———. Why Don’t You?: Bazaar Years. New York: Universe, 2001.
Webb, Constance. Richard Wright: The Biography of a Major Figure in American Literature. New York: G. P. Putnam, 1968.
Weber, Nicholas Fox. Patron Saints: Five Rebels Who Opened America to a New Art, 1928–1943. New Haven, Conn.: Yale University Press, 1992.
Weill, Kurt, and Lotte Lenya. Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenya. Edited and translated by Lys Symonette and Kim H. Kowalke. Berkeley: University of California Press, 1996.
Wescott, Glenway. The Pilgrim Hawk: A Love Story. New York: New York Review of Books, 2001.
Wineapple, Brenda. Genêt: A Biography of Janet Flanner. Lincoln: University of Nebraska Press, 1992.
Wright, Richard. Early Works: Lawd Today!/Uncle Tom’s Children/Native Son. New York: Library of America, 1991.
Credits
Permission to print the following is gratefully acknowledged:
For quotations from the correspondence and unpublished writings of W. H. Auden, including the poems in manuscript, “September 1, 1939” and “To Chester Kallman, b. Jan. 7, 1921”: the Estate of W. H. Auden. Copyright by the Estate of W. H. Auden; reprinted by permission.
For quotations from the poems of W. H. Auden in The English Auden: the Estate of W. H. Auden. “Poems, 1927–1931, XV (Before this loved one),” copyright 1929 by W. H. Auden, copyright 1977 by the Estate of W. H. Auden, “Poems, 1931–1936, XXVIII (Now the leaves are falling fast),” copyright 1936 by W. H. Auden, copyright 1977 by the Estate of W. H. Auden, “In Time of War, XIV (Yes, we are going to suffer, now), copyright 1938 by W. H. Auden, copyright 1977 by the Estate of W. H. Auden, “In Time of War, XXIII (When all the apparatus of report),” copyright 1938 by W. H. Auden, copyright 1977 by the Estate of W. H. Auden, and “The Composer,” copyright 1938 by W. H. Auden, copyright 1977 by the Estate of W. H. Auden. Reprinted by permission.
For quotations from the prose works of W. H. Auden in The Complete Works of W. H. Auden: Prose, Volume II, 1939–1948: the Estate of W. H. Auden. “The Prolific and the Devourer,” copyright 1940 by W. H. Auden, copyright 2002 by the Estate of W. H. Auden, “Symposium,” copyright 1941 by W. H. Auden, copyright 2002 by the Estate of W. H. Auden, “Eros and Agape,” copyright 1941 by W. H. Auden, copyright 2002 by the Estate of W. H. Auden, “A Grammar of Assent,” copyright 1941 by W. H. Auden, copyright 2002 by the Estate of W. H. Auden, and “The Wandering Jew,” copyright 1941 by W. H. Auden, copyright 2002 by the Estate of W. H. Auden. Reprinted by permission.
For quotations from Paul Bunyan by W. H. Auden: the Estate of W. H. Auden. Copyright 1941 by W. H. Auden, copyright 1993 by the Estate of W. H. Auden. Reprinted by permission.
For permission to quote from poems of W. H. Auden in W. H. Auden: Collected Poems: Random House, Inc. “1929,” copyright 1934 & renewed 1962 by W. H. Auden, “As I Walked Out One Evening,” copyright 1940 & renewed 1968 by W. H. Auden, “New Year Letter,” copyright 1941 & renewed 1969 by W. H. Auden, “Heavy Date,” copyright 1945 by W. H. Auden, “Ten Songs,” copyright © 1976 by Edward Mendelson, William Meredith and Monroe K. Spears, Executors of the Estate ofW. H. Auden, “Another Time,” copyright © 1976 by Edward Mendelson, William Meredith and Monroe K. Spears, Executors of the Estate of W. H. Auden, “The Maze,” copyright © 1976 by Edward Mendelson, William Meredith and Monroe K. Spears, Executors of the Estate of W. H. Auden, “Alone,” copyright 1941 and renewed 1969 by W. H. Auden, “Leap Before You Look,” copyright 1945 by W. H. Auden, “If I Could Tell You,” copyright 1945 by W. H. Auden, “In Sickness and in Health,” copyright 1945 by W. H. Auden, “For the Time Being,” copyright 1944 and renewed 1972 by W. H. Auden, “The Sea and the Mirror,” copyright © 1976 by Edward Mendelson, William Meredith and Monroe K. Spears, Executors of the Estate of W. H. Auden, “Letter to Lord Byron,” copyright 1937 by W. H. Auden, “Twelve Songs,” copyright 1937 and renewed 1965 by W. H. Auden, “Musée des Beaux Arts,” copyright 1940 & renewed 1968 by W. H. Auden, from COLLECTED POEMS by W. H. Auden. Used by permission of Random House, Inc.
For quotations from the correspondence and unpublished writings of Benjamin Britten and of Peter Pears: the Trustees of the Britten-Pears Foundation. The quotations from the letters, writings, diaries, and other writings of Benjamin Britten are © copyright the Trustees of the Britten-Pears Foundation and may not be further reproduced without the written permission of the Trustees. The quotations from the letters and other writings of Peter Pears are © copyright the Executors of the late Sir Peter Pears and may not be further reproduced without written permission.
For quotations from the correspondence and unpublished writings of George Davis: Peter Davis. Copyright © The Estate of George Davis, reprinted by permission of Peter Davis.
For quotations from the memoir “The Funeral Stones”: G. Gordon Davis. Copyright © 2003 by G. Gordon Davis.
For quotations from E. M. Forster’s letter to Christopher Isherwood on October 31, 1939: the Society of Authors as agent for the Provost and Scholars of Kings College Cambridge, copyright Kings College, Cambridge.
For quotations from the correspondence and unpublished writings of Christopher Isherwood: Don Bachardy and the Estate of Christopher Isherwood. Copyright © The Estate of Christopher Isherwood.
For quotations from the diaries of Christopher Isherwood: Don Bachardy and the Estate of Christopher Isherwood. Copyright © 1996 by Don Bachardy and renewed 2004 by Don Bachardy, the Estate of Christopher Isherwood.
For the correspondence and unpublished documents of Chester Kallman: The Estate of Chester Kallman, reprinted by permission of Curtis Brown, Ltd. Copyright © The Estate of Chester Kallman.
For quotations from the correspondence and unpublished writings of Gypsy Rose Lee: Erik Lee Preminger. Copyright by Erik Lee Preminger.
For quotations from Gypsy by Gypsy Rose Lee: Erik Lee Preminger. Copyright 1957 by Gypsy Rose Lee and renewed 1985 by Erik Lee Preminger.
For quotations from the writings of Klaus Mann previously published in Decision: A Review of Free Culture: Münchner Stadtbibliothek, Monacensia Literature Archives. Copyright © by Münchner Stadtbibliothek, Monacensia Literature Archives, Collection Klaus Mann; reprinted by permission.
For quotations from The Turning Point by Klaus Mann: Rowohlt Verlag. Copyright © Rowohlt Verlag GmbH, Reinbek bei Hamburg, reprinted by permission.
For quotations from the correspondence and unpublished works of Carson McCullers: Floria V. Lasky, Executrix of the Estate of Carson McCullers, copyright by the Estate of Carson McCullers.
For quotations from “Brooklyn Is My Neighbourhood” from The Mortgaged Heart by Carson McCullers: Houghton Mifflin Company, copyright © 1971 by Floria V. Lasky, Executrix of the Estate of Carson McCullers: reprinted by permission of Houghton Mifflin Company.
For quotations from the essay “Remembering George Davis,” by Elizabeth Moulton: Elizabeth Moulton. Copyright by Elizabeth Moulton, 1979. First published by the Virginia Quarterly Review. Reprinted by permission of the author.
For quotations from the correspondence of Katherine Anne Porter: the Literary Estate of Katherine Anne Porter. Copyright by the Literary Estate of Katherine Anne Porter.
For quotations from the unpublished essay “Conscripts to an Age,” by Caroline Seebohm: Caroline Seebohm, copyright by Caroline Seebohm.
The author also thanks the Henry W. and Albert A. Berg Collection of English and American Literature, The New York Public Library Astor, Lenox and Tilden Foundations, for permission to print quotations from W. H. Auden’s letter to Rupert Doone on Oct. 19, 1932; to Benjamin Britten on [no date, ca. pre-June, 1939], on June 8, 1939, and on Nov. 11, 1941; to James Stern [no date]; to James and Tania Stern on [no date, ca. Oct. 10, 1941], and on Dec. 18, 1941; to Tania Stern on Jan. 30, 1942, and Dec. 31, 1944; to Harry Brown on [no date, ca. Oct. 1940]; to Stephen Spender in 1940 and on March 13, 1941; to Caroline Newton on Nov. 9, 1940, May 15, 1941, Oct. 7, 1941, Nov. 11, 1941, Jan. 10,
1942, and Jan. 19, 1942; and to Elizabeth Mayer on Feb. 23, 1943, as well as from W. H. Auden’s Journal, April 1929, his bound notebook [Essays (6), undated], his notebook [undated, 3 v.] containing parts of “New Year Letter,” and the typescript drafts of his poems “September: 1939” and “Love Letter.” All items are Copyright by the Estate of W. H. Auden.
The author thanks the Berg Collection of English and American Literature, The New York Public Library Astor, Lenox and Tilden Foundations, for permission to print quotations from Chester Kallman’s letter to Harold Norse, July 11 [?1940], and to W. H. Auden, Nov. 3, 1941, Nov. 10, 1941, Nov. 18, 1941, Dec. 7, 1941, and Jan. 19, 1941, and from Chester Kallman’s Holograph Notebook, unsigned and undated [dated by Edward Mendelson as 1939/1940]. All items are copyright by the Estate of Chester Kallman.
The author also thanks the Berg Collection of English and American Literature, The New York Public Library Astor, Lenox and Tilden Foundations, too, for permission to print quotations from Carson McCullers’s letter to Muriel Rukeyser, Sunday night [no date], and to Muriel Rukeyser, Monday [no date]. Both items copyright © the Estate of Carson McCullers.
Thanks are due to the Harry Ransom Humanities Research Center, The University of Texas at Austin, for permission to quote from the typescript of W. H. Auden’s article “Honest Doubt,” W. H. Auden’s letter to Chester Kallman, Dec. 25, 1941, W. H. Auden’s typescript poem, “To Chester Kallman, b. Jan. 7, 1921,” Chester Kallman’s Notebook 3 and Notebook 4, Carson McCullers’s “The Cripple” (unpublished story, Series 1, Box 8, folder 5), Carson McCullers’s “Home Journey and the Green Arcade” (Series 1, Box 9, folder 13), Carson McCullers’s untitled article on Georgia (unpublished, Series 1, Box 1, folder 2), the typescript draft of her 1959 article “The Flowering Dream” (Aug. 28, 1958, Series 1, Box 8, folder 14), and her letters to Reeves McCullers of Jan. 6, 1945, Jan. 17, 1945, and Jan. 18, 1945 (Series II, Box 24, folder 9).
Quotations from E. M. Forster’s letter to Christopher Isherwood, Oct. 31, 1939 (CI 822), Christopher Isherwood’s letter to Kathleen Bradshaw-Isherwood, 1939 (CI 1278), and W. H. Auden’s letter to Christopher Isherwood [1941?] (CI 2991): All items reproduced by permission of The Huntington Library, San Marino, California.
For permission to quote from W. H. Auden’s letter to Harold Norse, Nov. 1, 1941, the author thanks the Lilly Library, Indiana University, Bloomington, Indiana.
Excerpts from Christopher Isherwood’s letter to George Davis of Dec. 21, 1938, W. H. Auden’s letter to George Davis, Nov. [1?], 1941, George Davis’s unpublished works including “The Victim,” “Death of an Artist: A Memoir of Christian Bérard,” and “Death of an Artist” (folder 33), George Davis’s publishing contract with Harper & Brothers for “Mere Oblivion,” Apr. 1, 1929 (folder 4/180), and Donald Spoto’s “Victor Carl Guarneri: An Oral History Interview (unpublished), Oct. 20, 1985, are reprinted with the permission of the Kurt Weill Foundation for Music, New York. All rights reserved.
For permission to reproduce illustrative material, acknowledgments are due to the following: the Henry W. and Albert A. Berg Collection of English and American Literature, The New York Public Library, Astor, Lenox and Tilden Foundations, for the photographs of W. H. Auden with Chester Kallman and of W. H. Auden with ErikaMann; Karl Bissinger and Catherine Johnson Art, Inc., for the Karl Bissinger portrait of Jane Bowles © Karl Bissinger; to the Bodleian Library, University of Oxford, for the photograph of Louis MacNeice (Stallworthy Dep. 30N, polyfoto of Louis MacNeice); to the Britten-Pears Library, Aldeburgh, England, for the photographs of W. H. Auden and Benjamin Britten, New York, c.1941, and of Peter Pears and Benjamin Britten, New York, c. 1941, The Elizabeth Mayer Collection; to the Brooklyn Historical Society for the photograph of the view of New York Harbor from Brooklyn Heights; to the Louise Dahl-Wolfe Archive, Center for Creative Photography, University of Arizona, for the portrait of Carson McCullers, © 1989 Center for Creative Photography, Arizona Board of Regents; to Peter Davis for the three photographs of George Davis; to the Estate of Eric Schaal / Artists Rights Society (ARS), New York, for the Eric Schaal “Portrait of Salvador and Gala Dalí,” © 2004 Estate of Eric Schaal / Artists Rights Society (ARS), New York; to the Münchner Stadtmuseum and Münchner Stadtbibliothek, Monacensia Literature Archives, Collection Klaus Mann, for the photograph of Klaus Mann; to the Museum of the City of New York, Theatre Collections, for the Marcus Blechman photograph of Oliver Smith; to the New York City Municipal Archives for the photograph of the house at 7 Middagh Street, Brooklyn; to Erik Lee Preminger for the portrait of Gypsy Rose Lee as stage performer; to Time Life Pictures/Getty Images for the Eliot Elisofon photograph of Gypsy Rose Lee at her typewriter; to the Van Vechten Trust and to the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, for the Carl Van Vechten photograph of Paul Bowles; to the Weill-Lenya Research Center, Kurt Weill Foundation for Music, New York, for the portrait of Lotte Lenya (Ser. 70/0244) and for the photograph of W. H. Auden on moving day in Brooklyn (Ser. 37/288); and to the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, for the photograph of Richard and Ellen Wright.
The author and publishers have made every effort to trace the owners of copyright material. They apologize if any person or source has been overlooked in these acknowledgments, and they would be grateful to be informed of any oversights.
Index
A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z
A
Abbe, Frankie, 23, 28–29, 66, 72, 76, 159–60
African Americans, 4
discrimination against, 140, 250
and McCullers, 7, 26, 163–64
See also specific African-American authors
Age of Anxiety, The (Auden), 233, 256
Albania, 211
Alcohol, 17, 138, 139, 185
Carson McCullers’s consumption of, 24–25, 27, 68, 70, 110, 130–32, 156, 204, 206, 216, 222, 250
Jane Bowles’s consumption of, 194, 251
Reeves McCullers’s consumption of, 21, 131
Aldeburgh, England, 202, 236, 253, 256
Aldeburgh Festival of Music and the Arts, 253, 257–8
“Almos’ a Man” (Wright), 26
“Alone” (Auden), 175–76
American Ballet Caravan, 121, 161, 208
American Ballet Company, 36, 154
American Friends of German Freedom, 126
American Mercury, 9
American Overture, An (Britten), 238
Amerika (Kafka), 192
Amityville, New York, 69–70, 117–18, 238–40
Anderson, Hedli, 119
Anderson, Margaret, 11
Anderson, Maxwell, 17, 159
Anderson, Sherwood, 95, 210, 242
Aragon, Louis, 11
Army Post (McCullers). See Reflections in a Golden Eye
Ascoli, Max, 124, 209
As I Lay Dying (Faulkner), 4
Askew, Kirk and Constance, 169
Aspern Papers, The (James), 97–98
Astor Hotel, 143
Aswell, Mary Louise, 204
Atlantic Monthly, 9, 143
“Atlantis” (Auden), 175
“At the Grave of Henry James” (Auden), 128
Auden, W. H., 140, 222
archives materials relating to, 256
and Barker, 150, 177
birthday of, 164
at Bread Loaf, 26
and Britten, 118–21, 133–36, 154–56, 170, 182–83, 198–203, 213, 233, 237, 239, 240–42, 247–49, 256–58
Brooklyn Heights apartment of, 33, 35, 38, 39, 160
and Chester Kallman, 50–53, 97–100, 105–6, 117, 122, 129, 148–51, 170–71, 174–76, 194–95, 213–19, 227–31, 233, 244–47, 256, 257
in China, 16, 45, 56, 78, 228
as compelled to write, 139
Davis’s friendship with, 16–17, 45, 48, 72, 252
decides to move to the U.S., 47–50
> and Decision, 95, 186
drugs taken by, 17, 49, 51, 91, 175
epigrams from, xi, 1, 33, 115, 179
and Great Britain, 42–47, 52, 55, 59, 101, 122, 144–46, 188–89
on illness, 153, 192, 247
and Jane Bowles, xiii, 190–94
and Kirstein, 37–40, 121
and Marguerite Smith, 131–32
marriage of, to Erika Mann, 18–19
at Middagh Street, xii, xiii, xiv, 62–63, 66–76, 87, 88, 90, 91, 95–101, 105–6, 108–10, 115–18, 133–36, 141, 148–56, 159, 182, 184, 186–87, 203, 205, 213–19, 242, 249, 256
mother of, 218–19, 230
in New York, 16–18, 29, 33, 35, 38, 39, 48, 55–61, 119, 160
patron of, 99–100
and Paul Bowles, 160–61, 172–73
photographs of, 49, 72
as a politically aware poet, 43, 44–47, 49–50, 53–55, 57–60, 95–101, 107, 120, 121, 133–36, 145–46, 187–89, 215–16
reading preferences of, 73
and religion, 101, 127–29, 146–48, 163, 187, 195, 214–15, 230–33, 246–47
as U.S. citizen, 59, 129, 189, 257
in Weimar Germany, 16, 40–42, 44, 228
working conditions required by, 68–70, 103
in World War II, 254
See also titles of works by
Austria, 45–47, 257
“Awful Mrs. Eaton,” 10
B
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