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Truman Capote: In Which Various Friends, Enemies, Acquaintances, and Detractors Recall His Turbulent Career (Uncorrected Proof, inscribed to Mel Gussow)

Plimpton, George

862 valoraciones por Goodreads
ISBN 10: 0385232497 / ISBN 13: 9780385232494
Editorial: Doubleday, New York, 1997
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Librería: Royal Books, Inc., ABAA (Baltimore, MD, Estados Unidos de America)

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Descripción

UNCORRECTED PROOF, preceding the First Edition. INSCRIBED to noted critic Mel Gussow by Marly Rusoff, one of Doubleday's publishing executives: " Dear Mel / For your eyes only. This not the final manuscript, but the penultimate version / Marly." Gussow was a theatre critic and cultural writer for The New York Times from 1969 until his death in 2005. He authored eight books, served as editor for many others, and his reviews and interviews (with the likes of Arthur Miller, Samuel Beckett, Harold Pinter, and Tom Stoppard) became staples of students and fans of theatre for decades. His first published review was Edward Albee's "Who's Afraid of Virginia Woolf?" in 1962, leading to a lifelong relationship with the playwright that resulted in a biography of Albee by Gussow, published in 1999. An oversize bound galley, produced for internal distribution by the publisher. Near Fine bound with black plastic brad. N° de ref. de la librería 118489

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Detalles bibliográficos

Título: Truman Capote: In Which Various Friends, ...

Editorial: Doubleday, New York

Año de publicación: 1997

Encuadernación: Soft cover

Ejemplar firmado: Signed by Author(s)

Edición: First Edition.

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Sinopsis:

He was the most social of writers, and at the height of his career he was the point where the glamorous worlds of the arts, society, and politics all met--a status perhaps best exemplified by his still-legendary Black and White Ball.  Truman Capote truly knew everyone, and now the people who knew him best tell his remarkable story to bestselling author and literary lion George Plimpton.

Using oral biography, a technique that perfectly matches the style of his subject, George Plimpton blends the voices of Capote's lovers, haters, acquaintances, and colleagues into a captivating and highly readable narrative.  Here we are present for the entire span of Capote's life: his Southern childhood and his early days in New York; his first literary success with the publication of Other Voices, Other Rooms; his highly active love life; the groundbreaking excitement of In Cold Blood, the first "nonfiction novel"; his years as a jet-setter; and his final days of flagging inspiration, alcoholism, and isolation.  All his famous friends and enemies are here: Katherine Graham, Lauren Bacall, Gore Vidal, Joan Didion, William Styron, Kurt Vonnegut, Norman Mailer, Lee Radziwill, John Huston, John Knowles, William F. Buckley, Jr., and dozens of others.

Full of wonderful stories, startlingly intimate, and altogether fascinating, this is the most entertaining account of Truman Capote's life yet, as only the incomparable George Plimpton could write it.

Review:

Nobody can match George Plimpton as an adroit weaver of interviews into a tight narrative fabric. Plimpton can make even a negligible life into a magic-carpet ride, as in his editing of Jean Stein's perennial bestseller, Edie, about Andy Warhol's victim-starlet Edie Sedgwick.

In Truman Capote, Plimpton has an infinitely more important subject, who worked his way down from the top into the shallow pit of druggy celebrity. His book doesn't knock the definitive biography Capote off the shelf, but it's much more fun to read. Plimpton interviewed more than a hundred people--from Capote's childhood to his peak period, 1966, when his Black and White Ball defined high society and In Cold Blood launched the true crime genre, all the way down to his last, sad days as a bitchy caricature of himself. Joanna Carson complains that Plimpton's book is "gossip," which it gloriously is. But it's also brimming with important literary history, and it helps in the Herculean task of sorting out the truth from Capote's multitudinous, entertaining lies; for instance, In Cold Blood turns out to be not strictly factual. James Dickey, whose similar self-destruction is chronicled in Summer of Deliverance, delivers here a good definition of Capote's true gift to literature: "The scene stirring with rightness and strangeness, the compressed phrase, the exact yet imaginative word, the devastating metaphorical aptness, a feeling of concentrated excess which at the same time gives the effect of being crystalline." --Tim Appelo

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