the pseudonym Kurban Said to Nussimbaum and Baroness Elfriede Ehrenfels von Bodmershof, but also showing reasons that the Jewish Nussimbaum would have needed a new pseudonym after he was expelled from the (Nazi) German Writers Union in 1935, that he received income from books published under that name, and that he himself claimed authorship of Ali and Nino. Tom Reiss's documentary evidence for Lev Nussimbaum's authorship From the beginning, in 1937 and 1938 Baroness Ehrenfels held the legal copyright to the works of Kurban Said, a copyright that has now passed by inheritance to her niece Leela Ehrenfels. Leela Ehrenfels's lawyer, Heinz Barazon, has successfully defended the Ehrenfels family's ownership of the copyright to Ali and Nino. Reiss argues, however, that rather than being the actual author behind the name Kurban Said, Baroness Ehrenfels instead acted as an "Aryanizer" for Nussimbaum, meaning she took legal ownership of the pseudonym Kurban Said while passing income to him generated from books published under that name. Heinz Barazon, Reiss reports, pointed out that a publishing contract for Ali and Nino was signed in Vienna on April 20, 1937, well before Nussimbaum, as a Jew, would have lost the right to publish in the wake of the Anschluss, or Nazi German annexation of Austria, which took place in March 1938. Reiss counters Barazon's point by arguing that Nussimbaum had an economic incentive to publish under a pseudonym owned by his friend the Baroness Ehrenfels because, as opposed to Austria and Switzerland, where Nussimbaum could have published under his pen name Essad Bey, Nazi-controlled Germany was the largest market by far for German-language publications. Reiss paraphrases Professor Murray Hall, an expert on publishing in interwar Austria, who told him "It wasn’t profitable to publish a book if you could not sell it in Germany, so Austrian publishers needed to get their books past the Nazi censors to reach the majority of the German-reading public." This theory is supported by Bertha Pauli's 1971 letter to the New York Times, in which she wrote that a reason Nussimbaum may have used the pseudonym for his work in this period was that "as 'Kurban Said' it could still be sold in the German market." Reiss writes of finding "a trail of letters" in "the files of the Italian Fascist Political Police in Rome" attesting that the Nazi police apparatus had thwarted an effort by Nussimbaum to sell his