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USS Nightingale II - History

USS Nightingale II - History

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Nightingale II
(SP-523: dp. 14; 1. 46'; b. 16'; dr. 2'0"; s. 13.9 k.; cpl. 11; a. 1 1-pdr., 1 mg.)

Nightingale, a motorboat built by C. W. Ferguson, Groton, Conn., was acquired by the Navy from J. L. Hubbard Groton, 11 June 1917 and commissioned 29 June 1917 at Newport, Ens. Franklin Farrel in command.

Operating in the 2nd Naval District, and based at Newport R.I. during World War I, Nightingale patrolled the experimental submarine zone off New London throughout the fall, inspecting commercial vessels for district licenses and alternating duties with Magistrate (SP-143), patrolling the harbor entrance. On special duty 18 September, she maneuvered with a Chilean sub off ~ ishers Island. Continuing patrol duty, Nightingale directed all eommereial traffic from the experimental zone 31 October, shifting station to Fishers Island Sound 11 November. Relieved by Daraga (SP-43) the 13th, she thereafter alternated duties with Daraga off New London, Fishers Island, and Stonington, Conn., and later with Magistrate (SP-143) and Kingfisher (SP-76).

Nightingale continued on patrol until 8 September 1919 when she was placed out of service. She was sold to G. A. Ford Yachts Ageney, New York City 15 December 1919.

USS Nightingale II - History

A black and white photo of Florence Nightingale looking directly at the camera, she is wearing a bonnet.

Though Nightingale’s career is the star of her story––the founder of modern nursing is an incredible credit––the extent and nature of her work is a bit different than what is said. Remembered primarily as The Lady with the Lamp, a nurturing angel who helped sick soldiers, there is much more to her story.

Florence Nightingale published over two-hundred pieces of literature mainly focusing on medicine. It is through her book Notes of Nursing that she made her largest impact. Joan Quixley from Nightingale School of Nursing wrote:

"The book was the first of its kind ever to be written. It appeared at a time when the simple rules of health were only beginning to be known, when its topics were of vital importance not only for the well-being and recovery of patients, when hospitals were riddled with infection, when nurses were still mainly regarded as ignorant, uneducated persons. The book has, inevitably, its place in the history of nursing, for it was written by the founder of modern nursing"

Much of what she wrote was learning through her travel assisting hospitals. In 1854, her work brought her and thirty-eight other nurses to the British camp in Crimea, an area with a staggeringly high death toll. Upon her arrival, the reason was clear to Nightingale.

Much of the work seen as “beneath” doctors, including cleaning, hygiene, and maintenance, were completely ignored. Enlisting the help of the hospital’s least injured men and hundreds of scrub brushes, she and her nurses cleaned up the area.

Men who had been stuck in unclean beds in their own feces were cleaned and given laundered sheets. Doctors and military officers protested the women wandering their hospital and ordering men to clean up after themselves—including the high maintenance request to wash their hands—not only because they were women, but also because they believed it unnecessary.

Nightingale defiantly continued her work, later writing in a letter:

“People say that soldiers are malingerers & carry a wounded man to the rear to get out of the battle. My experience of soldiers is that they will go back into the fight to find a prostrate comrade or their wounded Officer - & fight their way again bringing him with them - or as often happened leaving their own lives behind.

May I be worthy of them!”

The men considered her a mother figure, and they her sons. They remembered her fondly, many praising her later in life.

Though her time in Crimea is remembered most for her interactions with the soldiers, Nightingale focused much of her labour on statistics. She was a smart woman, and she knew she couldn’t do this on her own. She spent quite a bit of her time interacting with the press in order to bring attention to the plight of soldiers, using her connections to uplift her cause.

Sharing the statistics she had gathered, she showed the horrifying mortality rate and revealed that, along with injuries from the war, many soldiers died from the unhygienic conditions of the camps. Her work revolutionized the idea that social phenomena could be mathematically measured and analyzed. She was a pioneer in the collection, tabulation, interpretation, and graphical display of descriptive statistics. She would go on to become the first female member of the Royal Statistical Society in 1858.

One of her biographers, Mark Bostridge, wrote of her saying:

“Like everybody else I had been brought up on the sentimental legend which thinks of her as a ministering angel and a nurse, and of course she was never a nurse, except in a very limited sense. She had a brief period in Germany before the Crimean War doing basic nursing training, and when she got to the Crimean War she did hardly any nursing at all, and never did any nursing subsequently. So to think of her as a nurse is such a ridiculous thing. What she was is a great nursing theoretician."

This does indeed seem to be the case. After the war, she returned home to teach and work with politicians. Informed by her time in Crimea, she focused her energy on the poor, believing that they deserved hospitals kept to the same standards as the ones for the wealthy. She wrote about the dignity that should be afforded to all sick people, pioneering methods we now view as common sense including making sure patients can see those talking to them.

She may have become more compassionate after becoming sick herself while in Crimea. She spent the rest of her life with chronic pain and what we now know as Chronic Fatigue Syndrome, often working from bed.

Throughout her life, there is little evidence of Nightingale’s sexual relationships with anyone. However, there are some indications she may have had romantic relationships with women, as she wrote:

"I have lived and slept in the same beds with English Countesses and Prussian farm women. No woman has excited passions among women more than I have.”

It is entirely reasonable to suggest that Nightingale may have been a lesbian her writing was common of the time, and as such include few concrete examples of any relationships. Whether she was a lesbian or not, she was very likely asexual. There are many records of her feeling disconnected from sexual attraction, and no evidence of her engaging in or even pursuing a sexual relationship. No matter the combination of identities she may have held, it is easy to see she was queer.

Looking at her life, it’s hard to fit her into any label. Calling her a feminist icon seems inappropriate when she discouraged women from giving speeches, but calling her an anti-feminist after all the time she spent fighting against sexist barriers is also incorrect. The idea that she was a docile, motherly figure doesn’t fit with the moments when she fought for equality and basic human decency. Even calling her a nurse falls flat when you notice that she spent the majority of her career in theory rather than practice.

The one common thread in her life was her desire to remain behind the scenes she wanted to be exceptional without the pedestal. Her shyness seems almost antithetical to the wide reach of her legacy. Clearing away all of the contradictions in her life, above all else, Nightingale was interested in doing her work and doing it well. It’s something easy to admire.

[Disclaimer: some of the sources may contain triggering material]

Calabria, M. (1997). Florence Nightingale in Egypt and Greece: Her Diary and "Visions." Albany, NY: SUNY Press.

'Nightingale' details courage of women in World War II

Kristin Hannah&rsquos &ldquoThe Nightingale&rdquo is an homage to the incredible courage and endurance of French women during World War II.

It tells the story of two sisters, Viane and Isabelle, and is such an engrossing read I was hard-pressed to do much else until I finished the book. It divides the time between Nazi-occupied Paris and the countryside of Le Jardin in the Loire Valley and shows the courage and strength of these two very different sisters and the extraordinary circumstances of war and how they are compelled to act.
The narrator at the beginning of the book sets up a central theme of the novel with the statement: &ldquoIf I have learned anything in this long life of mine, it is this: In love we find out who we want to be in war we find out who we are.&rdquo
It starts in 1995, with an elderly widow moving into an Oregon nursing home at the urging of her son, Julien. She receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war, and she decides to attend without telling her son. Cut to spring, 1940, where the world of the two sisters is upended. The Germans take Paris, and refugees flee south, overrunning Viane&rsquos farm in the Loire valley. Her younger sister, Isabelle, is sent to Le Jardin by Julien, their father in Paris.
As the hardships increase in the occupied zone &mdash food rationing, systematic looting, and the billeting of German officers, Isabelle&rsquos outspokenness is a liability. She joins the Resistance and volunteers to shepherd downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle is eventually captured.
Meanwhile, Viane&rsquos journey is different and she moves from passive to active resistance, and her story is no less dramatic and just as wrenching. We see how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews.
These cataclysmic events are depicted by a skilled storyteller and provide a better understanding of the harsh reality that was the Nazi occupation of France with all the horror, sorrow and heroism and leave you wondering how you would act in such circumstances.
With richly drawn characters, attention to historical detail &mdash harrowing, haunting, moving and poignant &mdash this book will stay with you long after you finish the last page.

How ‘The Nightingale’ Accurately Portrays A Dark Period In Australian History

In her breakout film The Babadook, filmmaker Jennifer Kent explored grief and maternal fear through the story of top hat-wearing specter who escapes his storybook to haunt a widow and her young son. The terror in her new movie, however, comes from a much more literal source. Coming to theaters on Aug. 2, The Nightingale is a true story in the sense that it's inspired by a real, dark period in Australian history. Kent created her main characters — trapped Irish convict Clare (Aisling Franciosi), handsome and sadistic British officer Hawkins (Sam Clafin), and Aboriginal guide Billy (Baykali Ganambarr) — and the journey they take, but made every effort to ensure that The Nightingale was accurate to the era and indigenous culture it depicts.

"I’ve had a connection with Tasmania for many years, and I’ve always felt its ghosts," the Australian-born Kent tells me when we meet in the lobby of a Park City hotel ahead of The Nightingale's Sundance premiere. "I was always exploring its history and I’d been a bit in the wilderness, so I knew it. I really love it. But I also feel the heartbreak of it — the enormous loss as well."

The Nightingale is set in 1825, when the Australian state of Tasmania was a British colony. Clare was brought there to serve a sentence that leaves her at the mercy of Hawkins and the rest of the soldiers who take what they want from the people and the country around them. After an unthinkable act of violence is perpetrated against her and her family, Clare sets off into the Tasmanian wilderness on a revenge mission, reluctantly guided by a young Aboriginal man.

"It was of absolute importance to me," Kent says of finding an Aboriginal consultant to advise her on the film. "And when I couldn’t initially, in very early stages, pre-first draft, find that person, I decided I couldn’t make the film. Because I can’t go in and abuse people who’ve [already] been so badly abused by not respecting their culture and allowing them to have a voice in the story." Eventually, she found Jim Everett, a writer and poet whose aboriginal name is pur-lia meenamatta and who Kent refers to as "Uncle Jim."

"He was there every step of the way," the director says, approving everything from costumes to casting.

Much of the film's authenticity also comes from that casting, particularly that of Ganambarr, a dancer who was completely new to acting and who Kent and her team found when they scouted aboriginal communities in Far North Queensland, Australia. The role of Billy is a demanding one, as the guide's initially combative relationship with Clare transforms considerably over the course of their journey.

"I worked with him a bit [before shooting], and I could see he was very focused and serious, very talented and could take direction," Kent says. "But I really didn’t know the extent of his genius until we were on set."

It was a risk rewarded, to take a chance on a completely fresh talent. But risk is woven through every aspect of The Nightingale. Kent also went against her first impression of Clafin, the handsome and usually affable Me Before You and Hunger Games star, to trust him with the cruel officer who doesn't want to relinquish Clare as his possession. ("[Hawkins] looks like the hero, but he’s not. And that often is the case in life," the director muses.) She dared to shoot in the wilderness of Australia, an experience that she clearly recalls with a little pain and a lot of incredulity that she and her crew pulled it off.

"We worked seven days from morning to midnight. I got very little sleep," she recalls, ruefully. "I was so stressed the whole time. No, I don’t recommend it." She laughs — tired, but mostly proud.

Kent also expresses weariness that early reviews and reactions to the film are focused on the violence experienced by Clare and others. But it's impossible not to ask about it. The Nightingale is painful to watch at times there will be few audience members who won't be compelled to shut their eyes or turn away at certain points.

"If you break down the film in those moments, it’s people’s faces [you're seeing]," Kent says of the scenes where instances of sexual violence and other brutal acts occur. "And I find it fascinating that that’s what people are uncomfortable with — the hatred and the rage. It’s not the blood and viscera that makes people uncomfortable."

The scenes are so emotionally scathing and physical, however, that preparation, context, and choreography were key to keeping the actors comfortable. The director recalls that the most complicated of them all required five separate rehearsal periods, just to get the movement down so that everyone would be safe and know where they needed to go. And of her leading lady in particular, Kent says that "it was very important that [Franciosi] was supported and understood the extent of the sexual violence, trauma, and PTSD [her character experiences], so it was meetings with rape crisis counselors and psychologists we had on board the whole way through."

In all the pain of this film, beauty does shine through — often through music, as the title suggests. Clare is "the Nightingale" part of her service to Hawkins is to perform songs from her homeland for him and his men. Franciosi performed the pieces live on set, Kent tells me, completely unaccompanied. The director chose the songs Clare sings, along with an "Irish cultural expert," who ensured that they were accurate to the time period.

And later in the film, Billy also shares his voice with Clare and the audience. Per the film's production notes, Theresa Sainty of the Tasmanian Aboriginal Centre translated the song he was to sing from English into "palawa kani," the composite Tasmanian Aboriginal language that took shape after colonization destroyed the existing, separate regional languages.

"What’s interesting is how similar the Aboriginal and the Irish cultures are in terms of sharing their ritual, song, how important language is and how when you take away someone’s language, you can really destroy their identity," Kent says. "And that’s why [the colonizers] did."

There are performances, skills, visuals, and vistas to be appreciated. But in its historical accuracy — necessary for it to be an effective indictment of colonization, drawing a parallel between sexual rape and the rape of a culture — The Nightingale is still a film to be endured. Kent hopes that you can look beyond the brutality and see the humanity underneath — particularly in the bond that develops between Clare and Billy.

"That’s the heart of the film," Kent says. "Everyone’s focused on the 'violence, violence, violence' — talk about it endlessly. But for me, I’m thinking, 'Do you even see these characters?' There’s such a beautiful love, against terrible odds. And that’s why I made the film, to explore that."

USS Nightingale II - History

"[Mariners] have written one of its most brilliant chapters. They have delivered the goods when and where needed in every theater of operations and across every ocean in the biggest, the most difficult and dangerous job ever undertaken. As time goes on, there will be greater public understanding of our merchant's fleet record during this war [World War II]."

President Franklin D. Roosevelt

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C-9A/C Nightingale C-9B Skytrain II

The C-9 is a twin-engine, T-tailed, medium-range, swept-wing jet aircraft used primarily for Air Mobility Command's aeromedical evacuation mission. The Nightingale is a modified version of the McDonnell Douglas Aircraft Corporation's DC-9. It is the only aircraft in the inventory specifically designed for the movement of litter and ambulatory patients.

The C-9A's airlift capability to carry 40 litter patients, 40 ambulatory and four litter patients, or various combinations thereof, provides the flexibility for Air Mobility Command's worldwide aeromedical evacuation role. A hydraulically operated folding ramp allows efficient loading and unloading of litter patients and special medical equipment.

  • Ceiling receptacles for securing intravenous bottles.
  • A special care area with a separate ventilation system for patients requiring isolation or intensive care.
  • Eleven vacuum and therapeutic oxygen outlets, positioned in sidewall service panels at litter tier locations.
  • A 28 VDC outlet in the special care area.
  • Twenty-two 115 VAC-60 hertz electrical outlets located throughout the cabin permit the use of cardiac monitors, respirators, incubators and infusion pumps at any location within the cabin.
  • A medical refrigerator for preserving whole blood and biological drugs.
  • A medical supply work area with sink, medicine storage section and work table, fore-and-aft galleys and lavatories.
  • Aft-facing commercial airline-type seats for ambulatory patients.
  • A station for a medical crew director that includes a desk communication panel and a control panel to monitor cabin temperature, therapeutic oxygen and vacuum system.
  • An auxiliary power unit that provides electrical power for uninterrupted cabin air conditioning, quick servicing during stops, and self-starting for the twin-jet engines.

The prototype DC-9 flew on 25 February 1965, and DC-9s have since become the most widely used twin-jet airline transports. The DC-9 has grown considerably in dimensions-and gross weight--over the four basic model series built to date, with the Navy choosing one of the stretched models. By the mid-1960s there was a need for a new Medical Air Evacuation plane to replace the aging C-118 that was used in that capacity. Requirements included that it be based on an existing airliner, that it be capable of lengthy overwater flights, and that it be procured quickly, given the escalating war in Vietnam. The Douglas DC-9 was chosen, with the military's C-9A based on the DC-9-32 version. The first aircraft delivered was ordered in 1967, followed by a few planes each year until the last one ordered in 1971 was delivered. Three VC-9Cs were purchased in FY 1973. The Navy bought 14 C-9Bs for a number of units, and later bought and leasing 19 more.

The 375th Airlift Wing at Scott Air Force Base, Ill., operates C-9A Nightingales for Air Mobility Command. C-9A's are assigned to the 374th Airlift Wing at Yokota Air Base, Japan, for use in the Pacific theater. C-9s also are assigned to the 435th Airlift Wing at Rhein-Main Air Base, Germany, for use in the European and Middle East theaters. The C-9A Nightingale demonstrates its uniqueness and versatility daily by its ability to serve not only military, but Department of Veterans Affairs and civilian hospitals throughout the world, using military and commercial airfields.

Selected on the basis of a competitive evaluation of available certified twin-jet transports, the C-9B is a convertible passenger/cargo version of the civil series 30 DC-9--a stretched development of the original Douglas DC-9 transport. It is the second military version, the Air Force having previously selected essentially the same model as their C-9A Nightingale aeromedical airlift transport which has been in service for more than five years. Due to the specialized nature of the Air Force operations and the resultant name for its aircraft, a different name was selected for the Navy version--one of the exceptions to normal military aircraft-naming practice in which all versions of the same basic design carry the same name, even though used by different services. The Skytrain II name carries on the traditions of the famed DC-3 of WW II, the original Skytrain. In common with other convertible passenger/cargo versions, the C-9Bs differ from standard airline aircraft in having a large cargo door on the port side of the forward fuselage, along with other necessary cargo-handling features. All other details are essentially the same as airline models.

The C-9B can carry between 55 and 100 passengers, depending on the model and the configuration. A typical C-9B squadron has 4 aircraft. The most common mission is to move support personnel and cargo for Navy tactical aircraft squadron deployments and shipboard personnel movements. There are also two C-9B's at MCAS Cherry Point, NC that fly the same type of missions for the Marine Corps.

The C-130T can haul much more cargo than a C-9B can accommodate, but the C-130T can only fly about half as fast as a C-9B or C-20G. A typical C-130T squadron has 4 aircraft. These aircraft are called on when there are very large unit movements, with the people going ahead in one or more C-9B's and the cargo following in a C-130T. The Marine Corps Reserve also operates 24 KC-130T's (a tanker configuration) but they do not perform the same type of missions as the Navy Reserve C-130T's.

The seven C-9B squadrons and the four C-130T squadrons work together to keep one C-9B and one C-130T forward deployed to NAS Atsugi, Japan and two C-9B's and one C-130T forward deployed to NAS Sigonella, Italy most of the time. Crews and aircraft usually perform two week rotations, leaving their home base on a Saturday morning and returning on a Sunday afternoon two weeks later. These rotations are planned well in advance, so Navy VR bases can be good places to pick up a flight overseas. The C-9B aircraft can only carry a very limited load on long transit legs, though, so C-130T deployments are a more reliable way of getting overseas. Generally the squadrons in the eastern part of the United States fill the Sigonella commitment while those in the west go to Atsugi, but there is some crossover. The C-20G aircraft also perform some two week rotations, but with only four aircraft they don't try to keep one overseas all the time.

With the Navy's C-9B, on the enlisted aircrew side of the house, every mission has a Crewchief, a Loadmaster and a Flight Attendant. The Crewchief performs in-flight duties as a C-9 flight engineer. He or she is knowledgeable of all aircraft systems, emergency procedures and flight equipment. On missions, the Crewchief is essentially Maintenance Control and is responsible for preparing the aircraft for flight, ensuring required inspections are accomplished, and even repairing the aircraft when required. Leadership opportunities abound, as the Crewchief is responsible both for the aircraft status and for directing the other aircrewmen on the mission. The C-9 Loadmaster is responsible for loading and rigging the aircraft, and ensuring the weight and balance is correct. He or she is extremely knowledgeable in internal cargo handling, especially hazardous materials for the aircraft. The Loadmaster is also required to know all aircraft systems, emergency procedures and flight equipment. In addition, the Loadmaster performs many of the same in-flight duties as the Flight Attendant. The C-9 Flight Attendant is a jack-of-all-trades and is particularly knowledgeable in passenger handling requirements, safety procedures and equipment, and federal and military regulations for passenger transport. Once again, the Flight Attendant is an expert on emergency procedures and aircraft equipment.

The C-9 aircraft provides intra theater logistic support to Naval forces worldwide. The C-9 aircraft was procured as a commercial derivative aircraft certified under an FAA Type Certificate. Throughout its life, the aircraft have been operated and organically and commercially supported by the Navy using a combination of Navy and FAA processes, procedures and certifications. It continues to be maintained organically and commercially and relies on COTS/NDI components to support airworthiness. Aircraft modification efforts are turnkey projects (non-recurring engineering, procurement, installation, test and certification) implemented as part of competitively awarded maintenance contracts.

The C-9 meets neither Stage III noise nor FANS standards. To answer the Stage III requirement, AMC established a working group to research the various options for the C-9 fleet (A- and C-model). Engineering studies showed nearly equal costs to either reengine or install hush kits for the current engines. Both of these costs were substantially lower than replacing the aircraft. AMC also contemplated the supportability of the fleet as the commercial carriers retire the DC-9s from their inventory and FAA-mandated aging aircraft inspections begin to take effect.

The last operational C-9AE flight in the United States took place on August 18, 2003. The C-9 was from the 375th Airlift Wing and was Air Evac 696. The last mission included one litter patient, several Army patients returning home from operations in Iraq and several space-available travelers. The aircraft flew first to Fort Campbell, Ky., then on to Alexandria International Airport in Louisiana, and finally dropped off its last patient at Lackland Air Force Base in San Antonio.

Kristin Hannah takes on the Nazis in 'Nightingale'

The enduring toll of the loss of a parent. Family estrangement. Sisterhood. And the difficult choices life hands us.

Best-selling author Kristin Hannah (Fly Away) transports her favorite themes to World War II as the Nazis penetrate the Maginot Line and invade France.

Viann Rossignol was 14 and her sister Isabelle just 4 when their beloved mother died, leaving them with a shell-shocked father unable to overcome the loss of his wife to care for them. Tasked with caring for her sister, Viann finds love with Antoine and they marry, but a miscarriage at 17 leaves her emotionally spent. Isabelle is shipped off to the first of a series of boarding schools she is forced from or flees.

Impulsive and beautiful, Isabelle yearns for a connection and finds one in Gaeton, a rakish, silent type freed from prison to fight the Nazis. But Gaeton disappears, and Isabelle joins the French resistance, risking her freedom and her family's to deliver anti-Nazi handbills. When she stumbles across a downed British pilot while visiting her father in Paris, her resistance takes a more perilous form. Dubbed "The Nightingale," Isabelle shepherds British and American pilots who have been shot down across the treacherous Pyrenees Mountains and into Spain.

Hannah's story becomes a tale of two sisters, set largely in the worst of times. Antoine gone to battle, Viann survives the German occupation in a dangerous dance with a handsome, empathetic Nazi who occupies her house. Herr Capt. Beck is polite and secures food and medicine for Viann and her daughter, Sophie. But as neighbor turns against neighbor, Viann's nice-ish Nazi makes her suspect in their eyes.

The Nightingale is a heart-pounding story, based on a real Belgian woman who did what Isabelle did. Hannah's book is most searing as the horrors of war ratchet upward, from lines of hungry refugees fleeing their homes to Jews who are fired from their jobs, cut off from food supplies and forced to wear the cloth star of David that will mark them for the death camps.


THE word 'ɻittersweet'' was invented for plays like C. P. Taylor's 'ɺnd a Nightingale Sang . . .'' In this gentle reminiscence about life on England's homefront during World War II, bad news and good news always come hand-in-hand. Let a lonely young war bride fear that an extramarital fling has left her pregnant, and we'll soon be told that her warning signals were actually '⟺lse alarms.'' Let the Germans bomb the play's setting, the community of Newcastle-on-Tyne, and we'll soon learn that no one on stage has been seriously injured. The balancing act continues throughout the evening: It's as if the author were forever adjusting hot and cold faucets to find an emotional temperature that's the theatrical equivalent of a warm bath.

While they induce periodic spells of drowsiness, such baths have their comforting uses. Not every British recollection of World War II need be as bracing as David Hare's ''Plenty'' or, heaven knows, as frigid as Mr. Taylor's own ''Good.'' Taken on its own unsophisticated and unabashedly sentimental terms, ''Nightingale'' is an affable, professional work. If it didn't exactly make my blood rush, I respect Mr. Taylor's desire to demonstrate that, in some backwaters, the war was more a matter of mild domestic dislocations than red-letter crises. More admirable still is the charming American production which has brought the play to the snug Mitzi E. Newhouse Theater at Lincoln Center. It's a loving, well- acted ensemble effort that, like Off Broadway's current ''True West,'' originated at Chicago's Steppenwolf Theater.

Mr. Taylor, who wrote the play in 1977 (and died in 1981), focuses his memories on a single Newcastle family, the Stotts. His omniscient narrator is one of the two Stott daughters, Helen - a plain, awkward woman who fears that her limp may forever keep away gentlemen callers. As portrayed with humorous self-effacement by an exceptionally winning and delicate actress named Joan Allen, Helen is good, smart company and not just a long-suffering ugly duckling. Her wry point-of-view on the past makes Mr. Taylor's characters seem more amusing than some of the scenes proper would suggest.

Those scenes take us from 1939, when Neville Chamberlain still dominated broadcasts on the wireless, to V-E Day in 1945. Each one is framed by a period song of the Vera Lynn variety, all sung and played by Helen's father (John Carpenter) at an upright piano in the family parlor. Along the way we sample such wartime phenomena as air raids, rationing, black-marketeering and sexual liberation. The unifying plot concerns Helen's romance with Norman (the excellent Peter Friedman), a soldier who gives the lame young woman the self-confidence she has never previously known. Mr. Taylor's dialogue can have a certain sameness about it he lacks a strong voice or high-pitched imagination. When first courted by Norman, Helen confides to us, ''No one has ever looked at me like that before in my whole life.'' When the couple later consummate their affair, the heroine adds, ''I had never been so happy in all my life.'' Some of the play's other relationships - between Helen and her sister, between Helen's mother and father - are left vague. Yet, at his best, the playwright is capable of creating lively and funny cameos.

The mother, played with dotty verve by Beverly May, is a devout Catholic who regards funerals as prime entertainment and even invokes the Lord to bless Spam sandwiches. During the war, her pieties are dizzily contorted by her daughters' promiscuity and her husband's sudden conversion to Marxism. No less eccentric and fun is the family's grandfather - a spry World War I veteran acted with sly mischievousness by Robert Cornthwaite. He is forever espousing a sardonic philosophy of life which holds that ''people are not human beings'' and that his family's squabbles will 'ɺll mean nothing in a hundred years.'' (He's right.)

Some of the Stotts' foibles, such as Grandpa's overweening devotion to his pets, are Reader's Digest-cute, but, at the opening of Act II, Mr. Taylor brings his rambunctious household up to a high comic boil. When it is briefly thought that one family member might actually have been killed by the Germans, the author finds understated farce in the midst of would- be grief: The mother can't decide whether to root for her loved one's survival or to welcome the opportunity to be a public martyr.

At such times, the play rises above itself to provide telling glimpses of small lives eked out on the edge of momentous events. But such sharpness is always leavened by happy endings that are too predictable and pat to be moving. Though Helen and her sister both have their romantic traumas, Mr. Taylor mends their broken hearts promptly, to the accompaniment of cheerful family sing- alongs (''Roll Out the Barrel''). We're promised more than once that Helen will ultimately stop clomping and learn, figuratively and literally, how to dance through life.

Using a simple set by David Jenkins and imaginative lighting by Kevin Rigdon, Terry Kinney has gracefully staged the play as the cozy, roseate fable that it is. Though 'ɺnd a Nightingale Sang . . .'' is not for everyone, it's surely the most reassuring piece of English nostalgia ever to escape the clutches of American public television.

War Remembrance AND A NIGHTINGALE SANG . . ., by C. P. Taylor directed by Terry Kinney scenery by David Jenkins costumes by Jess Goldstein lighting by Kevin Rigdon sound by David Budries production stage manager, Dorothy J. Maffei. Presented by Wayne Adams, Sherwin M. Goldman and Martin Markinson, in association with Westport Productions, William Twohill, executive producer. At the Mitzi E. Newhouse Theater at Lincoln Center, 150 West 65th Street. Helen StottJoan Allen Joyce StottMoira McCanna Harris George StottJohn Carpenter Peggy StottBeverly May AndieRobert Cornthwaite EricFrancis Guinan NormanPeter Friedman

USS Nightingale II - History

It was the first class, however, with a lengthened, 348-foot hull plus a faired sheer strake, which gave it a modern appearance carried on by the Benson and Gleaves classes, and a streamlined bridge, which was carried all the way into early ships of the Fletcher class.

Twelve ships were built in seven yards. Led by Anderson, six of these were commissioned in 1939 the other six in 1940.

Length: 348' 1-3/4" overall 340' 10-1/8" design waterline. 1

Beam: 36' 1-1/8". 1

Freeboard: 21' 4-1/8" at bow 10' 7-1/2" at stern. 1

Displacement: 1,570 long tons design 1,770 long tons to design waterline. 1

Draft: 17' 4" max. 3

Propulsion machinery: 3 x Babcock & Wilcox boilers 665 psi, 715° F. Westinghouse geared turbines 50,000 shp 2 shafts. 3

Designed speed: 37 knots. 2

Fuel bunkerage: 451.39 tons full load (95%). 1

Endurance: 5,640 nm at 12 knots. 3

Designed complement: 10 officers 182 enlisted. 3

Torpedo battery: as designed: twelve 21-inch: one quadruple centerline mount abaft the stack one quadruple wing mount on each side of the main deck in service: eight 21-inch in two quadruple centerline mounts abaft the stack, later four or none.

Main gun battery: four (initially five) dual purpose 5-inch/38: two forward in enclosed base ring mounts two, (initially three) aft in open and/or enclosed base ring mounts.

Secondary battery: 1939: Four .50 cal machine guns 1945: Two or four 40mm twins four 20mm singles.

In 1941, operating in the Atlantic, the eight low-numbered ships were formed as the two divisions of Destroyer Squadron 2 while the four highest-numbered ships Morris, Wainwright, Roe and Buck, were assigned as flagships for Destroyer Squadrons 2, 8, 11, and 13 respectively.

In December, shortly after the attack on Pearl Harbor, DesRon 2 was transferred to the Pacific, where it was assigned carrier escort duty for much of the next year with ships participating in the Battles of the Coral Sea, of Midway and of the Santa Cruz Islands. One or more of them were present at the sinking of all four US carriers lost in 1942 four of them&mdashSims, Hammann, O&rsquoBrien and Walke&mdashwere also lost.

In the Mediterranean, Buck was torpedoed in October 1943, but Roe and Wainwright were transferred to the Pacific in 1943 and 1944 respectively, where they were later assigned to DesRon 2.

Collectively, the seven surviving ships served in every theater from the tropics to the Aleutians and, led by Russell, all earned 10 or more battle stars by the end of the war. 1945 brought them to Okinawa, where Hughes, Anderson and Morris suffered kamikaze damage. The flagship was repaired only as needed to make the voyage home all the rest survived.

After the war, Russell, Morris and Roe were sold for scrap while Hughes, Anderson, Mustin and Wainwright were used as targets for the Bikini atomic tests. There, while Anderson was sunk in Test Able on 1 July 1946, Mustin, Hughes and Wainwright survived both Tests Able and Baker. Scientists monitored their radioactivity until 1948, when they were sunk by gunfire&mdashMustin and Wainwright off Kwajalein in April and July, and Hughes&mdashthe last surviving ship of the class&mdashnear California&rsquos Farallon Islands in October.

Florence Nightingale and the History of Christianity in Nursing

Florence Nightingale is the most well known figure in nursing history. She is best known for the advances she made in sanitation, hospital statistical records, public health and community nursing. Nightingale also wrote extensively on her religious, political and philosophical views and how they carried over into her duties as a Christian and nurse. Florence Nightingale’s contributions to nursing were largely influenced by her beliefs about God. Nightingale wrote extensively of her spiritual and religious beliefs and their connection to the way she practiced nursing. The nursing profession, as we know it today, has deep roots in Christianity. The role of spirituality in Florence Nightingales’s nursing practice is comparable to the Christian nurses who gave of themselves before her.
Although it is difficult to trace the history of nursing to the beginning, it is theorized that people have nursed each other to some extent since the beginning of mankind. This primitive nursing was mainly the care of others within families and communities. Nursing as we know today, the care of comple…
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…l notes. Waterloo: Wilfrid Laurier University Press.
McDonald, L. (Ed.) (2002b). Florence Nightingale’s theology: Vol. 3: Essays, letters and journal notes. Waterloo: Wilfrid Laurier University Press.
Nightingale, F. (1915). Florence Nightingale to her nurses. London: Macmillan and Co., Limited.
Nightingale, F. (1969). Notes on nursing: What it is and what it is not. New York: Dover. (Original work published 1860)
O’Brien, M. E. (2011). Spirituality in nursing: Standing on holy ground (4th ed.). Sudbury, Mass: Jones and Bartlett Pub.

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Watch the video: USS Nithingale Shipwreck (May 2022).