A widely publicized statement by Tom Ketchum, in which Ed
Cullen’s surname was sometimes printed as “Bullin” or “Bullen,” gave rise to a belief in some quarters that he was Ed Bullion, a brother of Laura. This theory ought not to have reached the printed page. Recent research has shown that Laura Bullion’s only brother was named Daniel, and that he was living in Brewster County, Texas in 1900, more than two years after Ed Cullen’s premature demise, and in Lincoln County, New
Mexico, when he registered for military service in 1917.1
This much is known. Edwin H. Cullen’s parents, Theodore J. and Nancy Cullen, had been neighbors of Sam and Tom Ketchum in San Saba County, where Ed was born on December 4, 1872. By 1880, the family had moved to Bandera County, close to the farm on which Will and Frances Carver were living with their mother and stepfather. The Cullen household then comprised Theodore, (51); Nancy (36): James O.
(9): Edwin H. (6); Lucy (5): Nellie (4); and Callie (2).2
Rosie M. is a 31-year-old white working-class woman with 25 years’ worth of experiences with psychiatric services. As a 6-year-old child, she was referred by her GP to the local child-guidance clinic because of being “very low, crying all the time, miserable and no friends”. She was seen over a period of six months on altogether eight occasions, first with her mother, then by herself, and once with her step-father. Some improvements were reported. At the age of 8, she was re-referred, this time by the school. The teachers reported her to be “low, isolated, without friends”. She was assessed and tested by a child psychologist, and this was followed by some school-based work. Rosie also received six sessions of individual counselling. At the age of 10, another referral was made, this time by her parents, because of “depression”. Individual child psychotherapy was offered, and after some wait Rosie attended once-weekly for one year. Rosie was 13 when her parents contacted the (re-named) Child and Family Consultation Service. They described her as “depressed and very difficult to manage at home”. Family therapy was offered, but Rosie dropped out after the second session. Eight months later she was admitted to the local hospital after taking a paracetamol overdose. The visiting child psychiatrist made the diagnosis of “clinical depression” and put her on antidepressants. Two months later, Rosie took a second overdose, this time using the prescribed medication. The medical response was swift and predictable: Rosie was put on a new brand of antidepressants, and these were meant to be kept by her mother and dispensed each day. Only six weeks later, Rosie had taken another overdose, paracetamol on this occasion, and this led to her being admitted to an adolescent unit. Once there, she had a fairly turbulent time; she started cutting herself and refused to see her parents throughout her stay. Nine months later, now nearly 16, Rosie was discharged. She did not return to school but went to live in a squat. She made dubious friends and started taking drugs. Her medical notes show that she took three further overdoses between the ages of 16 and 18 but that she was not given any specific treatments. She had a six-week in-patient admission at the age of 18, followed by three further in-patient admissions between the ages of 18 and 26. The recorded diagnoses varied from “depressive illness” to “schizoaffective disorder” to “personality disorder”. Since then, she had seen different psychiatrists on numerous occasions, with a whole range of antidepressants prescribed.
Text has the power to make or break your design and Photoshop has
a veritable smorgasbord of text creation and formatting options. But
just because you can do something doesn't mean you
should. The act of creating text is something of an
art form (called typography), but it's all too easy
to get carried away with decorating rather than creating legible
Keep in mind that Photoshop isn't always the right place to be
wordsmithing in the first place. The box on Photoshop and Text gives you some pointers to help decide
whether to hunt and peck in another program altogether. Nevertheless,
Photoshop has plenty of tools that, when used tastefully, can help
create beautiful type. Some of these tools are easy to find, while
others are hidden so deep in the program that you'd need a treasure map
to find 'em. This chapter guides you in the right direction, and more
importantly, teaches you when and how to use each tool. You'll also
learn quite a lot about the art of type in the process.