[>] bat hanging: Vogel, Memories and Images, 79.
[>] knockdown-dragout fights: Brinnin, Dylan Thomas, 120.
[>] “all those fool”: Ibid., 91.
[>] “among friendly faces”: Ibid., 151.
[>] San Remo Bar: Ibid., 162.
[>] “the condition under”: Frascina, Pollock and After, 120.
[>] “Like children”: Stevens and Swan, De Kooning, 244.
[>] “Is he the greatest”: “Jackson Pollock,” Life (August 8, 1949).
[>] the Irascibles: “The Irascibles,” Life (January 15, 1951).
[>] “action painting”: Maroni and Bigatti, Jackson Pollock, 704.
[>] “Terrific,” “Gee!”: Stevens and Swan, De Kooning, 366
[>] “You know more”: Wetzsteon, Republic of Dreams, 563.
[>] to be present too: Brinnin, Dylan Thomas, xii.
[>] “Do you think”: Solomon, Jackson Pollock, 240.
[>] American bitch goddess: Stevens and Swan, De Kooning, 324.
[>] “roaring boy”: Brinnin, Dylan Thomas, 140.
[>] American academics: Ibid., 43.
[>] Thomas had never understood: Ibid.
[>] snuggling up to their women: Ibid., 59.
[>] young “ardents”: Ibid., 53.
[>] “play for voices”: Ibid., 99.
[>] Spoon River Anthology: Lycett, Dylan Thomas, 362.
[>] “so young, so ruddy”: Kay Boyle, “A Declaration for 1955,” The Nation, January 29, 1955.
[>] eyes reddened: Brinnin, Dylan Thomas, 143.
[>] dark, second-floor room: Ibid., 147.
[>] “I think it’s called”: Ibid., 6.
[>] “high, wild, wonderful laughter”: Ibid., 146.
[>] “who with a week’s”: Miller, Timebends, 514.
[>] “the struggle to hold off”: Ibid.
[>] gone to see The Crucible: Brinnin, Dylan Thomas, 175.
[>] combined with Benzedrine: Ferris, Collected Letters, 918.
[>] “I’ve seen the gates”: Brinnin, Dylan Thomas, 203.
[>] a girl “loaned” to him: Ibid., 211.
[>] a woman he disliked: Ibid., 216.
[>] “I’m really afraid”: Ibid., 213.
[>] giggled over the caricatures: Ibid., 215.
[>] “the cockroaches have teeth”: Ferris, Dylan Thomas, 299.
[>] wanted was to die: Brinnin, Dylan Thomas, 219.
[>] “I’ve got to go”: Ibid.
[>] likely exaggerating: Ferris, Dylan Thomas, 304.
[>] “I’ve had eighteen straight”: Brinnin, Dylan Thomas, 220.
[>] dose of morphine: Ferris, Dylan Thomas, 306.
[>] face had turned blue: Brinnin, Dylan Thomas, 222.
[>] tore a crucifix: Ibid., 233.
[>] born across the street: Homberger, New York City, 118.
[>] “metropolitan excitements”: Kerouac, The Subterraneans, 82.
[>] two “Catholic buddies”: Leland, Why Kerouac Matters, 17.
[>] drawing paper: Kerouac, On the Road: The Original Scroll, 24.
[>] “But Jack”: Charters, Kerouac, 128.
[>] Kerouac bellowed at him, red-faced: George Plimpton, “Robert Giroux, the Art of Publishing No. 3,” Paris Review (Summer 2000).
[>] “not so great”: Kerouac, The Subterraneans, 53.
[>] Metropolitan Opera House: Vidal, Palimpsest, 217.
[>] “as one writer”: Ibid.
[>] tied everything together: Kerouac, The Subterraneans, 53.
[>] swung in a circle: Vidal, Palimpsest, 231.
[>] “varied & adventurous”: Allen Ginsberg to John Montgomery, n.d., HRC.
[>] “lust to one”: Vidal, Palimpsest, 232.
[>] rosy-red light: Ibid.
[>] “I liked”: Ibid., 233.
[>] “reasonably brisk”: Ibid., 231.
[>] never did return: Ibid., 234.
[>] hip new outlook: Hill, A Grand Guy, 63.
[>] “an adventure”: Rivers, What Did I Do?, 227.
[>] “He thought by hanging out”: Ibid., 133.
[>] “eyeball kicks”: Schumacher, Dharma Lion, 197.
[>] at the very heart: Ibid., 202.
[>] “I saw the best”: Ginsberg, Collected Poems, 134–41.
[>] Whitman’s cataloging style: Schumacher, Dharma Lion, 203.
[>] Gertrude Stein’s rhythms: Shinder, Poem That Changed, 76.
[>] to make the poem move: Ibid., 41.
[>] a high-pitched voice: Ibid., 103.
[>] audience laughed, hooted: Jason Epstein, speaking at “Howl: The Fiftieth Anniversary,” Miller Theatre at Columbia University, April 17, 2006.
[>] “social force”: Ginsberg, Howl: Fiftieth Anniversary Edition, 155.
[>] inspired by some peyote: Schumacher, Dharma Lion, 205.
[>] “whose love is endless”: Ginsberg, Collected Poems, 134–41.
[>] a global utopian gathering: Ibid.
[>] “In all our memories”: Ibid.
[>] “an emotional time bomb”: Shinder, Poem That Changed, 146.
[>] son of the Wobbly leader: Baxandall, Words on Fire, 271.
[>] “what might truly be waiting”: Miller, Timebends, 381.
[>] “dreadful little”: John Hollander, “Poetry Chronicle,” Partisan Review (Spring 1957): 296–98.
[>] “redeeming social importance”: The People of the State of California (Plaintiff) v. Lawrence Ferlinghetti (Defendant), October 3, 1957.
[>] “with boys and girls”: Carter, Spontaneous Mind, 294.
[>] “dirty books”: Hill, A Grand Guy, 32.
[>] “only a blow job”: Miles, William Burroughs, 88.
[>] crowds yelling: Amy Finnerty, “The Photo That Exposed Segregation,” New York Times Book Review, October 7, 2011.
[>] having an affair: Atlas, Delmore Schwartz, 330–31.
[>] Descending on Kramer’s: Ibid., 331.
[>] “like an old bull”: Bellow, Humboldt’s Gift, 341.
[>] “I get lots”: Morgan and Stanford, Jack Kerouac and Allen Ginsberg, 370.
[>] “I’m afraid to come back”: Ibid., 393.
[>] “I almost cried”: Ibid., 356.
[>] “sexy chicks”: Lee, The Beat Generation Writers, 190.
[>] “Your public?”: Morgan and Stanford, Jack Kerouac and Allen Ginsberg, 417.
[>] “I’m waiting for God”: Maher, Kerouac, 356.
[>] he confessed: J. Kerouac to Robert Giroux, July 13, 1962, Jack Kerouac Papers, Berg.
[>] “to stand the gaff”: Kerouac, Kerouac: Selected Letters, 263.
[>] “old woods life”: Ibid., 315–16.
[>] “thick and sullen”: Vidal, Palimpsest, 227.
[>] “I forgot”: Ibid., 231.
[>] the tide had nevertheless turned: Miller, Timebends, 362.
[>] “siren song”: Ibid., 288.
[>] “One felt it”: Ibid., 362.
[>] “found-object instruments”: Robert Palmer, “John Cage’s Night of Uproar,” New York Times, October 25, 1981.
[>] “Give me your hump!”: Hill, Grand Guy, 87.
[>] columnist Jack Mabley: Schumacher, Dharma Lion, 297.
[>] Calling it Big Table: Ibid., 299.
[>] “dead, undersea eyes”: “Notes on Contributors,” Big Table 1 (Winter 1959): 2.
[>] “I have a funny”: Editorial, Big Table 1 (Winter 1959): 3.
[>] “revolted” by: Brightman, Writing Dangerously, 414.
[>] delighted by what she considered: Ibid., 474–75.
[>] Gertz organized a protest: McAleer, Arthur C. Clarke, 139.
[>] next stage in human evolution: Ibid., 136.
[>] “carny barker”: Ibid., ix.
[>] “maybe only fifty years”: A. C. Clarke, Horizon (video), BBC, 1964 (http://www.youtube.com/watch?feature=player_embedded&v=FxYgdX2PxyQ).
[>] statistically normal: McAleer, Arthur C. Clarke, 341.
[>] Hector Ekanayake: Ibid., 122.
[>] “sounded fun”: Ibid., 139.
[>] offered to publish: Miles, William Burroughs, 98.
[>] refugees from Franco’s Spain: Frank Cavestani, interview with the author, December 9, 2011.
[>] El Quijote: “Conveyances, 222 West 23rd Street: Lease Renewal,” New York City Department of Finance, Office of the City Register, June 16, 1988.
[>] schoolteacher’s son: Stanley Bard, interview with the author, May 15, 2006.
[>] paint walls, sand floors: Virgil Thomson to Mr. Krauss, n.d.; Virgil Thomson to Mr. Bard, September 27, 1955; Virgil Thomson to Mr. Bard, February 25, 1967, Virgil Thomson Papers, Yale Music Library.
[>] sold off his other properties: Stanley Bard, interview with the author, May 15, 2006.
[>] “tolerated everything”: Miller, “The Chelsea Affect.”
[>] Morath, whose friend: Miller, Timebends, 512.
[>] “the Chelsea charm”: Ibid., 512–13.
[>] well educated on the GI Bill: Rivers, What Did I Do?, 75.
[>] “you could be poor”: Ibid., 76.
[>] “every artist likes”: Lehman, The Last Avant-Garde, 21.
[>] “wigging in”: Schuyler, Collected Poems, 252.
[>] John Ashbery: Rivers, What Did I Do?, 214.
[>] Larry Rivers: Ibid., 234.
[>] “spontaneity of sentiment”: Thomson, Virgil Thomson, 158.
[>] “beauty of true things”: Lehman, Last Avant-Garde, 278.
[>] “what horror”: Ibid., 195.
[>] a “faggot”: Ibid., 336.
[>] “ruining American poetry”: Ibid.
[>] “a united front”: Ibid., 337.
[>] “to smash”: Russell, The Avant-Garde Today, 226.
[>] “wonderfully uninvolved”: Miller, Timebends, 487.
5. After The Fall
[>] “Everything is perfect”: Arthur Miller, “The Chelsea Affect,” Granta (Summer 2002).
[>] “good people”: Miller, Timebends, 245.
[>] recommended the Chelsea: Ibid., 512.
[>] hostel one found: Miller, “The Chelsea Affect.”
[>] providing the distraction Monroe: Gottfried, Arthur Miller, 171.
[>] “place of happiness”: Miller, “The Chelsea Affect.”
[>] free from the money-based: Marshall Smith, “The Madcap Chelsea, New York’s Most Illustrious Third-Rate Hotel,” Life 57, no. 12 (September 18, 1964): 134–40.
[>] long-distance truckers: Richard R. Lingeman, “Where Home Is Where It Is,” New York Times Book Review, December 24, 1967.
[>] “the winds of my”: Miller, Timebends, 34.
successful photojournalist: Ibid., 494.
[>] a children’s story: Gottfried, Arthur Miller, 354.
[>] “They were all innocents”: Miller, Timebends, 495.
[>] slipping upstairs to Virgil: Miller, “The Chelsea Affect.”
[>] plaster frieze: Juliette Hamelcourt, “Oral Histories at the Chelsea Hotel: Sir René Shapshak and his wife, Eugenie,” Juliette Hamelcourt collection, n.d., SAAA.
[>] friend of anarchists: Avrich, Anarchist Voices, 325.
[>] “paralyzing potions”: Miller, Timebends, 513.
[>] increasing carbon dioxide: Ibid.
[>] Byrd, a young experimental musician: Robert Nedelkoff, e-mail to the author, October 11, 2011.
[>] lent Byrd her loft: Banes, Greenwich Village, 60.
[>] “Third Play”: Miller, Timebends, 516.
[>] group of scientific researchers: Ibid., 326.
[>] “failed to embarrass”: Ibid., 520.
[>] “tired of being Marilyn Monroe”: Gottfried, Arthur Miller, 342.
[>] One did what one: Miller, Timebends, 517.
[>] thinking of Camus’s The Fall: Ibid., 484.
[>] After the Fall: Ibid., 516.
[>] Whitehead, with a request: Ibid., 529.
[>] “swamp cooler”: Arthur Miller, “American Summer: Before Air Conditioning,” The New Yorker, June 22, 1998.
[>] “an attempt”: “Curtain Time,” Milwaukee Journal, January 28, 1962.
[>] Kleinsinger, the sociable composer: Miller, “The Chelsea Affect.”
[>] red laser beam: Helen Dudar, “It’s Home Sweet Home for Geniuses, Real or Would-Be,” Smithsonian 14, no. 9 (December 1983): 106.
[>] “human art”: Restany, Yves Klein, 23.
[>] International Klein: John Perreault, “Yves Klein’s Blues: Souvenirs of the Future,” Artopia (November 9, 2005).
[>] specialized in “accumulations”: Chernow, Christo and Jeanne-Claude, 149.
[>] filling a plastic pool: Rivers, What Did I Do?, 382.
[>] Jean Tinguely produced kinetic art: Ibid., 379.
[>] Niki de Saint Phalle: Ibid., 377.
[>] dancing at the transvestite bar: Ibid., 380.
[>] set itself on fire: “The Collection: Fragment from Homage to New York,” Jean Tinguely (Swiss, 1925–1991), Museum of Modern Art, http://www.moma.org/collection/object.php?object_id=81174.
[>] “To play”: Chernow, Christo and Jeanne-Claude, 155.
[>] construct situations: SI 1958, “Preliminary Problems in Constructing a Situation” (Ken Knabb, trans.), Internationale Situationniste 1 (1958).
[>] “Imagination is”: Yves Klein, “Chelsea Hotel Manifesto,” Spring 1961, http://www.yvesklein.de/manifesto.html.
[>] writer Harry Matthews: Scott Griffin, interview with the author, November 14, 2007.
[>] an opera libretto: Scott Griffin, e-mail to the author, October 17, 2007.
[>] then shot down: Tommasini, Virgil Thomson, 458–59.
[>] The Construction of Boston: David Shapiro, “A Conversation with Kenneth Koch,” Field 7 (Fall 1972).
[>] “They were all battling”: Eric Hu, “Frank O’Hara on American vs. European Sociality in Art Circles,” Empathies, http://empathies.tumblr.com/post/29138539755/frank-ohara-on-american-vs-european-sociality-in-art.
[>] body cast in blue plaster: Rivers, What Did I Do?, 383.
[>] “Negro hustler named Joe”: Ibid., 387.
[>] “poets write the best”: Scott Griffin, interview with the author, November 14, 2007.
[>] “rising up”: Henry Galdzahler in Who Gets to Call It Art? (documentary film), directed by Peter Rosen (2006).
[>] “soft sculptures”: Patti Mucha, “Sewing in the Sixties,” Art in America (November 2002): 79–87.
[>] “The amount”: Claes Oldenburg in recorded interview with Bruce Hooten at the Hotel Chelsea, February 19, 1965, Oldenburg Collection, Box 1, Getty Research Center.
[>] “I am for an art”: Stiles and Selz, Theories and Documents, 335.
[>] “precious works”: Tony Sherman, “When Pop Turned the Art World Upside Down,” American Heritage (February 2001): 68.
[>] “The one thing”: Peter Campbell, “At the Hayward,” London Review of Books 26, no. 6 (March 18, 2004): 18.
[>] “one of the worst”: Brian O’Doherty, “Doubtful But Definite Triumph of the Banal,” New York Times (October 27, 1963).
[>] “wanted to be a machine”: Thierry de Duve and Rosalind Krauss, “Andy Warhol, or The Machine Perfected,” October 48 (Spring 1989): 3–14.
[>] “either a betrayal”: Ibid.
[>] abruptly leaving: Stevens and Swan, De Kooning, 441.
[>] “Oh, so nice”: Sherman, “When Pop Turned the Art World.”
[>] “My procedure”: Oldenburg interview with Bruce Hooten.
[>] “ignoring its right”: Lehman, The Last Avant-Garde, 308.
[>] “It’s like some”: Miller, After the Fall, 39.
[>] “Where is everybody?”: Stevens and Swan, De Kooning, 422.
[>] a dangerous choice: Miller, Timebends, 514.
[>] “her ghost”: Gottfried, Arthur Miller, 345.
[>] as an abstract concept: Ibid., 346.
[>] “truth-bearer of sensuality”: Miller, Timebends, 521.
[>] “I never got”: Miller, After the Fall, 80.
[>] “They l
augh. I’m a joke”: Ibid., 47.
[>] “as all of us are”: Miller, Timebends, 521.
[>] white-collared dresses: Sylvia Thompson, interview with the author, June 3, 2008.
[>] watch out for the discarded: Healey and Isserman, California Red, 174.
[>] years in prison: Abt and Myerson, Advocate and Activist, 221.
[>] her only son, Fred: Ibid.
[>] “I like a hotel”: E. G. Flynn, “I Like a Hotel,” Daily Worker, February 19, 1939.
[>] International Hotel Workers’ Union: “Young Woman Leads the Waiters’ Strike,” New York Times, January 14, 1913.
[>] Irish lace curtains: Sylvia Thompson, interview with the author, June 3, 2008.
[>] lovingly inscribed: C. Tresca inscription, Lawrence, Massachusetts, November 17, 1912, Elizabeth Gurley Flynn Collection, New York University Tamiment Library.
[>] Irish peas: Sylvia Thompson, interview with the author, June 3, 2008.
[>] her favorite restaurant, John’s: Ibid.
[>] “Do you know”: Baxandall, Words on Fire, 270.
[>] “stodgy old men”: Ibid., 271.
[>] including the filmmaker: Cecile Starr, e-mail to the author, May 1, 2009.
[>] blond, athletic Englishman: O’Connor, Brendan Behan, 96.
[>] befriended Terry Southern: Ibid., 137.
[>] “the number of people”: Jeffs, Brendan Behan, 35.
[>] Dunham happened to be: O’Connor, Brendan Behan, 296–97.
[>] David Bard’s son, Stanley: Stanley Bard, interview with the author, November 30, 2007.
[>] providing them with classes: Aschenbrenner, Katherine Dunham, 139.
[>] a room near her own: Smith, “The Madcap Chelsea.”
[>] five dollars per day: Turner, At the Chelsea, 14.
[>] “lisping through broken”: Miller, Timebends, 515.
[>] his “Hellenism”: O’Connor, Brendan Behan, 96.
[>] seaman from Dundalk: Turner, At the Chelsea, 14.
[>] to the YMCA with Arthurs: Ibid., 295.
[>] live in terror: Ibid., 301.
[>] no one gave a damn: Miller, Timebends, 514.
[>] who was visiting: O’Connor, Brendan Behan, 297.
[>] assumption that Farrell was dead: Landers, An Honest Writer, 320.
[>] “Gurley, you’re the only”: Sylvia Thompson, interview with the author, June 3, 2008.
[>] liked the Beat writers: Behan, Brendan Behan’s New York, 118.
[>] happy to harmonize: Rivers, What Did I Do?, 406.
Inside the Dream Palace: The Life and Times of New York's Legendary Chelsea Hotel Page 47
