MIRACLE WOMAN a MEMOIR a Sweeping Biography Tells the Larger-Than-Life Story of Barbara Stanwyck

Total Page:16

File Type:pdf, Size:1020Kb

MIRACLE WOMAN a MEMOIR a Sweeping Biography Tells the Larger-Than-Life Story of Barbara Stanwyck OUT &ABOU T BOOKS STAR POWER THE EXAMINED LIFE Top left: Barbara Stanwyck striking a pose circa Three other books shed new 1940; bottom left: with light on cultural luminaries. husband Robert Taylor in 1939; below: author Victoria Wilson. A STORY LatELY TOLD Anjelica Huston When Angelica Huston was born, the news was delivered by a barefoot runner to her father, the director John Huston, who was in the Belgian Congo filming The African Queen with Katharine Hepburn and Humphrey Bogart. The first installation of this two-part memoir (the second will be published next fall) follows the pre-L.A. life of this ultimate child of Hollywood: growing up in Ireland, falling in love with theater in London, and modeling in New York (Scribner; $25). MY MISTAKE: MIRACLE WOMAN A MEMOIR A sweeping biography tells the larger-than-life story of Barbara Stanwyck. Daniel Menaker BY MICHAEL LINDSAY HOGG - MOVIE MOVIE Former Random House ( bigwig Daniel Menaker OOKING AT VICTORIA WILSON, Wilson brilliantly sets the movies Stan- chronicles the ups and you can’t quite believe she has been an edi- wyck made against a whole period of Ameri- downs of his career, from Swarthmore in the early L tor since 1972 at Alfred A. Knopf, where can history, from the Roaring Twenties to the ’60s to a 26-year run at she has earned the respect and love of many fast-changing, coming-of-age motion picture the New Yorker. It’s an a writer (I am one). Now, having brought out industry at the dawn of World War II. (This entertaining behind- the-scenes look at the books by the likes of Lorrie Moore, William 1,000-page tome ends in the summer of 1940; ) Gass, and Anne Rice, she is at last bringing out a second volume, on the way, starts off with the ON magazine, especially when Menaker recalls S ; EVERETT COLLECTION COLLECTION EVERETT ; office run-ins with the likes of Tina Brown, one of her own: A Life of Barbara Stanwyck: iconic Meet John Doe.) ) WIL William Shawn, Roger Angell, and his ( Steel-True, 1907–1940 (Simon & Schuster; Wilson—now a vice president at Knopf— HOT eventual wife, Katherine Bouton (Houghton S $40). It is the story of a woman she describes as has star quality herself. She is delicately pretty, Mifflin Harcourt; $24). AVID “one of Hollywood’s most uncannily natural, with a strong mane of white hair, which is R timeless, and underrated actresses.” appropriate for someone who rides her white Stanwyck’s 88 movies began with the com- horse, Twist, on weekends. Her appearance— ROTH JOYCE ; UNBOUND ing of sound, and she went on to work in televi- blue jeans, striped shirts, Belgian loafers—is ) Claudia Roth Pierpont sion, from its early days all the way through the an indication of her mind: informal, liberal, AYLOR T 1980s. Wilson gives us an appropriately large, elegant, with a definite sense of form and style, PUBLICITY TANWYCK S ( Philip Roth and writer thrilling, and sensitive biography to go with all of which she brings to Steel-True. S Claudia Roth Pierpont E (no relation) first met in this staggering career. It’s the saga of Ruby Ste- Wilson spent 14 years working on the life G MA 2002, and they became vens, a Brooklyn girl orphaned and abandoned of Stanwyck, whom Frank Capra called “the I pen pals and friends. at the age of four, who, with a sex- greatest emotional actress the TANWYCK AND AND TANWYCK But it wasn’t until the S ily sullen acting style, became one screen has yet known.” What she ( acclaimed novelist of Hollywood’s highest-paid stars. discovered—and shares in this made the decision to ON We see her high-flying years on indelible, revelatory book—is an S retire that Pierpont, IL with Roth’s blessing, began work on the Broadway, her difficult marriage artist’s extraordinary transforma- W first major study of the author, one that to vaudeville legend Frank Fay, and tion from homeless child to one of OLLECTION/GETTY reveals many eye-opening details about C his personal life (Farrar, Straus and her second marriage to dreamboat the most magnetic stars in the his- ICTORIA ICTORIA Giroux; $27). S.W. Robert Taylor. tory of Hollywood. • V ; ; ) S TER S PO NOVEMBER 2013 T&C 74 TOWNANDCOUNTRYMAG.COM SCREEN SILVER.
Recommended publications
  • Omni Hiroshima Nagasaki, August 6 and 9, 2020,#2
    OMNI HIROSHIMA NAGASAKI, AUGUST 6 AND 9, 2020, #2 REMEMBRANCE/ABOLITION OF NUCLEAR WEAPONS https://jamesrichardbennett.blogspot.com/2020/08/hiroshimanagasaki- remembrance-and.html Compiled by Dick Bennett for a Culture of Peace, Justice, and Ecology http://omnicenter.org/donate/ CONTENTS: HIROSHIMA NAGASAKI, AUGUST 6 AND 9 (1945), 2020, #2 Remember Hiroshima: Thursday August 6, 7pm, Pulaski County WAND, ACPJ, Pax Christi Watch Online . NATIONAL REMEMBRANCES 2020 FOR ABOLISHING NUCLEAR WEAPONS Peace Action: Honoring survivors, 75 years later Bulletin of the Atomic Scientists, Hiroshima and Nagasaki, Special Coverage of 4 Articles 8-3-20 What Europeans believe about Hiroshima and Nagasaki—and why it matters Memorial Days: the racial underpinnings of the Hiroshima and Nagasaki bombings Create a #stillhere social media frame August 8 Tokyo House Party: Atomic Art MORE July 27, 2020 MORE Campaign for Peace, Disarmament and Common Security Resources: TANIGUCHI’s memoir, The Atomic Bomb on My Back, and a film of the bombings. Beyond the Bomb War Resisters League, Ban the Nukes! Global Zero 3 NEW BOOKS Reviewed by Publishers Weekly The Button: The New Nuclear Arms Race and Presidential Power from Truman to Trump by William J. Perry and Tom Z. Collina. BenBella, 2020. (334p). Fallout: The Hiroshima Cover-Up and the Reporter Who Revealed It to the World by Lesley M. M. Blume. Simon & Schuster, 2020,.$27 (288p) . Gambling with Armageddon: Nuclear Roulette from Hiroshima to the Cuban Missile Crisis, 1945–1962 by Martin J. Sherwin. Knopf, 2020. TEXTS Honoring survivors, 75 years later Jon ThFriend, Rainwater, u,As you may know, this year marks an unfortunate anniversary: the 75th year of Peace Julthe nuclear age.
    [Show full text]
  • The Library of America Interviews Christopher Carduff About William Maxwell
    The Library of America interviews Christopher Carduff about William Maxwell In connection with the publication in January 2008 of William Maxwell: Early Novels & Stories , edited by Christopher Carduff, Rich Kelley con - ducted this exclusive interview for The Library of America e-Newsletter. Sign up for the free monthly e-Newsletter at www.loa.org . Born in 1908, William Maxwell lived to the age of 91, and was still publish - ing in his 80s, which explains how The Library of America can publish a volume called Early Novels and Stories that includes pieces he wrote at 47. It includes four of his six novels and nine of his stories. How do these early works compare with those of Maxwell’s later years? And does The Library of America plan to publish a second volume of his works? Actually, Maxwell was publishing right into his 90s—he had fiction in The New Yorker and DoubleTake in his 90th year—and he began writing early: his first novel was published when he was 25. In the coming year the LOA, to honor both the centenary of his birth and his remarkable 65-year contribution to American writing, will publish a two-volume edition of his fiction, which will bring together all the novels and 27 of his best short stories. The second volume , Later Novels and Stories— due out in the fall of 2008—will also include a generous selection of Maxwell’s “improvisations,” or literary fairy tales, most of which he wrote as Christmas and birthday gifts to his wife throughout their 45 years together.
    [Show full text]
  • 74 Literary Journalism Studies
    74 Literary Journalism Studies Photo by Barbara Gandolfo-Frady 75 “Just as I Am”? Marshall Frady’s Making of Billy Graham Doug Cumming Washington and Lee University, United States Abstract: Literary journalists have a dual role that more or less inevitably presents a moral problem. They must establish a relationship with their sub- ject, and then must shift their attention and loyalty to their art—the writing of the work. Marshall Frady (1940–2004), a journalist with a zeal for the literary side of the balance that drew on Southern writers such as Faulkner and Agee, published evocative profiles of numerous subjects in national magazines and novelistic biographies. Nowhere was the moral problem more troubling than when Frady, the son of a Southern Baptist preacher, took on world-renowned evangelist Billy Graham in a biography he spent at least five years working on. The following paper is based on Frady’s personal papers, recently acquired by Emory University in an IRS auction. moral conundrum at the heart of literary journalism is the writer’s rela- A tionship with his or her main character. The writer of this higher order of nonfiction needs to get inside the head of the individual or individuals being written about. This relationship-to-source is different from that of the newsroom correspondent. That more common journalistic relationship has its own set of ethical and legal complexities, balancing protection of a source against a public interest in disclosure.1 But for the literary journalist, the main source of information is usually the story’s subject as well, unless the work’s central figure is never interviewed.
    [Show full text]
  • Philip Seymour Hoffman
    PHILIP SEYMOUR HOFFMAN CATHERINE KEENER CLIFTON COLLINS JR. CHRIS COOPER BRUCE GREENWOOD BOB BALABAN MARK PELLEGRINO AMY RYAN in CAPOTE Directed by Bennett Miller Written by Dan Futterman based on the book by Gerald Clarke A Sony Pictures Classics Release EAST COAST WEST COAST DISTRIBUTOR Donna Daniels Public Relations Block- Korenbrot Sony Pictures Classics Donna Daniels Melody Korenbrot Carmelo Pirrone Rona Geller Lee Ginsberg Angela Gresham Ph: (212) 869-7233 Ph: (323) 634-7001 Ph: (212) 833-8833. Fx: (212) 869-7114 Fx: (323) 634-7030 Fx: (212) 833-8844 1375 Broadway, 21st Floor 110 S. Fairfax Ave, Ste 310 550 Madison Ave., 8th Fl. New York, NY 10018 Los Angeles, CA 90036 New York, NY 10022 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com CAPOTE The Cast Truman Capote PHILIP SEYMOUR HOFFMAN Nelle Harper Lee CATHERINE KEENER Perry Smith CLIFTON COLLINS Jr. Alvin Dewey CHRIS COOPER Jack Dunphy BRUCE GREENWOOD William Shawn BOB BALABAN Marie Dewey AMY RYAN Dick Hickock MARK PELLEGRINO Laura Kinney ALLIE MICKELSON Warden Marshall Krutch MARSHALL BELL Dorothy Sanderson ARABY LOCKHART New York Reporter ROBERT HUCULAK Roy Church R.D. REID Harold Nye ROBERT McLAUGHLIN Sheriff Walter Sanderson HARRY NELKEN Danny Burke KERR HEWITT Judge Roland Tate JOHN MACLAREN Jury Foreman JEREMY DANGERFIELD Porter KWESI AMEYAW Chaplain JIM SHEPARD Pete Holt JOHN DESTRY Lowell Lee Andrews C. ERNST HARTH Richard Avedon ADAM KIMMEL 2 ` CAPOTE The Filmmakers Director BENNETT MILLER Screenplay DAN FUTTERMAN Based on the book “Capote”
    [Show full text]
  • Rhetorical and Narrative Structures in John Hersey's Hiroshima: How They Breathe Life Into the Tale of a Doomed City
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2004 Rhetorical and narrative structures in John Hersey's Hiroshima: How they breathe life into the tale of a doomed city James Richard Smart Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Smart, James Richard, "Rhetorical and narrative structures in John Hersey's Hiroshima: How they breathe life into the tale of a doomed city" (2004). Theses Digitization Project. 2718. https://scholarworks.lib.csusb.edu/etd-project/2718 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. RHETORICAL AND NARRATIVE STRUCTURES IN JOHN HERSEY'S HIROSHIMA: HOW THEY BREATHE LIFE INTO THE TALE OF A DOOMED CITY A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition: English Literature by James Richard Smart June 2004 RHETORICAL AND NARRATIVE STRUCTURES IN JOHN HERSEY'S HIROSHIMA: HOW THEY BREATHE LIFE INTO THE TALE OF A DOOMED CITY A Thesis Presented to the Faculty of California State University, San Bernardino by James Richard Smart June 2004 Approved by: xflUAJg Bruce Golden, Chair, English Date Ellen Gil-Gomez, English'^ Risa> Dickson, Communication Studies TABLE OF CONTENTS ABSTRACT.................................................. iii CHAPTER ONE: INTRODUCTION................................ 1 CHAPTER TWO: BACKGROUND ON HERSEY AND HIROSHIMA.......
    [Show full text]
  • 08 the Banality of Evil
    THE BANALITY OF EVIL: CONTROVERSY AND COMPLEXITY OF A CONCEPT Margarida Amaral THE BANALITY OF EVIL: CONTROVERSY AND COMPLEXITY OF A CONCEPT Margarida Amaral Universidade Católica Portuguesa Sociedade Científica 49 Gaudium Sciendi, Nº 17, Dezembro 2019 The Banality of Evil: Controversy and Complexity of a Concept Margarida Amaral The controversy raised by the concept of "banality of evil". s portrayed in the film Hannah Arendt by Margarethe von Trotta, the author came to the concept of "banality of evil" after offering Aherself, as a reporter of the New Yorker , to cover Eichmann's trial in Jerusalem. The New Yorker ’s editor, William Shawn, then allowed Hannah Arendt, the author of the acclaimed book The Origins of Totalitarianism , to go to Jerusalem and attend this trial. Hannah Arendt’s decision would certainly be related to the fact that Eichmann was responsible for sending the Jewish women still interned in the Gurs camp, among which Hannah Arendt had been, to concentration camps. Attending this man's trial would mean, for Hannah Arendt, to face her past and to recover from the malaise associated with intense and terrible memories. 1 Considering Eichmann's statements to the police and in the court itself, Hannah Arendt came upon a man who, contrarily to what she assumed, was not a monster or a demon, but a vulgar man who did not think. Faithful, as she always seemed to be, to her thoughts, Hannah Arendt stated in the articles written for the New Yorker , and later in the book inspired by them ( Eichmann in Jerusalem: a Report on the 1 Hannah Arendt recognized the personal dimension inherent in the importance of attending Eichmann's trial.
    [Show full text]
  • Hannah Arendt As a Theorist of International Criminal Law
    Georgetown University Law Center Scholarship @ GEORGETOWN LAW 2011 Hannah Arendt as a Theorist of International Criminal Law David Luban Georgetown University Law Center, [email protected] Georgetown Public Law and Legal Theory Research Paper No. 11-30 This paper can be downloaded free of charge from: https://scholarship.law.georgetown.edu/facpub/619 http://ssrn.com/abstract=1797780 Int'l Crim. L. Rev. (forthcoming) This open-access article is brought to you by the Georgetown Law Library. Posted with permission of the author. Follow this and additional works at: https://scholarship.law.georgetown.edu/facpub Part of the Criminal Law Commons, International Law Commons, and the Jurisprudence Commons HANNAH ARENDT AS A THEORIST OF INTERNATIONAL CRIMINAL LAW David Luban* Forthcoming, symposium on “Women and International Criminal Law,” International Criminal Law Review Hannah Arendt had no legal training, and before 1960 her writings display little interest in law or legal institutions.1 Then Israeli agents kidnapped Adolf Eichmann in Argentina and brought him to Jerusalem to stand trial for the crimes of the Holocaust. In June 1960, Arendt wrote to Mary McCarthy, “I am half toying with the idea to get some magazine to send me to cover the Eichmann trial. Am very tempted.”2 Arendt approached William Shawn, editor of The New Yorker. A bit diffidently, Shawn accepted her offer.3 Her friend and mentor, the philosopher Karl Jaspers, was skeptical: “The political realm is of an importance that cannot be captured in legal terms (the attempt to do so is Anglo-Saxon and a self-deception …).”4 To which Arendt replied: I … admit that as far as the role of the law is concerned, I have been infected by the Anglo-Saxon influence.
    [Show full text]
  • The Publication of “Hiroshima” in the New Yorker
    Steve Rothman HSCI E-196 Science and Society in the 20th Century Professor Everett Mendelsohn January 8, 1997 The Publication of “Hiroshima” in The New Yorker Overview A year after World War II ended, a leading American weekly magazine published a striking description of what life was like for those who survived a nuclear attack. The article, simply titled “Hiroshima,” was published by The New Yorker in its August 31, 1946 issue. The thirty-one thousand word article displaced virtually all other editorial matter in the issue. “Hiroshima” traced the experiences of six residents who survived the blast of August 6, 1945 at 8:15 am. There was a personnel clerk, Miss Toshiko Sasaki; a physician, Dr. Masakazu Fujii; a tailor’s widow with three small children, Mrs. Hatsuyo Nakamura; a German missionary priest, Father Wilhelm Kleinsorge; a young surgeon, Dr. Terufumi Sasaki; and a Methodist pastor, the Reverend Mr. Kiyoshi Tanimoto. The article told the story of their experiences, starting from when the six woke up that morning, to what they were doing the moment of the blast and the next few hours, continuing through the next several days and then ending with the situations of the six survivors several months later. The article, written by John Hersey, created a blast of its own in the publishing world. The New Yorker sold out immediately, and requests for reprints poured in from all over the world. Following publication, “Hiroshima” was read on the radio in the United States and abroad. Other magazines S. Rothman page 2 reviewed the article and referred their readers to it.
    [Show full text]
  • Words, People, Places & Ideas in The
    Words, People, Places & Ideas in The Lifespan of a Fact Curated by Christy Montour-Larson JOHN: On the same day in Las Vegas when sixteen-year-old Levi Presley jumped from the observation deck of the 1,149-foot tower of the Stratosphere Hotel and Casino, lap dancing was temporarily banned in the city’s 34 licensed strip clubs… Stratosphere Hotel and Casino: The tallest observation tower in the United States. The tower is topped by a pod which includes a revolving restaurant, lounges, and observation decks. The top of the tower also has several thrill rides. The observation tower, which cost $70 million to build, was topped off on November 4, 1995. Five people, bypassing security measures, have committed suicide by jumping from the tower's observation area, between 2000 and 2007. Another person died after jumping from the tower in 2014. EMILY: The photography has been in and ready but the copy needs a final fact check. The right volunteer will QUICKLY comb through it for press next Monday. Find me your best person. I’ll buy them a pack of red pens. Fact Check: A process that seeks to verify sometimes factual information, in order to promote the veracity and correctness of reporting. Fact-checking can be conducted before (ante hoc) or after (post hoc) the text is published or otherwise disseminated. Internal fact-checking is such checking done in-house by the publisher; when the text is analyzed by a third party, the process is called external fact-checking. JIM: I was a joint concentrator in Computer Science and Journalism.
    [Show full text]
  • Jackson on Yagoda, 'About Town: the New Yorker and the World It Made'
    H-PCAACA Jackson on Yagoda, 'About Town: The New Yorker and the World It Made' Review published on Tuesday, August 1, 2000 Ben Yagoda. About Town: The New Yorker and the World It Made. New York: Scribner, 2000. 480 pp. $30.00 (cloth), ISBN 978-0-684-81605-0. Reviewed by Millie Jackson (Grand Valley State University) Published on H-PCAACA (August, 2000) Ben Yagoda provides a fitting tribute for The New Yorker's seventy-fifth anniversary. In his expansive book, Yagoda sets out to tell the story of The New Yorker and its importance to culture. Throughout the book, he not only relates how The New Yorker fit in and changed culture, he also tells the story of the people who shaped the magazine and literary tastes of America throughout the twentieth century. Yagoda opens the book with quotes from long-time New Yorker readers, seeking through a survey to discover what kept them reading over the years. Readers relate their association with the magazine's sophistication and culture as well as the rituals involved in reading it. Ritual and sophistication are words that resonate throughout the book. A sophistication in the writing made The New Yorker the sought after venue for many writers works. Yagoda shows how rituals were not only important to the readers, but also to the editors and the writers on the staff of The New Yorker. Previous biographies, collections and other works about The New Yorker relied mainly on personal accounts and recollections. Yagoda, however, had access to three thousand boxes of archival records including correspondence, interoffice memos and edited manuscripts.
    [Show full text]
  • Millie Jackson on About Town: the New Yorker and the World It Made
    Ben Yagoda. About Town: The New Yorker and the World It Made. New York: Scribner, 2000. 480 pp. $30.00, cloth, ISBN 978-0-684-81605-0. Reviewed by Millie Jackson Published on H-PCAACA (August, 2000) Ben Yagoda provides a ftting tribute for The personal accounts and recollections. Yagoda, how‐ New Yorker's seventy-fifth anniversary. In his ex‐ ever, had access to three thousand boxes of pansive book, Yagoda sets out to tell the story of archival records including correspondence, in‐ The New Yorker and its importance to culture. teroffice memos and edited manuscripts. The Throughout the book, he not only relates how The book becomes a biography of the magazine and New Yorker ft in and changed culture, he also it's workings, rather than only a story of its princi‐ tells the story of the people who shaped the maga‐ pals. It is richer in detail and inside information zine and literary tastes of America throughout the than previous works. Yagoda concentrates on the twentieth century. Harold Ross and William Shawn years, choosing Yagoda opens the book with quotes from to gloss over the recent history of the magazine. long-time New Yorker readers, seeking through a Combing the archives of The New Yorker, survey to discover what kept them reading over Yagoda culls stories, anecdotes and tales of the years. Readers relate their association with founder and frst editor Harold Ross, second edi‐ the magazine's sophistication and culture as well tor William Shawn and other New Yorker staff as the rituals involved in reading it.
    [Show full text]
  • Joe Mitchell, Jack Alexander, Richard O
    Joseph Mitchell and The New Yorker Nonfiction Writers by Norman Sims © Copyright Norman Sims 2008 From Literary Journalism in the Twentieth Century, edited by Norman Sims (Evanston, Illinois: Northwestern University Press, 2008). (Originally written before The New Yorker moved to its new offices. Also written prior to the publication of Joseph Mitchell’s Up in the Old Hotel, which used some of the text from my interview as Mitchell’s jacket copy.) At The New Yorker, when you get off the elevator you step into an off-white, narrow little prison of a waiting room. The receptionist phones the inner sanctum of the editorial offices, and your host meets you at the door. My host was Joseph Mitchell, who has been with The New Yorker since 1938. Although he was eighty-one-years-old and rumored to be a ghostly presence in the corridors of the magazine, he carried the grace of a much younger man. Mitchell’s last magazine article appeared in 1964. He has regularly gone to his office since then, feeding the speculation that this very private man has been writing some magnificent addition to the books he published between 1938 and 1965.1 Curiosity has been fed by Mitchell’s own last work, Joe Gould’s Secret, and by the appearance of a character similar to him in Jay McInerney’s Bright Lights, Big City. Not surprisingly, given his longevity at the institution, his office is the first one down the hallway. The furnishings—metal desk, cabinets, flooring that dates from the age of linoleum—are standard at The New Yorker.
    [Show full text]