PDF Ebook , by Sherill Tippins
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, by Sherill Tippins
PDF Ebook , by Sherill Tippins
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Product details
File Size: 14995 KB
Print Length: 336 pages
Publisher: Mariner Books (July 26, 2016)
Publication Date: June 1, 2018
Language: English
ASIN: B01ICJ1COS
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Amazon Best Sellers Rank:
#492,127 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
George Davis was a very important person, previously completely unknown to me. He and Gypsy Rose Lee first met as teenagers (she much younger) in a Michigan bookstore where he was a clerk and she was still Louise Hovick, browsing for books to buy and read between her acts with sister June (Havoc). George recommended and sold her a copy of Shakespeare's sonnets. In his adult years in NYC, George was, for some time, the literary editor of Harper's Bazaar, the fashion magazine that also published articles and stories.While George was sometimes a writer, his greatest talents were as an editor helping other writers find their voices (& publishers if needbe) and also finding and befriending significant talent in the arts (literary, music, visual, theater, etc).About 2 years before the USA entered WW-II (07Dec41), George had the dream of creating a boarding house in Brooklyn where such people would reside and provide ideas and company to each other. W.H. Auden, Carson McCullers, Gypsy Rose Lee, Benjamin Britten, Jane & Paul Bowles, Oliver Smith, and Klaus Mann, were among the more prominent residents but the house became an evening gathering and party place for all kinds of well known and up-and-coming artsy people.Under George's excellent tutelage, Gypsy wrote and published "The G-String Murders" plus gained the skill to later write her eponymous "Gypsy: a Memoir" and much else. George similarly helped Carson McCullers with her work (& life). The apartment/boarding house was nicknamed "February House" because so many residents had birthdays in that month. While the house folded shortly after Pearl Harbor, it had a very significant and lasting effect on mid 20th century fine arts.Author Sherrill Tippins did a fantastic job of integrating her research and telling her story as if she'd lived in that time and place. Her treatment of Auden and McCullers is especially detailed and she gives us behind the scenes looks at the experiences and motivations that shaped some aspects of their works and their lives.
Sherill Tippins has done an amazing job of finding the significant narrative threads in the chaotic convergence of creative lives that occurred in the months before Pearl Harbor when Harper's Bazaar editor George Davis and British expatriate poet W.H. Auden rented a brownstone on 7 Middagh Street in Brooklyn Heights and actively recruited other creative artists to live with them. Among the co-renters were Carson McCullers who had recently published her highly acclaimed first novel, "The Heart Is A Lonely Hunter," soon-to-be famous British composer Benjamin Britten and his parnter, singer Peter Pears, unpublished novelists Paul and Jane Bowles, Broadway set designer Oliver Smith, writer Richard Wright and his wife, and burlesque sensation Gypsy Rose Lee, who it turns out was the most reliable in the rent-paying department and joined the little "creative commune" on the condition that she could bring her own cook and maid. Her fiscal reliability and drive along with Auden's willingness to take on the unpleasant role of house disciplinarian (collecting rent and other "dues" and establishing and enforcing many house rules) are probably sufficient explanation for why this menage managed to last the two or three years it did.Tippins wisely focuses her attention on the leading figures (without neglecting to name the many others who partied but did not reside at 7 Middagh--Salvador and Gala Dali, Lincoln Kirstein, George Balanchine, Erika Mann and her brothers Klaus and Golo, to name a few). One passer-through, Anais Nin, christened the dwelling "February House" because so many of the residents had February birthdays. Tippins has a good knowledge of the works of these creative people and is able to see how one of the artists intentionally or inadvertantly influenced a subsequent work of one of his or her co-residents. For example, McCullers was struggling with the novel that would later become "The Member of the Wedding" when she was able to appropriate an experience from Chester Kallman's childhood to explain her heroine's profound sense of alienation and abandonment (Kallman was Auden's lover).Tippins other great achievement here was her ability to slice through history and palpably recreate the political atmosphere in pre-war New York and to do so in a way that reflects on both British and US perspectives. She takes a good hard look at the criticism expatriates like Auden, Christopher Isherwood, Britten, and Pears faced from the British press and fellow artists who chose to remain in Great Britian during the war. She is similarly insightful in her analysis of the role the Mann family had in trying to get an apathetic America to respond to the European crisis. A lesser writer might not have bothered with these issues and chosen to report only the salacious and saleable anecdotes about the goings-on of the February House residents.I highly recommend this book to anyone even passingly interested in one of the artists who lived at 7 Middagh Street (you're sure to learn something new), to anyone who ever wondered how great works of art come about, or to anyone interested in knowing how history and art intersect. I'm sure I'm going to use Tippins's Selecte Bibliography as a basis for future Amazon.com purchases.
7 Middagh Street literally doesn't exist any longer. It was torn down to make way for an Expressway. During the last decade of his life the poet Frank O'Hara lived in four different apartments in Manhattan and at least one of them has a commemorative plague. If 7 Middagh Street were still standing the entire building would have to be bronzed. George Davis, the fiction editior for "Harper's Bizaar," rented and renovated the house with the assistance of friends W. H. Auden and Carson McCullers. Together they sought to create a kind of year round Yaddo - a boarding house for artists. They were joined by Benjamin Britten and Peter Pears, Jane and Paul Bowles, Gypsy Rose Lee, Oliver Smith and Klaus Mann (among others). This is their story. As you can imagine, life at 7 Middagh Street was anything but boring.This is the kind of biographical history I most enjoy reading. It focuses on a very specific period of time, communicating brilliantly the personal and professional triumphs and failures, as well as the ravaging effects of current world events these artists were dealing with while living together. It provides just the right balance of background material on each resident without ever becoming bogged down in trivial details that interrupt the natural progression of the story. Yes, there is a certain amount of "dirt." The spats between Auden and Paul Bowles are well documented, and the endless parade of sailors, the parties that lasted until dawn, the battling McCullers. Most of the residents, even those who were married, were either homosexual or bisexual. The book, and this history, is simply fascinating. If you care at all about 20th century art - literature and music especially - this is a book you shouldn't miss.
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