 1 in the ESPN Classic series "Who's number 1?" when the series featured sport's most overrated athletes.

She continued to be the most searched athlete on the Internet through 2008 even though she had retired from the professional tennis circuit years earlier. After slipping from first to sixth among athletes in 2009, she moved back up to third place among athletes in terms of search popularity in 2010.

In October 2010, Kournikova headed to NBC's The Biggest Loser where she led the contestants in a tennis-workout challenge. In May 2011, it was announced that Kournikova would join The Biggest Loser as a regular celebrity trainer in season 12. She did not return for season 13.

Legacy and influence on popular culture

 * A variation of a White Russian made with skim milk is known as an Anna Kournikova.
 * A video game featuring Kournikova's licensed appearance, titled Anna Kournikova's Smash Court Tennis, was developed by Namco and released for the PlayStation in Japan and Europe in November 1998.
 * A computer virus named after her spread worldwide beginning on 12 February 2001 infecting computers through email in a matter of hours.

Awards

 * 1996: WTA Newcomer of the Year
 * 1999: WTA Doubles Team of the Year (with Martina Hingis)

Books

 * Anna Kournikova by Susan Holden (2001) (ISBN 978-1-84222-416-8 / ISBN 978-1-84222-416-8)
 * Anna Kournikova by Connie Berman (2001) (Women Who Win) (ISBN 978-0-7910-6529-7 / ISBN 978-0-7910-6529-7)

title: Anna Kournikova


text:
Alfons Maria Jakob

Alfons Maria Jakob (2 July 1884 – 17 October 1931) was a German neurologist who worked in the field of neuropathology.

He was born in Aschaffenburg, Bavaria and educated in medicine at the universities of Munich, Berlin, and Strasbourg, where he received his doctorate in 1908. During the following year, he began clinical work under the psychiatrist Emil Kraepelin and did laboratory work with Franz Nissl and Alois Alzheimer in Munich.

In 1911, by way of an invitation from Wilhelm Weygandt, he relocated to Hamburg, where he worked with Theodor Kaes and eventually became head of the laboratory of anatomical pathology at the psychiatric State Hospital Hamburg-Friedrichsberg. Following the death of Kaes in 1913, Jakob succeeded him as prosector. During World War I he served as an army physician in Belgium, and afterwards returned to Hamburg. In 1919, he obtained his habilitation for neurology and in 1924 became a professor of neurology. Under Jakob's guidance the department grew rapidly. He made significant contributions to knowledge on concussion and secondary nerve degeneration and became a doyen of neuropathology.

Jakob was the author of five monographs and nearly 80 scientific papers. His neuropathological research contributed greatly to the delineation of several diseases, including multiple sclerosis and Friedreich's ataxia. He first recognised and described Alper's disease and Creutzfeldt–Jakob disease (named along with Munich neuropathologist Hans Gerhard Creutzfeldt). He gained experience in neurosyphilis, having a 200-bed ward devoted entirely to that disorder. Jakob made a lecture tour of the United States (1924) and South America (1928), of which, he wrote a paper on the neuropathology of yellow fever.

He suffered from chronic osteomyelitis for the last seven years of his life. This eventually caused a retroperitoneal abscess and paralytic ileus from which he died following operation.

Associated eponym

 * Creutzfeldt–Jakob disease: A very rare and incurable degenerative neurological disease. It is the most common form of transmissible spongiform encephalopathies caused by prions. Eponym introduced by Walther Spielmeyer in 1922.

title: Alfons Maria Jakob