Except they weren’t: Malba Tahan

Camels_in_Ethiopia_01Except they weren’t: An occasional series about people who are Not What They Seem

Malba Tahan was a famous writer from Baghdad who traveled throughout the Middle East, recording tales of his adventures.

His most famous stories describe his travels with his friend Beremiz Samir, an Arabian traveler who was a mathematical genius. The pair traveled throughout the Muslim world like Watson and Holmes: Samir came up with ingenious solutions to practical mathematics problems, and Tahan recorded their adventures in beautiful, lyrical prose.

In 1949, soon after his death, Tahan’s work was published in Portuguese translation as O Homem Que Calculava (The Man Who Counted). It became an improbable bestseller in Brazil, where it remains one of its best-loved books. And so an unlikely hero to modern-day Brazilians is Malba Tahan, the Islamic Renaissance Man.

Except he wasn’t.Photo of Júlio César de Melo e Sousa, the man who created Malba Tahan

“Malba Tahan” was the fictional creation of Júlio César de Mello e Souza, a math teacher from Rio de Janeiro, who wrote the book to help teach his students how to solve word problems.

The result is beautiful, both in how Tahan/de Mello tells the tales and in how Samir/de Mello solves the problems. To appreciate the beauty, take a look at this, a translated version of one of the first stories in the book. It’s a bit long, but it’s definitely worth reading through:

We had been traveling for a few hours without stopping when there occurred an episode worth retelling, wherein my companion Beremiz put to use his talents as an esteemed cultivator of algebra.

Close to an old half abandoned inn, we saw three men arguing heatedly beside herd of camel. Amid the shouts and insults the men gestured wildly in fierce debate and we could hear their angry cries:

“It cannot be!”
“That is robbery!”
“But I do not agree!”

The intelligent Beremiz asked them why they were quarreling.

“We are brothers,” the oldest explained, “And we received thirty-five camels as our inheritance. According to the express wishes of my father half of them belong to me, one-third to my brother Hamed, and one-ninth to Harim, the youngest. Nevertheless we do not know how to make the division, and whatever one of us suggests the other two disputes.

Of the solutions tried so far, none have been acceptable. If half of 35 is 17.5, if neither one-third nor one-ninth of this amount is a precise-number, then how can we make the division?”

“Very simple,” said the Man Who Counted. “I promise to make the division fairly, but let me add to the inheritance of 35 camels this splendid beast that brought us here at such an opportune moment.”

At this point I intervened.

“But I cannot permit such madness. How are we going to continue on our journey if we are left without a camel?”

“Do not worry, my Baghdad friend,” Beremiz, said in a whisper. “I know exactly what I am doing. Give me your camel, and you will see what results.”

And such was the tone of confidence in his voice that, without the slightest hesitation, I gave over my beautiful Jamal, which was then added to the number that had to be divided between the three brothers.

“My friends,” he said, “I am going to make a fair and accurate division of the camels as you can see, now number 36.”

Turning to the eldest of the brothers, he spoke thus: “You would have half of 35 — that is 17.5. Now you will receive half of 36 — that is 18. You have nothing to complain about because you gain by this division.”

Turning to the second heir, he continued, “And you, Hamed, you would have received one-third of 35 — that is, 11 and some. Now you will receive one-third of 36 that is 12. You cannot protest as you too gain by this division.

Finally he spoke to the youngest, “And you young Harim Namir, according to your father’s last wishes you were to receive one-ninth of 35 or three camels and part of another. Nevertheless, I will give you one-ninth of 36, or 4. You have benefited substantially and should be grateful to me for it.”

And he concluded with the greatest confidence, “By this advantageous division, which has benefited everyone, 18 camels belong to the oldest, 12 to the next, and 4 to the youngest, which comes out to… 8 + 12 + 4 = 34 camels. Of the 36 camels, therefore, there are 2 extra. One, as you know, belongs to my friend from Baghdad. The other rightly belongs to me for having resolved the complicated problem of the inheritance to everyone’s satisfaction.”

“Stranger, you are a most intelligent man,” exclaimed the oldest of the three brothers, “and we accept your solution with the confidence that it was achieved with justice and equity.”

The clever Beremiz, the Man Who Counted, took possession of one of the finest
animals in the herd and, handing me the reins of my own animal, said, “Now, dear friend, you can continue the journey on your camel, comfortable and content. I have one of my own to carry me.”

And we traveled on towards Baghdad.

It’s a beautiful story, but how TF does the math work out? How does that make any sense?

Think about it, and then see the exciting conclusion!

P.S. I just wrote a post about math that ends on a cliffhanger!

P.P.S. And you just read that post. All the way to the end.

Image credits

Adorable camels from wikipedia user Bernard Gagnon
Photo of Júlio César de Melo e Sousa from Instituto Malba Tahan

Except they weren’t: Iron Eyes Cody

Except they weren’t: An occasional series about people and things which are Not What They Seem

A middle-aged Iron Eyes Cody, dressed in a traditional Native American cloak and with a feather on his head, in an undated publicity photoTo three generations of movie fans, Iron Eyes Cody was THE Hollywood Indian. He was born in Oklahoma in 1904 to a Cherokee father and a Cree mother. He spent his youth performing in traveling Wild West shows, where he taught himself the sign languages of other Nations. In 1924, he moved to California, and within two years was appearing as an uncredited extra in Hollywood.

His career took off from there, and he eventually appeared in more than 200 films and TV series, particularly Westerns. He played in films with A-list actors like John Wayne (The Big Trail in 1930) and Steve McQueen (A Man Called Horse in 1970). But his most famous role came at age 65 in a Public Service Announcement TV commercial that was an early advocate for environmental conservation movement. It’s horribly dated now, but it had a real impact on changing public attitudes:

[youtube https://www.youtube.com/watch?v=8Suu84khNGY&w=560&h=315]

Cody wrote an autobiography, died in 1999 at age 94, and is buried in the “cemetery of the stars,” Hollywood Forever Cemetery. He is in the mausoleum with his beloved wife Bertha, not far from stars like Victor Fleming, James Garner, and Marilyn Monroe.

Over a career spanning nearly 70 years, Iron Eyes Cody’s career perfectly traced America’s changing attitudes toward the people known first as Indians, then as American Indians, then as Native Americans — all the while staying true to his heritage as a Native American.

Except he wasn’t.

He was born as Espera Oscar de Corti in small-town Louisiana, the son of two immigrants from Sicily who ran the town grocery store. He moved to California at 19, where he used his dark skin, talent for telling a good story, and genuine acting talent to score a long and successful career as an actor.

The truth began to come out in 1996, when his half-sister gave an interview to the New Orleans Times-Picayune newspaper. de Corti/Cody denied the rumor, but it was officially confirmed after his death.

What do we make of his story? Was this the worst kind of cultural appropriation, the story of a white man literally taking on a fake Native American identity? Was it a well-meaning fib that had a happy ending and actually did some good? Did it start out for convenience, but then eventually de Corti managed to convince himself he really was Cody?

If it helps: he married a for-reals Native American woman, adopted two children from reservations in his fake-home state of Oklahoma, and spent much of his life advocating and fundraising for Native-led charities and causes.

Questions like these are why I find these except-they-weren’t stories so fascinating.

What do you think?

Except they weren’t: Joe Magarac

A statue of Joe Magarac bending a steel beamI’m fascinated with stories of people who are not what they seem, or are not what they claim to be. History is full of stories of people who hide or change their identities, for all sorts of reasons both good and not-so-good — as well as stories of fictional people who were invented for all sorts of reasons both good and not-so-good. But sometimes the story is so much more interesting, and I’d love to share some of these stories with you. If truth is stranger than fiction, then true fiction is even stranger than that. Welcome to a new occasional series: Except They Weren’t.

What John Henry was to African-American rail workers, Joe Magarac was to steelworkers in Pittsburgh.

In 1931, Pittsburgh author Owen Francis (a former steelworker himself) interviewed a group of immigrant steelworkers from Croatia. They told him of the legend of Joe Magarac, a strong and hardworking folk hero figure who shows up just in time so save his fellow workers from calamity.

Francis wrote up the story for the November 1931 issue of Scribner’s magazine as “The Saga of Joe Magarac: Steelman.” Like the more famous John Henry, Joe Magarac might not have been a real person, but he was a real inspiration to the downtrodden workers of America.

Except he wasn’t.

There is no historical record of Joe Magarac before the 1931 article, and when anthropologists interviewed Pittsburgh immigrant steelworkers in the 1940s and 1950s, no one had heard of him. We’ll never know for sure, but it sure looks like the guys were just playing a fun game of troll the reporter. The clincher? Check out what “magarac” means in Croatian.

A photo of a cute donkey grazingNot Joe Magarac

But in one of those Bizarre Things That Happen Sometimes, the article proved so popular that Joe Magarac actually became a local folk hero, and an unofficial symbol of the city of Pittsburgh. Here he is, hard at work on a mural of a downtown building. And the photo above is of his statue in front of U.S. Steel’s headquarters.

Joe Magarac is an example of what historians and anthropologists call “fakelore” — stories that have the structure and purpose of folklore, but were created for another purpose. What other examples of fakelore do you know?

Image credit for the statue photo: Flickr user Devon Christopher Adams