Read Ebook {PDF EPUB} Long Hot Summer by Barbara Anderson Long Hot Summer by Barbara Anderson. Frenchman's Bend, Mississippi plantation patriarch Will Varner (), fearing that his son Jody () is a nebbish because he only cares about fooling around with his seductive wife Eula (Lee Remick), attempts to marry off his dowdy schoolteacher daughter Clara () to ambitious but ruthless hired man Ben Quick () in an attempt to get some virile blood into the Varner line. However, Clara has her eyes set on mama's boy Alan Stewart (Richard Anderson), just as Will's longtime mistress, Minnie Littlejohn () has her heart set on getting Will to walk down the aisle with her. The Long, Hot Summer is loosely based on The Hamlet (1940), a novel by American writer William Faulkner [1897-1962]. The novel was adapted for the screen by American film writers Irving Ravetch and Harriet Frank, Jr. A TV remake, also titled The Long Hot Summer (1985), was released in 1985. Presumably for surgery of some sort, evidenced when Will is being transported home in the ambulance and some of the townfolk wonder what he had 'cut out of him in the hospital.' Also, when he is greeted by Minnie LIttlejohn, she mentions him being 'cut and stitched up.' Apparently it was major surgery because, when Will kisses Eula hello, he says 'Three months, and I ain't smelled nothin' other than the starch in the nurses' uniforms,' and he tells Jody that the doctors 'took away almost every organ they thought I could spare.' The relationship between Alan, Clara, and his mother (Mabel Albertson) is one that is often called into question. Some viewers think that Alan was simply a 'mama's boy', abandoned by his father when very young and raised by an overprotective mother who feared losing him, too, and so repressed him sexually. Others point out the scene where Will calls Alan a 'sissy' and conclude that terms like 'sissy' and 'mama's boy' were subtle filmspeak in the 50s for what today would simply be termed 'gay.' Full of anger at his father, Jody sets the barn on fire, locking Will inside. Suddenly, he has a change of heart and opens the door. Will hugs Jody and praises him for his 'hellfire' and 'redemption', his hate and love. When the town sees the barn on fire, they conclude it was set by Ben Quick. They form a lynch mob to hang him, but Clara drives through town and picks him up before the mob can get to him. The mob follows them to the Varner house, but Will tells them that he started the fire himself when he dropped his cigar in the hay. The smell brings back bad memories of Ben's barn-burning father, and he tells Clara how he had to live with it till he was 10 and finally turned in his father. Later that evening, Ben tells Will that he's going to be moving on and goes up to his room to pack. Clara follows him with the same lecture that he gave her earlier about running away, changing his name, and dyeing his hair, and that maybe he'll be safe from her. In the final scenes, Clara and Ben kiss, Jody and Eula race each other to the bedroom, and Will and Minnie enter the house arm-in-arm after Will tells her that he likes life so much that he just might live forever. Long Hot Summer by Barbara Anderson ISBN 13: 9780224060653. Try adding this search to your want list. Millions of books are added to our site everyday and when we find one that matches your search, we'll send you an e-mail. Best of all, it's free. Are you a frequent reader or book collector? Join the Bibliophile's Club and save 10% on every purchase, every day — up to $25 savings per order! Social Responsibility. Did you know that since 2004, Biblio has used its profits to build 16 public libraries in rural villages of South America? Hang on… we're fetching the requested page. 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Entertainment Magpie Limited t/a Music Magpie is authorised and regulated by the Financial Conduct Authority FRN 775278. Credit subject to age and status. Anderson, Barbara. Barbara Anderson was one of New Zealand’s foremost fiction writers. Her short stories and novels were published to national and international acclaim. While her writing featured in journals, on radio broadcasts and in magazines, her first published collection wasn’t released until 1989, when Anderson was in her sixties. Her memoir Getting There: An Autobiography was published in 2008. She wrote numerous novels and short story collections, and many publications have been reprinted due to popular demand. FROM THE OXFORD COMPANION TO NEW ZEALAND LITERATURE. Anderson, Barbara (1926–2013), became an internationally recognised fiction writer in her sixties. Born in Hastings, and educated in Hawkes Bay, she graduated with a BSc from Otago University (1947) and a BA Victoria University (1984). She has worked as a medical technologist and teacher in Hawkes Bay and Wellington. With a lifelong interest in writing and reading, she attended Bill Manhire’s creative writing course at Victoria University in 1983, having already experimented with her writing. Several stories were published in Metro , Landfall , Sport and the NZ Listener , while one of her unpublished plays won the J.C. Reid award in 1985, and several have been broadcast. Her first collection of short stories, I Think We Should Go into the Jungle (1989), shortlisted for the Wattie Award (1989) and the New Zealand Book Award for Fiction (1990), demonstrated a dramatist’s acute sense of dialogue and timing, together with a shrewdly observant understanding of human behaviour and was a successful challenge to stylistic conventions. Girls High (1990) can be described structurally as a serial novel that consists of linked short stories. There is again, a keen sense of the absurdity of human behaviour. The resulting comedy is, however, touched with compassion. As 1991 writing fellow at Victoria University, Anderson completed the more intricate Portrait of the Artist’s Wife (1992). Winner of the Wattie Award (1992), and a more sustained, complex work of fiction, this spans forty years with settings in ‘the Bay’, Wellington, London and Europe. The humour is more muted and the story of Sarah Tandy struggling to develop her own artistic talent in spite of the inhibiting environment of 1950s New Zealand and the demands of marriage and family, is told with gently wry understanding of the bewildering complexity of human relationship. The popular All the Nice Girls (1993) exemplifies her talent for wise and witty encapsulation of her diverse experiences, including acute observation of naval society, gained during her nomadic life as wife of a senior naval officer. Again, a network of relationships is undercut by the tension between public and private lives, within the clearly established, neatly detailed context of New Zealand. In The House Guest (1995) Anderson digs more deeply into the layers of human behaviour, challenging readers with the experience of love and loss, and the subsequent unexpected dilemmas. The novel differs in many ways from her earlier work, particularly in its reversal of readers’ early expectations. Located in 1990s New Zealand, its comedy is not as broad, the focus deliberately diffused. If, in her earlier books form shaped content, in this novel, set in Wellington and Central Otago, the reverse is true. The scope is broader and the plot more ambitious in its deliberate use of uncertainty and suspense. Proud Garments (1996) weaves a tragicomic story between Auckland and Milan. The intricate relationships are carefully woven; married love is wryly shown to be a composite of pride, passion and regret, loyalty, deceit and compromise. The differing perspectives of young and old and their equally inevitable failings are depicted with merciless clarity, and yet there is, as always in Anderson’s work, a sense of empathy and understanding. Anderson was one of New Zealand’s best-selling authors and was also well received in the UK. Her irony, compassion, awareness of the significance of small moments, neatly deflating use of anticlimax and sense of the ridiculous place her in the tradition of Jane Austen, while she responded perceptively to New Zealand society and skilfully captures its colloquialisms and speech patterns. See also Anderson’s autobiographical essay, ‘Beginnings’, Landfall 195 (1998). ADDITIONAL INFORMATION. The Peacocks and Other Stories (1997), Anderson’s second collection of short stories, follows the remarkably successful 1989 collection I think we should go into the jungle , which was compared to Flaubert and Patrick White and was reprinted three times within a year. Long Hot Summer (1999) is set in 1936, at the beginning of a long, unshadowed summer, when a group of families gathers at the Beach. To enliven their lazy days, James Clements - the most handsome man in the Bay - decides to shoot an amateur cowboy film. James enlists the expertise of local Maori along with the holidaymakers. In doing so, he brings two worlds into collision, and lights the fuse to emotions whose explosion will astonish them all. Anderson’s novel The Swing Around (2001) tells the story of the Minister of Cultural Links and Trade setting off on a Sing Around of New Zealand’s Asian friends and neighbours. It should be routine affair, but his wife doesn’t like shopping, his two assistants are ill at ease and the terrorist group Lightening Storm lurks in the background. Victoria University Press published the new edition of one of New Zealand’s favourite novels, Portrait of the Artist's Wife to critical acclaim in NZ and in the UK and US, and the book was named winner of the Goodman Fielder Wattie Book Award in 1992. ‘The promise that was evident in Girls High has been splendidly fulfilled, and now it seems only a matter of time before Wellington replaces New York as the literary capital of the world.’ Nick Hornby, Sunday Times. 'Barbara Anderson’s novel is a rarity; an unadulterated, unpretentious, enjoyable read.' Julie Morrice Glasgow Herald. 'It is an enormously entertaining book with perceptions so true they leave you glowing in startled recognition.' Patricia Thwaites Otago Daily Times . Change of Heart (2003). Oliver Gurth Perkins is 75, and the darkest cloud on his horizon is that the local bookshop no longer stocks collected volumes of the Times cryptic crosswords. He has an easy companionship with his wife; his dental practice is undemanding; his son is a decent enough sort; and his granddaughter who comes for the school holidays is a delight. But when a minor heart episode convinces Oliver that it’s time to put a little more time into the lives of those close to him, further shocks are in store . . . Collected Stories was published in 2005 by Victoria University Press. Getting There: An Autobiography was published by Victoria University Press in 2008. Barbara Anderson was the recipient of a 2011 Icon Award, the Arts Foundation's highest honour. The Long, Hot Summer. A gloriously enjoyable and overheated Southern drama, The Long, Hot Summer gains extra points due to the stellar cast headed by Paul Newman and Joanne Woodward, who would later become man and wife when the film wrapped. Filled with colourful characters, briskly paced and sizzling with heat, it’s a fine movie that has a surprising amount of innuendo for its time. Ben Quick is a handsome, charismatic drifter who at the beginning of the film is accused of being a barn burner. Expelled from the town he was residing in he journeys away and ends up in Mississippi. He then hitches a ride with snippy Clara Varner, a local schoolteacher and Eula, her vivacious sister-in-law into the nearby town of Frenchman’s Bend. It turns out Clara is the daughter of prominent land baron Will Varner, who owns practically everything there is to own in town. Will also has a son Jody(who is married to the giggly Eula, who is becoming wary of his lack of opportunities and prospects), who tries to take on parts of his father’s business but is too weak-willed to get any approval from his overbearing father. While the head of the family is away, Ben, eager for a job approaches the Varner family and manages to acquire one after talking with stand in Jody. When the thundering land baron returns from a spell in the hospital and finds Ben working for him, he is initially reluctant because of his less than respectable reputation. But as the days go on, Will begins to take a shine to the charming Ben and sees a quality to make decisions and a deep ambition, that he can’t find in his own son. Jody, seeing that he could be muscled out, becomes increasingly jealous of Ben and is left seething that his father has taken such a liking to the stranger. Meanwhile, Will concocts a plan to give Ben a lot of land and power if he marries his daughter Clara, who he thinks will become a spinster if she waits around for her current suitor Alan, who doesn’t really show much interest in her at all. The driven Ben accepts this and pursues her, but then begins to fall genuinely in love with her. The thing is, Clara is a smart and self-assured young woman, who while she wants to fall in love in the future, has no desire to be forced into it, and knows exactly how to voice her disapproval at her father’s insistence. Yet it is obvious that both Ben and Clara are attracted to each other, Clara just doesn’t know how to express it. What will become of the union between them as Ben genuinely falls in love with her and Clara does the same? And what desperate lengths will Jody go to in order to prove his worth to his belittling father? Martin Ritt brings verve and energy to the torrid emotions that rise in this tale and he makes it very enjoyable to watch. He successfully employs a brisk pace that makes sure that something is always happening to keep us glued. Now the film is overheated as it is a melodrama, but don’t let that discourage you as it doesn’t completely topple over into ridiculousness thanks to Ritt’s energetic direction. The stunning cinematography conjures up the sweltering cauldron of passion and jealousy within The Long, Hot Summer that seeps from every frame. And with an abundance of colourful characters to add to the mix, it’s hard not to be impressed with this movie. What really struck me about The Long, Hot Summer was the double entendres and innuendo that it had running through it. Considering films of that time were usually at the mercy of censorship, this movie manages to get a little more heat into it and makes it a very sexy film, although no actual nudity is ever seen. I guess it just goes to show that you don’t need bedroom acrobatics shown graphically to make a movie sexy. When you have a script like this that crackles with sexual tension and naughty lines, you can still be saucy in a more refined way. Suggestion can be just as saucy when it’s done like this. The languid score is a delight to the ears as it mixes jazz riffs with romantic strings and a stellar title song. Heading the cast is the magnetic charisma and likability of Paul Newman. With his striking blue eyes and easy smile, it’s impossible not to be taken in by Newman’s performance as the ambitious Ben. He may have a devil-may-care attitude and a questionable past, but the way Newman portrays him, it’s impossible not to like the guy. And when he’s alongside Joanne Woodward, the sparks fly. Woodward is very good as the opinionated and intelligent Clara, who comes off as aloof to Ben but really starts to likes him as time goes on and the heat rises. The scenes the two share crackle with wit and sexual tension that is a sight to behold and it later lead to their marriage off-screen too. The larger than life persona of Orson Welles dominates the scenes he has in the movies as the blustering patriarch, worried that his family name isn’t going to be upheld. Welles is a hoot in this movie and all the little tics and mannerisms he gives Will are marvellous. Then there is Anthony Franciosa who is impressive playing the weak and belittled Jody, whose jealousy begins to burn when he sees that his position is under threat from the charismatic Ben. A lovely Lee Remick is kittenish and free-spirited as Jody’s wife, who spends her days shopping and gossiping with others. Angela Lansbury is amusingly tart and saucy as Minnie, Will’s feisty mistress who is desperate to be hitched to him, despite his misgivings and refusal to commit. The only person who really gets short-changed in this movie is Richard Anderson, as he is required to play a role too similar to that of Jody to really be at all interesting. Sensual and dramatic, with a good amount of censor navigating saucy lines, The Long, Hot Summer is an easy affair that is the perfect way to kill and hour or two in the company of distinguished Hollywood stars at the peak of their powers.