Reich with opportunities for publication elsewhere"). Pauli had also negotiated the contract for the second Kurban Said novel, The Girl from the Golden Horn. Describing herself as Nussimbaum's "colleague and friend," Pauli wrote to the New York Times in 1971 that she had "read the novel at the time of its successful, first publication, 1937, in my native Vienna and talked to the author himself about it." She remarked that "The new, excellent English translation brings the German original vividly to my mind; I seem to hear Essad talking again in his particularly witty way." Another testimonial is by Baron Omar Rolf von Ehrenfels in his foreword to a 1973 Swiss edition of the second Kurban Said novel, The Girl From the Golden Horn. Omar Rolf von Ehrenfels was the husband of Baroness Elfriede Ehrenfels von Bodmershof and coincidentally the father of Leela Ehrenfels, the current copyright holder. The complicated story is told by Leela Ehrenfels in "'Ali and Nino'. Identifying "Kurban Said" with the man he would have known in the 1930s as Nussimbaum/Bey, the baron writes: "As a young man I founded the ‘Orient-Bund’ for Afro-Asian students in Vienna and through it I became friends with the quietly observing Azerbaijani Kurban Said.... My way brought me shortly after that to India, from where I returned to Europe for the first time in 1954 and immediately went to visit the traditional Muslim grave of my then apparently forgotten friend which stood outside the wall of the cemetery in Positano." Lucy Tal, the spouse of E. P. Tal, the novel's original 1937 publisher, believed that "Essad Bey" (Nussimbaum) had probably written it but that she was not sure as her husband Peter had dealt with the contracts but had died suddenly of a heart attack and she had fled Vienna with the Anschluss. Furthermore, she did not trust Essad Bey in regard to the contracts: "Essad sometimes was the real Oriental fairytale story teller. What was true or not true did not always bother him much." Tom Reiss's case for Lev Nussimbaum's authorship Tom Reiss has argued—first in a 1999 article in The New Yorker and then at greater length in his 2005 biography of Nussimbaum, The Orientalist—that it is "almost certain that Kurban Said was a cover for him so that he could continue to receive royalties from his work." Reiss cites and quotes documentary evidence not only linking