Richard Condon — The Whisper of The Axe– The Manchurian Candidate — Prizzi’s Honor — Videos

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The Manchurian Candidate – opening scene

The Manchurian Candidate Interviews(1962 film)

The Manchurian Candidate (1962) – Assassination Scene (12/12) | Movieclips

The Remaker: The Manchurian Candidate 1962 vs. 2004

The Manchurian Candidate (1962): Classical Film Review

The Manchurian Candidate – Film, Literature and the New World Order

Anjelica Huston-Prizzi’s Honor-“You wanna do it Charlie” scene

Prizzis Honor 1985

Prizzi’s Honor

Prizzi’s Honor scene.mov

Prizzis Honor 1985

AVE MARIA

Anjelica Huston – Prizzi’s Honor – last scene

About the Archive

This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.

Occasionally the digitization process introduces transcription errors or other problems. Please send reports of such problems to archive_feedback@nytimes.com.

Richard Condon, the fiendishly inventive novelist and political satirist who wrote “The Manchurian Candidate,” “Winter Kills” and “Prizzi’s Honor,” among other books, died yesterday at Presbyterian Hospital in Dallas. He was 81.

Novelist is too limited a word to encompass the world of Mr. Condon. He was also a visionary, a darkly comic conjurer, a student of American mythology and a master of conspiracy theories, as vividly demonstrated in “The Manchurian Candidate.” That novel, published in 1959, subsequently became a cult film classic, directed by John Frankenheimer. In this spellbinding story, Raymond Shaw, an American prisoner of war (played in the film by Laurence Harvey), is brainwashed and becomes a Communist agent and assassin.

When the 1962 film was re-released in 1988, Janet Maslin wrote in The New York Times that it was “arguably the most chilling piece of cold war paranoia ever committed to film, yet by now it has developed a kind of innocence.”

Mr. Condon was a popular novelist who earned serious critical attention, although he did not always win favorable reviews. His response: “I’m a man of the marketplace as well as an artist.” And he added, “I’m a pawnbroker of myth.” Though others made claims that his novels were prophetic, he admitted only that they were “sometimes about five and a half minutes ahead of their time.”

In “Winter Kills,” a President, evidently modeled on John F. Kennedy, is assassinated in a conspiracy involving the Central Intelligence Agency and the underworld. Obsessed by politics, Mr. Condon once said: “Every book I’ve ever written has been about the abuse of power. I feel very strongly about that. I’d like people to know how deeply their politicians are wronging them.” That abuse could be in contemporary life or as long ago as the 15th century, as in his novel “A Trembling Upon Rome.”

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Politicians like Senator Joseph R. McCarthy and President Richard M. Nixon appeared in various guises in his work, Nixon as Walter Slurrie in “Death of a Politician.” Speaking about politics and political thrillers, Mr. Condon once said, “It’s the villains that make good literature, because they’re the only ones in the story who know what they want.”

He did not write his first novel until he was 42, but, once started, he never stopped. The first, “The Oldest Confession” (1958), was filmed as “The Happy Thieves,” starring Rex Harrison and Rita Hayworth. The novel was a success, but the film was a failure, whereas the second, “The Manchurian Candidate,” was popular in both forms. Eventually he wrote 26 novels and two works of nonfiction, “And Then We Moved to Rossenarra,” a memoir of the years he lived in Ireland, and “The Mexican Stove,” a cookbook he wrote with his daughter Wendy Jackson.

When asked how he knew so much about crime families, he said he first learned about the subject as a boy on the streets of Washington Heights. He was born in Manhattan and graduated from De Witt Clinton High School. Because his grades were so poor, he never went to college. He worked as an elevator operator, a hotel clerk and a waiter, then sold an article to Esquire magazine. While working as a copywriter for an advertising agency, he met a model named Evelyn Hunt, whom he married in 1938. Copywriting led him into movie publicity, with his first stop the Disney organization.

For 22 years, he was a movie publicist, working for almost every major Hollywood studio. With characteristic panache, he later described himself as “a drummer boy for the gnomes and elves of the silver screen.” During this period, he saturated himself with movies, watching eight a week. They were, he said, mostly bad films, but they taught him the art of storytelling and the need for the novelist to be entertaining.

In the late 1950’s, he left Hollywood and returned to New York to become a novelist. The idea for “The Oldest Confession” came while he was on location with “The Pride and the Passion” at El Escorial, outside Madrid. Fascinated by Old Master paintings, he wrote his book about art thievery. The consecutive success of “The Oldest Confession” and “The Manchurian Candidate” enabled him to devote himself to fiction.

In 1959, he began a series of migrations, first to Mexico, then to Switzerland, finally to Ireland. His travels added to his backlog of knowledge, but he continued to set most of his novels in the United States. Through the 1960’s and into the 70’s, his books received mixed reviews, with some of the more admiring notices going to “An Infinity of Mirrors” in 1964. “Winter Kills,” in 1974, drew favorable attention, with Christopher Lehmann-Haupt saying in his review in The Times that it was “a grand entertainment” and “the best book Mr. Condon has written since ‘The Manchurian Candidate.’ “

After writing a series of novels in Ireland, Mr. Condon moved back to the United States, settling in Dallas in 1980. In Texas, he had his next comeback, with “Prizzi’s Honor,” about the Prizzi family of mobsters in Brooklyn. John Huston turned the novel into a hit film, starring Jack Nicholson, Kathleen Turner and Anjelica Huston. The screenplay, by Mr. Condon and Janet Roach, was nominated for an Academy Award. Several years later, Mr. Condon completed the fictional cycle with “Prizzi’s Family,” “Prizzi’s Glory” and “Prizzi’s Money,” published in 1994.

Among his other novels are “Some Angry Angel,” “A Talent for Loving,” “Arigato” and “Emperor of America.”

Throughout his life, Mr. Condon displayed a wry, even diabolical streak. He often named his characters after real people. For example, the characters in Raymond Shaw’s infantry squad in “The Manchurian Candidate” were named for people associated with the Phil Silvers television show, “You’ll Never Get Rich.” His longest-running character, Dr. Weiler, was named after A. H. Weiler, a former film critic for The Times. In various Condon novels, Dr. Weiler turns up as an obstetrician, a cardiologist, a psychiatrist and the royal physician.

Mr. Condon is survived by his wife; two daughters, Ms. Jackson, of Dallas, and Deborah Condon, who lives near Salisbury in England, and three grandchildren.

Brainwashed

Where the “Manchurian Candidate” came from.

Most people know John Frankenheimer’s movie “The Manchurian Candidate,” which stars Frank Sinatra, Laurence Harvey, Janet Leigh, and Angela Lansbury in the story of an American soldier who is captured in Korea and programmed by Chinese Communists to kill on command. And most people probably think of the movie as a classic of Cold War culture, like “On the Beach” and “Invasion of the Body Snatchers”—a popular work articulating the anxieties of an era. In fact, “The Manchurian Candidate” was a flop. It was released in the fall of 1962, failed to recover its costs, and was pulled from distribution two years later, after the assassination of John F. Kennedy. It turned up a few times on television, but it was not shown in a movie theatre again until 1987, which—nearly the end of the Cold War—is the year its popularity dates from. The true artifact of Cold War culture is the novel, by Richard Condon, that the movie was based on.

Condon’s book came out in 1959 and was a best-seller. It was praised in the Times (“a wild, vigorous, curiously readable melange”) and The New Yorker (“a wild and exhilarating satire”); Time named it one of the Ten Best Bad Novels—which, from a publisher’s point of view, is far from the worst thing that might be said about a book. The novel’s success made Condon rich; he spent most of the rest of his life abroad, producing many more works in the genre that Timehad identified, including “Winter Kills,” in 1974, and, in 1982, “Prizzi’s Honor.” His adaptation of that novel for the John Huston movie received an Academy Award nomination in 1986. He died in 1996.

Condon was a cynic of the upbeat type, not unlike Tom Wolfe: his belief that everything is basically shit did not get in the way of his pleasure in making fun of it. He learned that attitude in the finest school for it on earth, Hollywood. Before he was a novelist, Condon was a movie publicist. He began, in 1936, at Walt Disney Productions, where he promoted “Fantasia” and “Dumbo,” among other animated masterpieces, and moved on to a succession of studios, finishing up at United Artists, which he left in 1957. He didn’t know what he wanted to do next; he just wanted out. “The only thing I knew how to do was spell,” he later explained, so he did the logical thing and became a writer. Condon claimed that his work in Hollywood had given him three ulcers. He also claimed that he had seen, during his years there, ten thousand movies, an experience that he believed gave him (his words) “an unconscious grounding in storytelling.”

Frankenheimer called “The Manchurian Candidate” “one of the best books I ever read,” but admirers of Frankenheimer’s movie have not been so gracious. Greil Marcus, in a characteristically overheated appreciation of the movie in the British Film Institute’s Film Classics series, calls the novel a “cheaply paranoid fantasy,” and he goes on, “That the story would lodge in the nation’s psyche and stay there was the work of other hands.” The film historian David Thomson describes it as “a book written so that an idiot could film it.” No doubt Condon wrote “The Manchurian Candidate” with a movie deal in mind. It was his second novel; his first, called “The Oldest Confession,” was also made into a movie—“The Happy Thieves,” starring Rex Harrison (a flop that stayed a flop). But the claim that Condon’s “Manchurian Candidate” is not much more than a draft for the screenplay (which was written by George Axelrod, the author of “The Seven Year Itch”) is peculiar. Michael Crichton writes books that any idiot can film; he practically supplies camera angles. But Condon’s is not an easy book to film, in part because its tone is not readily imitated cinematically, and in part because much of it is, or was in 1962, virtually unfilmable. Strange as the movie is—a thriller teetering on the edge of camp—the book is stranger.

Time, a magazine whose editors, after all, have daily experience with overcooked prose, was not wrong in seeing something splendid in the badness of Condon’s book. “The Manchurian Candidate” may be pulp, but it is very tony pulp. It is a man in a tartan tuxedo, chicken à la king with shaved truffles, a signed LeRoy Neiman. It’s Mickey Spillane with an M.F.A., and a kind of summa of the styles of paperback fiction circa 1959. The writing is sometimes hardboiled:

The slightest touchy thing he said to her could knock the old cat over sideways with an off-key moan. But what could he do? He had elected himself Head Chump when he stepped down from Valhalla and telephoned this sweaty little advantage-taker.

Sometimes it adopts a police-blotter, “degree-zero” mode:

“Thank you, Major. Dismiss,” the general said. Marco left the office at four twenty-one in the afternoon. General Jorgenson shot himself to death at four fifty-five.

Occasionally, and usually in an inconvenient place, it drops a mot recherché:

Raymond’s mother came out of her chair, spitting langrel. [“Langrel”: irregular pieces of iron loaded into shell casings for the purpose of ripping the enemy’s sails in naval battles; obsolete.]

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He clutched the telephone like an osculatorium and did not allow himself to think about what lay beyond that instant. [“Osculatorium”: medieval Latin, for a tablet that is kissed during the Mass. There appears to be no connotation involving clutching.]

It signals feeling by waxing poetic:

Such an instant ago he had paddled their wide canoe across that lake of purple wine toward a pin of light high in the sky which would widen and widen and widen while she slept until it had blanched the blackness.

It signals wisdom by waxing incomprehensible:

There is an immutable phrase at large in the languages of the world that places fabulous ransom on every word in it: The love of a good woman. It means what it says and no matter what the perspective or stains of the person who speaks it, the phrase defies devaluing. The bitter and the kind can chase each other around it, this mulberry bush of truth and consequence, and the kind may convert the bitter and the bitter may emasculate the kind but neither can change its meaning because the love of a good woman does not give way to arbitrage.

And, when appropriate, it salivates:

Her lithe, solid figure seemed even more superb because of her flawless carriage. She wore a Chinese dressing gown of a shade so light that it complemented the contrasting color of her eyes. Her long and extremely beautiful legs were stretched out before her on the chaise longue, and any man but her son or her husband, seeing what she had and yet knowing that this magnificent forty-nine-year-old body was only a wasted uniform covering blunted neural energy, might have wept over such a waste.

Some people like their bananas ripe to the point of blackness. “The Manchurian Candidate” is a very ripe banana, and, for those who have the taste for it, delectable.

The magnificent forty-nine-yearold body in the last passage belongs to the mother of Raymond, the assassin, who in Frankenheimer’s movie is played by Angela Lansbury as a proper and steely middle-aged matron. For Condon, though, Raymond’s mother is no matron. She is a sexually predatory heroin addict who commits double incest. She is the serpent in the suburban garden of Cold War domesticity, and, in imagining her and her history, Condon almost certainly had in the back of his mind the book that, three years earlier, had become the first blockbuster in American publishing, Grace Metalious’s “Peyton Place”—a story that also had to be sanitized for the movies. The plot of “Peyton Place” turns on incest (as, for that matter, does the plot of “Lolita,” a sensation when the American edition came out, in 1958). But the luridness of Condon’s novel did not make it to the screen. There is no equivalent in the movie, for example, of the proto-Pynchonesque sequence in which Raymond’s stepfather, Johnny Iselin, attempts to have sex with an Eskimo. Frankenheimer’s idea of satire was a lot more conventional than Condon’s. He was also a Hollywood filmmaker, of course, and obliged to observe a different decorum.

Counterintuitive as it sounds, the secret to making a successful thriller, as Michael Crichton and Tom Clancy have demonstrated, is to slow down the action occasionally with disquisitions on Stuff It Is Interesting to Know—how airplanes are made, how nuclear submarines work, how to build an atomic bomb. Ideally, this information is also topical, food for the national appetite of the day. In “The Manchurian Candidate,” the topic is brainwashing.

Fear of Communist brainwashing seems an example of Cold War hysteria, but in the nineteen-fifties the fear was not without basis. United Nations ground forces began military action in Korea on July 5, 1950. On July 9th, an American soldier who had been captured just two days earlier delivered a radio speech consisting of North Korean propaganda. Similar broadcasts by captured soldiers continued throughout the war. At the end of the war, the Army estimated that one out of every seven American prisoners of war had collaborated with the enemy. (The final, generally accepted estimate is one out of ten.) Twenty-one Americans refused to return to the United States; forty announced that they had become Communists; and fourteen were court-martialled, and eleven of those were convicted.

The term “brainwashing” was coined by a journalist named Edward Hunter, who had served in the Morale Operations section of the U.S. Office of Strategic Services during the Second World War, which he spent mostly in Asia, and who became an outspoken anti-Communist. Hunter’s book “Brainwashing in Red China: The Calculated Destruction of Men’s Minds” appeared in 1951. In it, he explained that “brainwashing” was his translation of the Chinese term hsi-nao, which means “cleansing of the mind,” and which he said he had heard frequently when speaking with Europeans who had been caught inside China in 1949, the year of Mao’s revolution.

In 1955, two years after the armistice ending the Korean War, the Army issued a huge report on the treatment of American prisoners called “POW: The Fight Continues After the Battle.” The Army had interviewed all surviving prisoners of war on the ships that brought them back across the Pacific—more than four thousand soldiers—and had learned that many of them underwent intensive indoctrination by Chinese Communists. The Chinese had carefully segregated the prisoners they had identified as incorrigibles, sometimes housing them in separate camps, and had subjected the prisoners they judged to be potential converts to five hours of indoctrination a day, in classes that combined propaganda by the instructors with “confessions” by the prisoners. In some cases, physical torture accompanied the indoctrination, but in general the Chinese used the traditional methods of psychological coercion: repetition and humiliation. The Army discovered that a shocking number of prisoners had, to one degree or another, succumbed. Some were persuaded to accuse the United States, in signed statements, of engaging in germ warfare—a charge that was untrue but was widely believed in many countries.

The Army report instigated a popular obsession with brainwashing that lasted well into 1957. Stories about the experiences of American prisoners appeared in The Saturday Evening PostLife, the Times Magazine, and The New Yorker. The term itself became a synonym for any sort of effective persuasion, and writers struggled with the question of whether aspects of contemporary American life, such as advertising and psychiatric therapy, might really be forms of brainwashing. Condon must have read much of this material; he did know Andrew Salter’s “Conditioned Reflex Therapy” (1949), a book he has the Chinese psychiatrist in his novel, Yen Lo, cite in the speech in which he announces his successful brainwashing of the American prisoners. Yen Lo names a number of other studies of hypnosis and conditioning, including “The Seduction of the Innocent,” by Frederic Wertham, an alarmist account of the way comic books corrupt the minds of American youth. (Yen Lo evidently has, in addition to his other exceptional powers, a crystal ball, since “Seduction of the Innocent” was not published until 1954, after the Korean War was over.) These books and articles apparently persuaded Condon that brainwashing, or psychological conditioning using a combination of hypnosis and Pavlovian methods, was a real possibility—as the recent experience of the Korean P.O.W.s had persuaded many other Americans that it was.

Condon’s book played on the fear that brainwashing could be permanent, that minds could be altered forever. By the time Frankenheimer’s movie came out, though, it had become clear that most conditioning is temporary. In 1961, in “Thought Reform and the Psychology of Totalism: A Study of ‘Brainwashing’ in China,” the psychiatrist Robert Jay Lifton, who had conducted some of the shipboard interviews with returning P.O.W.s, concluded that the indoctrination of prisoners was a long-term failure. All of the “converts” eventually returned to the United States, and the former prisoners who had come home praising the good life to be had in North Korea soon reverted to American views.

Still, conditioning is the theme (if “theme” is not too grand a term) of Condon’s novel. Even before Raymond falls into the hands of Yen Lo, he is psychologically conditioned, by his mother’s behavior, to despise everyone. His mother is conditioned, by her early incest, to betray everyone. And the American people are conditioned, by political propaganda, to believe her McCarthy-like husband’s baseless charges about Communists in the government. It is not, in Condon’s vision, the Communist world on one side and the free world on the other. It is just the manipulators and the manipulated, the conditioners and the conditioned, the publicists and the public. In such a world, it’s probably better to be the publicist, if you can deal with the ulcers.

Frank Sinatra, who plays Marco, the only friend Raymond has, is supposed to have asked his friend Jack Kennedy for his approval before Frankenheimer’s movie was released. United Artists was apparently afraid that the assassination scene might give some nut an idea. Kennedy, as it happened, loved the movie; he was, after all, the world’s most famous Ian Fleming fan. He was killed a year after “The Manchurian Candidate” came out. Did Lee Harvey Oswald see it? The problem has been examined in depth by John Loken, in a book called “Oswald’s Trigger Films” (2000). Loken concludes that although the evidence is not definitive, Oswald almost certainly did see it. “The Manchurian Candidate” opened in Dallas in November, 1962, and played there for several months; Oswald, who was living in Dallas at the time, had a habit of going to the movies by himself (he was in a movie theatre when he was arrested on November 22, 1963); and Loken has determined that the bus Oswald probably took to work passed within ten yards of a theatre where the movie was playing. (Loken is much struck by the fact that references to “The Manchurian Candidate” are almost nonexistent in the literature, official and otherwise, on the Kennedy assassination. He concludes, in the spirit of all scholars of that assassination, that “the probable Oswald connection, so utterly obvious if one but thinks about it, has been suppressed for decades by a powerful conglomerate that might aptly be called the ‘media-entertainment complex.’ ”)

Immediately after Kennedy was shot, Condon got a call from a newspaper reporter asking if he felt responsible. Condon couldn’t see the relevance, and he was not being defensive. He had not introduced political assassination to popular American culture. Robert Penn Warren’s “All the King’s Men” was published in 1946 and was made into a movie in 1949; a version for television, directed by Sidney Lumet, was broadcast in 1958. Assassination is the subject of John Huston’s “We Were Strangers” (1949) and Lewis Allen’s “Suddenly” (1954), also starring Frank Sinatra. Oswald might easily have seen those movies as well. More to the point: “The Manchurian Candidate” is the story of a man programmed to kill at the command of other people. What self-respecting assassin would take such a character for his role model? Either Oswald acted according to his own wishes, in which case he wasn’t imitating Condon’s killer, or he really was programmed by the Communists, in which case the question isn’t whether Oswald saw Frankenheimer’s movie but whether his Communist masters did.

United Artists withdrew “The Manchurian Candidate” from theatres in 1964, although the movie could occasionally be seen on television and in art houses. In 1972, Sinatra bought the rights and, in 1975, removed it from circulation entirely. Whether or not he was motivated by guilt over Kennedy’s death is unclear. He did, however, give his daughter Tina permission to produce a remake, and it is being shot, this fall, by Jonathan Demme. (Demme’s previous movie, “The Truth About Charlie,” was also a remake, of Stanley Donen’s “Charade,” of 1963. His method, judging from that effort, is to update the story and then salt it with allusions to the period of the original. “Charade” was filmed in Paris at the time of the French New Wave, and so in Demme’s version there are appearances by Charles Aznavour, Agnès Varda, and the grave of François Truffaut—none of which have anything to do with the story. Demme has reportedly set “The Manchurian Candidate” in the time of the Gulf War; Liev Schreiber plays Raymond, Meryl Streep is his dragon mother, and Marco is played by Denzel Washington. We can be fairly confident that at some point Denzel Washington will be seen listening to a Frank Sinatra song.)

The Kennedy assassination does not fulfill Condon and Frankenheimer’s prophecy. On the contrary, it buries it. If any assassin might plausibly have been a Communist puppet, it was Oswald, a man who had lived in the Soviet Union for three years, who had a Russian wife, and who once handed out leaflets for an outfit called the Fair Play for Cuba Committee. These facts were widely known within hours of Oswald’s arrest, and yet the theory that he was an agent who was directed, wittingly or not, by Communist handlers has never been an important part of the folklore of the Kennedy assassination. Until the late nineteen-seventies, the official line (endorsed, incidentally, by Condon at the time) was that Oswald acted alone. Dissenters from that view have been drawn mainly to theories involving the Mafia and the Central Intelligence Agency, even though hooking Oswald up with those entities requires a far greater imaginative stretch than associating him with the Soviets. Almost no one thinks of Kennedy (except in some convoluted way) as a casualty of the Cold War, and his death does not represent the culmination of the national anxiety about Communist infiltration. It represents the end of that obsession, and of the panic that Condon’s novel and Frankenheimer’s movie both so happily exploit. ♦

  • Louis Menand, a staff writer since 2001, was awarded the National Humanities Medal in 2016.

https://www.newyorker.com/magazine/2003/09/15/brainwashed

RICHARD CONDON BOOKS IN ORDER

Publication Order of Prizzi Books

Prizzi’s Honor (1982) Hardcover  Paperback  Kindle
Prizzi’s Family (1986) Hardcover  Paperback  Kindle
Prizzi’s Glory (1988) Hardcover  Paperback  Kindle
Prizzi’s Money (1994) Hardcover  Paperback  Kindle

Publication Order of Standalone Novels

The Oldest Confession (1958) Hardcover  Paperback  Kindle
The Manchurian Cadidate (1959) Hardcover  Paperback  Kindle
Some Angry Angel (1960) Hardcover  Paperback  Kindle
A Talent for Loving aka The Great Cowboy Race (1961) Hardcover  Paperback  Kindle
An Infinity of Mirrors (1964) Hardcover  Paperback  Kindle
Any God Will Do (1966) Hardcover  Paperback  Kindle
The Ecstasy Business (1967) Hardcover  Paperback  Kindle
Mile High (1969) Hardcover  Paperback  Kindle
The Vertical Smile (1971) Hardcover  Paperback  Kindle
Arigato (1972) Hardcover  Paperback  Kindle
Winter Kills (1974) Hardcover  Paperback  Kindle
The Star-spangled Crunch (1975) Hardcover  Paperback  Kindle
Money is Love (1975) Hardcover  Paperback  Kindle
The Whisper of the Axe (1976) Hardcover  Paperback  Kindle
The Abandoned Woman (1977) Hardcover  Paperback  Kindle
Bandicoot (1978) Hardcover  Paperback  Kindle
Death of A Politician (1978) Hardcover  Paperback  Kindle
The Entwining (1980) Hardcover  Paperback  Kindle
A Trembling Upon Rome (1983) Hardcover  Paperback  Kindle
Emperor of America (1990) Hardcover  Paperback  Kindle
The Final Addiction (1991) Hardcover  Paperback  Kindle
The Venerable Bead (1992) Hardcover  Paperback  Kindle

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Before he began writing fiction stories, Richard Thomas Condon worked for Walt Disney productions as a press agent in the movie business for 20 years where he spent most of his time in the major studios. Prior his moderate success in Hollywood, Condon also worked in the US Merchant Marine. He actually started writing in 1957 in his forties. He often complained of wasting a lot of time in Hollywood when he was employed as an ad writer by United Artists. His boss, Max Youngstein later fired him after deducting amounts from Condon’s salary without his knowledge. Youngstein also offered him a house overlooking a Mexican ocean and told him to write his book, The Manchurian Candidate (1959) which was his second novel. The book was used to make a movie in 1962, making Richard Condon famous. His other book, Prizzi’s Honor (1982) was also made into a successful movie.

Richard Condon was a thriller and satirical novelist, born and raised in New York City and best known for his conspiratorial books like The Oldest Confession (1958), Some Angry Angel (1960), A Talent of Loving (1961), An Infinity of Mirrors (1964) and many more novels. Condon’s writing was famous for its fascination with trivia, complex plotting, and hatred for those in power. For instance, his most popular novel The Manchurian Candidate was highly criticized because it seemed to disturbingly overshadow the assassination of President John F. Kennedy. Furthermore, several books feature a thinly disguised version of Richard Nixon. His characters were driven by family loyalty, and with obsession, usually political and sexual. His plots had elements of a typical tragedy involving protagonists who are led by their pride to places where they destroy what they love. One of his most notable books, Mile High (1969) was best defined as secret history. In the novel, And Then We Moved to Rossenara, Richard Condon gives a humorous autobiography that recounts the various places he has lived in the world and his family’s move to Rossenarra, Ireland in the 1970s.

Apart from writing novels, Richard Condon also wrote some popular book series and bestsellers including; Prizzi’s Honor (1986), Prizzi’s Family (1986), Prizzi’s Glory (1988) and Prizzi’s Money (1994). He died in 1996.

Prizzi’s Honor was Richard Condon’s first book in the Prizzi’s series. This is not an ordinary story of a boy-meets-girl. Prizzis is the most influential Mafia family in New York. Their faithful lieutenant, Charley Partanna has affections for Irene Walker who works as a tax consultant in Los Angeles. She also does freelancing which pays her more. She is also a Mob’s hit woman. She cons the Prizzis an unforgivably huge amount of money. Indeed, this is a very dangerous moonlighting which eventually conflicts Charley’s oldest loyalties with his latest one. This book mixes character and caricature easily, making it one of his best books since The Manchurian Candidate.

The second book in the Prizzi’s series is the Prizzi’s Family. Here, Charley Partanna works for the Prizzi family as a hitman by day and studies for his high school exam by night. When he is not studying, he is juggling two beautiful women, probably more than he can handle. One, Maerose, is the granddaughter of Charley’s boss and is hungry for honor, power and Charley of course. The other, Mardell, is a sensational, one-third fantasy, two-thirds legs. This is a problem to Charley, but hormones seem to keep obstructing him. This book is funny and cheerful, and foams with perversity, obsessional religious mania, rascality, greed and lust, and assault and battery, making it a good read.

The next book in the series is Prizzi’s Glory. In this successful last volume in Prizzi trilogy series, the Prizzi family cleans up the environment, immersing huge benefits. They finally appear as a cruel, vivid and comic portrait of the America’s best-run Mafia institution. For the change, a tired, bored and depressed Charley Fontana weds Maerose, but this does not help because Don Corrado has thought of a bigger change, Prizzi’s respectability. Money flows to the Prizzi’s family through dubious activities like gambling, extortion, prostitution, loan-sharking, and narcotics. Don Corrado uses the money to control a new scam, a national political power which Charley heads. This book offers an accomplished and entertaining satire for a feat of joyful reading.

The last book in the Prizzi’s series is Prizzi’s Money. Richard Condon showcases the Prizzi family’s saga of organized crime. Here, Julia Asbury outwits the Prizzis, walking away with a huge amount of their money (a billion & a quarter) to start a new life. She does this after discovering that the Prizzis and her husband had double-crossed her.

Another noticeable writing style by Richard Condon was the use of real-life names in his books. Condon used names of real people as characters in his writings, but generally minor/peripheral ones. One of the most common names used in all of his novels includes F.M. Heller, Franz Heller, F. Marx Heller, and Frank Heller which are variations of Franklin M. Heller. In real life, Heller was, in fact, a television director based in New York City from the 1950s to 1970s and first lived on Long Island before moving to a house along Rockrimmon Road, Stamford, Connecticut. Starting with Mile High, Rockrimmon House and Rockrimmon Road have been frequently mentioned in the novels. All the fictional Hellers also shared a devotion for needlework and grew a thick-white beard similar to the real-life Heller who made a needlework depiction in Condon’s manor house in Ireland. Condon also had a great actor friend, Allan Melvin, who he wrote a nightclub act. Melvin also played Cpl. Henshaw in The Phil Servers Show which Condon was publicizing. Several Condon books particularly Prizzi’s Honor showcases Melvini as a prominent hit man.

Richard Condon’s legend is not only showcased in his wonderful writings but also some popular films that were adapted from his novels. The films include; The Manchurian Candidate (1962 and 2004), The Talent of Loving (1969), Winter Kills (1979), Prizzi’s Honor (1985), and The Happy Thieves from the novel The Oldest Confession (1962). The Manchurian Candidate is recognized as one of the best films of all time. The book combined several elements including; satire, nefarious conspiracies, black humor, outrage at financial and political corruption in America, as well as breath-taking elements from spy fiction and thrillers, and grotesque and horrific violence.

https://www.bookseriesinorder.com/richard-condon/

Condon, Richard 1915-1996 (Richard Thomas Condon)

Condon, Richard 1915-1996 (Richard Thomas Condon)
PERSONAL:
Born March 18, 1915, in New York, NY; died April 9, 1996, in Dallas, TX; son of Richard Aloysius and Martha Irene Condon; married Evelyn Rose Hunt, January 14, 1938; children: Deborah Weldon, Wendy Jackson. Education: Graduated from high school in New York, NY.

CAREER:
Writer. Publicist in New York, NY, and Hollywood, CA, for Walt Disney Productions, 1936-41, Twentieth Century-Fox Film Corp., 1941-45, Richard Condon, Inc., 1945-48, and Paramount Pictures Corp., 1948-53, and in Europe and Great Britain for United Artists Corp., 1953-57; novelist. Producer, with Jose Ferrer, of Broadway shows Twentieth Century and Stalag 17, 1951-52.

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MEMBER:
International Confederation of Book Actors (honorary life president), Dramatists Guild, Authors Guild, Authors League of America.

AWARDS, HONORS:
Writers Guild of America award, Bafta Award from British Academy of Film and Television Sciences, and Academy Award nomination, all 1986 for screen adaptation of Prizzi’s Honor,.

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WRITINGS:
And Then We Moved to Rossenarra; or, The Art of Emigrating, Dial (New York, NY), 1973.

(With daughter, Wendy Jackson) The Mexican Stove: What to Put on It and in It, Doubleday (Garden City, NY), 1973, reprinted, Taylor Publishing, 1988.

NOVELS
The Oldest Confession (Book-of-the-Month Club alternate selection), Appleton-Century-Crofts (New York, NY), 1958.

The Manchurian Candidate, McGraw (New York, NY), 1959, reprinted, Four Walls Eight Windows (New York, NY), 2003.

Some Angry Angel: A Mid-Century Faerie Tale, McGraw (New York, NY), 1960.

A Talent for Loving; or, The Great Cowboy Race, McGraw (New York, NY), 1961.

An Infinity of Mirrors, Random House (New York, NY), 1964.

Any God Will Do, Random House (New York, NY), 1965.

The Ecstasy Business, Dial (New York, NY), 1967.

Mile High (Literary Guild alternate selection), Dial (New York, NY), 1968.

The Vertical Smile (Literary Guild selection), Dial (New York, NY), 1971.

Arigato, Dial (New York, NY), 1972.

Winter Kills, Dial (New York, NY), 1974.

The Star Spangled Crunch, Bantam (New York, NY), 1974.

Money Is Love, Dial (New York, NY), 1975.

The Whisper of the Axe, Dial (New York, NY), 1976.

The Abandoned Woman: A Tragedy of Manners, Dial (New York, NY), 1977.

Bandicoot, Dial (New York, NY), 1978.

Death of a Politician, Richard Marek (New York, NY), 1978.

The Entwining, Richard Marek (New York, NY), 1980.

Prizzi’s Honor (second novel in trilogy; Book-of-the-Month Club joint main selection; also see below), Coward, McCann & Geoghegan (New York, NY), 1982.

A Trembling upon Rome, Putnam (New York, NY), 1983.

Prizzi’s Family (first novel in trilogy; Literary Guild joint main selection), Putnam, 1986.

Prizzi’s Glory (third novel in trilogy), Dutton (New York, NY), 1988.

The Final Addiction, Saint Martin’s Press (New York, NY), 1991.

Prizzi’s Money, Crown Publishing (New York, NY), 1994.

SCREENPLAYS
(With Janet Roach) Prizzi’s Honor (adaptation; see above), Twentieth Century-Fox Film Corp., 1985.

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Also author screenplay for A Talent for Loving, 1969, and The Summer Music; author of the play Men of Distinction, produced on Broadway, 1953. Contributor to periodicals, including Holiday, Nation, Vogue, Harper’s, Gourmet, Esquire, Travel and Leisure, and Sunday Times magazine. Novels have been published in twenty-two languages and in braille.

ADAPTATIONS:
Books have been adapted for film, including The Oldest Confession released as the film The Happy Thieves, 1962; Winter Kill, 1979; and The Manchurian Candidate, 1962, and adapted remake, Paramount Pictures, 2004.

SIDELIGHTS:
Novelist Richard Condon began writing at age forty-two following a successful career as a movie publicist. Condon’s reputation as a writer of political thrillers was secured with his first two novels, The Oldest Confession and The Manchurian Candidate. Condon’s body of work included over twenty novels, two nonfiction books, a handful of plays and screenplays, and numerous articles on his twin passions, food and travel. This output netted him an income of about two and a half million dollars.

Condon took full advantage of his freedom as a writer. Although he resided in the United States later in life, for nineteen years Condon and his family lived in countries such as France, Spain, Switzerland, and Ireland. Condon’s focus in his novels, however, usually reflected his concerns about American society, particularly the United States government. Condon’s preoccupation with examining abuses of power made him into a cult figure of sorts to readers who shared his convictions. Condon’s novels are entertaining, despite their underlying seriousness. This assessment is compatible with Condon’s personal goals as a writer, which he discussed in a People magazine interview with Anne Maier. “I have never written for any other reason than to earn a living. This is certainly true of other writers, but some poor souls get mightily confused with art. I am a public entertainer who sees his first duty as the need to entertain himself.”

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Most of the material for Condon’s blend of reality and bizarre invention came from “the dirty linen closets of politics and money,” according to a New York Review of Books contributor Thomas R. Edwards. “His view—it might be called Condon’s Law—is that when you don’t know the whole truth, the worst you can imagine is bound to be close.” Edwards added: “[He] isn’t an analyst but an exploiter of our need to believe the worst. He does it skillfully, but his books would be less fun than they are if one didn’t suspect that he believes the worst too, that his pictures of a world of fools eternally at the mercy of knaves are also pictures of what, with anger and disgust, he takes to be the case.”

Condon’s second novel, The Manchurian Candidate, was published in 1959 and remains Condon’s most highly acclaimed novel, one that critics frequently cite as a standard of comparison for his later works. The title of the book refers to the main character, Raymond Shaw, a soldier who becomes a prisoner of war in Korea and is unknowingly brainwashed into committing crimes for his former captors after he returns to the United States. Commenting on this novel, reviewers distinguished carefully between Condon’s writing and literature. Most reviewers noted the novel’s many appeals. Michael Rogers, writing a Library Journal review of a 2003 reprint of the novel, commented that “any fan of political thrillers will enjoy this one.”

Condon followed The Manchurian Candidate with several relatively successful novels. Nevertheless, several of Condon’s subsequent novels generally fell out of favor with critics. In 1974, however, his novel Winter Kills was enthusiastically received. Winter Kills closely parallels the lives of members of the Kennedy family. The main character, Nick Thirkield, is the half-brother of John F. Kennedy analogue Tim Kegan, a young, liberal Irish president who is assassinated by a lone maniac. The assassin is caught and charged with the murder, but when Thirkield learns that another man may also have been involved, he has the case reopened.

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Several reviewers found themselves pleasantly surprised by Winter Kills. New York Times Book Review contributor Leo Braudy, for example, commented that Winter Kills is “a triumph of satire and knowledge, with a delicacy of style and a command of tone that puts Condon once again into the first rank of American novelists.” Braudy explained: “Winter Kills succeeds so brilliantly because the Kennedy assassination furnished Condon with a familiar mythic landscape through which his Gulliver-like hero can wander, simultaneously prey to Lilliputian politics, Brobdingnagian physicality, Laputan science, and Houyhnhnm moralism.” Christopher Lehmann-Haupt expressed a like opinion in the New York Times: “By the time I reached the end of the novel’s incredibly complex plot and had followed Nick Thirkield through the many blind alleys and trapdoors that eventually bring him face to face with the person behind his brother’s assassination, I was a Richard Condon fan once more.”

Extrapolation contributor Joe Sanders observed: “In Condon’s novels, politics determines the shape of society, but politics is not a voluntary, cooperative activity, entered into for some common end; it is a device by which a few clever people manipulate many others to gain their selfish ends.” Lehmann-Haupt expressed disappointment with the ending because he “caught on too early what the ultimate outcome would be,” but he found the novel’s conclusion satisfying. He wrote: “It may not be true that America is run by a small, conspiring oligarchy. It may not be true that things happen in the White House at the whim of movie stars and labor leaders, of courtesans and generals. But the possibilities are no longer inconceivable.”

Winter Kills was made into a critically acclaimed but briefly run film of the same title. Although Condon was not directly involved in the making of Winter Kills, the film’s quality drew his attention and support. After two years of filming for which most of the cast and crew were never paid, Winter Kills opened in New York in 1979 to favorable reviews. The film’s three-week run in showcase theaters was followed by disappearance from theatres, raising Condon’s conspiracy suspicions. Condon’s paranoia was further incited by the murder of one of the producers shortly after the film’s opening; two years later the second producer was sentenced to forty years in prison on a drug charge. The movie was briefly re-released in 1982 and 1983.

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Condon’s novel Prizzi’s Honor dealt with a similarly sensitive milieu: organized crime. Although this setting has been exploited by several other authors, notably Mario Puzo, reviewers believed that Condon’s novel offered a fresh outlook. Charles Champlin observed in the Los Angeles Times Book Review: “Condon, once again accepting the perceived reality as police leaks, newspaper exposes and Puzo have given it to us—complete with Sicilian litany of consiglieri, caporegimes, sottocapos, soldati, and a godfather with a lethal wheeze and a mind Machiavelli might envy—steps over it to present an outrageous and original love story.” New York Times Book Review contributor Robert Asahina noted: “Richard Condon is not Mario Puzo; suspense, not the family saga, is his forte. And he winds the mainspring of the plot so tight that the surprise ending will knock your reading glasses off. Yet Prizzi’s Honor is also a sendup of the prevailing sentimental picture of the underworld. To Mr. Condon, there is honor among these thieves—but it is precisely in the name of omerta that the fratellanza has been willing to ‘cheat, corrupt, scam, and murder anybody who stands between them and a buck.’”

The novel’s love interest involves Charley Partanna, a gourmet cook, compulsive house cleaner, and hit man for the Prizzi family; and Irene Walker, a tax consultant and freelance killer for hire. “It is something of a challenge to a novelist to create a love interest in a story that pairs two ruthless murderers,” observed Times Literary Supplement contributor Alan Bold. “Irene is presented as a colder fish than Charley—she has risen to the top of her profession on account of her ability to murder without remorse. She is as sound a psychopath as Charley. Condon suggests, however, that such creatures are capable of a great passion and Charley, for one, is sure that his love is the real thing.” New York Times contributor Susan Bolotin likewise commented on the originality of this pairing: “If boy-meets-girl/boy-gets-girl love stories seem poisonously tiresome to you, Richard Condon’s boisterous new novel may prove the perfect antidote. It’s true that Prizzi’s Honor starts off with a familiar melody, … but the book soon turns into a fugue with variations so intricate that the genre may never recover.”

Despite opposition from Charley’s father, Charley and Irene are wed. Condon takes the couple through a convoluted plot that includes “a kidnapping, international financial intrigue, a gangland war, police on the take, the power struggle within the family, contract killings, [and] lots of jolly sex,” wrote Bolotin. According to several reviewers, Condon’s exploration of the seamier side of organized crime is distressing. Best Sellers contributor Tony Bednarczyk wrote: “There is solid storytelling, but the subject raises disturbing questions about morals, and/or the lack thereof. It is a fast-paced, very readable story, but one feels a bit guilty for being interested in what comes next.” While Time critic Michael Demarest also believed that Prizzi’s Honor, “like most of [Condon’s] books, comes sometimes too close to the truth for comfort,” he nevertheless concluded: “Condon’s stylish prose and rich comedic gift once again spice a moral sensibility that has animated sixteen novels since The Manchurian Candidate appeared in 1962. If wit and irony could somehow neutralize villainy, the novelist would make a fine FBI director.” Other reviewers expressed similarly laudatory views. Champlin wrote: “Condon is once again the storytelling satirist with a sharp eye and a high velocity typewriter. Prizzi’s Honor may not be his best work but it ranks well up in the canon.” Concluded Asahina: “Twenty years after The Manchurian Candidate, it’s nice to know that Mr. Condon is still up to his sly tricks. In his case, at least, it’s a pleasure that—as he tells us an old Sicilian proverb has it—‘The less things change, the more they remain the same.’”

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Prizzi’s Honor was also made into a successful film of the same title, with Jack Nicholson and Kathleen Turner playing the roles of Charley Partanna and Irene Walker. The film was nominated for several Academy Awards, and the screenplay, adapted by Condon and coauthor Janet Roach, received awards from the Writers Guild of America and the British Academy of Film and Television Sciences. The project was initiated and eventually directed by John Huston.

Huston and movie critics alike believed that Prizzi’s Honor was faithful to the novel, a feat they attribute to Condon and Roach’s skillfully adapted screenplay. Chi-cago Tribune contributor Gene Siskel described Prizzi’s Honor as “a classic piece of moviemaking,” and Los Angeles Times film critic Sheila Benson noted: “To say the film is the treasure of the year would be to badmouth it in this disastrous season. Prizzi’s Honor would be the vastly original centerpiece of a great year.” Benson also wrote: “In its dangerous mix of love and murder, Huston is traversing terrain that he (and certainly The Manchurian Candidate author Condon) blazed decades ago. This ’80s-version denouement may distress the squeamish, but it’s right in keeping with Prizzi honor.”

BIOGRAPHICAL AND CRITICAL SOURCES:
BOOKS
Bestsellers 90, Issue 3, Thomson Gale (Detroit, MI), 1990.

Condon, Richard, Death of a Politician, Richard Marek (New York, NY), 1978.

Contemporary Authors Autobiography Series, Volume I, Thomson Gale (Detroit, MI), 1984.

Contemporary Literary Criticism, Thomson Gale (Detroit, MI), Volume IV, 1975, Volume VI, 1976, Volume VIII, 1978, Volume X, 1979, Volume XLIV, 1987.

Newquist, Roy, Conversations, Volume I, Rand McNally (Chicago, IL), 1967.

PERIODICALS
Best Sellers, June, 1982, Tony Bednarczyk, review of Prizzi’s Honor; December, 1986.

Chicago Tribune, June 14, 1985, Gene Siskel, review of Prizzi’s Honor (film adaptation).

Daily Variety, March 8, 2002, Dana Harris and Sharon Swart, “‘Candidate’ for Redo: Paramount Plans Remake of 1962 Classic,” p. 1.

Extrapolation, summer, 1984, Joe Sanders, article about author.

Library Journal, November 1, 2003, Michael Rogers, review of The Manchurian Candidate, p. 129.

Los Angeles Times, June 14, 1985, Sheila Benson, review of Prizzi’s Honor (film adaptation).

Los Angeles Times Book Review, April 25, 1982, Charles Champlin, review of Prizzi’s Honor.

Modern Language Quarterly, September, 2006, Micahel Szalay, review of The Manchurian Candidate, p. 363.

New Statesman, September 5, 1975, review of Money is Love, p. 285; August 13, 1976, review of The Whisper of the Axe, p. 216.

Newsweek, September 14, 1964, review of Manchurian Candidate; June 9, 1975, review of Money Is Love, p. 81.

New Yorker August 25, 1975, review of Money Is Love, p. 87; December 11, 1978, review of Death of a Politician, p. 206; October 28, 1991, review of The Final Addiction, p. 119.

New York Review of Books, February 8, 1979, Thomas R. Edwards, review of Death of a Politician, p. 35.

New York Times, May 24, 1974, Christopher Lehmann-Haupt, review of Winter Kills; May 21, 1976; April 20, 1982, Susan Bolotin, review of Prizzi’s Honor, p. 25.

New York Times Book Review, May 26, 1974, Leo Braudy, review of Winter Kills; May 25, 1975, review of Money Is Love, p. 12; May 23, 1976, review of The Whisper of the Axe, p. 4; April 18, 1982, Robert Asahina, review of Prizzi’s Honor, p. 12; September 4, 1983, John Jay Osborn, Jr., review of A Trembling upon Rome, p. 4; September 28, 1986, Jimmy Breslin, review of Prizzi’s Family, p. 13; October 9, 1988, Vincent Patrick, review of Prizzi’s Glory, p. 24; February 11, 1990, Roy Blount, Jr., review of Emperor of America, p. 14; November 17, 1991, Bill Kent, review of The Final Addiction, p. 20; December 13, 1992, Donald E. Westlake, review of The Venerable Bead, p. 9; February 6, 1994, Joe Queenan, review of Prizzi’s Money, p. 9.

People, December 8, 1986, Anne Maier, interview with author.

Spectator, September 21, 1974, review of Winter Kills, p. 372.

Texas Monthly, August, 1994, William Cobb, “The Don of Dallas,” interview with author, p. 42.

Time, June 2, 1975, review of Money Is Love, p. 72; May 17, 1982, Michael Demarest, review of Prizzi’s Honor, p. 82; September 22, 1986, John Skow, review of Prizzi’s Family, p. 95; September 19, 1988, review of Prizzi’s Glory, p. 95.

Times Literary Supplement, June 11, 1982, Alan Bold, review of Prizzi’s Honor.

ONLINE
Internet Movie Database,http://www.imdb.com/ (December 4, 2006), information on author’s film work.

OBITUARIES
PERIODICALS
New York Times, April 10, 1996, Mel Gussow.

Time, April 22, 1996, p. 33.

U.S. News & World Report, April 22, 1996, p. 26.

https://www.encyclopedia.com/arts/educational-magazines/condon-richard-1915-1996-richard-thomas-condon

Books by Richard Condon
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Richard Condon

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Richard Condon
Born Richard Thomas Condon
March 18, 1915
New York CityNew York, U.S.
Died April 9, 1996 (aged 81)
DallasTexas, U.S.
Occupation Novelist
Genre Fiction

Richard Thomas Condon (March 18, 1915 in New York City – April 9, 1996 in Dallas, Texas) was a prolific and popular American political novelist. Though his works were satire, they were generally transformed into thrillers or semi-thrillers in other mediums, such as cinema. All 26 books were written in distinctive Condon style, which combined fast-pace, outrage, and frequent humor while focusing almost obsessively at monetary greed and political corruption. Condon himself once said: “Every book I’ve ever written has been about abuse of power. I feel very strongly about that. I’d like people to know how deeply their politicians wrong them.”[1] Condon’s books were occasionally bestsellers, and many of his books were made into films; he is primarily remembered for his 1959 The Manchurian Candidate and, many years later, a series of four novels about a family of New York gangsters named Prizzi.

Condon’s writing was known for its complex plotting, fascination with trivia, and loathing for those in power; at least two of his books featured thinly disguised versions of Richard Nixon.[citation needed] His characters tend to be driven by obsession, usually sexual or political, and family loyalty. His plots often have elements of classical tragedy, with protagonists whose pride leads them to destroy what they love. Some of his books, most notably Mile High (1969), are perhaps best described as secret history.[citation needed] And Then We Moved to Rossenarra is a humorous autobiographical recounting of various places in the world where he had lived and his family’s 1970s move to Rossenarra, Co. Kilkenny, Ireland.

Contents

Early life[edit]

Born in New York City, Condon attended DeWitt Clinton High School.[2]

After service in the United States Merchant Marine, Condon achieved moderate success as a Hollywood publicist, ad writer and Hollywood agent. Condon turned to writing in 1957. Employed by United Artists as an ad writer, he complained that he was wasting time in Hollywood and wanted to write a novel. Without Condon’s knowledge, his boss, Max E. Youngstein, deducted money from his salary, then fired him after a year, returning the amount of money he had deducted in the form of a Mexican bank account and the key to a house overlooking the ocean in Mexico. Youngstein told him to write his book.[3] His second novel, The Manchurian Candidate (1959), featured a dedication to Youngstein and was made into a successful film.

Basic theme throughout Condon’s books[edit]

In Mile High, his eighth novel, one primarily about how a single spectacularly ruthless gangster named Eddie West imposes Prohibition upon an unwary populace, Condon sums up the theme of all his books in a single angry cri de coeur:

“Prohibition fused the amateurism and catch-as-catch-can national tendencies of the early days of the republic with a more modern, highly organized lust for violence and the quick buck. It fused the need to massacre twelve hundred thousand American Indians and ten million American buffalo, the lynching bees, the draft riots, bread riots, gold riots and race riots, the constant wars, the largest rats in the biggest slums, boxing and football, the loudest music, the most strident and exploitative press with the entire wonderful promise of tomorrow and tomorrow, always dragging the great nation downward into greater violence and more unnecessary deaths, into newer and more positive celebration of nonlife, all so that the savage, simple-minded people might be educated into greater frenzies of understanding that power and money are the only desirable objects for this life.”[4]

“Manchurian Candidate”[edit]

Although not perhaps actually originated by Condon himself, his use of “the Manchurian Candidate” made that phrase a part of the English language. Frank Rich, for example, in his column in the “Sunday Opinion” of The New York Times of August 17, 2008, writes about Barack Obama with a reference to both a well-known actress and a well-known plot element in the first movie version of Condon’s 1959 book:

“[Obama’s] been done in by that ad with Britney [Spears] and Paris [Hilton] and a new international crisis that allows [John] McCain to again flex his Manchurian Candidate military cred. Let the neocons identify a new battleground for igniting World War III… and McCain gets with the program as if Angela Lansbury has just dealt him the Queen of Hearts“.[5]

“The fiction of information”[edit]

Condon’s works are difficult to categorize precisely: A 1971 Time magazine review declared that, “Condon was never a satirist: he was a riot in a satire factory. He raged at Western civilization and every last one of its works. He decorticated the Third Reich, cheese fanciers, gossip columnists and the Hollywood star system with equal and total frenzy.” [6] The headline of his obituary in The New York Times called him a “political novelist”,[7] but went on to say that, “Novelist is too limited a word to encompass the world of Mr. Condon. He was also a visionary, a darkly comic conjurer, a student of American mythology and a master of conspiracy theories, as vividly demonstrated in ‘The Manchurian Candidate.'”[7] Although his books combined many different elements, including occasional outright fantasy and science fiction, they were, above all, written to entertain the general public. He had, however, a genuine disdain, outrage, and even hatred for many of the mainstream political corruptions that he found so prevalent in American life. In a 1977 quotation, he said that:[8]

“…people are being manipulated, exploited, murdered by their servants, who have convinced these savage, simple-minded populations that they are their masters, and that it hurts the head, if one thinks. People accept servants as masters. My novels are merely entertaining persuasions to get the people to think in other categories.”

With his long lists of absurd trivia and “mania for absolute details”, Condon was, along with Ian Fleming, one of the early exemplars of those called by Pete Hamill in a New York Times review, “the practitioners of what might be called the New Novelism… Condon applies a dense web of facts to fiction…. There might really be two kinds of fiction: the fiction of sensibility and the fiction of information… As a practitioner of the fiction of information, no one else comes close to him.”[9]

Quirks and characteristics[edit]

Condon attacked his targets wholeheartedly but with a uniquely original style and wit that made almost any paragraph from one of his books instantly recognizable. Reviewing one of his works in the International Herald Tribune, playwright George Axelrod (The Seven Year ItchWill Success Spoil Rock Hunter), who had collaborated with Condon on the screenplay for the film adaptation of The Manchurian Candidate, wrote:

“The arrival of a new novel by Richard Condon is like an invitation to a party…. the sheer gusto of the prose, the madness of his similes, the lunacy of his metaphors, his infectious, almost child-like joy in composing complex sentences that go bang at the end in the manner of exploding cigars is both exhilarating and as exhausting as any good party ought to be.”

Metaphors and similes[edit]

From his 1975 novel, Money Is Love, comes a fine example of the “lunacy of his metaphors”: “Mason took in enough cannabis smoke to allow a Lipan Apache manipulating a blanket over it to transmit the complete works of Tennyson.” [10]

The Manchurian Candidate offers:

“The effects of the narcotics, techniques, and suggestions… achieved a result that approximated the impact an entire twenty-five-cent jar of F. W. Woolworth vanishing cream might have on vanishing an aircraft carrier of the Forrestal class when rubbed into the armor plate.”[11]

Lists and trivia[edit]

Condon was also enamored of long lists of detailed trivia that, while at least marginally pertinent to the subject at hand, are almost always an exercise in gleeful exaggeration and joyful spirits. In An Infinity of Mirrors, for instance, those in attendance of the funeral of a famous French actor and notable lover are delineated as:

Seven ballerinas of an amazing spectrum of ages were at graveside. Actresses of films, opera, music halls, the theatre, radio, carnivals, circuses, pantomimes, and lewd exhibitions mourned in the front line. There were also society leaders, lady scientists, women politicians, mannequins, couturières, Salvation Army lassies, all but one of his wives, a lady wrestler, a lady matador, twenty-three lady painters, four lady sculptors, a car-wash attendant, shopgirls, shoplifters, shoppers, and the shopped; a zoo assistant, two choir girls, a Métro attendant from the terminal at the Bois de Vincennes, four beauty-contest winners, a chambermaid; the mothers of children, the mothers of men, the grandmothers of children and the grandmothers of men; and the general less specialized, female public-at-large which had come from eleven European countries, women perhaps whom he had only pinched or kissed absent-mindedly while passing through his busy life. They attended twenty-eight hundred and seventy strong, plus eleven male friends of the deceased.[12]

Writing about The Whisper of the Axe in the daily book review column of Friday, May 21, 1976, in the New York Times, Richard R. Lingeman praised the book in particular and Condon in general for his “extravagance of invention unique with him.” [13]

Not everyone was as exhilarated by Condon’s antics, however. In a long Times Sunday review just two days after Lingeman’s, Roger Sale excoriated Condon as a writer of “how-to books” in general, this book in particular, and Condon’s habit of using lists: “A lot of it is done with numbers arbitrarily chosen to falsely simulate precision.” [14]

Real-life names in his books[edit]

All of Condon’s books have, to an unknown degree, the names of real people in them as characters, generally very minor or peripheral. The most common, which appears in all of his books, is some variation of Franklin M. Heller. Among them are F.M. Heller, Frank Heller, Franz Heller, and F. Marx Heller. The real-life Heller was apparently a television director in New York City in the 1950s, ’60s, and 70s, who initially lived on Long Island and then moved to a house on Rockrimmon Road in Stamford, Connecticut.[15] Beginning with Mile High in 1969, mentions of a Rockrimmon Road or Rockrimmon House also began to appear regularly in the novels. Late in life Heller grew a thick white beard and became a devotee of needlework—both traits that the fictional Hellers shared, sometimes to ludicrous effect, as when a battle-hardened Admiral Heller is depicted issuing orders while absorbed in needlework. The real-life Heller made one needlework depiction of the manor house in Ireland in which Condon was living at the time.

Condon was a great friend of actor Allan Melvin, having written a nightclub act for him. Condon later became a publicist for The Phil Silvers Show (“Sgt. Bilko”), on which Melvin played Cpl. Henshaw. Melvin’s name shows up in several Condon books, most prominently as hitman Al (the Plumber) Melvini in “Prizzi’s Honor” (a play on Melvin’s “Al the Plumber” character in Liquid-Plumr commercials.) In The Manchurian Candidate, with the exception of Marco, Shaw and Mavole, all of Marco’s platoon members are named for the cast/crew of “Bilko”: (Nat) Hiken, (Maurice) Gosfield, (Jimmy) Little, (Phil) Silvers, (Allan) Melvin, (Mickey) Freeman and (Harvey) Lembeck.

Career in films[edit]

For many years a Hollywood publicity man for Walt Disney and other studios, Condon took up writing relatively late in life and his first novel, The Oldest Confession, was not published until he was 43. The demands of his career with United Artists—promoting dreadful movies such as The Pride and the Passion and A King and Four Queens—led to a series of bleeding ulcers and a determination to do something else.

His next book, The Manchurian Candidate, combined all the elements that defined his works for the next 30 years: nefarious conspiracies, satire, black humor, outrage at political and financial corruption in the American scene, breath-taking elements from thrillers and spy fiction, horrific and grotesque violence, and an obsession with the minutiae of food, drink, and fast living. It quickly made him, for a few years at least, the center of a cult devoted to his works. As he rapidly produced more and more books with the same central themes, however, this following fell away and his critical reputation diminished. Still, over the next three decades Condon produced works that returned him to favor, both with the critics and the book-buying public, such as Mile HighWinter Kills, and the first of the Prizzi books, Prizzi’s Honor.

Of his numerous books that were turned into Hollywood movies, The Manchurian Candidate was filmed twice. The first version, in 1962, which starred Frank SinatraLaurence HarveyJanet Leigh, and Angela Lansbury, followed the book with great fidelity, and is now highly regarded as a glimpse into the mindset of its era. Janet Maslin, writing already over two decades ago, said in The New York Times In 1996 that it was “arguably the most chilling piece of cold war paranoia ever committed to film, yet by now it has developed a kind of innocence.”[7]

The Keener’s Manual[edit]

Beginning with his first book, The Oldest Confession, Condon frequently prefaced his novels with excerpts of verse from a so-called Keener’s Manual; these epigraphs foreshadowed the theme of the book or, in several instances, gave the book its title. The Keener’s Manual, however, was a fictional invention by Condon and does not actually exist. A “keen” is a “lamentation for the dead uttered in a loud wailing voice or sometimes in a wordless cry” [16] and a “keener” is a professional mourner, usually a woman in Ireland, who “utters the keen… at a wake or funeral.” [17]

Five of Condon’s first six books derived their titles from the fictional manual, the only exception being his most famous book, The Manchurian Candidate. The epigraph in The Manchurian Candidate, however, “I am you and you are me /and what have we done to each other?” is a recurring theme in earlier Condon’s books: in various forms it also appears as dialog in both The Oldest Confession and Some Angry Angel. Among other epigraphs, the last line of “The riches I bring you /Crowding and shoving, /Are the envy of princes: /A talent for loving.” is the title of Condon’s fourth novel. His fifth and sixth novels, An Infinity of Mirrors and Any God Will Do, also derive their titles from excerpts of the manual.

Plagiarism charge[edit]

In 1998 a California software engineer noticed several paragraphs in The Manchurian Candidate that appeared nearly identical to portions of the celebrated 1934 novel I, Claudius by the English writer Robert Graves. She wrote about the apparent plagiarism on her website but her discovery went unnoticed by most of the world until Adair Lara, a longtime San Francisco Chronicle staff writer, wrote a lengthy article about the accusation in 2003.[18] Reprinting the paragraphs in question, she also solicited the opinion of a British forensic linguist, who concluded that Condon had unquestionably plagiarized at least two paragraphs of Graves’s work. By this time, however, more than seven years had passed since Condon’s death and Lara’s article also failed to generate any literary interest outside the Chronicle.

In Some Angry Angel, the book that followed The Manchurian Candidate, Condon makes a direct reference to Graves. In a long, convoluted passage on page 25 Condon reflects on “mistresses” and their relationship—a peripheral one, to the reader—to Graves’s writings about “Major Male” Deities and “Major Female” Deities. As Angel was published only a year after Candidate, there is no question, therefore, about Condon’s familiarity with the works of Robert Graves.[19]

Condon’s familiarity with Graves is also in evidence on p. 127 of his first novel, The Oldest Confession. One of the characters in the book purchases a copy of Graves’ Antigua, Penny, Puce!

Works[edit]

All novels except as noted:

Films adapted from Condon novels[edit]

Articles[edit]

  • “‘Manchurian Candidate’ in Dallas”. The Nation, December 28, 1963.

References[edit]

This article incorporates material from the Citizendium article “Richard Condon“, which is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License but not under the GFDL.

  1. ^ Locus, The Magazine of the Science Fiction & Fantasy Field, from their May, 1996, issue #424, obituary of Condon, exact page unknown
  2. ^ Buckley, Tom. “THE LITERARY CONSPIRACIES OF RICHARD CONDON”The New York Times, September 2, 1979. Accessed September 14, 2009.
  3. ^ Max E. Youngstein – Biography
  4. ^ Mile High, The Dial Press, New York, 1969, Library of Congress Catalog Card Number: 77-80497, page 156
  5. ^ The New York Times, Sunday, August 17, 2008, Sunday Opinion, “The Candidate We Still Don’t Know” at [1]
  6. ^ Time magazine, “Cheese”, March 4, 1971, at
  7. Jump up to:a b c The New York Times, Wednesday, April 10, 1996, Obituaries, “Richard Condon, Political Novelist, Dies at 81; Wrote ‘Manchurian Candidate’ and ‘Prizzi'” at [2]
  8. ^ Who’s Who in Spy Fiction, Donald McCormick, Sphere Books Ltd., London, 1977, page 64
  9. ^ “For Eddie West, power was all that mattered,” by Pete Hamill, The New York Times, August 31, 1969, at
  10. ^ Time Magazine, “Liederkranz”, a book review by John Skow, June 2, 1975
  11. ^ The Manchurian Candidate, by Richard Condon, paperback edition, Signet, New York, November, 1962, fifth printing, page 261
  12. ^ An Infinity of Mirrors, by Richard Condon, paperback edition, Fawcett Crest, New York, September, 1965, page 36
  13. ^ “A Thriller of the Condon Class”, by Richard R. Lingeman, The New York Times, May 21, 1976, at [3]
  14. ^ Roger Sale, May 23, 1976, in The New York Times, at
  15. ^ Remembrance of Frank Heller,” by Ira Skutch, at
  16. ^ Merriam-Webster’s Collegiate Dictionary, Eleventh Edition, Merriam-Webster, Inc., Springfield, Massachusetts, 2004, ISBN 0-87779-807-9
  17. ^ Webster’s New International Dictionary of the English Language, Second Edition, Unabridged, G. & C. Merriam Co., Publishers, Springfield, Massachusetts, 1943
  18. ^ “Has a local software engineer unmasked ‘The Manchurian Candidate’? Menlo Park woman says author Richard Condon plagiarized”, by Adair Lara, in the San Francisco Chronicle,October 4, 2003; the entire article can be read at [4]
  19. ^ Some Angry Angel: A Mid-Century Faerie Tale, McGraw-Hill, New York, 1960, Library of Congress Catalog Card Number: 60-8826, page 25

 

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Kyle Mills — Sphere of Influence — Videos

Posted on April 8, 2017. Filed under: Art, Blogroll, Books, Business, Communications, Crime, Culture, Drug Cartels, Employment, Entertainment, Federal Bureau of Investigation (FBI), Fiction, Fraud, Homicide, Law, liberty, Life, Links, Literacy, media, Money, People, Philosophy, Photos, Politics, Psychology, Wisdom, Writing | Tags: , , , , , , , , , |

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“Order to Kill” by Kyle Mills

Elliot In The Morning: Kyle Mills (Part 1 of 2) [INTERVIEW]

Elliot In The Morning: Kyle Mills (Part 2 of 2) [INTERVIEW]

Order to Kill by Kyle Mills and Vince Flynn Audiobook Excerpt

Kyle Mills (author)

From Wikipedia, the free encyclopedia
For the New Zealand cricketer, see Kyle Mills.
Kyle Mills
Born 1966
Occupation Novelist
Genre Political thriller
Website
kylemills.com

Kyle Mills (born 1966) is an American writer of thriller novels including Rising Phoenix, Fade, and The Second Horseman. Several of his books (Rising Phoenix, Storming Heaven, Sphere of Influence, Free Fall and Darkness Falls) include a character Mark Beamon, an FBI special agent. He also wrote The Ares Decision (2011), The Utopia Experiment (2013), and The Patriot Attack (2015), the eighth, tenth, and twelfth installments of the Covert-One series, originally created by Robert Ludlum.

Mills lives in Jackson Hole, Wyoming with his wife and they are both avid rock climbers. Mills grew up in Oregon, and his father was an agent with the FBI.

Novels

External links

https://en.wikipedia.org/wiki/Kyle_Mills_(author)

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Greg Iles –Natchez Burning, The Bone Tree and Mississippi Blood — Videos

Posted on March 26, 2017. Filed under: Blogroll, Books, Communications, Culture, Education, Entertainment, Fiction, Language, Law, liberty, Life, Links, Literature, media, Music, People, Philosophy, Photos, Police, Rants, Raves, Video, Welfare, Wisdom, Work, Writing | Tags: , , , , , , , , , , , |

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A Conversation with Greg Iles about Mississippi Blood

Author Greg Iles: “Mississippi Blood”

Broken Bones | Greg Iles | A

Word on Words | NPT

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Greg Iles: A Writer’s Conversation

Greg Iles Introduces Natchez Burning

The Death Factory by Greg Iles | Book Review

Natchez Burning Fans!

Book Looks – “Natchez Burning”

Greg Iles Interview Part 1 of 6

Greg Iles Interview Part 2 of 6

Greg Iles Interview Part 3 of 6

Greg Iles Interview Part 4 of 6

Greg Iles Interview Part 5 of 6

Rock Bottom Remainders – Midnight Hour

The Original Rock Bottom Remainders

Rock Bottom Remainders on The Late Late Show

Greg Iles sings “Steamroller”

dirty water, part 1 – rock bottom remainders

Rock Bottom Remainders at ALA 2012

wild thing – rock bottom remainders

Steve Martin, a banjo and RBR

Amy Tan and Airport Security

Bruce Springsteen

Roger and Ridley

Greg Iles

From Wikipedia, the free encyclopedia
Greg Iles
Born 1960 (age 56–57)
Stuttgart, Germany
Nationality American
Occupation Writer

Greg Iles (born 1960) is a novelist who lives in Mississippi. He has published 15 novels and one novella, spanning a variety of genres.

Biography

Early life

Iles was born in 1960 in Stuttgart, Germany, where his physician father ran the U.S. Embassy Medical Clinic. He was raised in Natchez, Mississippi, the setting of many of his novels.[1] After attending Trinity Episcopal Day School, he graduated from the University of Mississippi in 1983.

Career

Iles spent several years as a guitarist, singer, and songwriter in the band Frankly Scarlet.[2] He quit the band after he was married and began working on his first novel, Spandau Phoenix, a thriller about Nazi war criminal Rudolf Hess. Spandau Phoenix was published in 1993.

In 2002, Iles wrote the script 24 Hours from his novel of the same name. Rewritten by director Don Roos, it was renamed Trapped. Iles then rewrote the script during the shoot, at the request of the producers and actors.[3]

In 2011, Iles was seriously injured in a traffic accident on U.S. Route 61 near Natchez.[4] He sustained life-threatening injuries, including a ruptured aorta.[5] He was put into an induced coma for eight days, and lost his right leg below the knee. During his three-year recovery, he wrote three volumes of a trilogy set in Natchez, Mississippi, and featuring former prosecutor Penn Cage.[6][7]

Iles is a member of the literary musical group The Rock Bottom Remainders, which includes or has included authors Dave Barry, Ridley Pearson, Stephen King, Scott Turow, Amy Tan, Mitch Albom, Roy Blount, Jr., Matt Groening, and James McBride.[8] In July 2013, he co-authored Hard Listening (2013) with the group.[9] The ebook combines essays, fiction, musings, email exchanges and conversations, photographs, audio and video clips, and interactive quizzes to give readers a view into the private lives of the authors/musicians.

Works

Fiction

Nonfiction

  • Hard Listening (2013), with Rock Bottom Remainders

References

External links

Silver Dollar Group

From Wikipedia, the free encyclopedia

The Silver Dollar Group was an offshoot of the Ku Klux Klan white nationalist militant group, composed of leaderless resistance cells that took up violent actions to support Klan goals. The group was largely found in Mississippi and Louisiana, and was named for their practice of identifying themselves by carrying a silver dollar. The group is believed to have had only some twenty members.[1] The group formed in 1964 at the Shamrock Motor Hotel in Vidalia, Louisiana, amidst dissatisfaction at the lack of forceful action by Klan groups in the region.

The group killed an African American man, Frank Morris, by arson in Ferriday, Louisiana for alleged flirting with white women, and is suspected in two car bombings of NAACP leaders in Natchez, Mississippi, George Metcalfe and Wharlest Jackson.[2] Morris had a shoe repair shop in Ferriday, and died after his shoe repair shop was burned.

2007 prosecution

In 2007, Group member James Ford Seale was charged and convicted for the May 1964 kidnapping of Henry Hezekiah Dee and Charles Eddie Moore, two African-American young men in Meadville, Mississippi.[3]

References

  1. Jump up^ Quarles, C.L. (1999). The Ku Klux Klan and Related American Racialist and Antisemitic Organizations: A History and Analysis. McFarland. p. 124. ISBN 9780786406470. Retrieved January 6, 2016.
  2. Jump up^ Newton, M. (2005). The FBI and the KKK: A Critical History. p. 151. ISBN 9781476605104. Retrieved January 6, 2016.
  3. Jump up^ “Americas | US man in 1964 race attack charge”. BBC News. January 25, 2007. Retrieved February 13, 2011.

 

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Douglas Preston — Impact — Videos

Posted on February 18, 2017. Filed under: Art, Blogroll, Books, Communications, Corruption, Crime, Crisis, Culture, Entertainment, Family, Geology, Heroes, Homicide, Law, liberty, Life, Links, Literacy, Literature, media, Non-Fiction, People, Philosophy, Photos, Physics, Police, Psychology, Rants, Raves, Science, Security, Strategy, Success, Technology, Terrorism, Video, War, Wealth, Work, Writing | Tags: , , , , , , |

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Impact by Douglas Preston–Audiobook Excerpt

Author Interview with Douglas Preston on his book, Blasphemy

Interview with Suspense Author Doug Preston

Douglas Preston: The Lost City of the Monkey God

Ask Amy: Ken Follett- Interview by Douglas Preston

Douglas Preston

From Wikipedia, the free encyclopedia
Douglas Preston
Born Douglas Jerome Preston
May 20, 1956 (age 60)
Cambridge, Massachusetts
Occupation Novelist, journalist
Nationality American
Alma mater Pomona College
Genre Thriller, Techno-thriller, Adventure, Non-Fiction
Notable works Agent Pendergast Series, The Monster of Florence, Wyman Ford series, Gideon Crew series
Spouse Christine Preston
Relatives Richard Preston, David Preston
Website
www.prestonchild.com

Douglas Jerome Preston (born May 20, 1956) is an American author of techno-thriller and horror novels. He has written numerous novels, and although he is most well known for his collaborations with Lincoln Child (including the Agent Pendergast series and Gideon Crew series), he has also written six solo novels, primarily including the Wyman Ford series. He also has authored a number of non-fiction books on history, science, exploration, and true crime.

Life and career

Preston was born in Cambridge, Massachusetts. A graduate of the Cambridge School of Weston in Weston, Massachusetts, and Pomona College in Claremont, California, Preston began his writing career at the American Museum of Natural History in New York.

From 1978 to 1985, Preston worked for the American Museum of Natural History in New York City as a writer, editor, and manager of publications. He served as managing editor for the journal Curator and was a columnist for Natural History magazine.[1] In 1985 he published a history of the museum, Dinosaurs In The Attic: An Excursion into the American Museum of Natural History, which chronicled the explorers and expeditions of the museum’s early days. The editor of that book at St. Martin’s Press was his future writing partner, Lincoln Child.[2] They soon collaborated on a thriller set in the museum titled Relic. It was subsequently made into a motion picture by Paramount Pictures starring Penelope Ann Miller, Tom Sizemore, and Linda Hunt.

In 1986, Preston moved to New Mexico and began to write full-time. Seeking an understanding of the first moment of contact between Europeans and Native Americans in America, he retraced on horseback Francisco Vásquez de Coronado‘s violent and unsuccessful search for the legendary Seven Cities of Gold. That thousand mile journey across the American Southwest resulted in the book Cities of Gold: A Journey Across the American Southwest. Since that time, Preston has undertaken many long horseback journeys retracing historic or prehistoric trails, for which he was inducted into the Long Riders’ Guild.[3] He has also participated in expeditions in other parts of the world, including a journey deep into Khmer Rouge-held territory in the Cambodian jungle with a small army of soldiers, to become the first Westerner to visit a lost Angkor temple. He was the first person in 3,000 years to enter an ancient Egyptian burial chamber in a tomb known as KV5 in the Valley of the Kings.[4] In 1989 and 1990 he taught nonfiction writing at Princeton University. Currently, he’s an active member of the Authors Guild,[5] as well as the International Thriller Writers organization.[6]

Writing career

With his frequent collaborator Lincoln Child, he created the character of FBI Special Agent Pendergast, who appears in many of their novels, including Relic, The Cabinet of Curiosities, Brimstone, and White Fire. Additional novels by the Preston and Child team include Mount Dragon, Riptide, Thunderhead, and The Ice Limit. Later, the duo created the Gideon Crew series, which consists of Gideon’s Sword, Gideon’s Corpse, and The Lost Island.

For his solo career, Preston’s fictional debut was Jennie, a novel about a chimpanzee who is adopted by an American family. His next novel was The Codex, a treasure hunt novel with a style that was much closer to the thriller genre of his collaborations with Child. The Codex introduced the characters of Tom Broadbent and Sally Colorado. Tom and Sally return in Tyrannosaur Canyon, which also features the debut of Wyman Ford, an ex-CIA agent and (at the time) a monk-in-training. Following Tyrannosaur Canyon, Ford leaves the monastery where he is training, forms his own private investigation company, and replaces Broadbent as the main protagonist of Preston’s solo works. Ford subsequently returns in Blasphemy, Impact, and The Kraken Project.

In addition to his collaborations with Child and his solo fictional universe, Preston has written several non-fiction books of his own, mainly dealing with the history of the American Southwest. He has written about archaeology and paleontology for The New Yorker magazine and has also been published in Smithsonian, Harper’s, The Atlantic, Natural History, and National Geographic.[7][8][9][10][11]

In May, 2011, Pomona College conferred on Preston the degree of Doctor of Letters (Honoris Causa).[12] He is the recipient of writing awards in the United States and Europe.[citation needed]

Involvement in the “Monster of Florence” case

Main article: Monster of Florence

In 2000, Preston moved to Florence, Italy with his young family and became fascinated with an unsolved local murder mystery involving a serial killer nicknamed the “Monster of Florence“. The case and his problems with the Italian authorities are the subject of his 2008 book The Monster of Florence, co-authored with Italian journalist Mario Spezi. The book spent three months on the New York Timesbestseller list and won a number of journalism awards in Europe and the United States.[citation needed] It is being developed into a movie by 20th Century Fox, produced by George Clooney. Clooney will play the role of Preston.[13][14]

Involvement in the Amanda Knox case

Preston has criticized the conduct of Italian prosecutor Giuliano Mignini[15] in the trial of American student Amanda Knox, one of three convicted, and eventually cleared,[16] of the murder of British student Meredith Kercher in Perugia in 2007. In 2009, Preston argued on 48 Hours on CBS that the case against Knox was “based on lies, superstition, and crazy conspiracy theories”.[17] In December 2009, after the verdict had been announced, he described his own interrogation by Mignini on Anderson Cooper 360° on CNN. Preston said of Mignini, “this is a very abusive prosecutor. He makes up theories. He’s … obsessed with satanic sex.”[18]

“Operation Thriller” USO Tour

In 2010, Preston participated in the first USO tour sponsored by the International Thriller Writers organization,[19] along with authors David Morrell, Steve Berry, Andy Harp, and James Rollins. After visiting with military personnel at National Navy Medical Center and Walter Reed Army Medical Center, the group spent several days in Kuwait and Iraq, marking “the first time in the USO’s 69-year history that authors visited a combat zone.”[20] Of the experience, Preston said, “As always, we learn a great deal from all of the amazing and dedicated people we meet.”[21]

Authors United

In 2014, during a disagreement over terms between Hachette Book Group and Amazon.com, Inc.,[22] Preston initiated an effort which became known as Authors United.[23] During the contract dispute, books by Hachette authors faced significant shipment delays, blocked availability, and reduced discounts on the Amazon website.[24] Frustrated with tactics he felt unjustly injured authors who were caught in the middle, Preston began garnering the support of like-minded authors from a variety of publishers. In the first open letter from Authors United, over 900 signatories urged Amazon to resolve the dispute and end the policy of sanctions, while calling on readers to contact CEO Jeff Bezos to express their support of authors.[25][26]Not long after, a second open letter, signed by over 1100 authors, was sent to Amazon’s board of directors asking if they personally approved the policy of hindering the sale of certain books.[27]

Describing the motivation behind the campaign, Preston explained: “This is about Amazon’s bullying tactics against authors. Every time they run into difficulty negotiating with a publisher, they target authors’ books for selective retaliation. The authors who were first were from university presses and small presses… Amazon is going to be negotiating with publishers forever. Are they really going to target authors every time they run into a problem with a publisher?”[28]

Bibliography

Novels

  • Preston, Douglas (1994). Jennie. New York: St. Martin’s Press.

Tom Broadbent Novels

Wyman Ford Novels

Collaborations with Lincoln Child

Agent Pendergast series
Gideon Crew series
Short fiction
  • “Gone Fishing” from Thriller: Stories to Keep You Up All Night (2006)
  • “Extraction” [eBook] (2012)
  • “Gaslighted: Slappy the Ventriloquist Dummy vs. Aloysius Pendergast” [eBook] (2014) [35]

Non-fiction

  • Dinosaurs In the Attic: An Excursion into the American Museum of Natural History (1986)
  • Cities of Gold: A Journey Across the American Southwest in Pursuit of Coronado (1992) [36]
  • Talking to the Ground: One Family’s Journey on Horseback Across the Sacred Land of the Navajo (1996)
  • The Royal Road: El Camino Real from Mexico City to Santa Fe (1998)
  • Ribbons of Time: The Dalquest Research Site [photography by Walter W. Nelson, text by Preston] (2006)
  • The Monster of Florence: A True Story [with Mario Spezi] (2008)
  • Trial By Fury: Internet Savagery and the Amanda Knox Case [Kindle Single eBook] (2013)
  • Preston, Douglas (May 6, 2013). “The El Dorado machine : a new scanner’s rain-forest discoveries”. Our Far-Flung Correspondents. The New Yorker. 89 (12): 34–40.
  • The Black Place: Two Seasons [photography by Walter W. Nelson, essay by Preston] (2014)
  • The Lost City of the Monkey God: A True Story (2017)

See also

ttps://en.wikipedia.org/wiki/Douglas_Preston

Impact (novel)

From Wikipedia, the free encyclopedia
Impact
Impact-bookcover.jpg

Hardcover edition
Author Douglas Preston
Country United States
Language English
Series Wyman Ford
Genre Thriller, Science fiction
Publisher Forge Books
Publication date
January 5, 2010
Media type Print (hardback)
Pages 368 pp
ISBN 978-0-7653-1768-1
Preceded by Blasphemy
Followed by The Kraken Project

Impact is a science fiction thriller novel by American writer Douglas Preston, published on January 5, 2010 by Forge Books. The novel is the third book in the Wyman Ford series.[1][2] The book was reviewed on All Things Considered in February 2010.[citation needed]

Plot summary

Ex-CIA agent Wyman Ford returns to Cambodia to investigate the source of radioactive gemstones and uncovers an unusual impact crater. A young woman on the other side of the world photographs a meteoroid‘s passage in the atmosphere with her telescope and deduces that it must have struck on one of the islands just offshore from Round Pond, Maine. A NASA scientist analyzing data from the Mars Mapping Orbiter (MMO) spots unusual spikes in gamma ray activity. These threads intersect with discovery of an alien device that has apparently been on Deimos, one of the two moons of Mars, for at least 100 million years. Something has caused it to activate and fire a strangelet at Earth, setting off the events in the novel.

Timeline

The events in this novel follow those of The Codex, Tyrannosaur Canyon, and Blasphemy. As such, Wyman Ford is the protagonist once again (having appeared in Tyrannosaur Canyon and Blasphemy), and the character of Stanton Lockwood III (who debuted in Blasphemy) also returns.

See also

References

External links

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Scott Sigler — Infected — Videos

Posted on February 4, 2017. Filed under: American History, Art, Art, Articles, Biology, Blogroll, Books, Chemistry, Communications, Congress, Culture, Entertainment, history, Law, liberty, Life, Links, Literacy, Medical, Non-Fiction, People, Philosophy, Photos, Radio, Raves, Science, Video, War, Wealth, Weapons, Wisdom, Work, Writing | Tags: , , , , , , , , , |

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INFECTED Trailer from the novel by Scott Sigler (Book I of the INFECTED Trilogy)

Scott Sigler: “Rewriting Publishing with Podcasts” | Talks At Google

Scott Sigler Interview

PANDEMIC Trailer (Book III in the INFECTED Trilogy)

NOCTURNAL book trailer, novel by Scott Sigler

Scott Sigler Extended Bonus Interview from Sword & Laser Ep 1

Interview with Scott Sigler at San Diego Comic Con 2012

“The Writing Process” with Scott Sigler (from Joe Rogan Experience #437)

How To Write Your First Novel (So You Wanna Be A Writer #1)

The Big-Ass Binder (So You Wanna Be A Writer #2)

Should You Outline? (So You Wanna Be A Writer #3)

Should You Outline? (So You Wanna Be A Writer #4)

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So You Want to Write a Novel

Scott Sigler

From Wikipedia, the free encyclopedia
Scott Sigler
Scott Sigler (4772655043).jpg
Born Scott Carl Sigler
Cheboygan, Michigan, USA
Occupation Author
Nationality American
Genre Science fiction/Horror
Literary movement The Podiobook (Podcast Novel)
Website
scottsigler.com

Scott Carl Sigler is a contemporary American author of science fiction and horror as well as an avid podcaster. Scott is the New York Times #1 bestselling author of sixteen novels, six novellas, and dozens of short stories. He is the co-founder of Empty Set Entertainment, which publishes his young adult Galactic Football League series. He lives in San Diego.

Life and work

Raised in Cheboygan, Michigan Sigler’s father passed his love of classic monster films along to his son. His mother, a school teacher, encouraged his reading offering him any book he wanted.[1] Sigler wrote his first monster story, “Tentacles”, at the age of eight.[2] Sigler didn’t travel far for college having attended Olivet College (Olivet, MI) and Cleary College (Ann Arbor, MI) where he earned a BA in Journalism and a BS in Marketing. Scott has had a varied career path having worked fast food, picking fruit, shoveling horse manure, a sports reporter, director of marketing for a software company, software startup founder, marketing consultant, guitar salesman, bum in a rock band,[3] and currently as a social media strategist. He now resides in San Diego, California with his dog, Reesie.

EarthCore was originally published in 2001 by iPublish, an AOL/Time Warner imprint.[4] With the novel doing well as a promotional ebook, Time Warner was planning on publishing the novel. With the economic slump following September 11, 2001 terrorist attacks, Time Warner did away with the imprint in 2004. Scott then decided to start podcasting his novel in March, 2005 as the world’s first podcast-only novel[5] to build hype and garner an audience for his work. Sigler considered it a “no brainer” to offer the book as a free audio download. Having searched for podcast novels and finding none, Sigler decided to be the first.[6][7] Sigler was able to get EarthCore offered as a paid download on iTunes in 2006.[8] After EarthCore’s success (EarthCore had over 10,000 subscribers[9]), Sigler released Ancestor, Infected, The Rookie, Nocturnal, and Contagious via podcast.[10]

Sigler released an Adobe PDF version of Ancestor in March 2007 through Sigler’s own podcast as well as others. Ancestor was released on April 1, 2007 to much internet hype and, despite having been released two weeks earlier as a free ebook, reached #7 on Amazon.com‘s best-seller list and #1 on Sci-Fi, Horror and Genre-Fiction on the day of release.[11] Sigler is leveraging new media to keep in-touch with his fans, regularly talking with them using social networking sites, via email, and IM. Scott Sigler was featured in a New York Times article on March 1, 2007 by Andrew Adam Newman, which was covering authors using podcasting innovations to garner a broader audience.[12]

In March 2014, Executive Editor Mark Tavani at Ballantine Bantam Dell bought World Rights to a science fiction trilogy by Sigler. In the first book, Alive, a young woman awakes trapped in a confined space with no idea who she is or how she got there. She soon frees other young adults in the room and together they find that they are surrounded by the horrifying remains of a war long past … and matched against an enemy too horrible to imagine. Further adventures will follow in two more books, Alight and Alone. The books will be published under the Del Rey imprint.[13] On Wednesday, July 15, 2016, it was announced that Alive made #1 on the New York Times Bestseller list in the Young Adult E-Book category.[14]

Sigler calls Stephen King a “‘master craftsman’, who writes from the ‘regular guy’ strata from which he hails. His older stuff had no pretense, no ‘higher message,’ no ‘I’m extremely important’ attitude, just rock-solid storytelling and character development. He also would whack any character at any time, and that’s what hooked you in – when characters got into trouble, you didn’t know if they’d live, unlike 99% of the books out there that are trying to develop franchise characters.” According to Sigler, Jack London‘s “The Sea Wolf totally changed my views on life”. Sigler saw King Kong (1976 version) when he was a little kid. He said it, “Scared the crap out of me. I hid behind my dad’s shoulder and begged to leave the theatre. As soon as we were out, I asked when we could see it again – that was the moment I knew I wanted to tell monster stories. I wanted to have that same impact on other people.”

Awards

Sigler has been a runner up in both the 2006 and 2007 Parsec Awards. In 2006 Sigler was a runner up for his short story Hero in the Best Fiction (Short) category and for Infected in the Best Fiction (Long) category. In 2007 Sigler was a runner up for The Rookie in the Best Speculative Fiction Story (Novel Form) category. In 2008 Sigler’s Contagious, the sequel to Infected was listed at 33 on the New York Times best sellers list.

In 2008 Sigler broke through and won the Parsec Award for Red Man in the Best Speculative Fiction Story (Short Form) category. He followed up with another win in 2009 for Eusocial Networking in the Best Speculative Fiction Story (Novella Form) category. 2010 saw him continue to win in the Best Speculative Fiction Story (Short Form) category with his podcast, The Tank, and in 2011 he again took out the Best Speculative Fiction Story (Novella Form) category with Kissyman & the Gentleman.

On July 31, 2015, Scott was inducted into the inaugural class of the Academy of Podcasters Hall of Fame at a ceremony in Fort Worth, Texas.[15]

Bibliography

Stand-alone novels

Infected Trilogy

Galactic Football League Series

Generations Trilogy

Other works

  • See the Scott Sigler bibliography page for more detailed information about the above novels and his many other works, including novellas related to the Galactic Football League series, short story collections, other short stories, upcoming projects, etc.

Adaptations

Film

In May, 2007 the novel Infected was optioned by Rogue Pictures and Random House Films;[17] however, the option lapsed in April 2010.[citation needed] The short story Sacred Cow was made into an online only mini-film by StrangerThings.tv and was Stranger Things debut episode.[18] “Cheating Bastard”, a short film about a couple in love with football and their obsession with it, was created by Brent Weichsel and released via Sigler’s RSS feed.

Graphic novel

In 2010 work began on a graphic novel adaptation of Sigler’s Infected.[19] The first issue was released August 1, 2012,[20]but the series was put on hold indefinitely due to delays with subsequent issues.[21]

Recordings

Albums

  • The Crucible (2016) by Separation Of Sanity. Scott’s original spoken word appears on four tracks: The Pact, Pandemic (inspired by his novel of the same name), Bag Of Blood (his major appearance on the album), and End Of Days.

Readings

  • Scott reads Union Dues – Off White Lies by Jeffrey R. DeRego on Escape Pod, Episode 49, on April 13, 2006.
  • Scott reads Reggie vs. Kaiju Storm Chimera Wolf by Matthew Wayne Selznick on Escape Pod, Episode 117, on August 2, 2007.

References

  1. Jump up^ Detrich, Allan (2007-04-01). “Podcasts are a novel idea for Scott Sigler”. Toledo Blade. Archived from the original on April 7, 2008. Retrieved 2007-09-18.
  2. Jump up^ Newman, Heather (2001-12-04). “Detroit Free Press Home Computing Column”. Detroit Free Press Knight Ridder/Tribune Business News. Retrieved 2007-09-17.
  3. Jump up^ “iPublish.com at Time Warner Books unveils third round of authors discovered through online writer community.”. Ingram Investment Ltd. 2001-11-07. Retrieved 2007-09-17.
  4. Jump up^ Weinberg, Anna (2005-08-26). “A Novel Approach to Podcasting”. The Book Standard. Retrieved 2007-09-17.
  5. Jump up^ Angell, LC (2005-03-24). “Fiction author releases ‘Podcast-only’ novel”. iLounge.com. Retrieved 2007-09-17.
  6. Jump up^ Kerley, Christina (2006-08-26). “Access to Supply Powers Demand–and First Sci-Fi Podcast Novel. (Q&A with Scott Sigler)”. CK’s Blog. Retrieved 2007-09-18.
  7. Jump up^ “From Podcast to Paidcast”. PRNewswire. 2006-03-09. Retrieved 2007-09-18.
  8. Jump up^ “Earthcore Podcast Now Pay to Play”. Podcasting News. 2006-02-21. Retrieved 2007-09-18.
  9. Jump up^ Mehta, Devanshu (2006-02-23). “From Podcast to Paidcast”. Apple Matters. Retrieved 2007-09-18.
  10. Jump up^ Newman, Andrew Adam (2007-03-01). “Authors Find Their Voice, and Audience, in Podcasts”. The New York Times. Retrieved 2007-09-16.
  11. Jump up^ “Scott Sigler’s Ancestor Skyrockets to Top 10 of Amazon Best-Seller List on First Day of Release”. PodShow.com. 2007-04-02. Retrieved 2007-09-18.
  12. Jump up^ Ploutz, Morgan (2010-10-22). “Scott Sigler Talks Ancestor and Hard Science Horror Writing”. Dread Central. Retrieved 2010-10-22.
  13. Jump up^ Sigler, Scott (March 19, 2014). “New print deal: Three books with Del Rey”. scottsigler.com. Retrieved 2016-05-30.
  14. Jump up^ “Scott Sigler’s novel Alive (Del Rey) is #1 on the New York Times Bestseller list in the Young Adult E-Book category.”. The New York Times. 2016-07-24.
  15. Jump up^ Academy of Podcasters Awards and Hall of Fame Ceremony.
  16. Jump up^ “Pandemic (review)”. PW. Retrieved 30 November 2013.
  17. Jump up^ Borys, Kit (2007-05-31). “Rogue, Random book ‘Infested'”. The Hollywood Reporter. Archived from the original on 2007-09-30. Retrieved 2007-09-18.
  18. Jump up^ Newton, Earl (2007-03-02). “Episode 01: Sacred Cow”. StrangerThings.tv. Retrieved 2007-09-18.
  19. Jump up^ “IDW Get Infected With Scott Sigler”. Bleeding Cool. Retrieved 13 September 2013.
  20. Jump up^ “PREVIEW: INFECTED #1”. CBR. Retrieved 13 September 2013.
  21. Jump up^ Sigler, Scott. “INFECTED Graphic Novel”. Scott Sigler. Retrieved 13 September 2013.

External links

https://en.wikipedia.org/wiki/Scott_Sigler

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R. G. Belsky — The Kennedy Connection– A Gill Malloy Novel — Videos

Posted on December 27, 2016. Filed under: Blogroll, Books, Communications, Constitution, Crime, Drug Cartels, Fiction, Fraud, Homicide, Law, Life, Links, media, Newspapers, People, Philosophy, Photos, Police, Politics, Press, Psychology, Video, Wealth, Wisdom, Writing | Tags: , , , , , , , , , , |

Image result for bookcovers The kennedy connection

Image result for bookcovers R. G. Belsky The kennedy connection

R.G. Belsky is an author of crime fiction and a journalist in New York City. His new suspense thriller, BLONDE ICE, was published by Atria on October 18. It is the latest in a series of books from Atria featuring Gil Malloy, a hard-driving newspaper reporter with a penchant for breaking big stories on the front page of the New York Daily News. The first book in the Gil Malloy series – THE KENNEDY CONNECTION – was published in 2014 and SHOOTING FOR THE STARS came out in 2015. Belsky himself is a former managing editor at the Daily News and writes about the media from an extensive background in newspapers, magazines and TV/digital news. At the Daily News, he also held the titles of metropolitan editor and deputy national editor. Before that, he was metropolitan editor of the New York Post and news editor at Star magazine. Belsky was most recently the managing editor for news at NBCNews.com. His previous suspense novels include PLAYING DEAD and LOVERBOY.  He was the Claymore Award winner at Killer Nashville 2016 and also a Silver Falchion Finalist.

Author R.G. Belsky on Celebrity Death Fascination

Interview with RG Belsky, author of Shooting for the Stars

About The Kennedy Connection

Picture

Half a century after the assassination of President John F. Kennedy, someone is killing people on the streets of New York City and leaving behind a bizarre calling card of that tragic day in Dallas.

In this bold and entertaining thriller from a true media insider, discredited newspaper reporter Gil Malloy breaks the story of the link between seeming unconnected murders – a Kennedy half dollar found at each of the crime scenes. At the same time, a man emerges who claims to be the secret son of Lee Harvey Oswald and says he has new evidence that Oswald was innocent of the JFK killing.

Malloy,  who has fallen from grace at the New York Daily News and sees this as an opportunity redeem himself as an ace reporter, is certain there is a connection between the Oswald revelations and the NYC murders, but first he has to get someone to believe him. Convinced that the answers go all the way back to the JFK assassination more than fifty years ago, Malloy soon uncovers long-buried secrets that put his own life in danger from powerful forces who fear he’s getting too close to the truth.

Two tales of suspense fuse into an edge-of-your seat thriller as Malloy races to stop the killer—before it’s too late.


“A monstrous hurricane of conspiracy, lies and bodies…”The Kennedy Connection begs to be read from the first page to the last.”
— Killer Nashville

“Belsky has the newsman’s gift…..he tells his story well.”
— Jimmy Breslin

http://www.rgbelsky.com/

I’ve been a journalist for a long time. I worked at newspapers, magazines and TV news stations. Now I write mystery novels about a fictional journalist, New York City newspaper reporter Gil Malloy.

My old friends from the newsroom say to me: “Wow, you’ve got it easy these days. All you have to do at your job is make stuff up.”

Well, yes and no.

Here are some things I’ve learned along the way about switching from journalism to novelist.


BelskyR-featured9781476762364This guest post is by R.G. Belsky. Belsky is an author of crime fiction and a journalist in New York City. His new suspense thriller is SHOOTING FOR THE STARS (Atria). It is the latest in a series of books featuring Gil Malloy, a hard-driving newspaper reporter with a penchant for breaking big stories on the front page of the New York Daily News. The first book in the Gil Malloy series – THE KENNEDY CONNECTION – was published in 2014 and an ebook novella titled THE MIDNIGHT HOUR came out in February 2015. Belsky himself is a former managing editor at the Daily News and writes about the media from an extensive background in newspapers, magazines and TV/digital news. He was also metropolitan editor of the New York Post; news editor at Star magazine; and, most recently, managing editor for news at NBCNews.com.


1. FACTS ARE YOUR FRIEND

The most important thing a journalist does is make sure the facts are right. That’s a priority even over being first with the story. An inaccurate story is worse than no story. So I’ve spent most of my life checking and re-checking the facts of what I do. And I’m still doing that as a novelist, maybe more than ever. Because you don’t write fiction in a vacuum. It has to be based on some kind of facts, and those facts better be right. There’s an old newspaper adage that says the three most important things in any news story are: “accuracy, accuracy and accuracy.” I’ve followed that rule all my life, and I still do in my novels.

2. MIXING FACTS AND FICTION CAN BE TRICKY

Reporting the news is actually pretty straight-forward, if you think about it. Because it’s all about the facts. In a novel, some is fact and the rest is fiction. In my books, for instance, reporter Gil Malloy works at the New York Daily News, which is a real newspaper. But the characters and the stories are fictional. Sure, I make a lot up, but I have to be sure the basic facts about the Daily News – location, subways to get there, etc. – are right. The same with other locations. I can write a restaurant scene at Sardi’s as long as I put it at the right address. On the other hand, I can also make up a fictional newspaper or a fictional restaurant. But there are rules even then. If I make up a restaurant and put it at an address like 723 East 33rd Street, someone will be quick to point out that I’m eating in the middle of the East River.

 

3. YES, YOU GET TO MAKE STUFF UP

This is a pretty cool thing to be able to do. Don’t like your old boss? Write a boss character that has unpleasant things happen to him. Dumped by your girlfriend? Write her as a woman who is madly in love with your character. You get the idea, total freedom. My first Gil Malloy book, THE KENNEDY CONNECTION, was about him looking for answers to the JFK assassination. No way I could really have done that as a journalist. But, as a novelist, I created a fictional secret son of Lee Harvey Oswald with all sorts of blockbuster new evidence about Dallas. In SHOOTING FOR THE STARS, I do the same thing to reveal scandalous Hollywood secrets. I gotta tell you – after years of being a journalist who had to stick exactly to the facts – that is fun!

4. A JOURNALIST NEVER FACES A BLANK PAGE

One of the great things about the news is it never stops. There are new stories out there every day. It’s not always that easy for a novelist. There are times when you stare at a blank page with no idea what to say or how to say it. My trick – based on years as a journalist – is to set a deadline for myself. I pretend I’m back at a newspaper and I have to turn in 10 pages to the editor in the next hour. It actually works. At least for me. But then I’ve been chasing deadlines all my life.

5. DON’T RESEARCH TOO MUCH

Yes, I know this kind of runs counter to what I said about facts at the beginning. But you can become overly bogged down with facts in your fiction. Never forget you’re trying to write an exciting, entertaining story – which sometimes means giving a wink-and-a-nod to the facts and letting your imagination loose. Raymond Chandler used to talk about people complaining that his Philip Marlowe character wasn’t an accurate portrayal of what a private detective does. Chandler’s response was that, of course, real PIs don’t get hit over the head and shot at every day, but if he wrote about what they actually did – going over divorce papers at a desk, etc. – no would ever read his books.

6. TRUTH SOMETIMES IS STRANGER THAN FICTION

One of the things I’ve noticed at times is that some of the stories I worked on as a journalist are even wilder and more sensational and more compelling than anything I could ever dream up as a novelist. Take O.J. Simpson. Beloved football superstar, movie actor and TV ad pitchman becomes most hated person in America. Plus, the White Bronco chase, the Trial of the Century, the crazy cast of characters with Johnny Cochran, Kato Kaelin and all the rest. Then there’s the most famous headline I was ever involved with at the New York Post: Headless Body in Topless Bar. Hey, you can’t make that kind of stuff up.

 

7. JOURNALISM IS TODAY, NOVELS ARE FOREVER

One thing – good and bad – about being a journalist is the immediacy of the job. You can break the biggest story in the world, and your editor will still say to you at the end of the day: “So what do you got for tomorrow?” On the plus side, no matter how badly you screw up a story, there’s going to be another chance the next day for you to do your job better. Books don’t go away. They sit in bookstores for months and years sometimes, and in libraries even longer. So if you make a mistake in your book…well you’re just going to have to live with it for a long, long time.

8. JOURNALISM IS WORK , WRITING NOVELS IS FUN

Okay, maybe I overstated that a bit. Writing novels can be hard work too. But every day when I sit down in front of the computer to write my book, I know that I can do whatever I want. There are no rules in writing fiction except for the rules that you set for yourself. [Like this quote? Click here to Tweet and share it!] You don’t get that kind of freedom in a newsroom. People ask me what I like doing best – being a journalist or a novelist. My answer is both. I’ve had the two greatest jobs I can imagine. Covering the news for real and then creating a fictional journalist who does the same things I did – and a lot more – in my novels.

http://www.writersdigest.com/online-editor/from-journalist-to-writing-novels-8-things-you-need-to-know

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Tom Wolfe — The Right Stuff — Videos

Posted on December 10, 2016. Filed under: American History, Art, Articles, Blogroll, Book, Books, College, Comedy, Communications, Culture, Education, Entertainment, Fiction, Heroes, history, Language, Law, liberty, Life, Links, Literacy, media, Money, Movies, Movies, Music, People, Philosophy, Photos, Press, Rants, Raves, Raymond Thomas Pronk, Video, War, Wisdom, World War II, Writing | Tags: , , , , , , , , , |

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Image result for tom wolf the right stuff

Image result for tom wolf the right stuff

Image result for tom wolf the right stuff

Image result for tom wolf the right stuff

Image result for tom wolf the right stuff

The Right Stuff – The Bell X-1 (with Levon Helm as CPT Jack Ridley)

The Right Stuff (Part 2)

The Right Stuff (Part 3)

The Right Stuff (Part 4)

The Right Stuff (Part 5)

The Right Stuff (Part 6)

The Right Stuff (Part 7)

The Right Stuff (book)

From Wikipedia, the free encyclopedia
The Right Stuff
The Right Stuff (book).jpg

First edition
Author Tom Wolfe
Country United States
Language English
Genre New Journalism
Non-fiction
Publisher Farrar, Straus and Giroux
Publication date
1979
Media type Print (hardcover & paperback)
Pages 436 pages
ISBN 0-374-25032-4
OCLC 5007334
629.4/0973 19
LC Class TL789.8.U5 W64 1979

The Right Stuff is a 1979 book by Tom Wolfe about the pilots engaged in U.S. postwar research with experimental rocket-powered, high-speed aircraft as well as documenting the stories of the first Project Mercury astronauts selected for the NASA space program. The Right Stuff is based on extensive research by Wolfe, who interviewed test pilots, the astronauts and their wives, among others. The story contrasts the “Mercury Seven[1] and their families with test pilots such as Chuck Yeager, who was considered by many contemporaries as the best of them all, but who was never selected as an astronaut.

Wolfe wrote that the book was inspired by the desire to find out why the astronauts accepted the danger of space flight. He recounts the enormous risks that test pilots were already taking, and the mental and physical characteristics—the titular “right stuff”—required for and reinforced by their jobs. Wolfe likens the astronauts to “single combat warriors” from an earlier era who received the honor and adoration of their people before going forth to fight on their behalf.

The 1983 film The Right Stuff is adapted from the book.

Writing and publication

First-state dust jacket, showing initial design never released in a public edition[2]

In 1972 Jann Wenner, the editor of Rolling Stone assigned Wolfe to cover the launch of NASA’s last moon mission, Apollo 17. Wolfe became fascinated with the astronauts, and his competitive spirit compelled him to try to outdo Norman Mailer‘s nonfiction book about the first moon mission, Of a Fire on the Moon. He published a four-part series for Rolling Stone in 1973 titled “Post-Orbital Remorse”, about the depression that some astronauts experienced after having been in space. After the series, Wolfe began researching the whole of the space program, in what became a seven-year project from which he took time to write The Painted Word, a book on art, and to complete Mauve Gloves & Madmen, Clutter & Vine, a collection of shorter pieces.[3]

In 1977 he returned to his astronaut book full-time. Wolfe originally planned to write a complete history of the space program, though after writing through the Mercury program, he felt that his work was complete and that it captured the astronauts’ ethos — the “right stuff” that astronauts and test pilots of the 1940s and 1950s shared — the unspoken code of bravery and machismo that compelled these men to ride on top of dangerous rockets. While conducting research, he consulted with General Chuck Yeager and, after receiving a comprehensive review of his manuscript, was convinced that test pilots like Yeager should form the backdrop of the period. In the end, Yeager becomes a personification of the many postwar test pilots and their “right stuff.”[4] The phrase itself may have originated in the Joseph Conrad story “Youth”, where it was used.

The Right Stuff was published in 1979 by Farrar, Straus and Giroux and became Wolfe’s best selling book yet.[citation needed] It was praised by most critics, was a finalist for the National Book Critics Circle Award, and won the National Book Award for Nonfiction.[5][6]

In the foreword to a new edition, published in 1983 when the film adaptation was released, Wolfe wrote that his “book grew out of some ordinary curiosity” about what “makes a man willing to sit up on top of an enormous Roman candle… and wait for someone to light the fuse.”[7]

Book

The story is more about the space race than space exploration in general. The Soviet Union‘s early space efforts are mentioned only as background, focusing entirely on an early portion of the U.S. space program. Only Project Mercury, the first operational manned space-flight program, is covered. The Mercury Seven were Scott Carpenter, Gordon Cooper, John Glenn, Gus Grissom, Wally Schirra, Alan Shepard, and Deke Slayton. Emphasis is given to the personal stories of the astronauts and their wives rather than the technical aspects of space travel and the flights themselves.

The storyline also involves the political reasons for putting people into space, asserting that the Mercury astronauts were actually a burden to the program and were only sent up for promotional reasons. Reasons for including living beings in spacecraft are barely touched upon, but the first option considered was to use a chimpanzee (and, indeed, chimpanzees were sent up first).

Another option considered were athletes already accustomed to physical stress, such as circus trapeze artists. Wolfe states that President Dwight D. Eisenhower, however, insisted on pilots, even though the first crew members would not actually fly the spacecraft. When Gus Grissom lands at sea and exits his space capsule, saving the capsule seems more important to the recovery team than saving the pilot because of the value of the data.

Wolfe contrasts the Seven with the Edwards AFB test pilots, among whom was Chuck Yeager, who was shut out of the astronaut program after NASA officials decided to use college-degreed pilots, not ones who gained their commissions as enlisted men, such as participants in the USAAF Flying Sergeants Program in World War II. Chuck Yeager spent time with Tom Wolfe explaining accident reports “that Wolfe kept getting all wrong.” Publishing insiders say these sessions between Wolfe and Yeager led Wolfe to highlight Yeager’s character, presence, thoughts, and anecdotes throughout the book. As an example, Yeager prides his speech to the Society of Test Pilots that the first rider in the Mercury development program would be a monkey, not a real test pilot, and Wolfe plays this drama out on the angst felt by the Mercury Astronauts over those remarks. Yeager himself downplayed the theory of “the right stuff,” attributing his survival of potential catastrophes to simply knowing his airplane thoroughly, along with some good luck.

Another test pilot highlighted in the book is Scott Crossfield. Crossfield and Yeager were fierce but friendly rivals for speed and altitude records.

Film adaptation

A 3-hour, 13-minute film stars Sam Shepard, Scott Glenn, Ed Harris, Dennis Quaid, Fred Ward, Barbara Hershey, Kim Stanley, Levon Helm, Veronica Cartwright, Pamela Reed, Lance Henriksen, and the real Chuck Yeager in a cameo appearance. NFL Hall of Famer Anthony Muñoz also has a small role, playing “Gonzalez”. It features a score by composer Bill Conti.

The screenplay was adapted by Philip Kaufman from the book, with some contributions from screenwriter William Goldman (Goldman dissociated himself with the film after quarrelling with Kaufman about the story). The film was also directed by Kaufman.

While the movie took liberties with certain historical facts as part of “dramatic license”, criticism focused on one: the portrayal of Gus Grissom panicking when his Liberty Bell 7 spacecraft sank following splashdown. Most historians, as well as engineers working for or with NASA and many of the related contractor agencies within the aerospace industry, are now convinced that the premature detonation of the spacecraft hatch’s explosive bolts was caused by failure not associated with direct human error or deliberate detonation at the hands of Grissom.[citation needed]

This determination had, in fact, been made long before the movie was filmed, and even Tom Wolfe‘s book only states that this possibility was considered, not that it was actually judged as being the cause of the accident. In fact, Grissom was assigned to command the first flights of both Gemini and Apollo. Ironically, Grissom died in the Apollo 1 fire because there was no quick-opening hatch on the Block 1 Apollo Command Module – a design choice made because NASA had determined that the explosion in the hatch on Grissom’s Liberty Bell 7 had been most likely self-initiated.[citation needed]

Another fact that had been altered in the film was the statement by Trudy Cooper, who commented that she “wondered how they would’ve felt if every time their husband went in to make a deal, there was a one-in-four chance he wouldn’t come out of that meeting.” According to the book, this actually reflected the 23% chance of dying during a 20-year career as a normal pilot. For a test pilot, these odds were higher, at 53%, but were still considerably less than the movie implied. In addition, the movie merely used the fictional Mrs. Cooper as a vehicle for the statement; the real Mrs. Cooper is not known to have said this.[8]

Wolfe made no secret that he disliked the film, especially because of changes from his original book. William Goldman, involved in early drafts of the script, also disliked the choices made by Kaufman, saying in his book Adventures in the Screen Trade that “Phil [Kaufman]’s heart was with Yeager. And not only that, he felt the astronauts, rather than being heroic, were really minor leaguers, mechanical men of no particular quality, not great pilots at all, simply the product of hype.”[9] Critics, however, generally were favorable toward the film.

References

Citations

  1. Jump up^ Wolfe 2001, p. 143. Note: Wolfe uses this term exactly once.
  2. Jump up^ The Right Stuff.” ABE books. Retrieved: 3 November 2009.
  3. Jump up^ Ragen 2001, pp. 22–26.
  4. Jump up^ Wolfe 1979, p. 368.
  5. Jump up^ Ragen 2001, p. 26–28.
  6. Jump up^ “National Book Awards – 1980”. National Book Foundation. Retrieved 2012-02-21.
    This was the award for General Nonfiction (hardcover) during a period in National Book Awards history when there were many nonfiction subcategories.
  7. Jump up^ Wolfe 2001, Foreword.
  8. Jump up^ Wolfe 1979, p. 22.
  9. Jump up^ Goldman 1983

Bibliography

  • Bryan, C.D.B. “The Right Stuff (review).” New York Times, 23 September 1979.
  • Charity, Tom. The Right Stuff (BFI Modern Classics). London: British Film Institute, 1991. ISBN 0-85170-624-X.
  • Goldman, William (1989). Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting (reissue ed.). Grand Central Publishing. ISBN 0-446-39117-4.
  • Ragen, Brian Abel, ed. Tom Wolfe: A Critical Companion. West Port, Connecticut: Greenwood Press, 2001. ISBN 0-313-31383-0.
  • Wolfe, Tom. The Right Stuff. New York: Farrar, Straus and Giroux, 1979, ISBN 0-374-25032-4.
  • Wolfe, Tom. The Right Stuff. New York: Bantam, 1979, ISBN 0-553-24063-3.
  • Wolfe, Tom. The Right Stuff. New York: Bantam, 2001, 1979, ISBN 0-553-38135-0.

External links

Tom Wolfe

From Wikipedia, the free encyclopedia
Not to be confused with Thomas Wolfe or Tom Wolf (politician).
Tom Wolfe
Wolfe at White House.jpg

Wolfe at the White House on March 22, 2004
Born Thomas Kennerly Wolfe, Jr.
March 2, 1931 (age 85)
Richmond, Virginia, U.S.
Occupation Journalist, author
Language English
Nationality American
Period 1959–present
Literary movement New Journalism
Notable works The Painted Word, The Electric Kool-Aid Acid Test, The Right Stuff, A Man in Full, Radical Chic & Mau-Mauing the Flak Catchers, The Bonfire of the Vanities, I Am Charlotte Simmons, Back to Blood
Spouse Sheila Wolfe
Children 2

Thomas KennerlyTomWolfe, Jr. (born March 2, 1931)[1] is an American author and journalist, best known for his association with and influence over the New Journalism literary movement, in which literary techniques are used extensively and traditional values of journalistic objectivity and evenhandedness are rejected. He began his career as a regional newspaper reporter in the 1950s, but achieved national prominence in the 1960s following the publication of such best-selling books as The Electric Kool-Aid Acid Test (a highly experimental account of Ken Kesey and the Merry Pranksters), and two collections of articles and essays, Radical Chic & Mau-Mauing the Flak Catchers and The Kandy-Kolored Tangerine-Flake Streamline Baby. His first novel, The Bonfire of the Vanities, published in 1987, was met with critical acclaim, became a commercial success, and was adapted as a major motion picture (directed by Brian De Palma).

Early life and education

Wolfe was born in Richmond, Virginia, the son of Louise (née Agnew), a landscape designer, and Thomas Kennerly Wolfe, Sr., an agronomist.[2][3]

Wolfe grew up on Gloucester Road in the historic Richmond North Side neighborhood of Sherwood Park. He recounts some of his childhood memories of growing up there in a foreword to a book about the nearby historic Ginter Park neighborhood.

Wolfe was student council president, editor of the school newspaper and a star baseball player at St. Christopher’s School, an Episcopalian all-boys school in Richmond, Virginia.

Upon graduation in 1947, he turned down admission to Princeton University to attend Washington and Lee University, both all-male schools at the time; at Washington and Lee, Wolfe was a member of the Phi Kappa Sigma fraternity. Wolfe majored in English and practiced his writing outside the classroom as well. He was the sports editor of the college newspaper and helped found a literary magazine, Shenandoah. Of particular influence was his professor Marshall Fishwick, a teacher of American studies educated at Yale. More in the tradition of anthropology than literary scholarship, Fishwick taught his classes to look at the whole of a culture, including those elements considered profane. The very title of Wolfe’s undergraduate thesis, “A Zoo Full of Zebras: Anti-Intellectualism in America,” evinced his fondness for words and aspirations toward cultural criticism. Wolfe graduated cum laude in 1951.

Wolfe had continued playing baseball as a pitcher and had begun to play semi-professionally while still in college. In 1952 he earned a tryout with the New York Giants but was cut after three days, which Wolfe blamed on his inability to throw good fastballs. Wolfe abandoned baseball and instead followed his professor Fishwick’s example, enrolling in Yale University‘s American studies doctoral program. His PhD thesis was titled The League of American Writers: Communist Organizational Activity Among American Writers, 1929–1942.[4] In the course of his research, Wolfe interviewed many writers, including Malcolm Cowley, Archibald MacLeish, and James T. Farrell.[5] A biographer remarked on the thesis: “Reading it, one sees what has been the most baleful influence of graduate education on many who have suffered through it: it deadens all sense of style.”[6] His thesis was originally rejected but he finally passed by rewriting it being objective instead of subjective. Upon leaving Yale he wrote a friend explaining through expletives his personal opinions about his thesis.

Journalism and New Journalism

Though Wolfe was offered teaching jobs in academia, he opted to work as a reporter. In 1956, while still preparing his thesis, Wolfe became a reporter for the Springfield Union in Springfield, Massachusetts. Wolfe finished his thesis in 1957 and in 1959 was hired by The Washington Post. Wolfe has said that part of the reason he was hired by the Post was his lack of interest in politics. The Post’s city editor was “amazed that Wolfe preferred cityside to Capitol Hill, the beat every reporter wanted.” He won an award from The Newspaper Guild for foreign reporting in Cuba in 1961 and also won the Guild’s award for humor. While there, he experimented with fiction-writing techniques in feature stories.[7]

In 1962, Wolfe left Washington for New York City, taking a position with the New York Herald Tribune as a general assignment reporter and feature writer. The editors of the Herald Tribune, including Clay Felker of the Sunday section supplement New York magazine, encouraged their writers to break the conventions of newspaper writing.[8] During the 1962 New York City newspaper strike, Wolfe approached Esquire magazine about an article on the hot rod and custom car culture of Southern California. He struggled with the article until finally a desperate editor, Byron Dobell, suggested that Wolfe send him his notes so they could piece the story together.

Wolfe procrastinated until, on the evening before the article was due, he typed a letter to Dobell explaining what he wanted to say on the subject, ignoring all journalistic conventions. Dobell’s response was to remove the salutation “Dear Byron” from the top of the letter and publish it intact as reportage. The result, published in 1963, was “There Goes (Varoom! Varoom!) That Kandy-Kolored Tangerine-Flake Streamline Baby.” The article was widely discussed—loved by some, hated by others—and helped Wolfe publish his first book, The Kandy-Kolored Tangerine-Flake Streamline Baby, a collection of his writings in the Herald-Tribune, Esquire, and other publications.[9]

This was what Wolfe called New Journalism, in which some journalists and essayists experimented with a variety of literary techniques, mixing them with the traditional ideal of dispassionate, even-handed reporting. More specifically, Wolfe experimented with four literary devices not normally associated with feature writing—scene-by-scene construction, extensive dialogue, multiple points of view, and detailed description of one’s status-life symbols (the materialistic choices one makes)—to produce this stylized form of journalism, which would later be commonly referred to as literary journalism.[10] Of status symbols, Wolfe has said, “I think every living moment of a human being’s life, unless the person is starving or in immediate danger of death in some other way, is controlled by a concern for status.”[11]

Wolfe also championed what he called “saturation reporting,” a reportorial approach where the journalist “shadows” and observes the subject over an extended period of time. “To pull it off,” says Wolfe, “you casually have to stay with the people you are writing about for long stretches . . . long enough so that you are actually there when revealing scenes take place in their lives.”[12] Saturation reporting differs from “in-depth” and “investigative” reporting, which involve the direct interviewing of numerous sources and/or the extensive analyzing of external documents relating to the story. Saturation reporting, according to communication professor Richard Kallan, “entails a more complex set of relationships wherein the journalist becomes an involved, more fully reactive witness, no longer distanced and detached from the people and events reported.”[13]

One of the most striking examples of New Journalism is Wolfe’s The Electric Kool-Aid Acid Test. The book, an account of the adventures of the Merry Pranksters, a famous sixties counter-culture group, was highly experimental in its use of onomatopoeia, free association, and eccentric punctuation—such as multiple exclamation marks and italics—to convey the manic ideas and personalities of Ken Kesey and his followers.

In addition to his own forays into this new style of journalism, Wolfe edited a collection of New Journalism with E.W. Johnson, published in 1973 and titled The New Journalism. This book brought together pieces from Truman Capote, Hunter S. Thompson, Norman Mailer, Gay Talese, Joan Didion, and several other well-known writers with the common theme of journalism that incorporated literary techniques and that could be considered literature.[14]

Non-fiction books

In 1965, a collection of his articles in this style was published under the title The Kandy-Kolored Tangerine-Flake Streamline Baby, and Wolfe’s fame grew. A second volume of articles, The Pump House Gang, followed in 1968. Wolfe wrote on popular culture, architecture, politics, and other topics that underscored, among other things, how American life in the 1960s had been transformed by post-WWII economic prosperity. His defining work from this era is The Electric Kool-Aid Acid Test (published the same day as The Pump House Gang in 1968), which for many epitomized the 1960s. Although a conservative in many ways and certainly not a hippie (in 2008, he claimed never to have used LSD and to have tried marijuana only once[15]) Wolfe became one of the notable figures of the decade.

In 1970, he published two essays in book form as Radical Chic & Mau-Mauing the Flak Catchers: “Radical Chic,” a biting account of a party given by Leonard Bernstein to raise money for the Black Panther Party, and “Mau-Mauing The Flak Catchers,” about the practice of using racial intimidation (“mau-mauing”) to extract funds from government welfare bureaucrats (“flak catchers”). The phrase “radical chic” soon became a popular derogatory term for upper-class leftism. Published in 1977, Mauve Gloves & Madmen, Clutter & Vine included one of Wolfe’s more famous essays, “The Me Decade and the Third Great Awakening.”

Back row – Shepard, Grissom, Cooper; Front row – Schirra, Slayton, Glenn, Carpenter.
The astronauts of the Mercury Seven were the subject of The Right Stuff.

In 1979, Wolfe published The Right Stuff, an account of the pilots who became America’s first astronauts. Famously following their training and unofficial, even foolhardy, exploits, he likened these heroes to “single combat champions” of a bygone era, going forth to battle in the space race on behalf of their country. In 1983, the book was adapted as a successful feature film.

In 2016 Wolfe published The Kingdom of Speech, which is a controversial[16] critique of Charles Darwin and Noam Chomsky.[17]

Art critiques

Wolfe also wrote two highly skeptical social histories of modern art and modern architecture, The Painted Word and From Bauhaus to Our House, in 1975 and 1981, respectively. The Painted Word mocked the excessive insularity of the art world and its dependence on what he saw as faddish critical theory, while From Bauhaus to Our House explored the negative effects of the Bauhaus style on the evolution of modern architecture.[18]

Made for TV movie

A fictional television movie appeared on PBS in 1977, “Tom Wolfe’s Los Angeles”, a suitably satirical story set in Los Angeles. Wolfe appears in the movie himself.[19][20]

Novels

Throughout his early career, Wolfe had planned to write a novel that would capture the wide spectrum of American society. Among his models was William Makepeace Thackeray‘s Vanity Fair, which described the society of 19th century England. Wolfe remained occupied writing nonfiction books and contributing to Harper’s until 1981, when he ceased his other work to concentrate on the novel.

Wolfe began researching the novel by observing cases at the Manhattan Criminal Court and shadowing members of the Bronx homicide squad. While the research came easily, the writing did not immediately follow. To overcome his writer’s block, Wolfe wrote to Jann Wenner, editor of Rolling Stone, to propose an idea drawn from Charles Dickens and Thackeray. The Victorian novelists that Wolfe viewed as his models had often written their novels in serial installments. Wenner offered Wolfe around $200,000 to serialize his work.[21] The deadline pressure gave him the motivation he had hoped for, and from July 1984 to August 1985 each biweekly issue of Rolling Stone contained a new installment. Wolfe was later not happy with his “very public first draft”[22] and thoroughly revised his work. Even Sherman McCoy, the novel’s central character, changed: originally a writer, the book version cast McCoy as a bond salesman. Wolfe researched and revised for two years, and his The Bonfire of the Vanities was published in 1987. The book was a commercial and critical success, spending weeks on bestseller lists and earning praise from much of the literary establishment on which Wolfe had long heaped scorn.[23]

Because of the success of Wolfe’s first novel, there was widespread interest in his second. This novel took him more than 11 years to complete; A Man in Full was published in 1998. The book’s reception was not universally favorable, though it received glowing reviews in Time, Newsweek, The Wall Street Journal and elsewhere. An enormous initial printing of 1.2 million copies was announced and the book stayed at number one on the New York Times bestseller list for ten weeks. John Updike wrote a critical review for The New Yorker complaining that the novel “amounts to entertainment, not literature, even literature in a modest aspirant form.” This touched off an intense war of words in the print and broadcast media between Wolfe and Updike, John Irving, and Norman Mailer. In 2001, Wolfe published an essay referring to these three authors as “My Three Stooges.”

After publishing Hooking Up (a collection of short pieces, including the 1997 novella Ambush at Fort Bragg) in 2001, he followed up with his third novel, I Am Charlotte Simmons (2004), which chronicles the decline of a poor, bright scholarship student from Alleghany County, North Carolina, in the context of snobbery, materialism, institutionalised anti-intellectualism and sexual promiscuity she finds at a prestigious contemporary American university. The novel met with a mostly tepid response by critics but won praise from many social conservatives, who saw the book’s account of college sexuality as revealing of a disturbing moral decline. The novel won a Bad Sex in Fiction Award from the London-based Literary Review, a prize established “to draw attention to the crude, tasteless, often perfunctory use of redundant passages of sexual description in the modern novel”. Wolfe later explained that such sexual references were deliberately clinical.

Wolfe has written that his goal in writing fiction is to document contemporary society in the tradition of John Steinbeck, Charles Dickens, and Émile Zola.

In early 2008, it was announced that Wolfe was leaving his longtime publisher, Farrar, Straus and Giroux. His fourth novel, Back to Blood, was published in October 2012 by Little, Brown. According to The New York Times, Wolfe was paid close to US$7 million for the book.[24] According to the publisher, Back to Blood is about “class, family, wealth, race, crime, sex, corruption and ambition in Miami, the city where America’s future has arrived first.”[25]

Recurring themes

Several themes are present in much of Wolfe’s writing, including his novels. One such theme is male power-jockeying, which is a major part of The Bonfire of the Vanities, A Man in Full, and I Am Charlotte Simmons as well as several of his journalistic pieces. Male characters in his fiction often suffer from feelings of extreme inadequacy or hugely inflated egos, sometimes alternating between both. He satirizes racial politics, most commonly between whites and blacks; he also highlights class divisions between characters. Men’s fashions often play a large part in his stories, being used to indicate economic status. Much of his recent work also addresses neuroscience, a subject which he admitted a fascination with in “Sorry, Your Soul Just Died,” one of the essays in Hooking Up, and which played a large role in I Am Charlotte Simmons—the title character being a student of neuroscience, and characters’ thought processes, such as fear, humiliation and lust, frequently being described in the terminology of brain chemistry. Wolfe also frequently gives detailed descriptions of various aspects of his characters’ anatomies.[26]

Two of his novels (A Man in Full and I Am Charlotte Simmons) feature major characters (Conrad Hensley and Jojo Johanssen, respectively) who are set on paths to self-discovery by reading classical Roman and Greek philosophy.

Law and banking firms in Wolfe’s writing often have satirical names formed by the surnames of the partners. “Dunning, Sponget and Leach” and “Curry, Goad and Pesterall” appear in The Bonfire of the Vanities, and “Wringer, Fleasom and Tick” in A Man in Full. Ambush at Fort Bragg contains a law firm called “Crotalus, Adder, Cobran and Krate” (all names or homophones of venomous snakes).

Some characters appear in multiple novels, creating a sense of a “universe” that is continuous throughout Wolfe’s fiction. The character of Freddy Button, a lawyer from Bonfire of the Vanities, is mentioned briefly in I Am Charlotte Simmons. A character named Ronald Vine, an interior decorator who is mentioned in The Bonfire of the Vanities, reappears in A Man in Full as the designer of Charlie Croker’s home.

A fictional sexual practice called “that thing with the cup” appears in several of his writings, including The Bonfire of the Vanities, A Man in Full and a (non-fiction) essay in Hooking Up.

The surname “Bolka” appears in three Wolfe novels—as the name of a rendering plant in A Man in Full, as a partner in an accounting firm in Bonfire of the Vanities, and as a college lacrosse player from the Balkans in I Am Charlotte Simmons.

The white suit

Wolfe adopted the white suit as a trademark in 1962. He bought his first white suit planning to wear it in the summer in the style of Southern gentlemen. However, he found that the suit he purchased was too heavy for summer use, so he wore it in winter, which created a sensation.[27] Wolfe has maintained this uniform ever since, sometimes worn with a matching white tie, white homburg hat, and two-tone shoes. Wolfe has said that the outfit disarms the people he observes, making him, in their eyes, “a man from Mars, the man who didn’t know anything and was eager to know.”[28]

Views

In 1989, Wolfe wrote an essay for Harper’s Magazine titled “Stalking the Billion-Footed Beast“, which criticized modern American novelists for failing to engage fully with their subjects, and suggested that modern literature could be saved by a greater reliance on journalistic technique. This attack on the mainstream literary establishment was interpreted as a boast that Wolfe’s work was superior to more highly regarded authors.[29]

Wolfe was a supporter of George W. Bush and said he voted for him for president in 2004 because of what he called Bush’s “great decisiveness and willingness to fight.” (Bush apparently reciprocates the admiration, having read all of Wolfe’s books, according to friends in 2005.[30]) After this fact emerged in a New York Times interview, Wolfe said that the reaction in the literary world was as if he had said, “I forgot to tell you—I’m a child molester.” Because of this incident, he sometimes wears an American flag pin on his suit, which he compared to “holding up a cross to werewolves.”[31]

Wolfe’s views and choice of subject material, such as mocking left-wing intellectuals in Radical Chic and glorifying astronauts in The Right Stuff, have sometimes led to his being labeled conservative,[32] and his depiction of the Black Panther Party in Radical Chic led to a member of the party calling him a racist.[33] Wolfe rejects such labels; in a 2004 interview, he said that his “idol” in writing about society and culture is Émile Zola, who, in Wolfe’s words, was “a man of the left” but “went out, and found a lot of ambitious, drunk, slothful and mean people out there. Zola simply could not—and was not interested in—telling a lie.”[32]

Asked to comment by the Wall Street Journal on blogs in 2007 to mark the tenth anniversary of their advent, Wolfe wrote that “the universe of blogs is a universe of rumors” and that “blogs are an advance guard to the rear.” He also took the opportunity to criticize Wikipedia, saying that “only a primitive would believe a word of” it. He noted a story about him in his Wikipedia entry at the time, which he said had never happened.[34]

Personal life

Wolfe lives in New York City with his wife Sheila, who designs covers for Harper’s magazine. They have two children, a daughter, Alexandra, and a son, Tommy.[35]

A writer for Examiner Magazine who interviewed Wolfe in 1998 said, “He has no computer and does not surf, or even know how to use, the Internet”, adding, however, that Wolfe’s novel A Man in Full does have a subplot involving “a muckraking cyber-gossip site, à la the Drudge Report or Salon.”[35]

Influence

Wolfe is credited with introducing the terms “statusphere,” “the right stuff,” “radical chic,” “the Me Decade,” “social x-ray,” and “pushing the envelope” into the English lexicon.[36][dubious ] He is sometimes credited with inventing the term “trophy wife” as well, but this is incorrect: he described emaciated wives as “X-rays” in his novel The Bonfire of the Vanities but did not use the term “trophy wife”.[37] According to journalism professor Ben Yagoda, Wolfe is also responsible for the use of the present tense in magazine profile pieces; before he began doing so in the early 1960s, profile articles had always been written in the past tense.[38]

Terms coined by Wolfe

List of awards and nominations

Television appearances

  • Wolfe was featured as an interview subject in the 1987 PBS documentary series Space Flight.
  • In July 1975 Wolfe was interviewed on Firing Line by William F. Buckley, Jr., discussing “The Painted Word”.[44]
  • Wolfe was featured on the February 2006 episode “The White Stuff” of Speed Channel‘s Unique Whips, where his Cadillac‘s interior was customized to match his trademark white suit.[45]
  • Wolfe guest-starred alongside Jonathan Franzen, Gore Vidal and Michael Chabon in The Simpsons episode “Moe’N’a Lisa“, which aired November 19, 2006. He was originally slated to be killed by a giant boulder, but that ending was edited out.[46] Wolfe was also used as a sight gag on The Simpsons episode “Insane Clown Poppy“, which aired on November 12, 2000. Homer spills chocolate on Wolfe’s trademark white suit, and Wolfe rips it off in one swift motion, revealing an identical suit underneath.

Bibliograph

Non-fiction

Novels

Featured in

Notable articles

  • “The Last American Hero Is Junior Johnson. Yes!” Esquire, March 1965.
  • “Tiny Mummies! The True Story of the Ruler of 43rd Street’s Land of the Walking Dead!” New York Herald-Tribune supplement (April 11, 1965).
  • “Lost in the Whichy Thicket,” New York Herald-Tribune supplement (April 18, 1965).
  • “The Birth of the New Journalism: Eyewitness Report by Tom Wolfe.” New York, February 14, 1972.
  • “The New Journalism: A la Recherche des Whichy Thickets.” New York Magazine, February 21, 1972.
  • “Why They Aren’t Writing the Great American Novel Anymore.” Esquire, December 1972.
  • “The Me Decade and the Third Great Awakening” New York, August 23, 1976.
  • Stalking the Billion-Footed Beast“, Harper’s. November 1989.
  • “Sorry, but Your Soul Just Died.” Forbes 1996.
  • “Pell Mell.” The Atlantic Monthly (November 2007).
  • “The Rich Have Feelings, Too.” Vanity Fair (September 2009).

See also

Notes

  1. Jump up^ This was the award for hardcover “General Nonfiction”. From 1980 to 1983 in National Book Award history there were dual awards for hardcover and paperback books in many categories, including several nonfiction subcategories. Most of the paperback award-winners were reprints, including the 1980 General Nonfiction.

https://en.wikipedia.org/wiki/Tom_Wolfe

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One Flew Over the Cuckoo’s Nest (film)

From Wikipedia, the free encyclopedia
One Flew Over the Cuckoo’s Nest
One Flew Over the Cuckoo's Nest poster.jpg

Theatrical release poster
Directed by Miloš Forman
Produced by Saul Zaentz
Michael Douglas
Screenplay by Lawrence Hauben
Bo Goldman
Based on One Flew Over the Cuckoo’s Nest
by Ken Kesey
Starring Jack Nicholson
Louise Fletcher
William Redfield
Music by Jack Nitzsche
Cinematography Haskell Wexler
Bill Butler[1]
Edited by Richard Chew[2]
Sheldon Kahn
Lynzee Klingman
Production
company
Fantasy Films
Distributed by United Artists
Release dates
  • November 19, 1975
Running time
133 minutes
Country United States
Language English
Budget $3 million[3]
Box office $109 million[3]

One Flew Over the Cuckoo’s Nest is a 1975 American comedy-drama film directed by Miloš Forman, based on the 1962 novel One Flew Over the Cuckoo’s Nest by Ken Kesey. The film stars Jack Nicholson and features a supporting cast of Louise Fletcher, William Redfield, Will Sampson, and Brad Dourif.

Considered to be one of the greatest films ever made, One Flew Over the Cuckoo’s Nest is No. 33 on the American Film Institute‘s 100 Years… 100 Movies list. The film was the second to win all five major Academy Awards (Best Picture, Actor in Lead Role, Actress in Lead Role, Director, and Screenplay) following It Happened One Nightin 1934, an accomplishment not repeated until 1991 by The Silence of the Lambs. It also won numerous Golden Globe and BAFTA Awards.

In 1993, the film was deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress and selected for preservation in the National Film Registry.

Plot

In 1963, Oregon, recidivist criminal Randle McMurphy is moved to a mental institution after serving a short sentence on a prison farm after raping a teenager. Though not actually mentally ill, McMurphy hopes to avoid hard labour and serve the rest of his sentence in a relaxed environment. Upon arriving at the hospital, he finds the ward run by the steely, strict Nurse Ratched, who subtly suppresses the actions of her patients through a passive-aggressive routine, intimidating the patients.

The other patients include anxious, stuttering Billy Bibbit; Charlie Cheswick, who is prone to childish tantrums; delusional Martini; the well-educated, paranoid Dale Harding; belligerent Max Taber; epileptic Jim Sefelt; and “Chief” Bromden, a tall Native American believed to be deaf and mute. Ratched soon sees McMurphy’s lively, rebellious presence to be a threat to her authority, confiscating the patients’ cigarettes and rationing them. During his time in the ward, McMurphy gets into a battle of wits with Ratched. He steals a hospital bus, escaping with several patients to go on a fishing trip, encouraging his friends to become more self-confident.

McMurphy learns his sentence may become indefinite, and he makes plans to escape, exhorting Chief to throw a hydrotherapy cart through a window. He, Chief, and Cheswick get into a fight with the orderlies after the latter becomes agitated over his stolen cigarettes. Ratched sends them to the “shock shop”, and McMurphy discovers Chief can actually speak, feigning illness to avoid engaging with anyone. After being subjected to electroconvulsive therapy, McMurphy returns to the ward pretending to have brain damage, but reveals the treatment has charged him up even more. McMurphy and Chief make plans to escape, but decide to throw a secret Christmas party for their friends after Ratched leaves for the night.

McMurphy sneaks two women, Candy and Rose, into the ward and bribes the night guard. After a night of partying, McMurphy and Chief prepare to escape, inviting Billy to come with them. He refuses, not ready to leave the hospital. McMurphy instead convinces him to have sex with Candy. Ratched arrives in the morning to find the ward in disarray and most of the patients unconscious. She discovers Billy and Candy together, the former now free of his stutter, until Ratched threatens to inform his mother about his escapade. Billy is overwhelmed with fear and locks himself in the doctor’s office and commits suicide. The enraged McMurphy strangles Ratched, before being knocked out by an orderly.

Ratched comes back with a neck brace and a scratchy voice. Rumours spread that McMurphy escaped rather than be taken “upstairs”. Later that night, Chief sees McMurphy being returned to his bed. He discovers McMurphy has lobotomy scars on his forehead, and smothers his friend with a pillow. Chief finally throws the hydrotherapy cart through the window and escapes into the night, cheered on by the men.

Cast

Production

Filming began in January 1975 and concluded approximately three months later,[4] and was shot on location in Salem, Oregon and the surrounding area, as well as on the Oregon coast.[5][6] It was also shot at Oregon State Hospital in Salem, Oregon, which was also the setting of the novel.[7]

Haskell Wexler was fired as cinematographer and replaced by Bill Butler. Wexler believed his dismissal was due to his concurrent work on the documentary Underground, in which the radical terrorist group The Weather Underground were being interviewed while hiding from the law. However, Miloš Forman said he had terminated Wexler over mere artistic differences. Both Wexler and Butler received Academy Awardnominations for Best Cinematography for One Flew Over the Cuckoo’s Nest, though Wexler said there was “only about a minute or two minutes in that film I didn’t shoot.”[8]

According to Butler, Jack Nicholson refused to speak to Forman: “…[Jack] never talked to Milos at all, he only talked to me.”[1]

Reception

The film was met with overwhelming critical acclaim; Roger Ebert said “Miloš Forman’s One Flew Over the Cuckoo’s Nest is a film so good in so many of its parts that there’s a temptation to forgive it when it goes wrong. But it does go wrong, insisting on making larger points than its story really should carry, so that at the end, the human qualities of the characters get lost in the significance of it all. And yet there are those moments of brilliance.”[9] Ebert would later put the film on his “Great Movies” list.[10] A.D. Murphy of Variety wrote a mixed review as well,[11] as did Vincent Canby: writing in The New York Times, Canby called the film “a comedy that can’t quite support its tragic conclusion, which is too schematic to be honestly moving, but it is acted with such a sense of life that one responds to its demonstration of humanity if not to its programmed metaphors.”[12]

The film opens with original music by composer Jack Nitzsche, featuring an eerie bowed saw (performed by Robert Armstrong) and wine glasses. Commenting on the score, reviewer Steven McDonald has said, “The edgy nature of the film extends into the score, giving it a profoundly disturbing feel at times — even when it appears to be relatively normal. The music has a tendency to always be a little off-kilter, and from time to time it tilts completely over into a strange little world of its own …”[13]

The film went on to win the “Big Five” Academy Awards at the 48th Oscar ceremony. These include the Best Actor for Jack Nicholson, Best Actress for Louise Fletcher, Best Direction for Forman, Best Picture, andBest Adapted Screenplay for Laurence Hauben and Bo Goldman. The film currently has a 95% “Certified Fresh” rating at Rotten Tomatoes with an average rating of 8.9/10.[14] Its consensus states “The onscreen battle between Jack Nicholson and Louise Fletcher serves as a personal microcosm of the culture wars of the 1970s — and testament to the director’s vision that the film retains its power more than three decades later.”

One Flew Over the Cuckoo’s Nest is considered to be one of the greatest American films. Ken Kesey participated in the early stages of script development, but withdrew after creative differences with the producers over casting and narrative point of view; ultimately he filed suit against the production and won a settlement.[15] Kesey himself claimed never to have seen the movie, but said he disliked what he knew of it,[16] a fact confirmed by Chuck Palahniuk who wrote, “The first time I heard this story, it was through the movie starring Jack Nicholson. A movie that Kesey once told me he disliked.”[17]

In 1993, this film was deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress and selected for preservation in their National Film Registry.[18]

Awards and honors

Award Category Nominee Result
Academy Award Academy Award for Best Picture Michael Douglas and Saul Zaentz Won
Academy Award for Best Director Miloš Forman Won
Academy Award for Best Actor Jack Nicholson Won
Academy Award for Best Actress Louise Fletcher Won
Academy Award for Writing Adapted Screenplay Laurence Hauben and Bo Goldman Won
Academy Award for Best Supporting Actor Brad Dourif Nominated
Academy Award for Best Cinematography Haskell Wexler and Bill Butler Nominated
Academy Award for Film Editing Richard Chew, Lyzee Klingman and Sheldon Kahn Nominated
Academy Award for Original Music Score Jack Nitzsche Nominated
Golden Globe Award Golden Globe Award for Best Motion Picture – Drama Michael Douglas and Saul Zaentz Won
Golden Globe Award for Best Director – Motion Picture Miloš Forman Won
Golden Globe Award for Best Actor – Motion Picture Drama Jack Nicholson Won
Golden Globe Award for Best Actress – Motion Picture Drama Louise Fletcher Won
Golden Globe Award for Best Screenplay Laurence Hauben and Bo Goldman Won
Golden Globe Award for New Star of the Year – Actor Brad Dourif Won
BAFTA Award BAFTA Award for Best Film Michael Douglas and Saul Zaentz Won
BAFTA Award for Best Direction Miloš Forman Won
BAFTA Award for Best Actor in a Leading Role Jack Nicholson Won
BAFTA Award for Best Actress in a Leading Role Louise Fletcher Won
BAFTA Award for Best Actor in a Supporting Role Brad Dourif Won
BAFTA Award for Best Editing Richard Chew, Lynzee Klingman and Sheldon Kahn Won
BAFTA Award for Best Cinematography Haskell Wexler and Bill Butler Nominated
BAFTA Award for Best Adapted Screenplay Laurence Hauben and Bo Goldman Nominated

Others

American Film Institute

See also

References

  1. ^ Jump up to:a b Townsend, Sylvia (19 December 2014). “Haskell Wexler and the Making of ‘One Flew Over the Cuckoo’s Nest'”. Retrieved 13 April2015.
  2. Jump up^ Chew was listed as “supervising editor” in the film’s credits, but was included in the nomination for an editing Academy Award.
  3. ^ Jump up to:a b “One Flew Over the Cuckoo’s Nest, Box Office Information”.Box Office Mojo. Retrieved January 22, 2012.
  4. Jump up^ One Flew Over the Cuckoo’s Nest at the American Film Institute
  5. Jump up^ Story Notes for One Flew Over the Cuckoo’s Nest
  6. Jump up^ “Hollywood’s Love Affair with Oregon Coast Continues”. Retrieved15 June 2015.
  7. Jump up^ Oregon State Hospital – A documentary film (Mental Health Association of Portland)
  8. Jump up^ Anderson, John. “Haskell Wexler, Oscar-Winning Cinematographer, Dies at 93.” The New York Times, December 27, 2015.
  9. Jump up^ Suntimes.com – Roger Ebert review, Chicago Sun-Times, January 1, 1975
  10. Jump up^ Suntimes.com – Roger Ebert review, Chicago Sun-Times, February 2, 2003.
  11. Jump up^ Variety.com – A.D. Murphy, Variety, November 7, 1975
  12. Jump up^ Canby, Vincent (November 28, 1975). “Critic’s Pick: One Flew Over the Cuckoo’s Nest”. The New York Times.
  13. Jump up^ AllMusic: Review by Steven McDonald
  14. Jump up^ “One Flew over the Cuckoo’s Nest Movie Reviews, Pictures – Rotten Tomatoes”. Retrieved 2010-08-19.
  15. Jump up^ Carnes, Mark Christopher, Paul R. Betz, et al. (1999). American National Biography, Volume 26. New York: Oxford University Press USA. ISBN 0-19-522202-4. p. 312,
  16. Jump up^ Carnes, p. 312
  17. Jump up^ Foreword of One Flew Over the Cuckoo’s Nest, Copyright 2007 by Chuck Palahniuk. Available in the 2007 Edition published by Penguin Books
  18. Jump up^ “U.S. National Film Registry — Titles”. Retrieved September 2,2016.
  19. Jump up^ AFI’s 100 Years…100 Heroes and Villains Nominees

External links

https://en.wikipedia.org/wiki/One_Flew_Over_the_Cuckoo%27s_Nest_(film)

Could Hillary’s smile cost her the election? Twitter mocks Clinton’s ‘creepy grandma’ grin as she smirks her way through presidential debate

With her opponent dogged by accusations of sexual assault, Hillary Clinton had strong odds as she entered the third presidential debate on Wednesday.

Only one thing seemed to threaten her chances of victory: her smile.

The Democratic candidate faced a flood of insults as she took to the stage at the University of Las Vegas, with many viewers confessing they were ‘creeped out’ by her stubborn grin.

Hundreds took to Twitter to describe her smile as ‘scary’ and ‘creepy’.

Hillary Clinton's unrelenting smile at Wednesday's presidential debate made for uncomfortable viewing for some voters 

Hillary Clinton’s unrelenting smile at Wednesday’s presidential debate made for uncomfortable viewing for some voters

Social media mocks Hillary Clinton’s ‘creepy grandma’ grin

Others questioned why, when being slammed with insults from her opponent, her expression did not drop.

‘Hillary Clinton’s smile is the scariest thing I’ve ever seen in my life,’ said one observer.

‘When Hillary smiles she looks like an evil snake,’ another commented.

‘What to do when you don’t have a response? Smile like a chipmunk,’ remarked another.

‘Whoever told Hillary Clinton to smile less since the first debate gave great advice,’ mused a different viewer.

Others, ever-so-slightly more charmed by her cheerful demeanor, likened her to a happy grandmother.

The Democratic candidate beamed as she listened to Donald Trump slam her political record and campaign policies 

Her glee remained written all over her face as Trump continued to slate her, much to viewers' confusion 

Her glee remained written all over her face as Trump continued to slate her, much to viewers’ confusion

Twitter users were quick to mock her expression as they watched the debate on Wednesday 

Twitter users were quick to mock her expression as they watched the debate on Wednesday

Clinton's happy expression became a talking point at earlier debates. It continued to peak viewers' interests at her final showdown with Trump on Wednesday (above) e

Clinton’s happy expression became a talking point at earlier debates. It continued to peak viewers’ interests at her final showdown with Trump on Wednesday (above)

‘Hillary Clinton is so cute it’s something about her I just want her to tuck me in and give me a kiss with her coffee breath,’ one commented.

It was not the first time her facial expression sparked interest among voters.

After the first presidential debate on September 26, political commentators shared some free advice with the candidate online.

‘Who told Hillary Clinton to keep smiling like she’s at her granddaughter’s birthday party?’ said David Frum, senior editor of The Atlantic, at the time.

The discussion had the same hallmarks of bizarre criticisms made earlier this month about Donald Trump’s incessant sniffing.

Viewers were distracted throughout the second presidential debate by the Republican candidate’s runny nose, complaining in their droves about it online. 
http://www.dailymail.co.uk/news/article-3854016/Could-Hillary-s-smile-cost-election-Twitter-mocks-Clinton-s-creepy-grandma-grin-smirks-way-presidential-debate.html#ixzz4Nf3WfCyu

Ken Kesey

From Wikipedia, the free encyclopedia
Not to be confused with Kenny Casey (disambiguation).
Ken Kesey
Born Kenneth Elton Kesey
September 17, 1935
La Junta, Colorado, U.S.
Died November 10, 2001 (aged 66)
Eugene, Oregon, U.S.[1][2]
Occupation Novelist, short story writer, essayist, poet
Nationality American
Genre Beat, postmodernism
Literary movement Merry Pranksters
Notable works One Flew Over the Cuckoo’s Nest (1962)
Sometimes a Great Notion(1964)

Kenneth Elton “Ken” Kesey (/ˈkz/; September 17, 1935 – November 10, 2001) was an American novelist, essayist, and countercultural figure. He considered himself a link between the Beat Generation of the 1950s and the hippies of the 1960s.

Kesey was born in La Junta, Colorado and grew up in Springfield, Oregon, graduating from the University of Oregon in 1957. He began writing One Flew Over the Cuckoo’s Nest in 1960 following the completion of a graduate fellowship in creative writing at Stanford University; the novel was an immediate commercial and critical success when published two years later. Subsequently, he moved to nearby La Honda, California and began hosting happenings with former colleagues from Stanford, miscellaneous bohemian & literary figures (most notably Neal Cassady), and other friends under the imprimateur of the Merry Pranksters; these parties, known as Acid Tests, integrated the consumption of LSD with multimedia performances. He mentored the Grateful Dead (the de facto “house band” of the Acid Tests) throughout their incipience and continued to exert a profound influence upon the group throughout their long career. Sometimes a Great Notion—an epic account of the vicissitudes of an Oregon logging family that aspired to the modernist grandeur of William Faulkner‘s Yoknapatawpha saga—was a commercial success that polarized critics and readers upon its release in 1964, although Kesey regarded the novel as his magnum opus.[3]

In 1965, following an arrest for marijuana possession and subsequent faked suicide, Kesey was imprisoned for five months. Shortly thereafter, he returned home to the Willamette Valley and settled in Pleasant Hill, Oregon, where he maintained a secluded, family-oriented lifestyle for the rest of his life. In addition to teaching at the University of Oregon—culminating in Caverns (1989), a collaborative novel written by Kesey and his graduate workshop students under the pseudonym of “O.U. Levon”—he continued to regularly contribute fiction and reportage to such publications as Esquire, Rolling Stone, Oui, Running, and The Whole Earth Catalog; various iterations of these pieces were collected in Kesey’s Garage Sale (1973) and Demon Box (1986).

Between 1974 and 1980, Kesey published six issues of Spit in the Ocean, a little magazine that featured excerpts from an unfinished novel (Seven Prayers by Grandma Whittier, an account of Kesey’s grandmother’s struggle with Alzheimer’s disease) and contributions from such luminaries as Margo St. James, Kate Millett, Stewart Brand, Saul-Paul Sirag, Jack Sarfatti, Paul Krassner, and William S. Burroughs.[4][5] After a third novel (Sailor Song) was released to lukewarm reviews in 1992, he reunited with the Merry Pranksters and began publishing works on the Internet until ill health (including a stroke) curtailed his activities.

Biography

Early life

Ken Kesey was born in La Junta, Colorado, to dairy farmers Geneva (née Smith) and Frederick A. Kesey.[1] In 1946, the family moved to Springfield, Oregon.[2] Kesey was a champion wrestler in both high school and college in the 174-pound weight division, and he almost qualified to be on the Olympic team until a serious shoulder injury stopped his wrestling career. He graduated from Springfield High School in 1953.[2] An avid reader and filmgoer, the young Kesey took John Wayne, Edgar Rice Burroughs, and Zane Grey as his role models (later naming a son Zane) and toyed with magic, ventriloquism, and hypnotism.[6]

In 1956, while attending college at the University of Oregon School of Journalism and Communication in neighboring Eugene, Oregon, Kesey eloped with his high-school sweetheart, Norma “Faye” Haxby, whom he had met in seventh grade.[2] According to Kesey, “Without Faye, I would have been swept overboard by notoriety and weird, dope-fueled ideas and flower-child girls with beamy eyes and bulbous breasts.”[7] Married until his death at the age of 66, they had three children: Jed, Zane, and Shannon.[8] Additionally, Kesey fathered a daughter with fellow Merry Prankster Carolyn “Mountain Girl” Adams and the approval of Faye Kesey; born in 1966, Sunshine Kesey was raised by Adams and Jerry Garcia.[9]

Kesey had a football scholarship for his freshman year, but switched to University of Oregon wrestling team as a better fit to his build. After posting a .885 winning percentage in the 1956–57 season, he received the Fred Low Scholarship for outstanding Northwest wrestler. In 1957, Kesey was second in his weight class at the Pacific Coast intercollegiate competition.[1][10][11] He remains “ranked in the top 10 of Oregon Wrestling’s all time winning percentage.”[12][13]

A member of Beta Theta Pi throughout his studies, Kesey graduated from the University of Oregon with a Bachelor of Arts degree in speech and communication in 1957. Increasingly disengaged by the playwriting and screenwriting courses that comprised much of his major, he began to take literature classes in the second half of his collegiate career with James B. Hall, a cosmopolitan alumnus of the University of Iowa‘s renowned writing program who had previously taught at Cornell University and later served as provost of the University of California, Santa Cruz.[14] Hall took on Kesey as his protege and cultivated his interest in literary fiction, introducing Kesey (whose interests were hitherto confined to Ray Bradbury‘s science fiction) to the works of Ernest Hemingway and other paragons of modernist fiction.[15] After the last of several brief summer sojourns as a struggling actor in Los Angeles, he published his first short story (“First Sunday of September”) in the Northwest Review and successfully applied to the highly selective Woodrow Wilson National Fellowship for the 1958–59 academic year.

Unbeknownst to Kesey, who applied at Hall’s request, the maverick literary critic Leslie Fiedler successfully importuned the regional fellowship committee to select the “rough-hewn” Kesey alongside more traditional fellows from Reed College and other elite institutions.[16] Because he lacked the prerequisites to work toward a traditional master’s degree in English as a communications major, Kesey elected to enroll in the non-degree program at Stanford University‘s Creative Writing Center that fall; while studying and working in the Stanford milieu over the next five years, most of them spent as a resident of Perry Lane (a historically bohemian enclave adjacent to the university golf course), he developed intimate lifelong friendships with fellow writers Ken Babbs, Larry McMurtry, Wendell Berry, Ed McClanahan, Gurney Norman, and Robert Stone.[2]

During his initial fellowship year, Kesey frequently clashed with Center director Wallace Stegner, who regarded the young writer as “a sort of highly talented illiterate”; Stegner’s deputy Richard Scowcroft later recalled that “neither Wally nor I thought he had a particularly important talent.”[17] Stegner rejected Kesey’s application for a departmental Stegner Fellowship before finally permitting his attendance as a Woodrow Wilson Fellow; according to Stone, Stegner “saw Kesey… as a threat to civilization and intellectualism and sobriety” and continued to reject Kesey’s Stegner Fellowship applications for the 1959–60 and 1960–61 terms.[18]

Nevertheless, Kesey received the prestigious $2,000 Harper-Saxton Prize for his first novel in progress (the oft-rejected Zoo) and audited the graduate writing seminar—a courtesy nominally accorded to former Stegner Fellows, although Kesey only secured his place by falsely claiming to Scowcroft that his colleague (on sabbatical through 1960) “had said that he could attend classes for free”—through the 1960-61 term.[17]The course was initially taught that year by Viking Press editorial consultant and Lost Generation eminence grise Malcolm Cowley, who was “always glad to see” Kesey and fellow auditor Tillie Olsen. Cowley was succeeded the following quarter by the Irish short story specialist Frank O’Connor; frequent spats between O’Connor and Kesey ultimately precipitated his departure from the class.[19] While under the tutelage of Cowley, he began to draft and workshop the manuscript that would evolve into One Flew Over the Cuckoo’s Nest.

Reflecting upon this period in a 1999 interview with Robert K. Elder, Kesey recalled, “I was too young to be a beatnik, and too old to be a hippie.”[20]

Experimentation with psychoactive drugs

At the instigation of Perry Lane neighbor and Stanford psychology graduate student Vik Lovell, an acquaintance of Richard Alpert and Allen Ginsberg, Kesey volunteered to take part in what turned out to be a CIA-financed study under the aegis of Project MKULTRA, a highly secret military program, at the Menlo Park Veterans’ Hospital[21] where he worked as a night aide.[22] The project studied the effects of psychoactive drugs, particularly LSD, psilocybin, mescaline, cocaine, aMT, and DMT on people.[2] Kesey wrote many detailed accounts of his experiences with these drugs, both during the study and in the years of private experimentation that followed.

Kesey’s role as a medical guinea pig, as well as his stint working at the Veterans’ Administration hospital, inspired him to write One Flew Over the Cuckoo’s Nest. The success of this book, as well as the demolition of the Perry Lane cabins in August 1963, allowed him to move to a log house at 7940 La Honda Road in La Honda, California, a rustic hamlet in the Santa Cruz Mountains fifteen miles to the west of the Stanford University campus.[23] He frequently entertained friends and many others with parties he called “Acid Tests,” involving music (including the Stanford-educated Anonymous Artists of America and Kesey’s favorite band, the Grateful Dead), black lights, fluorescent paint, strobe lights, LSD, and other psychedelic effects. These parties were described in some of Ginsberg’s poems and served as the basis for Tom Wolfe‘s The Electric Kool-Aid Acid Test, an early exemplar of the nonfiction novel. Other firsthand accounts of the Acid Tests appear in Hell’s Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs by Hunter S. Thompson and the 1967 Hell’s Angels memoir Freewheelin Frank, Secretary of the Hell’s Angels (Frank Reynolds; ghostwritten by Michael McClure).

One Flew Over the Cuckoo’s Nest

While still enrolled at the University of Oregon in 1957, Kesey wrote End of Autumn; according to Rick Dogson, the novel “focused on the exploitation of college athletes by telling the tale of a football lineman who was having second thoughts about the game.”[24] Although Kesey came to regard the unpublished work as juvenilia, an excerpt served as his Stanford Creative Writing Center application sample.[24]

During his Woodrow Wilson Fellowship year, Kesey wrote Zoo, a novel about the beatniks living in the North Beach community of San Francisco, but it was never published.

The inspiration for One Flew Over the Cuckoo’s Nest came while working on the night shift with Gordon Lish at the Menlo Park Veterans’ Hospital. There, Kesey often spent time talking to the patients, sometimes under the influence of the hallucinogenic drugs with which he had volunteered to experiment. Kesey did not believe that these patients were insane, but rather that society had pushed them out because they did not fit the conventional ideas of how people were supposed to act and behave. Published under the guidance of Cowley in 1962, the novel was an immediate success; in 1963, it was adapted into a successful stage play by Dale Wasserman, and in 1975, Miloš Forman directed a screen adaptation, which won the “Big Five” Academy Awards: Best Picture, Best Actor (Jack Nicholson), Best Actress (Louise Fletcher), Best Director (Forman) and Best Adapted Screenplay (Lawrence Hauben, Bo Goldman).

Kesey originally was involved in creating the film, but left two weeks into production. He claimed never to have seen the movie because of a dispute over the $20,000 he was initially paid for the film rights. Kesey loathed the fact that, unlike the book, the film was not narrated by the Chief Bromden character, and he disagreed with Jack Nicholson’s being cast as Randle McMurphy (he wanted Gene Hackman). Despite this, Faye Kesey has stated that her husband was generally supportive of the film and pleased that it was made.[25]

Merry Pranksters

When the publication of his second novel, Sometimes a Great Notion in 1964, required his presence in New York, Kesey, Neal Cassady, and others in a group of friends they called the Merry Pranksters took a cross-country trip in a school bus nicknamed Further.[26] This trip, described in The Electric Kool-Aid Acid Test (and later in Kesey’s unproduced screenplay, The Further Inquiry) was the group’s attempt to create art out of everyday life, and to experience roadway America while high on LSD. In an interview after arriving in New York, Kesey is quoted as saying, “The sense of communication in this country has damn near atrophied. But we found as we went along it got easier to make contact with people. If people could just understand it is possible to be different without being a threat.”[1] A huge amount of footage was filmed on 16mm cameras during the trip which remained largely unseen until the release of Alex Gibney‘s Magic Trip in 2011.

After the bus trip, the Pranksters threw parties they called Acid Tests around the San Francisco Bay Area from 1965 to 1966. Many of the Pranksters lived at Kesey’s residence in La Honda. In New York, Cassady introduced Kesey to Jack Kerouac and Allen Ginsberg, who then turned them on to Timothy Leary. Sometimes a Great Notion inspired a 1970 film starring and directed by Paul Newman; it was nominated for two Academy Awards, and in 1972 was the first film shown by the new television network HBO, in Wilkes-Barre, Pennsylvania.

Kesey was arrested for possession of marijuana in 1965. In an attempt to mislead police, he faked suicide by having friends leave his truck on a cliffside road near Eureka, along with an elaborate suicide note, written by the Pranksters. Kesey fled to Mexico in the back of a friend’s car. When he returned to the United States eight months later, Kesey was arrested and sent to the San Mateo County jail in Redwood City, California, for five months where he was introduced to a highly recommended San Francisco lawyer, Richard Potack, who specialized in marijuana cultivation. On his release, he moved back to the family farm in Pleasant Hill, Oregon, in the Willamette Valley, where he spent the rest of his life.[27] He wrote many articles, books (mostly collections of his articles), and short stories during that time.

Death of son

In 1984, Kesey’s 20-year-old son Jed, a wrestler for the University of Oregon, suffered severe head injuries in a vehicle accident on the way to a tournament;[11] after he was declared brain-dead two days later his parents gave permission for his organs to be donated.[28]

Jed’s death deeply affected Kesey, who later called Jed a victim of policies that had starved the team of funding. He wrote to Mark Hatfield, “And I began to get mad, Senator. I had finally found where the blame must be laid: that the money we are spending for national defense is not defending us from the villains real and near, the awful villains of ignorance, and cancer, and heart disease and highway death. How many school buses could be outfitted with seatbelts with the money spent for one of those 16-inch shells?” [29]

At a Grateful Dead concert soon after the death of promoter Bill Graham, Kesey delivered a eulogy, mentioning that Graham had donated $1,000 toward a memorial to Jed atop Mount Pisgah, near the Kesey home in Pleasant Hill.[30] Ken Kesey donated $33,395 towards the purchase of a proper bus for the school’s wrestling team to replace the chicken van that fell off a cliff.[31]

Final years

Kesey was diagnosed with diabetes in 1992. In 1994, he toured with members of the Merry Pranksters performing a musical play he wrote about the millennium called Twister: A Ritual Reality. Many old and new friends and family showed up to support the Pranksters on this tour that took them from Seattle’s Bumbershoot, all along the West Coast including a sold out two-night run at The Fillmore in San Francisco to Boulder, Colorado, where they coaxed (or pranked) the Beat Generation poet Allen Ginsberg into performing with them.[citation needed]

Kesey mainly kept to his home life in Pleasant Hill, preferring to make artistic contributions on the Internet or holding ritualistic revivals in the spirit of the Acid Test. In the official Grateful Dead DVD release The Closing of Winterland (2003) documenting the monumental New Year’s 1978/1979 concert at the Winterland Arena in San Francisco, Kesey is featured in a between-set interview.[citation needed]

On August 14, 1997, Kesey and his Pranksters attended a Phish concert in Darien Lake, New York. Kesey and the Pranksters appeared onstage with the band and performed a dance-trance-jam session involving several characters from The Wizard of Oz and Frankenstein.[citation needed]

In June 2001, Kesey was invited and accepted as the keynote speaker at the annual commencement of The Evergreen State College.[citation needed] His last major work was an essay for Rolling Stone magazine calling for peace in the aftermath of the September 11 attacks.[citation needed]

Death

In 1998, health problems began to weaken him, starting with a stroke that year.[2] On October 25, 2001 Kesey had surgery on his liver to remove a tumor.[2] He did not recover from that operation and died of complications on November 10, 2001, age 66.[2]

Legacy

The film Gerry (2002) is dedicated to the memory of Ken Kesey.[32]

Works

Some of Kesey’s better-known works include:[33]

Footnotes

  1. ^ Jump up to:a b c d Lehmann-Haupt, Christopher. “Ken Kesey, Author of ‘Cuckoo’s Nest,’ Who Defined the Psychedelic Era, Dies at 66“, The New York Times (November 11, 2001). Retrieved February 21, 2008.
  2. ^ Jump up to:a b c d e f g h i Baker, Jeff (November 11, 2001). “All times a great artist, Ken Kesey is dead at age 66”. The Oregonian. pp. A1.
  3. Jump up^ https://alumni.stanford.edu/get/page/magazine/article/?article_id=38411
  4. Jump up^ http://www.theparisreview.org/interviews/1830/the-art-of-fiction-no-136-ken-kesey
  5. Jump up^ http://www.deaddisc.com/GDFD_Spit.htm
  6. Jump up^ Macdonald, Gina, and Andrew Macdonald. “Ken Kesey.” Magill’s Survey of American Literature, Revised Edition (2007): Literary Reference Center. EBSCO.
  7. Jump up^ “Ken Kesey Kisses No Ass”. Esquire Magazine (September 1992).
  8. Jump up^ “Ken Kesey, Author of ‘Cuckoo’s Nest,’ Who Defined the Psychedelic Era, Dies at 66”, The New York Times (November 11, 2001).
  9. Jump up^ Robins, Cynthia (2001-12-07). “Kesey’s friends gather in tribute”.
  10. Jump up^ Christensen, Mark (2010). Acid Christ : Ken Kesey, LSD, and the politics of ecstasy. Tucson, AZ: Schaffner Press. p. 40. ISBN 9781936182107. OCLC 701720769. Retrieved 2014-12-14.
  11. ^ Jump up to:a b “Crash takes second life”. The Spokesman-Review. 101st Year (251). Spokane, WA: Cowles Publishing Company. 1984-01-29. p. A6. Retrieved 2014-12-14. Writer’s son, Oregon wrestler Jed Kesey, dies of injuries
  12. Jump up^ “Top Wrestlers”. Eugene, OR: Save Oregon Wrestling Foundation. Retrieved 2014-12-14.
  13. Jump up^ “2006–07 Stats, History, Opponent Info – University of Oregon Wrestling” (PDF). University of Oregon Athletic Department. 2007-12-03. Retrieved 2014-12-14.
  14. Jump up^ “Hall, James B(yron)”, International Who’s Who in Poetry, 2004, p. 138.
  15. Jump up^ Jeff Baker, “James B. Hall: Writer, teacher”, The Oregonian/OregonLive, May 14, 2008.
  16. Jump up^ Too Good to Be True. Retrieved 2014-12-14.
  17. ^ Jump up to:a b Philip L. Fradkin, Wallace Stegner and the American West
  18. Jump up^ Wallace Stegner. Retrieved 2014-12-14.
  19. Jump up^ Cowley, M. (1976). “Ken Kesey at Stanford”, Northwest Review, 16(1), 1.
  20. Jump up^ “Down on the peacock farm”. Salon Magazine. 2001. Retrieved 2009-06-12.
  21. Jump up^ VA Palo Alto Health Care System. “Menlo Park Division – VA Palo Alto Health Care System”. va.gov. Retrieved 2014-12-14.
  22. Jump up^ Reilly, Edward C. “Ken Kesey.” Critical Survey of Long Fiction, Second Revised Edition (2000): EBSCO. Web. Nov 10. 2010.
  23. Jump up^ “Perry Ave, West Menlo Park, CA 94025 to 7940 La Honda Rd, La Honda, CA 94020 – Google Maps”. google.com. Retrieved 2014-12-14.
  24. ^ Jump up to:a b https://books.google.com/books?id=kaQVAQAAQBAJ&pg=PA66&dq=end+of+autumn+kesey&hl=en&sa=X&ved=0CDoQ6AEwBmoVChMI-bOJ37iWyAIVjKKACh1Y_grf#v=onepage&q=end%20of%20autumn%20kesey&f=false
  25. Jump up^ “11 Authors Who Hated the Movie Versions of Their Books”. Mental Floss. Retrieved 2014-12-14.
  26. Jump up^ “National Museum of American History Collections: Signboard, Pass the Acid Test”. americanhistory.si.edu. Retrieved 2015-04-08.
  27. Jump up^ Lehmann-Haupt, Christopher (November 11, 2001). “Ken Kesey, Author of ‘Cuckoo’s Nest,’ Who Defined the Psychedelic Era, Dies at 66”. The New York Times.
  28. Jump up^ “Letters of Note: What a world”. lettersofnote.com. Retrieved 2014-12-14.
  29. Jump up^ Kesey, Jed (1984). “Remembering Jed Kesey”. Whole Earth Catalogue. Co-Evolutionary Quarterly. Retrieved March 14, 2016.
  30. Jump up^ https://archive.org/details/gd91-10-31.sbd.gardner.2897.sbeok.shnf“. Track 13, starting at about :35.
  31. Jump up^ https://news.google.com/newspapers?nid=1356&dat=19880225&id=D7hPAAAAIBAJ&sjid=CQcEAAAAIBAJ&pg=2381,6211590&hl=en. Missing or empty |title= (help)
  32. Jump up^ Adams, Sam (September 19–25, 2002). “Try to Remember”. Philadelphia City Paper. Retrieved August 5,2015.
  33. Jump up^ Martin, Blank (2010-01-19). “Selected Bibliography for Ken Kesey”. Literary Kicks. Retrieved 2014-12-14.

Further reading

  • Ronald Gregg Billingsley, The Artistry of Ken Kesey. PhD dissertation. Eugene, OR: University of Oregon, 1971.
  • Dedria Bryfonski, Mental illness in Ken Kesey’s One Flew Over the Cuckoo’s Nest. Detroit: Greenhaven Press, 2010.
  • Rick Dodgson, It’s All Kind of Magic: The Young Ken Kesey. Madison, WI: University of Wisconsin Press, 2013.
  • Robert Faggen, “Ken Kesey, The Art of Fiction No. 136,” The Paris Review, Spring 1994.
  • Barry H. Leeds, Ken Kesey. New York: F. Ungar Publishing Co., 1981.
  • Dennis McNally, A Long Strange Trip: the Inside History of the Grateful Dead. Broadway Books, 2002.
  • Tim Owen, “Remembering Ken Kesey,” Cosmik Debris Magazine, November 10, 2001.
  • M. Gilbert Porter, The Art of Grit: Ken Kesey’s Fiction. Columbia, MO: University of Missouri Press, 1982.
  • Elaine B Safer, The contemporary American Comic Epic: The Novels of Barth, Pynchon, Gaddis, and Kesey. Detroit, MI: Wayne State University Press, 1988.
  • Peter Swirski, “You’re Not in Canada until You Can Hear the Loons Crying; or, Voting, People’s Power and Ken Kesey’s One Flew over the Cuckoo’s Nest,” in Swirski, American Utopia and Social Engineering in Literature, Social Thought, and Political History. New York: Routledge, 2011.
  • Stephen L. Tanner, Ken Kesey. Boston, MA: Twayne, 1983.

External links

https://en.wikipedia.org/wiki/Ken_Kesey

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Robert Ludlum — The Bourne Identity — Videos

Posted on August 24, 2016. Filed under: Art, Blogroll, Books, Corruption, Crime, Crisis, Culture, Entertainment, Fiction, Literature, media, Movies, Music, People, Photos, Politics, Programming, Psychology, Raves, Video, Writing | Tags: , , , , , , , , , |

robert ludlumbourne identity bourne trilogy

Stan Major Show – Robert Ludlum Interview

Entertainment USA interviews 2

Robert Ludlum – The Bourne Mastermind – O Gênio Criativo

Robert Ludlum (Jason Bourne & Bourne Identity Author) with Bill Boggs

Robert Ludlum interview with Don Swaim, March 13, 1984

The Bourne Identity (2/10) Movie CLIP – No Papers (2002) HD

The Bourne Identity (3/10) Movie CLIP – My Name Is Jason Bourne (2002) HD

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Mark Helprin — Memoirs From The Antproof Case — Winter’s Tale — Videos

Posted on July 28, 2016. Filed under: American History, Articles, Blogroll, Book, Books, Culture, Entertainment, Fiction, Heroes, history, Law, liberty, Life, Links, Literacy, Literature, media, Money, Movies, Music, People, Philosophy, Photos, Police, Politics, Press, Psychology, Rants, Raves, Raymond Thomas Pronk, Religion, Reviews, Spying, Strategy, Technology, Terrorism, Video, Water, Wealth | Tags: , , , , , , , |

quote winter talememoirs from antproof casewinters tale 2winters talemark-helprin-1-sizedmark-helprin-author-photo-credit-lisa-kennedymark-helprin

This is a photo of Mark Helprin, a novelist, children's book author and editorial writer for the Wall Street Journal. Handout photo. ..OUTSIDE TRIBUNE CO.- NO MAGS, NO SALES, NO INTERNET, NO TV, CHICAGO OUT, NO DIGITAL MANIPULATION...

quote-the-human-race-is-intoxicated-with-narrow-victories-for-life-is-a-string-of-them-like-pearls-that-mark-helprin-82765

The Human Parade: Mark Helprin

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Mark Helprin: In Sunlight and In Shadow

Mark Helprin: 2013 National Book Festival

Mark Helprin – A Soldier of the Great War – Part 1

Mark Helprin – A Soldier of the Great War – Part 2

159th Hillsdale College Commencement – Mark Helprin

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Neal Stephenson — Cryptonomicon — Videos

Posted on March 17, 2016. Filed under: American History, Banking, Blogroll, Books, Business, Corruption, Documentary, Economics, Education, Environment, Faith, Family, Federal Government, Fiction, Foreign Policy, Freedom, government, government spending, history, History of Economic Thought, Investments, Law, liberty, Life, Links, Macroeconomics, media, Monetary Policy, Money, National Security Agency (NSA), People, Philosophy, Photos, Rants, Raves, Talk Radio, Taxation, Torture, Video, Wealth, Welfare, Writing | Tags: , , , , , |

Neal Stephenson, Author – Turing Festival 2013 Keynote

We Solve for X: Neal Stephenson on getting big stuff done

Neal Stephenson: “Anathem” | Talks at Google

Neal Stephenson, “Seveneves”

Book Review: Cryptonomicon

Cryptonomicon by Neal Stephenson | Review

Neal Stephenson – Cryptonomicon 1

Neal Stephenson – Cryptonomicon 2

Neal Stephenson – Cryptonomicon 3

Neal Stephenson – Cryptonomicon 4

Neal Stephenson: 2011 National Book Festival

ChefSteps • And Then There Were Swords…

Neal Stephenson

From Wikipedia, the free encyclopedia
Neal Stephenson
Neal Stephenson 2008 crop.jpg

Stephenson at Science Foo Camp 2008
Born Neal Town Stephenson
October 31, 1959 (age 56)
Fort Meade, Maryland, United States
Pen name Stephen Bury
(with J. Frederick George)
Occupation Novelist, short story writer, essayist
Nationality American
Period 1984–present
Genre Speculative fiction, historical fiction, essays
Literary movement Cyberpunk, postcyberpunk,maximalism
Website
nealstephenson.com

Neal Town Stephenson (born October 31, 1959) is an American writer and game designer known for his works of speculative fiction.

His novels have been variously categorized as science fiction, historical fiction, cyberpunk, and “postcyberpunk“. Other labels, such as “baroque“, have been used.

Stephenson’s work explores subjects such as mathematics, cryptography, linguistics, philosophy, currency, and the history of science. He also writes non-fiction articles about technology in publications such as Wired. He has also written novels with his uncle, George Jewsbury (“J. Frederick George”), under the collective pseudonym Stephen Bury.

He has worked part-time as an advisor for Blue Origin, a company (funded by Jeff Bezos) developing a manned sub-orbital launch system, and is also a cofounder of Subutai Corporation, whose first offering is the interactive fiction project The Mongoliad. He is currently Magic Leap‘s Chief Futurist.

Life

Born on October 31, 1959 in Fort Meade, Maryland,[1] Stephenson came from a family of engineers and scientists; his father is a professor ofelectrical engineering while his paternal grandfather was a physics professor. His mother worked in a biochemistry laboratory, and her father was a biochemistry professor. Stephenson’s family moved to Champaign-Urbana, Illinois, in 1960 and then in 1966 to Ames, Iowa. He graduated from Ames High School in 1977.[2]

Stephenson studied at Boston University,[2] first specializing in physics, then switching to geography after he found that it would allow him to spend more time on the university mainframe.[3]He graduated in 1981 with a B.A. in geography and a minor in physics.[2] Since 1984, Stephenson has lived mostly in the Pacific Northwest and currently resides in Seattle with his family.[2]

Career

Discussing Anathem at MIT in 2008

Stephenson’s first novel, The Big U, published in 1984, was a satirical take on life at American Megaversity, a vast, bland and alienating research university beset by chaotic riots.[4][5] His next novel, Zodiac (1988), was a thriller following the exploits of a radical environmentalist protagonist in his struggle against corporate polluters.[4] Neither novel attracted much critical attention on first publication, but showcased concerns that Stephenson would further develop in his later work.[4]

Stephenson’s breakthrough came in 1992 with Snow Crash, a comic novel in the late cyberpunk or post-cyberpunk tradition fusing memetics,computer viruses, and other high-tech themes with Sumerian mythology, along with a sociological extrapolation of extreme laissez-faire capitalismand collectivism.[5][6] Snow Crash was the first of Stephenson’s epic science fiction novels. Stephenson at this time would later be described by Mike Godwin as “a slight, unassuming grad-student type whose soft-spoken demeanor gave no obvious indication that he had written the manic apotheosis of cyberpunk science fiction.”[7] In 1994, Stephenson joined with his uncle, J. Frederick George, to publish a political thriller, Interface, under the pen name “Stephen Bury”;[8] they followed this in 1996 with The Cobweb.

Stephenson’s next solo novel, published in 1995, was The Diamond Age: or A Young Lady’s Illustrated Primer, which introduced many of today’s real world technological discoveries. Seen back then as futuristic, Stephenson’s novel has broad range universal self-learning nanotechnology, dynabooks, extensive modern technologies, robotics, cybernetics and cyber cities. Weapons implanted in characters’ skulls, near limitless replicators for everything from mattresses to foods, smartpaper, air and blood-sanitizing nanobots, set in a grim future world of limited resources populated by hard edged survivalists, an amalgamation hero is accidentally conceptualized by a few powerful and wealthy creatives, programmers and hackers.

This was followed by Cryptonomicon in 1999, a novel concerned with concepts ranging from computing and Alan Turing‘s research into codebreaking and cryptography during the Second World War at Bletchley Park, to a modern attempt to set up a data haven. It has subsequently been reissued in three separate volumes in some countries, including in French and Spanish translations. In 2013, Cryptonomicon won the Prometheus Hall of Fame Award.

The Baroque Cycle is a series of historical novels set in the 17th and 18th centuries, and is in some respects a prequel to Cryptonomicon. It was originally published in three volumes of two or three books each – Quicksilver (2003), The Confusion (2004) and The System of the World (2004) – but was subsequently republished as eight separate books: Quicksilver, King of the Vagabonds, Odalisque, Bonanza, Juncto, Solomon’s Gold, Currency, and System of the World. (The titles and exact breakdown vary in different markets.) The System of the World won thePrometheus Award in 2005.

Following this, Stephenson published a novel titled Anathem (2008), a very long and detailed work, perhaps best described as speculative fiction. It is set in an Earthlike world (perhaps in an alternative reality), deals with metaphysics, and refers heavily to Ancient Greek philosophy, while at the same time being a complex commentary on the insubstantiality of today’s society.

In May 2010, the Subutai Corporation, of which Stephenson was named chairman, announced the production of an experimental multimedia fiction project called The Mongoliad, which centered around a narrative written by Stephenson and other speculative fiction authors.[9][10]

REAMDE, a novel, was released on September 20, 2011.[11] The title is a play on the common filename README. This thriller, set in the present, centers around a group of MMORPGdevelopers caught in the middle of Chinese cyber-criminals, Islamic terrorists, and Russian mafia.[12]

On August 7, 2012, Stephenson released a collection of essays and other previously published fiction entitled Some Remarks : Essays and Other Writing.[13] This collection also includes a new essay and a short story created specifically for this volume.

In 2012 Stephenson launched a Kickstarter campaign for CLANG, a realistic sword fighting fantasy game. The concept of the game was to use motion control to provide an immersive experience. The campaign’s funding goal of $500,000 was reached by the target date of July 9, 2012 on Kickstarter, but funding options remained open and were still taking contributions to the project on their official site.[14] The project ran out of money in September 2013.[15] This, and the circumstances around it, has angered some backers.[16] There has even been talk, among the backers, of a potential class action lawsuit.[17] The project to develop the game ended in September 2014 without the game being completed. Stephenson took part of the responsibility for the project’s failure, stating, “I probably focused too much on historical accuracy and not enough on making it sufficiently fun to attract additional investment”.[18]

In late 2013, Stephenson stated that he was working on a multi-volume work – historical novels that would “have a lot to do with scientific and technological themes and how those interact with the characters and civilisation during a particular span of history”. He expected the first two volumes to be released in mid-to-late 2014.[19] However, at about the same time, he shifted his attention to a science fiction novel, Seveneves, which was completed about a year later and was published in May 2015.[20]

In 2014, Stephenson was hired as Chief Futurist by the Florida-based company Magic Leap.[21] Magic Leap claims to be developing a revolutionary form of augmented reality, not too different from technologies Stephenson previously has described in his science fiction books.

Non-fiction

The science fiction approach doesn’t mean it’s always about the future;
it’s an awareness that this is different.

– Neal Stephenson, September 1999[22]

In The Beginning Was The Command Line (2000), an essay on operating systems including the histories of and relationships between DOS, Windows, Linux, and BeOS from both cultural and technical viewpoints and focusing especially on the development of the Graphical User Interface.[5] Various other essays have been published in magazines such asWired.

Quicksilver, Applied Minds (2003) debuted The Metaweb, an online wiki annotating the ideas and historical period explored in the novel. The project was influenced by the online encyclopaedia Wikipedia, and its content included annotations from Stephenson himself.[23]

“Innovation Starvation”[24] (2011) lamented the lack of visionary large-scale projects in the world. One concept he cited as an example of such visionary concepts is the idea of a 20-kilometer “tall tower” extending to the edges of the atmosphere;[25] Stephenson then followed this up with work in collaboration with Arizona State University on the engineering of such tall towers.[26]

Style

In his earlier novels Stephenson deals heavily in pop culture-laden metaphors and imagery and in quick, hip dialogue, as well as in extended narrative monologues. The tone of his books is generally more irreverent and less serious than that of previous cyberpunk novels, notably those of William Gibson.

Stephenson at the Starship Century Symposium at UCSD in 2013

Stephenson’s books tend to have elaborate, inventive plots drawing on numerous technological and sociological ideas at the same time. This distinguishes him from other mainstream science fiction authors who tend to focus on a few technological or social changes in isolation from others. The discursive nature of his writing, together with significant plot and character complexity and an abundance of detail suggests a baroque writing style, which Stephenson brought fully to bear in the three-volume Baroque Cycle.[27] His book The Diamond Age follows a simpler plot but features “neo-Victorian” characters and employs Victorian-era literary conceits. In keeping with the baroque style, Stephenson’s books have become longer as he has gained recognition. For example, the paperback editions of Cryptonomicon are over eleven hundred pages long[28] with the novel containing various digressions, including a lengthy erotic story about antique furniture and stockings.

Bibliography

Stephenson at the National Book Festival in 2004

Novels[edit]

Short fiction

Other fiction projects

  • Project Hieroglyph, founded in 2011, administered by Arizona State University’s Center for Science and the Imagination since 2012. Hieroglyph: Stories and Visions for a Better Future, ed. Ed Finn and Kathryn Cramer, which includes contributions by Stephenson, was published by William Morrow in September, 2014.

Non-fiction

Critical studies, reviews and biography

References

  1. Jump up^ Fisher, Lawrence M. (April 17, 1994). “SOUND BYTES; Orwell – Class of 1994”. The New York Times (The New York Times Company). Retrieved December 13, 2010.
  2. ^ Jump up to:a b c d Stephenson, Neal. “Biography”. Neal Stephenson’s Site (MobileMe). Archived from the original on June 28, 2012. Retrieved August 7, 2010.
  3. Jump up^ “Neal Stephenson – Biography”. ElectricInca.com. Retrieved August 7, 2010. He began his higher education as a physics major, then switched to geography when it appeared that this would enable him to scam more free time on his university’s mainframe computer.
  4. ^ Jump up to:a b c Booker, M Keith; Thomas, Anne-Marie, eds. (2009). “Neal Stephenson (1959–)”. The Science Fiction Handbook. Chichester, UK ; Malden, MA: Wiley-Blackwell. p. 173. ISBN 1-4051-6205-8. OCLC 263498124.
  5. ^ Jump up to:a b c Grassian, Daniel (2003). “From modernists to Gen Xers”. Hybrid fictions: American fiction and Generation X. Jefferson: McFarland & Co. pp. 29–30. ISBN 978-0-7864-1632-5.OCLC 52565833.
  6. Jump up^ Westfahl, Gary (2005). The Greenwood Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders, Vol. 3. Greenwood Publishing. p. 1235. ISBN 0-313-32953-2. Retrieved2009-12-05.
  7. Jump up^ Godwin, Mike (February 2005). “Neal Stephenson’s Past, Present, and Future”. Reason(Reason Foundation). Retrieved December 13, 2010.
  8. Jump up^ “Neal Stephenson: Cryptomancer”. Locus Online. August 1, 1999. Retrieved August 7, 2010.…a thriller written in collaboration with his uncle, George Jewsbury, under pseudonym Stephen Bury
  9. Jump up^ Eaton, Kit (May 26, 2010). “The Mongoliad App: Neal Stephenson’s Novel of the Future?”.Fast Company. Retrieved July 4, 2010.
  10. Jump up^ “Subutai Corporation – Team”. subutai.mn (Subutai Corporation). Retrieved August 7, 2010.Neal Stephenson, Chairman
  11. Jump up^ Anders, Charlie Jane (July 14, 2009). “Neal Stephenson Gets Half A Million Dollars, But Did He Have To Switch Genres To Get It?”. io9. Gawker Media. Retrieved August 7, 2010.
  12. Jump up^ “reamdeDescription”.
  13. Jump up^ Upcoming4.me. “New Neal Stephenson book Some Remarks announced!”. Upcoming4.me. Retrieved June 26, 2012.
  14. Jump up^ Twitter / subutaicorp: @LordBronco We’re still taking. Twitter.com. Retrieved on 2014-01-14.
  15. Jump up^ Famous Kickstarter Turns Into Complete Disaster. Kotaku.com. Retrieved on 2014-01-14.
  16. Jump up^ THUD: Development Of Neal Stephenson’s CLANG Halted. Rock, Paper, Shotgun. Retrieved on 2014-01-14.
  17. Jump up^ Neal Stephenson Says His Dream Of Making A Video Game Isn’t Dead | Kotaku Australia. Kotaku.com.au. Retrieved on 2014-01-14.
  18. Jump up^ Stephenson, Neal (19 September 2014). “Final Update”. CLANG by Subutai Corporation. Kickstarter. Retrieved 18 October 2014.
  19. Jump up^ Kelion, Leo. (2013-09-17) BBC News – Neal Stephenson on tall towers and NSA cyber-spies. Bbc.co.uk. Retrieved on 2014-01-14.
  20. ^ Jump up to:a b Neal Stephenson. “Seveneves”. Nealstephenson.com. Retrieved April 5, 2015.
  21. Jump up^ Davey Alba (December 16, 2014). “Sci-Fi Author Neal Stephenson Joins Mystery Startup Magic Leap as ‘Chief Futurist'”. Wired. Retrieved May 20, 2015.
  22. Jump up^ Catherine, Asaro (September 1999). “A Conversation With Neal Stephenson”. SF Site. Retrieved October 6, 2010.
  23. Jump up^ McClellan, Jim (November 4, 2004). “Neal Stephenson – the interview”. The Guardian(Guardian Media Group). Retrieved December 13, 2010.
  24. Jump up^ Stephenson, Neal, “Innovation Starvation”, World Policy Journal, 2011; reprinted in Wired, 10/27/2011 (retrieved 1 Sept 2013).
  25. Jump up^ Landis, Geoffrey, and Denis, Vincent, “High Altitude Launch for a Practical SSTO,” Conference on Next Generation Space Transportation, Space Technology & Applications International Forum, Albuquerque NM, Feb. 2-6 2003; AIP Conference Proceedings Vol. 654, pp 290-295. (pdf on NASA site)
  26. Jump up^ Project Hieroglyph, The Tall Tower, Arizona State University Center for Science and the Imagination (retrieved 1 Sept. 2015)
  27. Jump up^ Giuffo, John (October 1, 2004). “Book Capsule Review: The System of the World”.Entertainment Weekly. Time Warner. Retrieved September 22, 2008.
  28. Jump up^ ex: Stephenson, Neal (1999). Cryptonomicon. Avon Books. pp. 1152 p. ISBN 978-0-06-051280-4.
  29. ^ Jump up to:a b c d e f g h Kelly, Mark R. “The Locus Index to SF Awards: Index of Literary Nominees”.Locusmag.com (Locus Publications). Retrieved January 18, 2011.
  30. Jump up^ William Morrow. Harpercollinscatalogs.com. Retrieved on 2014-01-14.

External links

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Leonard Rosen — All Cry Chaos — Videos

Posted on February 21, 2016. Filed under: American History, Articles, Blogroll, Books, British History, Business, Communications, Congress, Constitution, Economics, Education, Employment, Environment, Food, Freedom, Friends, history, liberty, Life, Links, media, Money, People, Philosophy, Photos, Politics, Talk Radio, Video, Wealth, Welfare, Wisdom, Work | Tags: , , , , , , , , , , , , , , |

all cry chaos Leonard Rosenfern leaffractals-erucolindo3

Mathematics is the art of giving the same name to different things.

~Henri Poincare

Book Trailer: “All Cry Chaos” by Leonard Rosen

Leonard Rosen talks about Chaos Theory, his writing process, and the pleasure of audiobooks

Leonard Rosen – All Cry Chaos

Chaos Theory

The Science and Psychology of the Chaos Theory

The Strange New Science of Chaos

Fractals – Hunting The Hidden Dimension

Complexity: Life, Scale, & Civilization

TEDxRotterdam – Igor Nikolic – Complex adaptive systems

Where Good Ideas Come From | Steven Johnson | TED Talks

Dirk Helbing: Rethinking Economics Based on Complexity Theory

Henri Poincaré

Rick Astley – Never Gonna Give You Up

It is the harmony of the diverse parts, their symmetry, their happy balance; in a word it is all that introduces order, all that gives unity, that permits us to see clearly and to comprehend at once both the ensemble and the details.

~Henri Poincare

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John Le Carre — Tinker, Tailor, Soldier, Spy –The Honourable Schoolboy — Smiley’s People — Videos

Posted on January 4, 2016. Filed under: Blogroll, Books, Business, Communications, Computers, Congress, Constitution, Crime, Culture, Documentary, Drug Cartels, Family, Fraud, Literature, Non-Fiction, Radio, Spying, Video, War, Wealth, Welfare, Wisdom, Work, Writing | Tags: , , , , , , , , , |

three novelsjohnlecarre_tinkertailorsoldierspy cover-the-honourable-schoolboy

Tinker, Tailor, Soldier, Spy – Part 1

Tinker, Tailor, Soldier, Spy – Part 2

Tinker, Tailor, Soldier, Spy – Part 3

Tinker, Tailor, Soldier, Spy – Part 4

Tinker, Tailor, Soldier, Spy – Part 5

Tinker, Tailor, Soldier, Spy – Part 6

The Honourable School Boy by John Le Carre Audiobook

Smiley’s People 01

Smiley’s People 02

Smiley’s People 03

The Spy Who Came in from the Cold

John le Carré- Interview “Spy Who Came In From The Cold” (Merv Griffin Show 1965)

The Genius of John le Carré

British Novelist John le Carré on Democracy Now 2010

DN!!!!! ‘The US Has Gone Mad,’ John le Carré – Democracy Now Amy Goodman

John le Carré

From Wikipedia, the free encyclopedia
John le Carré
John le Carré in Hamburg (10 November 2008)
John le Carré in Hamburg, 2008
Born David John Moore Cornwell
19 October 1931 (age 84)
Poole, Dorset, England
Occupation Novelist, former intelligence officer
Language English
Nationality British
Genre Spy fiction
Notable works The Spy Who Came in from the Cold,
Tinker Tailor Soldier Spy,
The Honourable Schoolboy,
Smiley’s People,
The Constant Gardener
Spouse Alison Sharp (m. 1954–1971)
Valerie Eustace (m. 1972–present)
Children 4 sons
Website
johnlecarre.com
David John Moore Cornwell (born 19 October 1931), pen name John le Carré /lə ˈkɑrˌeɪ/, is a British author of espionage novels. During the 1950s and the 1960s, Cornwell worked for the Security Service and the Secret Intelligence Service, and began writing novels under a pen name. His third novel The Spy Who Came in from the Cold (1963) became an international best-seller, and it remains one of his best-known works. Following the success of this novel, he left MI6 to become a full-time author.

Le Carré established himself as a writer of espionage fiction. In 2008, The Times ranked le Carré 22nd on its list of “The 50 greatest British writers since 1945”.[1] In 2011, he won the Goethe Medal, a yearly prize given by the Goethe Institute.
Early life and career
On 19 October 1931, David John Moore Cornwell was born to Richard Thomas Archibald (Ronnie) Cornwell (1906–75) and Olive (Glassy) Cornwell, in Poole, Dorset, England. He was the second son to the marriage, the first being Tony, two years his elder, now a retired advertising executive; his younger half-sister is the actress Charlotte Cornwell; and Rupert Cornwell, a former Independent newspaper Washington bureau chief, is a younger half-brother.[2][3] John le Carré said he did not know his mother, who abandoned him when he was five years old, until their re-acquaintance when he was 21 years old.[4] His relationship with his father was difficult, given that the man had been jailed for insurance fraud, was an associate of the Kray twins[4] (among the foremost criminals in London) and was continually in debt. A biographer reports,

“His father, Ronnie, made and lost his fortune a number of times due to elaborate confidence tricks and schemes which landed him in prison on at least one occasion. This was one of the factors that led to le Carré’s fascination with secrets.”[5]

The character “Rick Pym”, the scheming con-man father of protagonist ‘Magnus Pym’ in his later novel A Perfect Spy (1986), was based on Ronnie. When Ronnie died in 1975, le Carré paid for a memorial funeral service but did not attend.[4]

Cornwell’s formal schooling began at St Andrew’s Preparatory School, near Pangbourne, Berkshire, then continued at Sherborne School; he proved unhappy with the typically harsh English public school régime of the time, and disliked his disciplinarian housemaster, Thomas, and so withdrew. From 1948 to 1949, he studied foreign languages at the University of Bern in Switzerland. In 1950 he joined the Intelligence Corps of the British Army garrisoned in Austria, working as a German language interrogator of people who crossed the Iron Curtain to the West. In 1952, he returned to England to study at Lincoln College, Oxford, where he worked covertly for the British Security Service, MI5, spying upon far-left groups for information about possible Soviet agents.[6]

When Ronnie declared bankruptcy in 1954, Cornwell quit Oxford to teach at a boys’ preparatory school; however, a year later, he returned to Oxford and graduated, in 1956, with a First Class Honours Bachelor of Arts degree. He then taught French and German at Eton College for two years, afterwards becoming an MI5 officer in 1958; he ran agents, conducted interrogations, tapped telephone lines, and effected break-ins.[7] Encouraged by Lord Clanmorris (who wrote crime novels as “John Bingham”), and whilst being an active MI5 officer, Cornwell began writing Call for the Dead (1961), his first novel. Lord Clanmorris was one of two models – Vivian H. H. Green[8] being the other – for George Smiley, the spymaster of the Circus. As a schoolboy, Cornwell had first met Green when he was the Chaplain and Assistant Master at Sherborne School (1942–51), and then later as Rector at Lincoln College.

In 1960, Cornwell transferred to MI6, the foreign-intelligence service, and worked under ‘Second Secretary’ cover in the British Embassy at Bonn; he later was transferred to Hamburg as a political consul. There, he wrote the detective story A Murder of Quality (1962) and The Spy Who Came in from the Cold (1963), as “John le Carré” (le Carré is French for “the Square” [7]), a pseudonym required because Foreign Office officers were forbidden to publish in their own names. Cornwell left the service in 1964 to work full-time as a novelist, as his intelligence officer career was ended by the betrayal of British agents’ covers to the KGB by Kim Philby, a British double agent (of the Cambridge Five).[6][9] Le Carré depicts and analyses Philby as the upper-class traitor, code-named “Gerald” by the KGB, the mole George Smiley hunts in Tinker Tailor Soldier Spy (1974).[10][11] Credited by his pen name, Cornwell appears as an extra in the 2011 film version of Tinker Tailor Soldier Spy, among the guests at the Christmas party seen in several flashback scenes.

In 1964, le Carré won the Somerset Maugham Award, established to enable British writers younger than 35 to enrich their writing by spending time abroad.

Personal life
In 1954, Cornwell married Alison Ann Veronica Sharp; they had three sons—Simon, Stephen and Timothy—and divorced in 1971.[12] In 1972, Cornwell married Valérie Jane Eustace, a book editor with Hodder & Stoughton;[13] they have one son, Nicholas, who writes as Nick Harkaway.[14]

Le Carré has resided in St Buryan, Cornwall, UK, for more than 40 years, where he owns a mile of cliff close to Land’s End.[15]

In 1998, he was awarded an Honorary Degree (Doctor of Letters) from the University of Bath.[16] In 2012, he was awarded the Degree of Doctor of Letters, honoris causa by the University of Oxford.[17]

Writing style
Le Carré’s first two novels – Call for the Dead (1961) and A Murder of Quality (1962) – are mystery fiction, in which the hero, George Smiley of the SIS (the Circus), resolves the riddles of the deaths investigated. In these first novels his motives are rather more personal than political.[18]

Most of le Carré’s novels are spy stories set in the Cold War (1945–91) and feature Circus agents—unheroic political functionaries aware of the moral ambiguity of their work and engaged in psychological more than physical drama.[19] Le Carré’s books emphasize the fallibility of Western democracy and of the secret services protecting it, often implying the possibility of East-West moral equivalence.[19] Moreover, they experience little of the violence typically encountered in action thrillers and have very little recourse to gadgets. Much of the conflict is internal, rather than external and visible.[19]

A departure from the use of East–West conflict as a backdrop in this era is the spy novel The Little Drummer Girl (1983), which is set against the Israel–Palestine conflict.

A Perfect Spy (1986), which chronicles the boyhood moral education of Magnus Pym and how it leads to his becoming a spy, is the author’s most autobiographical espionage novel, reflecting the boy’s very close relationship with his con man father. Biographer Lynndianne Beene describes the novelist’s own father, Richard Cornwell, as “an epic con man of little education, immense charm, extravagant tastes, but no social values”; le Carré reflected that “writing A Perfect Spy is probably what a very wise shrink would have advised”.[citation needed]

Le Carré’s only non-genre novel, The Naïve and Sentimental Lover (1971)—a story of a man’s post-marital existential crisis—may be thought to be semi-autobiographical.

With the fall of the Iron Curtain in 1989, le Carré’s writing shifted to portrayal of the new multilateral world. For example, The Night Manager (1993), his first completely post-Cold-War novel, deals with drug and arms smuggling in the murky world of Latin America drug lords, shady Caribbean banking entities, and western officials who look the other way.

As a journalist, le Carré wrote The Unbearable Peace (1991), a non-fiction account of Brigadier Jean-Louis Jeanmaire (1911–92), the Swiss Army officer who spied for the USSR from 1962 until 1975.[20]

In 2009, he donated the short story “The King Who Never Spoke” to the Oxfam “Ox-Tales” project, which included it in the project’s Fire volume.[21]

In a TV interview with Jon Snow of Channel 4 News, Le Carré remarked on his own writing style that, since the facts that inform his work were widely known, he felt it was his job to put them into a context that made them believable to the reader.[22][when?]

Politics
Le Carré feuded with Salman Rushdie over The Satanic Verses stating, “nobody has a God-given right to insult a great religion and be published with impunity”.[23]

In January 2003, The Times published le Carré’s essay “The United States Has Gone Mad”.[24] Le Carré contributed it to a volume of political essays titled Not One More Death (2006). Other contributors include Richard Dawkins, Brian Eno, Michel Faber, Harold Pinter, and Haifa Zangana.[25]

Le Carré wrote a testimonial in The Future of the NHS.[26]

Interviews
John le Carré appeared in an episode of BBC Radio 4’s Book Club broadcast in February 1999, with presenter James Naughtie and an audience in Penzance.[27]

In an interview with John le Carré, broadcast in October 2008 on BBC Four, Mark Lawson asked him to name a Best of le Carré list of books; the novelist answered: The Spy Who Came in from the Cold, Tinker Tailor Soldier Spy, The Tailor of Panama and The Constant Gardener.[28]

In September 2010, le Carré was interviewed on Channel 4 News by journalist Jon Snow at his house in Cornwall. The conversation involved a few topics: his writing career generally and processes adopted for writing, specifically about his current book, Our Kind of Traitor, involving Russia and its current global influences, financially and politically; his SIS career, reasoning why, both personally and more generally, one did such a job then, as compared to now; and how the fight against communism then has now conversely moved to the hugely negative effects of certain aspects of excessive capitalism. During the interview he said that it would be his last UK television interview. While reticent as to his exact reasons, those he was willing to cite were that of slight self-loathing (which he considered most people feel), along with a distaste for showing off (he felt that writing necessarily involved a lot of this anyway) and to breaching what he felt was the necessarily solitary nature of the writer’s work. He was also wary of wasting writing time and dissipating his talent in social success, having seen this happen to many talented writers, to the detriment of their later work.[29]

A week after this appearance, le Carré was interviewed for the TV show Democracy Now! in the US. He told interviewer Amy Goodman “This is the last book about which I intend to give interviews. That isn’t because I’m in any sense retiring. I’ve found that, actually, I’ve said everything I really want to say, outside my books. I would just like—I’m in wonderful shape. I’m entering my eightieth year. I just want to devote myself entirely to writing and not to this particular art form of conversation.”[30][31] In December 2010 Channel 4 broadcast John Le Carre: A Life Unmasked, described as ” his most candid television interview”.[32]

Le Carré was interviewed in the February 2011 edition of Sunday Morning, stating that it would be the last interview he would grant.[33] Le Carré was interviewed at the Hay on Wye festival 2013.[34]

Adaptations
Film[edit]
The Spy Who Came in from the Cold (1965), directed by Martin Ritt, with Richard Burton as protagonist Alec Leamas
The Deadly Affair (1966), an adaptation of Call for the Dead, directed by Sidney Lumet, with James Mason as Charles Dobbs (George Smiley in the novel)
The Looking Glass War (1969), directed by Frank Pierson, with Anthony Hopkins as Avery, Christopher Jones as Leiser, and Sir Ralph Richardson as LeClerc
The Little Drummer Girl (1984), directed by George Roy Hill, with Diane Keaton as Charlie
The Russia House (1990), directed by Fred Schepisi, with Sean Connery as Barley Blair
The Tailor of Panama (2001), directed by John Boorman, with Pierce Brosnan as Andy Osnard, a disgraced spy, and Geoffrey Rush as emigre English tailor Harry Pendel
The Constant Gardener (2005), directed by Fernando Meirelles, with Ralph Fiennes as Justin Quayle, set in the slums in Kibera and Loiyangalani, Kenya; the poverty so affected the film crew that they established the Constant Gardener Trust to provide basic education to those areas (John le Carré is a patron of the charity)
Tinker Tailor Soldier Spy (2011), directed by Tomas Alfredson and starring Gary Oldman as George Smiley
A Most Wanted Man (2014), directed by Anton Corbijn and starring Philip Seymour Hoffman
Our Kind of Traitor (2015), directed by Susanna White and starring Ewan McGregor
Radio[edit]
The Russia House (1994 on BBC Radio), features Tom Baker as Barley Blair[citation needed]
The Complete Smiley (2009-2010 on BBC Radio 4), an eight radio-play series, based upon the novels featuring George Smiley, that commenced broadcast on 23 May 2009, beginning with Call for the Dead, with Simon Russell Beale as George Smiley, and concluding with The Secret Pilgrim, in June 2010[35]
A Delicate Truth (May 2013 on BBC Radio 4’s Book at Bedtime), recorded by Damian Lewis[36]
Television[edit]
Tinker Tailor Soldier Spy (1979), BBC seven-part television mini-series, with Alec Guinness as George Smiley
Smiley’s People (1982), BBC television mini-series, with Alec Guinness as George Smiley
A Perfect Spy (1987), BBC television adaptation directed by Peter Smith, with Peter Egan as Magnus Pym and Ray McAnally as Rick
Gavin Millar directed A Murder of Quality (1991), Gavin Millar directed the Thames Television adaptation, with Denholm Elliott as George Smiley and Joss Ackland as Terence Fielding
The Night Manager (2016), an upcoming AMC and BBC mini-series, directed by Susanne Bier, with Tom Hiddleston as Jonathan Pine and Hugh Laurie as Richard Onslow Roper
Bibliography[edit]
Novels[edit]
Call for the Dead (1961) ISBN 0-143-12257-6
A Murder of Quality (1962) ISBN 0-141-19637-8
The Spy Who Came in from the Cold (1963) ISBN 0-143-12475-7
The Looking Glass War (1965) ISBN 0-143-12259-2
A Small Town in Germany (1968) ISBN 0-143-12260-6
The Naïve and Sentimental Lover (1971) ISBN 0-143-11975-3
Tinker Tailor Soldier Spy (1974) ISBN 0-143-12093-X
The Honourable Schoolboy (1977) ISBN 0-143-11973-7
Smiley’s People (1979) ISBN 0-340-99439-8
The Little Drummer Girl (1983) ISBN 0-143-11974-5
A Perfect Spy (1986) ISBN 0-143-11976-1
The Russia House (1989) ISBN 0-743-46466-4
The Secret Pilgrim (1990) ISBN 0-345-50442-9
The Night Manager (1993) ISBN 0-345-38576-4
Our Game (1995) ISBN 0-345-40000-3
The Tailor of Panama (1996) ISBN 0-345-42043-8
Single & Single (1999) ISBN 0-743-45806-0
The Constant Gardener (2001) ISBN 0-743-28720-7
Absolute Friends (2003) ISBN 0-670-04489-X
The Mission Song (2006) ISBN 0-340-92199-4
A Most Wanted Man (2008) ISBN 1-416-59609-7
Our Kind of Traitor (2010) ISBN 0-143-11972-9
A Delicate Truth (2013) ISBN 0-143-12531-1
Non-fiction[edit]
The Good Soldier (1991) collected in Granta 35: The Unbearable Peace
The United States Has Gone Mad (2003) collected in Not One More Death (2006) ISBN 1-844-67116-X
Afterword (2014) – an essay on Kim Philby, published in A Spy Among Friends by Ben Macintyre[37]
Short stories[edit]
Dare I Weep, Dare I Mourn? (1967) published in the Saturday Evening Post 28 January 1967.
What Ritual is Being Observed Tonight? (1968) published in the Saturday Evening Post 2 November 1968.
The Writer and The Horse (1968) published in The Savile Club Centenary Magazine and later The Argosy (& The Saturday Review under the title A Writer and A Gentleman.)
The King Who Never Spoke (2009) published in Ox-Tales: Fire 2 July 2009.
Omnibus[edit]
The Incongruous Spy (1964) (containing Call for the Dead and A Murder of Quality)
The Quest for Karla (1982) (containing Tinker Tailor Soldier Spy, The Honourable Schoolboy and Smiley’s People) (republished in 1995 as Smiley Versus Karla in the UK; and John Le Carré: Three Complete Novels in the U.S.) ISBN 0-394-52848-4
Screenplays[edit]
End of the Line (1970) broadcast 29 June 1970
A Murder of Quality (1991)
The Tailor of Panama (2001) with John Boorman and Andrew Davies
Executive producer[edit]
The Tailor of Panama (2001)
Tinker Tailor Soldier Spy (2011)
A Most Wanted Man (2014)
Actor[edit]
The Little Drummer Girl (1984, as David Cornwell)
Tinker Tailor Soldier Spy (2011, as John le Carré)
Archive[edit]
In 2010, le Carré donated his literary archive to the Bodleian Library, Oxford. The initial 85 boxes of material deposited included handwritten drafts of Tinker Tailor Soldier Spy and The Constant Gardener. The library hosted a public display of these and other items to mark World Book Day in March 2011.[38][39]

Awards and honours
1963 British Crime Writers Association Gold Dagger for The Spy Who Came in from the Cold[40]
1964 Somerset Maugham Award for The Spy Who Came in from the Cold[41]
1965 Mystery Writers of America Edgar Award for The Spy Who Came in from the Cold[42]
1977 British Crime Writers Association Gold Dagger for The Honourable Schoolboy[40]
1977 James Tait Black Memorial Prize Fiction Award for The Honourable Schoolboy
1983 Japan Adventure Fiction Association Prize for The Little Drummer Girl
1984 Honorary Fellow Lincoln College, Oxford[43]
1984 Mystery Writers of America Edgar Grand Master [42]
1988 British Crime Writers Association Diamond Dagger Lifetime Achievement Award[44]
1988 The Malaparte Prize, Italy[43]
1990 Honorary Degree University of Exeter[45]
1990 The Helmerich Award of the Tulsa Library Trust.[46]
1991 Nikos Kasanzakis prize
1996 Honorary Degree University of St. Andrews[47]
1997 Honorary Degree University of Southampton[48]
1998 Honorary Degree University of Bath[16]
2005 British Crime Writers Association Dagger of Daggers for The Spy Who Came in from the Cold[49]
2005 Commander of the Order of Arts and Letters, France[43]
2008 Honorary Doctorate University of Bern[50]
2011 Goethe Medal of the Goethe Institute[51]
2012 Honorary Doctorate University of Oxford[52]

https://en.wikipedia.org/wiki/John_le_Carr%C3%A9

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Ray Bradbury — Fahrenheit 451 — Videos

Posted on September 20, 2015. Filed under: American History, Blogroll, Book, Books, Communications, Constitution, Corruption, Culture, Documentary, Economics, Education, Entertainment, Faith, Family, Fiction, Films, Friends, Heroes, history, Law, liberty, Life, media, Money, Movies, People, Philosophy, Photos, Police, Political Correctness, Politics, Press, Radio, Rants, Raves, Regulations, Strategy, Talk Radio, Television, Video, Wealth, Welfare, Wisdom, Writing | Tags: , , , , , , , , , , , , , |

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Ray Bradbury – Story of a Writer

A 25-minute documentary from 1963 about Ray Bradbury – by David L. Wolper

Day at Night: Ray Bradbury

A Conversation with Ray Bradbury

A short film for the National Endowment for the arts feature Ray Bradbury as he discusses his life, literary loves and Fahrenheit 451.

A Conversation with Ray Bradbury by Lawrence Bridges

Fahrenheit 451 – Trailer

Fahrenheit 451 (1966) Full Movie | Julie Christie Full Movies Online

Top 10 Notes: Fahrenheit 451

Feeling More Alive: Fahrenheit 451’s The Hearth and the Salamander

Fahrenheit 451 by Ray Bradbury (Full audiobook)

Ray Bradbury on Writing Persistently

A Conversation with Ray Bradbury

Author Ray Bradbury joins Dean Nelson of Point Loma Nazarene University for a talk about his craft as part of Point Loma Nazarene University’s Writer’s Symposium by the Sea. Series: “Writer’s Symposium By The Sea” [4/2001] [Public Affairs] [Humanities] [Show ID: 5534]

An Evening with Ray Bradbury 2001

Science fiction author Ray Bradbury regales his audience with stories about his life and love of writing in “Telling the Truth,” the keynote address of The Sixth Annual Writer’s Symposium by the Sea, sponsored by Point Loma Nazarene University. Series: Writer’s Symposium By The Sea [4/2001] [Public Affairs] [Humanities] [Show ID: 5533]

Ray Bradbury

From Wikipedia, the free encyclopedia
For the author’s 1975 story collection, see Ray Bradbury (collection).
Ray Bradbury
Ray Bradbury in 1975

Bradbury in 1975
Born Raymond Douglas Bradbury
August 22, 1920
Waukegan, Illinois, U.S.
Died June 5, 2012 (aged 91)
Los Angeles, California, U.S.
Resting place Westwood Memorial Park, Los Angeles
Occupation Writer
Nationality American
Period 1938–2012[1]
Genre Fantasy, social commentary,science fiction, horror fiction,mystery fiction
Notable works
Notable awards American Academy of Arts and Letters (1954); Daytime Emmy Award (1994); National Medal of Arts (2004); Pulitzer Prize(2007)
Spouse Marguerite McClure
(m. 1947–2003; her death)
Children 4 daughters

Signature
Website
www.raybradbury.com

Raymond Douglas “Ray” Bradbury[2] (August 22, 1920 – June 5, 2012) was an Americanfantasy, science fiction, horror and mystery fiction author. Best known for hisdystopian novel Fahrenheit 451 (1953) and for the science fiction and horror stories gathered together as The Martian Chronicles (1950) and The Illustrated Man (1951), Bradbury was one of the most celebrated 20th- and 21st-century American genre writers. He wrote and consulted on many screenplays and television scripts, includingMoby Dick[3] and It Came from Outer Space. Many of his works have been adapted into comic books, television shows, and films.

Early life

Bradbury as a senior in high school, 1938

Bradbury was born on August 22, 1920[4][5] in Waukegan, Illinois,[6] to Esther (née Moberg) Bradbury, a Swedish immigrant, and Leonard Spaulding Bradbury,[7] a power and telephone lineman of English descent.[8] He was given the middle name “Douglas,” after the actor Douglas Fairbanks. Bradbury was related to the American Shakespeare scholar Douglas Spaulding[9] and was descended from Mary Bradbury, who was tried at one of the Salem witch trials in 1692.[10]

Bradbury was surrounded by an extended family during his early childhood and formative years in Waukegan, Illinois. An aunt read him short stories when he was a child.[11] This period provided foundations for both the author and his stories. In Bradbury’s works of fiction, 1920s Waukegan becomes “Green Town,” Illinois.

The Bradbury family lived in Tucson, Arizona, in 1926–27 and 1932–33 as the father pursued employment, each time returning to Waukegan, but eventually settled in Los Angeles in 1934, when Bradbury was 14. The family arrived with only 40 dollars, which paid for rent and food until his father finally found a job making wire at a cable company for $14 a week. This meant that they could stay, however, and Bradbury—who was in love with Hollywood—was ecstatic.

Bradbury attended Los Angeles High School and was active in the drama club. He often roller-skated through Hollywood in hopes of meeting celebrities. Among the creative and talented people Bradbury met this way were special effects pioneer Ray Harryhausen and radio star George Burns. (Bradbury’s first pay as a writer was at the age of fourteen, when Burns hired him to write for the Burns and Allen show.[12][13])

Influences

Literature

Bradbury was a reader and writer throughout his youth.[14] He knew as a young boy that he was “going into one of the arts.” In 1931, at the age of eleven, the young Bradbury began writing his own stories. The country was going through the Great Depression, and sometimes Bradbury wrote on butcher paper.

In his youth, he spent much time in the Carnegie library in Waukegan, reading such authors as H. G. Wells, Jules Verne, and Edgar Allan Poe. At age twelve, Bradbury began writing traditional horror stories and said he tried to imitate Poe until he was about eighteen. In addition to comics, he loved Edgar Rice Burroughs, creator of Tarzan of the Apes,[15] especially Burroughs’ John Carter of Mars series. The Warlord of Marsimpressed him so much that at the age of twelve he wrote his own sequel.[16] The young Bradbury was also a cartoonist and loved to illustrate. He wrote about Tarzan and drew his own Sunday panels. He listened to the radio show Chandu the Magician, and when the show went off the air every night he would sit and write the entire script from memory.

In Beverly Hills, he often visited the science fiction writer Bob Olsen for mentorship as well as friendship while Bradbury was a teenager. They shared ideas and would keep in contact. In 1936, at a secondhand bookstore in Hollywood, Bradbury discovered a handbill promoting meetings of the Los Angeles Science Fiction Society.[17] Thrilled to find there were others with his interests, at the age of sixteen Bradbury joined a weekly Thursday-night conclave.[18]

When he was seventeen, Bradbury read stories published in Astounding Science Fiction, and said he read everything by Robert A. Heinlein, Arthur C. Clarke, and the early writings of Theodore Sturgeon and A. E. van Vogt, but cited H. G. Wells and Jules Verne as his big science fiction influences. Bradbury identified with Verne, saying, “He believes the human being is in a strange situation in a very strange world, and he believes that we can triumph by behaving morally.” [19] Bradbury admitted that he stopped reading genre books in his twenties and embraced a broad field of literature that included Alexander Pope and poet John Donne.[20] Bradbury had just graduated from high school when he met Robert Heinlein, then 31 years old. Bradbury recalled, “He was well known, and he wrote humanistic science fiction, which influenced me to dare to be human instead of mechanical.”[20]

Hollywood

The family lived about four blocks from the Uptown Theater on Western Avenue in Los Angeles, the flagship theater for MGM and Fox. There, Bradbury learned how to sneak in and watched previews almost every week. He roller-skated there as well as all over town, as he put it “hell-bent on getting autographs from glamorous stars. It was glorious.” Among stars the young Bradbury was thrilled to encounter were Norma Shearer, Laurel and Hardy, and Ronald Colman. Sometimes he would spend all day in front of Paramount Pictures or Columbia Pictures and then skate to the Brown Derby to watch the stars who came and went for meals. He recounted seeing Cary Grant, Marlene Dietrich and Mae West, who he would learn made a regular appearance every Friday night, bodyguard in tow.[20]

Bradbury relates the following meeting with Sergei Bondarchuk, director of Soviet epic film series War and Peace, at a Hollywood award ceremony in Bondarchuk’s honor:

They formed a long queue and as Bondarchuk was walking along it he recognized several people: “Oh Mr. Ford, I like your film.” He recognized the director, Greta Garbo, and someone else. I was standing at the very end of the queue and silently watched this. Bondarchuk shouted to me; “Ray Bradbury, is that you?” He rushed up to me, embraced me, dragged me inside, grabbed a bottle ofStolichnaya, sat down at his table where his closest friends were sitting. All the famous Hollywood directors in the queue were bewildered. They stared at me and asked each other “who is this Bradbury?” And, swearing, they left, leaving me alone with Bondarchuk…[21]

Career

Bradbury’s “Undersea Guardians” was the cover story for the December 1944 issue of Amazing Stories

Bradbury’s first published story was “Hollerbochen’s Dilemma”, which appeared in the January 1938 number of Forrest J. Ackerman’s fanzineImagination!.[1] In July 1939, Ackerman gave nineteen-year-old Bradbury the money to head to New York for the First World Science Fiction Convention in New York City, and funded Bradbury’s fanzine, titled Futuria Fantasia.[22] Bradbury wrote most of its four issues, each limited to under 100 copies.[citation needed]Between 1940 and 1947, he was a contributor to Rob Wagner‘s film magazine, Script.[23]

Bradbury was free to start a career in writing when, owing to his bad eyesight, he was rejected admission into the military during World War II. Having been inspired by science fiction heroes like Flash Gordon and Buck Rogers, Bradbury began to publish science fiction stories in fanzines in 1938.[24] Bradbury was invited by Forrest J. Ackerman[citation needed] to attend the Los Angeles Science Fiction Society, which at the time met at Clifton’s Cafeteria in downtown Los Angeles. This was where he met the writers Robert A. Heinlein, Emil Petaja, Fredric Brown, Henry Kuttner, Leigh Brackett, and Jack Williamson.[citation needed]

In 1939, Bradbury joined Laraine Day‘s Wilshire Players Guild where for two years he wrote and acted in several plays. They were, as Bradbury later described, “so incredibly bad” that he gave up playwriting for two decades.[25] Bradbury’s first paid piece, “Pendulum,” written with Henry Hasse, was published in the pulp magazineSuper Science Stories in November 1941, for which he earned $15.[26]

Bradbury sold his first story, “The Lake”, for $13.75 at the age of twenty-two.[20] He became a full-time writer by the end of 1942. His first collection of short stories, Dark Carnival, was published in 1947 by Arkham House, a small press in Sauk City, Wisconsin, owned by writer August Derleth. Reviewing Dark Carnival for the New York Herald Tribune, Will Cuppy proclaimed Bradbury “suitable for general consumption” and predicted that he would become a writer of the caliber of British fantasy author John Collier.[27]

After a rejection notice from the pulp Weird Tales, Bradbury submitted “Homecoming” to Mademoiselle which was spotted by a young editorial assistant named Truman Capote. Capote picked the Bradbury manuscript from a slush pile, which led to its publication. Homecoming won a place in The O. Henry Prize Stories of 1947.[28]

It was in UCLA‘s Powell Library, in a study room with typewriters for rent, that Bradbury wrote his classic story of a book-burning future, The Fireman, which was about 25,000 words long. It was later published at about 50,000 words under the name Fahrenheit 451, for a total cost of $9.80, due to the library’s typewriter-rental fees of ten cents per half-hour.[29]

A chance encounter in a Los Angeles bookstore with the British expatriate writer Christopher Isherwood gave Bradbury the opportunity to put The Martian Chronicles into the hands of a respected critic. Isherwood’s glowing review[30] followed.

Writing

Bradbury attributed to two incidents his lifelong habit of writing every day. The first of these, occurring when he was three years old, was his mother’s taking him to see Lon Chaney‘s performance in The Hunchback of Notre Dame.[31] The second incident occurred in 1932, when a carnival entertainer, one Mr. Electrico, touched the young man on the nose with an electrified sword, made his hair stand on end, and shouted, “Live forever!”[32] Bradbury remarked, “I felt that something strange and wonderful had happened to me because of my encounter with Mr. Electrico…[he] gave me a future…I began to write, full-time. I have written every single day of my life since that day 69 years ago.”[32] It was at that age that Bradbury first started to do magic, which was his first great love. If he had not discovered writing, he would have become a magician.[33]

Bradbury claimed a wide variety of influences, and described discussions he might have with his favorite poets and writers Robert Frost, William Shakespeare, John Steinbeck, Aldous Huxley, and Thomas Wolfe. From Steinbeck, he said he learned “how to write objectively and yet insert all of the insights without too much extra comment.” He studied Eudora Welty for her “remarkable ability to give you atmosphere, character, and motion in a single line.” Bradbury’s favorite writers growing up included Katherine Anne Porter, who wrote about the American South, Edith Wharton, and Jessamyn West.[34]

Bradbury was once described as a “Midwestsurrealist” and is often labeled a science fiction writer, which he described as “the art of the possible.” Bradbury resisted that categorization, however:

First of all, I don’t write science fiction. I’ve only done one science fiction book and that’s Fahrenheit 451, based on reality. It was named so to represent the temperature at which paper ignites. Science fiction is a depiction of the real. Fantasy is a depiction of the unreal. So Martian Chronicles is not science fiction, it’s fantasy. It couldn’t happen, you see? That’s the reason it’s going to be around a long time – because it’s a Greek myth, and myths have staying power.[35]

Bradbury recounted when he came into his own as a writer, the afternoon he wrote a short story about his first encounter with death. When he was a boy, he met a young girl at the beach and she went out into the water and never came back. Years later, as he wrote about it, tears flowed from him. He recognized he had taken the leap from emulating the many writers he admired to connecting with his voice as a writer.[36][37]

When later asked about the lyrical power of his prose, Bradbury replied, “From reading so much poetry every day of my life. My favorite writers have been those who’ve said things well.” He is quoted, “If you’re reluctant to weep, you won’t live a full and complete life.”[38]

In high school, Bradbury was active in both the Poetry Club and the Drama club, continuing plans to become an actor but becoming serious about his writing as his high school years progressed. Bradbury graduated from Los Angeles High School, where he took poetry classes with Snow Longley Housh, and short story writing courses taught by Jeannet Johnson.[39] The teachers recognized his talent and furthered his interest in writing,[40] but he did not attend college. Instead, he sold newspapers at the corner of South Norton Avenue and Olympic Boulevard. In regard to his education, Bradbury said:

Libraries raised me. I don’t believe in colleges and universities. I believe in libraries because most students don’t have any money. When I graduated from high school, it was during the Depression and we had no money. I couldn’t go to college, so I went to the library three days a week for 10 years.[41][42]

He told The Paris Review, “You can’t learn to write in college. It’s a very bad place for writers because the teachers always think they know more than you do – and they don’t.”[43]

“Green Town”

A reinvention of Waukegan, Green Town is a symbol of safety and home, which is often juxtaposed as a contrasting backdrop to tales of fantasy or menace. It serves as the setting of his semi-autobiographical classics Dandelion Wine, Something Wicked This Way Comes, and Farewell Summer as well as in many of his short stories. In Green Town, Bradbury’s favorite uncle sprouts wings, traveling carnivals conceal supernatural powers, and his grandparents provide room and board to Charles Dickens.[44] Perhaps the most definitive usage of the pseudonym for his hometown, in Summer Morning, Summer Night, a collection of short stories and vignettes exclusively about Green Town, Bradbury returns to the signature locale as a look back at the rapidly disappearing small-town world of the American heartland, which was the foundation of his roots.[45]

Cultural contributions

Bradbury wrote many short essays on the arts and culture, attracting the attention of critics in this field, but he used his fiction to explore and criticize his culture and society. Bradbury observed, for example, thatFahrenheit 451 touches on the alienation of people by media:

In writing the short novel Fahrenheit 451 I thought I was describing a world that might evolve in four or five decades. But only a few weeks ago, in Beverly Hills one night, a husband and wife passed me, walking their dog. I stood staring after them, absolutely stunned. The woman held in one hand a small cigarette-package-sized radio, its antenna quivering. From this sprang tiny copper wires which ended in a dainty cone plugged into her right ear. There she was, oblivious to man and dog, listening to far winds and whispers and soap opera cries, sleep walking, helped up and down curbs by a husband who might just as well not have been there. This was not fiction.[46]

In a 1982 essay he wrote, “People ask me to predict the Future, when all I want to do is prevent it.” This intent had been expressed earlier by other authors,[47] who sometimes attributed it to him.

Bradbury hosted The Ray Bradbury Theater which was based on his short stories. Bradbury was a consultant for the American Pavilion at the 1964 New York World’s Fair[48] and the original exhibit housed in Epcot‘sSpaceship Earth geosphere at Walt Disney World.[49][50][51] In the 1980s, Bradbury concentrated on detective fiction.[52]

Bradbury was a strong supporter of public library systems, and helped to raise money to prevent the closure of several in California due to budgetary cuts. He iterated from his past that “libraries raised me”, and shunned colleges and universities, comparing his own lack of funds during the Depression with poor contemporary students.[53] His opinion varied on modern technology. In 1985 Bradbury wrote, “I see nothing but good coming from computers. When they first appeared on the scene, people were saying, ‘Oh my God, I’m so afraid.’ I hate people like that – I call them the neo-Luddites“, and “In a sense [computers] are simply books. Books are all over the place, and computers will be too”.[54] He resisted the conversion of his work into e-books, stating in 2010 “We have too many cellphones. We’ve got too many internets. We have got to get rid of those machines. We have too many machines now”.[55] When the publishing rights for Fahrenheit 451 came up for renewal in December 2011, Bradbury permitted its publication in electronic form provided that the publisher, Simon & Schuster, allowed the e-book to be digitally downloaded by any library patron. The title remains the only book in the Simon & Schuster catalog where this is possible.[56]

Several comic book writers have adapted Bradbury’s stories. Particularly noted among these were EC Comics‘ line of horror and science-fiction comics. Initially, the writers plagiarized his stories, but a diplomatic letter from Bradbury about it led to the company paying him and negotiating properly licensed adaptations of his work. The comics featuring Bradbury’s stories included Tales from the Crypt, Weird Science, Weird Fantasy, Crime Suspenstories, Haunt of Fear and others.

Bradbury remained an enthusiastic playwright all his life, leaving a rich theatrical legacy as well as literary. Bradbury headed the Pandemonium Theatre Company in Los Angeles for many years and had a five-year relationship with the Fremont Centre Theatre in South Pasadena.[57]

Bradbury is featured prominently in two documentaries related to his classic 1950s-’60s era: Jason V Brock‘s Charles Beaumont: The Life of Twilight Zone’s Magic Man,[58] which details his troubles with Rod Serling, and his friendships with writers Charles Beaumont, George Clayton Johnson, and most especially his dear friend William F. Nolan, as well as Brock’s The AckerMonster Chronicles!, which delves into the life of former Bradbury agent, close friend, mega-fan, and Famous Monsters of Filmland editor Forrest J Ackerman.

On May 24, 1956, Bradbury appeared on the popular quiz show, You Bet Your Life hosted by Groucho Marx (Season 6 Episode 35).[59]

Personal life

Bradbury in December 2009.

Bradbury was married to Marguerite McClure (January 16, 1922 – November 24, 2003) from 1947 until her death; they had four daughters:[60] Susan, Ramona, Bettina and Alexandra.[61] Though he lived in Los Angeles, Bradbury never obtained a driver’s license but relied on public transportation or his bicycle.[62] He lived at home until he was twenty-seven and married. His wife of fifty-six years, Maggie, as she was affectionately called, was the only woman Bradbury ever dated.[20]

Bradbury was a close friend of Charles Addams, and Addams illustrated the first of Bradbury’s stories about the Elliotts, a family that would resemble Addams’ own Addams Familyplaced in rural Illinois. Bradbury’s first story about them was “Homecoming,” published in the 1946 Halloween issue of Mademoiselle, with Addams illustrations. He and Addams planned a larger collaborative work that would tell the family’s complete history, but it never materialized, and according to a 2001 interview, they went their separate ways.[63] In October 2001, Bradbury published all the Family stories he had written in one book with a connecting narrative, From the Dust Returned, featuring a wraparound Addams cover of the original “Homecoming” illustration.[64]

Another close friend was animator Ray Harryhausen, who was best man at Bradbury’s wedding.[65] During a BAFTA 2010 awards tribute in honor of Ray Harryhausen‘s 90th birthday, Bradbury spoke of his first meeting Harryhausen at Forrest J Ackerman‘s house when they were both 18 years old. Their shared love for science fiction, King Kong, and the King Vidor-directed film The Fountainhead, written by Ayn Rand, was the beginning of a lifelong friendship. These early influences inspired the pair to believe in themselves and affirm their career choices. After their first meeting, they kept in touch at least once a month, in a friendship that spanned over 70 years.[66]

Late in life, Bradbury retained his dedication and passion despite what he described as the “devastation of illnesses and deaths of many good friends.” Among the losses that deeply grieved Bradbury was the death of Star Trek creator Gene Roddenberry, who was an intimate friend for many years. They remained close friends for nearly three decades after Roddenberry asked him to write for Star Trek, which Bradbury never did, objecting that he “never had the ability to adapt other people’s ideas into any sensible form.”[20]

Bradbury suffered a stroke in 1999[67] that left him partially dependent on a wheelchair for mobility.[68] Despite this he continued to write, and had even written an essay for The New Yorker, about his inspiration for writing, published only a week prior to his death.[69] Bradbury made regular appearances at science fiction conventions until 2009, when he retired from the circuit.

Ray Bradbury’s headstone in May 2012 prior to his death

Bradbury chose a burial place at Westwood Village Memorial Park Cemetery in Los Angeles, with a headstone that reads “Author of Fahrenheit 451”.[70][71][72] On February 6, 2015, the New York Times reported that the house that Bradbury lived and wrote in for fifty years of his life, at 10265 Cheviot Drive in Los Angeles, CA, had been demolished.[73]

Death

Bradbury died in Los Angeles, California, on June 5, 2012, at the age of 91, after a lengthy illness.[74] Bradbury’s personal library was willed to the Waukegan Public Library, where he had many of his formative reading experiences.[75]

The New York Times‍ ’​ obituary stated that Bradbury was “the writer most responsible for bringing modern science fiction into the literary mainstream.”[76] The Los Angeles Times credited Bradbury with the ability “to write lyrically and evocatively of lands an imagination away, worlds he anchored in the here and now with a sense of visual clarity and small-town familiarity”.[77] Bradbury’s grandson, Danny Karapetian, stated that Bradbury’s works had “influenced so many artists, writers, teachers, scientists, and it’s always really touching and comforting to hear their stories”.[61]The Washington Post hallmarked several modern day technologies that Bradbury had envisioned much earlier in his writing, such as the idea of banking ATMs and earbuds and Bluetooth headsets from Fahrenheit 451, and the concepts of artificial intelligence within I Sing the Body Electric.[78]

On June 6, 2012, in an official public statement from the White House Press Office, President Barack Obama said:

For many Americans, the news of Ray Bradbury’s death immediately brought to mind images from his work, imprinted in our minds, often from a young age. His gift for storytelling reshaped our culture and expanded our world. But Ray also understood that our imaginations could be used as a tool for better understanding, a vehicle for change, and an expression of our most cherished values. There is no doubt that Ray will continue to inspire many more generations with his writing, and our thoughts and prayers are with his family and friends.[79]

Several celebrity fans of Bradbury paid tribute to the author by stating the influence of his works on their own careers and creations.[80][81] Filmmaker Steven Spielberg stated that Bradbury was “[his] muse for the better part of [his] sci-fi career…. On the world of science fiction and fantasy and imagination he is immortal”.[82] Writer Neil Gaiman felt that “the landscape of the world we live in would have been diminished if we had not had him in our world”.[81] Author Stephen King released a statement on his website saying, “Ray Bradbury wrote three great novels and three hundred great stories. One of the latter was called ‘A Sound of Thunder.’ The sound I hear today is the thunder of a giant’s footsteps fading away. But the novels and stories remain, in all their resonance and strange beauty.”[83] Bradbury’s influence well exceeded the field of literature. Progressive house music producer and performer, Joel Thomas Zimmerman, who is most commonly known by his stage name Deadmau5, composed a song named after one of Bradbury’s short stories “The Veldt” which was originally published in the Saturday Evening Post.[84] The EP of “The Veldt” was released days after Bradbury’s death and is dedicated to the memory of the author.[85]

Bibliography

Bradbury is credited with writing 27 novels and over 600 short stories.[77] More than eight million copies of his works, published in over 36 languages, have been sold around the world.[76]

First novel

In 1949, Bradbury and his wife were expecting their first child. He took a Greyhound bus to New York and checked into a room at the YMCA for fifty cents a night. He took his short stories to a dozen publishers and no one wanted them. Just before getting ready to go home, Bradbury had dinner with an editor at Doubleday. When Bradbury recounted that everyone wanted a novel and he didn’t have one, the editor, coincidentally named Walter Bradbury, asked if the short stories might be tied together into a book length collection. The title was the editor’s idea; he suggested, “You could call it “The Martian Chronicles.” Bradbury liked the idea and recalled making notes in 1944 to do a book set on Mars. That evening, he stayed up all night at the YMCA and typed out an outline. He took it to the Doubleday editor the next morning, who read it and wrote Bradbury a check for seven hundred and fifty dollars. When Bradbury returned to Los Angeles, he connected all the short stories and that became The Martian Chronicles.[34]

Intended first novel

What was later issued as a collection of stories and vignettes, Summer Morning, Summer Night, started out to be Bradbury’s first true novel. The core of the work was Bradbury’s witnessing of the American small-town and life in the American heartland.

In the winter of 1955–56, after a consultation with his Doubleday editor, Bradbury deferred publication of a novel based on Green Town, the pseudonym for his hometown. Instead, he extracted seventeen stories and, with three other Green Town tales, bridged them into his 1957 book Dandelion Wine. Later, in 2006, Bradbury published the original novel remaining after the extraction, and retitled it Farewell Summer. These two titles show what stories and episodes Bradbury decided to retain as he created the two books out of one.

The most significant of the remaining unpublished stories, scenes, and fragments were published under the originally intended name for the novel, Summer Morning, Summer Night, in 2007.[86]

Adaptations to other media

Bradbury in 1959, when some of his short stories were adapted for television shows like Alfred Hitchcock Presents

From 1951 to 1954, 27 of Bradbury’s stories were adapted by Al Feldstein for EC Comics, and 16 of these were collected in the paperbacks, The Autumn People (1965) andTomorrow Midnight (1966), both published by Ballantine Books with cover illustrations by Frank Frazetta.

Also in the early 1950s, adaptations of Bradbury’s stories were televised in several anthology shows, including Tales of Tomorrow, Lights Out, Out There, Suspense, CBS Television Workshop, Jane Wyman’s Fireside Theatre, Star Tonight, Windows and Alfred Hitchcock Presents. “The Merry-Go-Round,” a half-hour film adaptation of Bradbury’s “The Black Ferris,” praised by Variety, was shown on Starlight Summer Theater in 1954 and NBC’s Sneak Preview in 1956. During that same period, several stories were adapted for radio drama, notably on the science fiction anthologies Dimension X and its successor X Minus One.

Scene from The Beast from 20,000 Fathoms, based on Bradbury’s The Fog Horn.

Producer William Alland first brought Bradbury to movie theaters in 1953 with It Came from Outer Space, a Harry Essex screenplay developed from Bradbury’s screen treatment “Atomic Monster”. Three weeks later came the release of Eugène Lourié’s The Beast from 20,000 Fathoms (1953), which featured one scene based on Bradbury’s “The Fog Horn“, about a sea monster mistaking the sound of a fog horn for the mating cry of a female. Bradbury’s close friend Ray Harryhausen produced the stop-motion animation of the creature. Bradbury would later return the favor by writing a short story, “Tyrannosaurus Rex”, about a stop-motion animator who strongly resembled Harryhausen. Over the next 50 years, more than 35 features, shorts, and TV movies were based on Bradbury’s stories or screenplays.

Bradbury was hired in 1953 by director John Huston to work on the screenplay for his film version of Melville‘s Moby Dick (1956), which stars Gregory Peck as Captain Ahab, Richard Basehart as Ishmael, and Orson Welles as Father Mapple. A significant result of the film was Bradbury’s book Green Shadows, White Whale, a semi-fictionalized account of the making of the film, including Bradbury’s dealings with Huston and his time in Ireland, where exterior scenes that were set in New Bedford, Massachusetts, were filmed.

Bradbury’s short story I Sing the Body Electric (from the book of the same name) was adapted for t