own brother's body, giving us an insight as to the reason why Ellery looks upon life “with a droll world-weariness”. But Ellery is also a kind and thoughtful man. For example, unlike other draggers, he keeps the best lobster he catches for himself and his crew. Additionally, when the oceanographers from Yale University sail with him on the Eleanor one day a month he flies an “old Yale pennant”. The article closes with Frank, one of Ellery's two crew mates, telling an interesting folk tale. The story is about Old Chrissy, “an old rascal of a woman that was the head of a gang of Block Island wreckers”. The gig was that Chrissy and her crew would lure ships in “with false lights, & they killed the sailors & the passengers, so there wouldn't be any tales told”. On one occasion she unknowingly lures in her own son's ship. But, she chooses to “clout him on the head. ‘A son’s a son,’ she said, ‘but a wreck’s a wreck”. “Dragger Captain” was met with much critical acclaim. So much so, that the rights were acquired by Warner Brothers and it was rumored that they were going to “develop it for Gary Cooper”. Thompson was promised 10% of any proceeds by Mitchell. Ultimately though, nothing came of the rumors with Mitchell calling it “studio commissary gossip” and stating that “the only truth in it is that a writer has been assigned to try and work out a script on dragger finishing, using the Profile as background”. Joe Gould's Secret In Joe Gould's Secret (1965), Mitchell expanded upon two earlier New Yorker profiles, “Professor Sea Gull” (1942) and “Joe Gould’s Secret” (1964), concerning Joe Gould, an eccentric bohemian living in New York City. Following Gould's death, Mitchell embarks on a search for the massive book Gould had long claimed to be writing, An Oral History of Our Time. Mitchell soon learns that the purportedly nine-million-word work of oral history does not exist. However, he finds that Gould is a popular and central figure within a number of New York circles. Extending Mitchell's abiding concerns with the anti-hero and the New York landscape, Joe Gould’s Secret also captures the essence of Gould's non-existent oral history by preserving the life and voice of Joe Gould. Gould's writing is digressive and self-referential; however, Mitchell's writing in Joe Gould’s Secret diverges from his previous works. Mitchell