FEATURES:
A riveting examination of Amy Lowell’s private life and lover, Ada Russell, who did so much to make Lowell’s career possible
The startling discovery of a new Amy Lowell lover who perished on the Lusitania. A compelling window into Lowell’s gregarious character. Concise readings of Lowell’s most important poems reveal the depth and range of her erotic imagination. An astute analysis of the way biographers and critics have maligned Lowell as a person and poet.


ADVANCE PRAISE FOR Amy Lowell Anew: A Biography

Amy Lowell Anew deserves all the prizes. It is a major work of American cultural history, restoring to readers a poet of great distinction and a public figure of immense importance to American letters and our 20th Century history. Carl Rollyson is a hero of a biographer for his rescue and rethinking the lives of many neglected or misunderstood women. His approach has always been to treat his figures with dignity and respect. Dignity and respect have been sorely lacking in works about Amy Lowell. Recently, lesbian scholars have recreated Lowell as a grand dame diva, a great leap forward. Now Rollyson moves painstakingly through the life and works, not only writing/​righting wrongs but carefully resettling Amy Lowell's poetry into the American canon where it belongs. His study of her role as public speaker and cultural advocate for poetry give us at last Amy Lowell as a Public Intellectual. --Jane Marcus, distinguished professor of English and Women's Studies, CUNY Graduate Center and the City College of New York

Informed by newly recovered personal accounts of Amy Lowell, Rollyson presents the growth of a poet who embraced and furthered imagism and unabashedly celebrated the body in love. He follows Lowell in her performances on the road and traces her lifelong interest in Asian culture. His abundant experience as a biographer allows Rollyson to offer a keen appreciation of Lowell’s own biography of Keats, to assess the sources of negative biographies and impressions of her, and to support the recent current of feminist recuperation of Lowell’s life and work. --Bonnie Kime Scott, , professor emerita, San Diego State University and the University of Delaware

No husband, no babies, no Victorian prudery, just sublime poetry and a secret erotic life. Amy Lowell was not what we thought she was. --Marion Meade, author of Dorothy Parker: What Fresh Hell Is This?

This is the biography I've been waiting for. Rollyson has exhaustively mined Lowell's archive to create a thoughtful portrait of a complicated, ambitious artist. Here, beyond the legends, the rumors, and the facile aspersions that her larger-than-life persona inspired is a woman I've wanted to meet for a very long time.--Melissa Bradshaw, author of Amy Lowell: Diva Poet

Treated as the butt of jokes by her male modernist contemporaries and by hostile biographers, Amy Lowell has been rescued from decades of homophobia, sexism, and anti-fat prejudice by this brilliant new study. Carl Rollyson turns archival research into exciting storytelling, as he brings Lowell and her passionate relationships with her lovers out of the shadows, while demonstrating why the popularity once enjoyed by her poetry, which infuses domestic situations with eroticism and with a political consciousness, and by her public performances of it, was no fluke.--Margaret D. Stetz, Mae and Robert Carter Professor of Women’s Studies and Professor of Humanities, University of Delaware


COLUMNS ON AMY LOWELL


REVIEWS


Pre-teen Amy

Debutante

Poet

Lowell receiving her honorary degree at Baylor University in Waco, Texas. She had a good time writing several letters about her visit. It was very hot, but she loved the heat--always did.

One of my lilacs. I end my biography of Lowell with a discussion of "The Lilacs," which is, in a way, her own obituary.

Amy Lowell Anew: A Biography

Excerpt from the The Gay & Lesbian Review

INTEREST in poet and iconoclast Amy Lowell (1874–1925) finally seems to be rising after decades of benign neglect. In recent years we’ve seen Adrienne Munich and Melissa Bradshaw’s collection of essays, Amy Lowell, American Modern, and Carl Rollyson’s Amy Lowell among Her Contemporaries. Now Rollyson has added a new book, Amy Lowell Anew, which delves more deeply into the interplay between Lowell’s personal and professional lives. Rollyson had access to the extensive Lowell archive at Harvard University as well as resources in England. And he got help from a few archivists who located new sources, notably an archivist at the Massachusetts Historical Society who found a group of letters referring to a hitherto unknown female companion. Diane Ellen Hamer, a longtime associate of the GLR, is a writer based in Melrose. Mass.

The Absence of Amy Lowell

When Amy Lowell died in 1925 at the age of 51, she was at the height of her fame. Her two-volume biography of John Keats, published in the last year of her life, had been greeted in this country with almost universal acclaim. She was the premier platform
performer among her generation of poets.

In 1926, Lowell's posthumous volume of verse, What’s O'Clock, was awarded a Pulitzer Prize. She had remained in the public eye ever since the publication of her second book. Sword Blades and Poppy Seed (1914). She had wrested the Imagist movement away from Ezra Pound, producing three best-selling anthologies of Imagist verse while publishing a book of her own poetry nearly every year. Pound retaliated, calling her appropriation "Amygism."

The pugnacious Lowell dominated the poetry scene in every sense of the word, supporting journals like Poetry and The Little Review and publishing pronunciamentos about the "new poetry." Standing only five feet tall and weighing as much as 250 pounds, she made good copy: The sister of Harvard's president, she smoked cigars and cursed. She lived on the family estate in Brookline, Massachusetts, where her seven rambunctious sheep dogs terrorized her guests. She wore a pince nez that made her look—so one biographer thought—like Theodore Roosevelt. She was even known to say "Bully!" Lowell traveled in a maroon Pierce Arrow, which she shipped to England in 1914 when she decided to look up Pound and seize her piece of the poetry action in London. Pound wanted her monetary support but scorned her verse. When she chose not to play by his rules, he mocked her, parading around a party she was hosting with a tin bathtub on his head—his way of ridiculing her bath poem, written in her patented polyphonic prose: "Little spots of sunshine lie on the surface of the water and dance, dance, and their reflections wobble deliciously over the ceiling; a stir of my finger sets them whirring, reeling. I move a foot, and the planes of light in the water jar. I lie back and laugh, and let the green-white water, the sun-flawed beryl water, flow over me. The day is almost too bright to bear, the green water covers me from the too bright day. I will lie here awhile and play with the water and the sun spots." Reading this dithyramb to the Poetry Society of America, Lowell caused an uproar. This was not poetry at all, the conservative membership protested. Another account of this episode mentions titters, as Society members envisioned the elephantine poet at her ablutions—or rather her profanation of what a dignified poet ought to perform.

Lowell went on lecture tours the way rock bands roll from town to town today, with an entourage, a suite at the best hotel, and a gathering of reporters awaiting her latest outrage. On the lecture platform, she would read a poem and then pause, looking out at her audience: "Well, hiss or applaud! But do something!" Almost always she got an ovation—and some hisses. At receptions and dinner parties, she was carefully watched. When would she light up? She seldom disappointed, although her favored stogie was, in fact, a small brown panatela and not the big black cigars featured in the more sensational reports.

Other women poets—chiefly Elinor Wylie and Edna St. Vincent Millay—also commanded press attention, but none had Amy Lowell's authority. Publishers deferred to her contractual terms. D. H. Lawrence, Richard Aldington, H. D., and others depended on her largesse and her business sense. She was Poetry, Inc. Today she would be, of course, Poetry.com. T. S. Eliot called her the "demon saleswoman" of modern poetry. Academic critics such as John Livingston Lowes deemed her one of the masters of the sensuous image in English poetry. She helped make the reputations of Edwin Arlington Robinson and Robert Frost.

Of course, Lowell had her detractors, but their views were rarely reflected in reviews of her books. As Norman Mailer said of Marilyn Monroe—Lowell had crashed through a publicity barrier, which meant that no matter what kind of press she got, it all accrued to her benefit. Although she came from a wealthy and staunchly capitalist family and called herself "the last of the barons," it was not her politics but her poetics that captured the public imagination. She was for free verse, or what she called "cadenced verse." Although she would produce sonnets and other sorts of poems with rhyme schemes, she was celebrated for lines of uneven length, a bold, informal voice, and bright, colorful sensory imagery. Lowell was all surface, her grumbling dissenters alleged, but she always seemed to carry the day by switching modes—from grand historical narratives, to hokkus, to lyrics, to polyphonic prose, to books about contemporary poetry that read as though she had just left the lecture platform to address you, the common reader.

It is not surprising, then, that her enemies—never able to get much traction during her lifetime—should pounce just as soon as the energetic Lowell dropped dead from a stroke. The urge to cut this incubus down to size was irresistible. Clement Wood, a poet and critic who had feuded with Lowell, was first up in 1926, producing a biography systematically dismantling Lowell's reputation as a poet and critic. Lowell had been prolific and prolix, producing in a fifteen-year span an immense and uneven variety of verse and prose that made her an easy target for tendentious criticism. Wood's verdict, in short, was that Lowell was no poet at all. He skirted her lesbianism with references to the "Sapphic fragments" of a "singer of Lesbos." He employed what he called the "new psychology" to suggest her work was wish fulfillment, the product of a desire to be accepted. Lowell's need was pathological. Wood implied, because of her obesity—a word he never used, referring instead to her "immense physique." Wood favored sarcasm, concluding, "All the Harvard pundits and all the claquing men can't set Miss Lowell on a pedestal again." He was chaffing John Livingston Lowes, chair of Harvard's English department, and countless critics who had reviewed her writing positively.

Lowell's next biographer, S. Foster Damon, produced a monumental biography in 1935, noting that Wood's snide attack had not been widely reviewed or credited, but the damage had been done—in part because Wood had played off the epithets of critics like Witter Byner, who had dubbed Lowell the "hippopoetess," a term Ezra Pound also took up as a way of conflating the person with the poet. Damon, a member of Lowell's inner circle, restored her dignity by detailing her heroic dedication to her writing and to the cause of poetry, but he also unwittingly played Wood's hand by emphasizing the "triumph of the spirit over the tragedy of the body." Poetry, in other words, is what Lowell could do instead of living a full, "normal" life. Damon meant his words as a tribute, but because he did not tell the complete story of Lowell's love life and her working days, he could not recover for readers the Amy Lowell he knew.

Damon's plight raises two issues that plague Lowell biography. Lowell's lover and constant companion, Ada Dwyer Russell, destroyed their letters at Lowell's request. As unfortunate was Lowell's directive to her secretaries that they destroy the drafts of her
work each day. Damon could have partly rectified this enormous loss had he candidly described the intimacy between "Peter" (Lowell's nickname for Ada) and the poet. But Russell, who had worked closely with the poet, was also Lowell's executor. Russell lived until 1952, resisting all requests to tell the story of her relationship with Lowell, and thus depriving readers not merely of a love story but of an insight into the poetic process.

Damon's reticence made it all too easy for Wood's virulent version of Lowell to metastasize in Horace Gregory's hostile Amy Lowell: Portrait of the Poet in Her Time (1958). Employing Wood's vulgar Freudianism, Gregory sketched a view of a masculinized woman who used her bulk as a defense against a hurtful world. Gregory seemed to have no idea that Russell and Lowell had been lovers, although the evidence was rather plain to see, eventually emerging in Jean Gould's Amy: The World of Amy Lowell and the Imagist Movement (1975). Relying on critics such as Glenn Richard Ruihleylhy, who published in 1957 an edition of Lowell's poetry that emphasized her stunning love poetry, as well as on fresh interviews with Lowell's surviving family and friends, Gould began the work of restoring the person and poet to her full humanity and range. But Gould was unwilling to confront the implications of Lowell's subtler poems, in which she carefully disrobed for the world. Gould balked at going "half-way with poets" and feeling "the thing you're out to find," as Lowell wrote in one of her last poems. Gould quoted but did not explore the subtext of her subject's passionate poetry.

Enter C. David Heymann with American Aristocracy: The Lives and Times of James Russell, Amy, and Robert Lowell (1980), determined to drag Lowell back to Gregory's procrustean bed. Heymann cut and pasted the work of Lowell's previous biographers, quoted a few published memoirs, and delivered a breezy reprise of the standard brief against Amy Lowell, beginning with Louis Untermeyer's devastating verdict: "Amy Lowell had a genius for everything except the thing she wanted most: permanence as a poet." Heymann pictures Lowell as "naive, unknowing, and innocent," pronouncing her brashness a cover for a "gigantic inferiority complex" and a "troubled psyche." He delivers his judgments with ex cathedra certainty: "The need to make a kind of technicolor charade of her life was one way of making up for its essential emptiness." And he denies her precisely what recent critics, male and female, have found most valuable in her verse: a deep understanding of love. Instead, he indulges in that most odious of biographical practices: presenting lack of evidence as somehow an occasion for insisting on the validity of what he cannot know. Thus he argues that in the first stanza of Lowell's signature poem "Patterns," "she must have had herself in mind" protesting against "Puritan inhibitions and society's repressive conventions." But Lowell seemed remarkably well adjusted, adroitly negotiating both the high society world of her family and the rarified precincts of poets. It is odd that her aplomb should so often be mistaken for ingenuous- ness, as if she did not know enough to be embarrassed by her bulk and her fortune. To be sure, she had her share of self-doubt, but I cannot help but think her air of self-containment nettled those like Pound and Eliot who could find no place for her in the narrative of modernism. Better to think of her as an amateur, a lady poet, and a clubwoman. Hence Heymann guywires her to "Miss Lowell" and "Amy," whereas Pound is never Ezra and Untermeyer is never Mr. Untermeyer.

Heymann calls Lowell's erotic poems "androgynous," born of a close friendship with Ada that was not "necessarily sexual in nature." Why is he so wary of discussing Lowell's sexuality when he is so confident about other aspects of her inner life. It seems that he could not resist joining a long line of male critics who could not envision the body of Amy Lowell in the act of love. Although she did sometimes express anguish and even disgust about her figure ("Look at me," she once said, "I'm a disease"), Lowell wrote poetry that celebrated the bodies of herself, her lover, and other women. Indeed, she often lectured about Whitman and shared his amative nature. Far from suffering from some void in her life, Lowell positively embraced her sexuality.

Modernists like William Carlos Williams could not abide a poet like Lowell, a conservative who refused to apologize for her wealth. Like Pound, he wrote her letters telling her off while asking her for money. Heymann thought it odd that Lowell did not make common cause with feminists given her own "liberated" relationship with Ada Dwyer. That he did not see that he has contradicted himself, providing Lowell with an erotic experience he had previously denied her, is just another index of his un-
willingness to see the person and the poet.

Critics like Lillian Faderman and Melissa Bradshaw and poets like Honor Moore, who edited Amy Lowell: Selected Poems (The Library of America, 2004), have since become attuned to her bold eroticism, a force that beautifully binds the physical and spiritual, as in these lines from "Absence," Lowell's love poem to Ada Russell:

My cup is empty to-night.
Cold and dry are its sides ....
But the cup of the heart is still.
And cold, and empty.
When you come it brims
Red and trembling with blood.
Heart's blood for your drinking;
To fill your mouth with love
And the bitter-sweet taste of a soul.

These were the lines D. H. Lawrence extolled when he expressed his affinity with Lowell, which Lowell herself acknowledged when she quoted back to him his praise for her "insistence on things. My things are always, to my mind, more than themselves." She begins with a cup that is always a cup but is also her heart and then her mouth, just as her lover's coming is both a return and a climax; the literal, the sexual, and the symbolic merge.

Of even greater importance, however, are poems like "The Onlooker" (first published in the Saturday Review of Literature, February 1925), which fuses the personal with the historical, espying in an erotic encounter the fate of a civilization:

Suppose I plant you
Like wide-eyed Helen
On the battlements
Of weary Troy,
Clutching the parapet with desperate hands.
She, too, gazes at a battlefield
Where bright vermillion plumes and metal whiteness
Shock and sparkle and go down with groans.
Her glances strike the rocking battle.
Again—again—
Recoiling from it
Like baffled spear-heads fallen from a brazen shield.
The ancients at her elbow counsel patience
and contingencies;
Such to a woman stretched upon a bed of battle.
Who bargained for this only in the whispering arras
Enclosed about a midnight of enchantment.

This Amy Lowell is akin to Constantine Cavafy or Zbigniew Herbert in her reverie over a historic moment, and the conceit that she was no poet seems palpably put-on, part of a master narrative that ought to be annihilated once and for all.

Selected Works: Click on titles for reviews and photographs

e.g. Fiction, History, Magazine Articles, etc. goes here
Carl Rollyson not only provides an introduction to her essays, novels, plays, films, diaries, and uncollected work published in various periodicals, he now has a lens through which to reevaluate classic texts such as Against Interpretation and On Photography, providing both students and advanced scholars a renewed sense of her importance and impact.
This first biography of Susan Sontag (1933–2004) is now fully revised and updated, providing an even more intimate portrayal of the influential writer’s life and career. The authors base this revision on Sontag’s newly released private correspondence, including emails, and the letters and memoirs of those who knew her best.
Chapters on Marilyn Monroe, Lillian Hellman, Martha Gellhorn, Norman Mailer, Rebecca West, Susan Sontag, Sylvia Plath, Amy Lowell, Michael Foot, Jill Craigie, Dana Andrews, Walter Brennan, and Willam Faulkner.
A Private Life of Michael Foot adopts a no holds barred approach to biography, leaving a political figure stripped bare, and revealing a deeply complex, introverted man for all to see.

The first biography of the prodigiously hard-working actor who embodied the Western ideal
A documentary approach to the life and legend. With details of her childhood, her young adult years, her ascent to superstardom, and the hour by hour moments leading to her tragic early death, this volume supplements—and, in some cases, corrects—the accounts of previous biographies.
A riveting examination of Amy Lowell’s private life and lover, Ada Russell, who did so much to make Lowell’s career possible The startling discovery of a new Amy Lowell lover who perished on the Lusitania. A compelling window into Lowell’s gregarious character. Concise readings of Lowell’s most important poems reveal the depth and range of her erotic imagination. An astute analysis of the way biographers and critics have maligned Lowell as a person and poet.
A revisionist view of the poet, her fellow writers, and their biographers. In this series of essays, beginning with a look at how her own biographers have behaved, I have tried to re-conceive the familiar anecdotes and episodes, circling back again and again to certain incidents and contretemps, as the point of view shifts from one writer to another. As a kind of coda to my quarrel with biographers is an essay, “Remembering Amy Lowell,” in which I assess the varying degrees to which the memoirs of her present a credible person and poet. I have not paused to define in any great detail terms such as Imagism, although I’ve included an essay on the Imagists in an appendix as well as the full texts of the poems discussed in this book. These appendices provide a context for the discussion of Lowell and her contemporaries and serve, I hope, as an inviting introduction to her work.
A biography of the great film noir actor. Here at last is the complete story of a great actor, his difficult struggle to overcome alcoholism while enjoying the accolades of his contemporaries, a successful term as president of the Screen Actors Guild, and the love of family and friends that never deserted him. Based on diaries, letters, home movies, and other documents, this biography explores the mystery of a poor boy from Texas who made his Hollywood dream come true even as he sought a life apart from the limelight and the backbiting of contemporaries jockeying for prizes and prestige. Called “one of nature’s noblemen” by fellow actor Norman Lloyd, Dana Andrews emerges from Hollywood Enigma as an admirable American success story, fighting his inner demons and ultimately winning.
Here, at last, is the true story of Sylvia Plath's last days and her estate's efforts to shape her husband's role in her death and the world's understanding of Plath and her work. Here, too, is a new Sylvia Plath, immersed in popular culture and proto-feminism, presaging the way we live now.I wrote this biography because there were aspects of Sylvia Plath that other biographers have overlooked or misunderstood. But as I wrote I re-read my predecessors. I checked to see how others had handled the same material. I think my practice in doing so is worth mentioning because I have dispensed with a good deal of the boilerplate that most biographers feel compelled to supply. I say little, for example, about the backgrounds of Plath’s parents. I don’t describe much of Smith College or its history. I do very little scene setting. Previous biographers do all this and more, and what strikes me about their work is how distracting all that background is for someone wishing to have a vision of Sylvia Plath, of what she was like and what she stood for. To put it another way, since earlier biographers have done so much to contextualize Plath, I have not wanted to repeat that exercise, as valuable as it can be for the Plath novice. Instead, I have concentrated on the intensity of the person who was Sylvia Plath, restricting my discussion of her writing only to the truly crucial pieces that advance my narrative. I have tried to write a narrative so focused that a reader new to Plath biography may feel some of the exhilaration and despair that marked the poet’s life. I wrote this biography because there were aspects of Sylvia Plath that other biographers have overlooked or misunderstood. But as I wrote I re-read my predecessors. I checked to see how others had handled the same material. I think my practice in doing so is worth mentioning because I have dispensed with a good deal of the boilerplate that most biographers feel compelled to supply. I say little, for example, about the backgrounds of Plath’s parents. I don’t describe much of Smith College or its history. I do very little scene setting. Previous biographers do all this and more, and what strikes me about their work is how distracting all that background is for someone wishing to have a vision of Sylvia Plath, of what she was like and what she stood for. To put it another way, since earlier biographers have done so much to contextualize Plath, I have not wanted to repeat that exercise, as valuable as it can be for the Plath novice. Instead, I have concentrated on the intensity of the person who was Sylvia Plath, restricting my discussion of her writing only to the truly crucial pieces that advance my narrative. I have tried to write a narrative so focused that a reader new to Plath biography may feel some of the exhilaration and despair that marked the poet’s life.
The first biography that truly shows the actress at work.-- Ellen Burstyn A new edition, revised and updated, from University Press of Mississippi. In American popular culture Marilyn Monroe has evolved in stature from Hollywood sex symbol to tragic legend. Most books about Monroe stress the sensational events that surrounded her-this book is the first to deal honestly and critically with Monroe as an actress, evaluating her moves as crucial forces in the shaping of her identity. Through careful examination of her performances, from her small appearances in The Asphalt Jungle and All About Eve to her memorable roles in Bus Stop, Some Like It Hot, and the The Misfits, the author traces her development from cover girl innocent to an actress devoted to her craft. Based on extensive interviews with many of Monroe's colleagues, close friends, and mentors, this comprehensive, critically balanced study describes her use of Method acting as well as her instruction with Michael Chekhov and, later, the Strasbergs. Carl Rollyson has written a refreshing analysis and appreciation of Marilyn Monroe's enduring and, until now, underestimated gifts as a creative artist.
America's most controversial radical playwright. Through diaries, letters, government files, and interviews Carl Rollyson draws a vital and vibrant portrait of the life, the work, and the legend of Lillian Hellman, America's most controversial radical playwright. Rollyson explores the sources and backgrounds of her best-selling memoirs, the development of her politics, her successful screenwriting career, and her famous appearance before the House Committee on Un-American Activities. He provides entertaining and informative accounts of her feud with Mary McCarthy, her many love affairs and surprising friendships. He also provides a provocative and compelling portrayal of this complex and brilliant woman, who was called everything from a "viper", "a goddam liar" to "an empathetic genius with a highly original and penetrating mind." Near death, Hellman spoke of being blocked; this biography will show what got in her way.
The first biography of Gellhorn, relying on key archival sources and interviews with her friends and associates. Martha Gellhorn died in February 1998, just shy of her 90th birthday. Well before her death, she had become a legend. She reported on wars from Spain in the 1930s to Panama in the 1980s, and her travel books have become classics. Her marriage to Ernest Hemingway and affairs with legendary lovers like H. G. Wells, and her relationship with two presidents, Roosevelt and Kennedy, reflect her campaigns against tyranny and deprivation, and her outrage at the corruption and cruelty of modern governments. This controversial and acclaimed biography portrays a vibrant and troubled woman who never tired of fighting for causes she considered just.
Delves beneath the surface to examine the forces that made Sontag an international icon, exploring her public persona and private passions, including the strategies behind her meteoric rise to fame and her political moves.
The first book to survey the broad range of Sontag's work. Includes a comprehensive glossary of Sontag's extensive allusions to literary figures and ideas.
Twenty-five years of writing about female icons and biography. Female Icons: Marilyn Monroe to Susan Sontag Bits and pieces that resulted not only in a biography of Marilyn Monroe but also in much of the work subsequently done on Lillian Hellman, Martha Gellhorn, Rebecca West, Susan Sontag, and on the nature of biography itself. This book includes New York Sun book reviews dealing with female icons such as Mary Stuart, Mary Wollstonecraft, The Brontës, Marie Curie, Harriet Tubman, Zelda Fitzgerald, and Sylvia Plath.
The standard biography of one of the 20th century's greatest prose stylists.. What is new in this second edition of Carl Rollyson's standard biography? It begins with a portrait that attempts to evoke the living person in all her dimensions. It concludes with an interview with one of her favorite secretaries, Elizabeth Leyshon, who eluded him in the 1990s but provided new insights into her employer's character for this book. The biography's new title emphasizes that Rebecca West was a prophet-one not always appreciated in her own day. As early as 1917, she understood where the world was headed and realized that the revolution in Russia held out false hope. Because she took this view as a socialist, those on the left scorned her as an apostate, whereas she understood that Communism would result in a disaster for the British left. Readers wishing to gauge the range of West's fiction and nonfiction should read Woman as Artist and Thinker, published by iUniverse. Rollyson has read his words anew, sharpening sentences, omitting words and paragraphs-sometimes entire sections-in order to provide a refreshing, more engaging, and spirited account of one of the world's major writers.
The first book to explore the entire corpus of her extraordinary career.
Religion, politics, and the writing of biographies.
Filmmaker, feminist,, wife--a twentieth century woman.
The first literary biography of Norman Mailer, updated and revised
Essays in Biography is a play on words conveying an attempt to explore the nature of biography in pieces about the history of the genre and in portrayals of biographers (Plutarch, Leon Edel, and W. A. Swanberg), literary figures (Lillian Hellman, Jack London), philosophers and critics (Leo Strauss and Hippolyte Taine), political figures (Winston Churchill and Napoleon), and artists (Rembrandt and Rubens).
For those addicted to reading biography, enhancing their pleasure by providing insight (or you might say, the inside word) on how biographies are put together.
Provocative reviews of American subjects, originally appearing in The New York Sun.
A candid and revealing account, by an expert in the minefield of the biographer’s contentious work
A terrific companion for biography writers and lovers.-- James McGrath Morris, editor of the monthly "The Biographer's Craft"