January 29, 2009 |
The boyhood home of Pulitzer-winning author Cormac McCarthy, long abandoned and overgrown, has been destroyed by a fire even as preservationists tried in recent months to save it. "We have lost a literary landmark," Kim Trent, executive director of the nonprofit Knox Heritage group, said Wednesday, a day after the two-story wood-frame structure in Knoxville, Tenn., was reduced to a smoldering ruin. It was a blow for a city that also failed to save the early homes of Pulitzer-winning writer James Agee and poet Nikki Giovanni.
March 23, 2008 |
At the time of his death of a heart attack at 45, James Agee had published relatively little of his own creative work. Known more for his insightful movie reviews and film adaptations, Agee had produced a novella, a volume of poetry and "Let Us Now Praise Famous Men," a study of Alabama sharecroppers. He left behind the manuscript of a novel he'd been working on for more than a decade, which editor David McDowell published as "A Death in the Family."
January 30, 2008 |
KNOXVILLE, Tenn. -- "A Death in the Family" won the Pulitzer Prize a half century ago and became an American literary classic, but it was not the book James Agee wrote. "It wasn't what Agee intended. At least, it isn't the manuscript that he left when he died," University of Tennessee professor Michael Lofaro says.
February 12, 2006
A week after being castigated for omitting the writers' credits from its annual "Sneaks" edition, Calendar in part atones by running David Kipen's "The Pen Is Mightier," [Feb. 5] billing itself as "a first step toward challenging auteurism with a powerful schreiberist countermyth." While I wholeheartedly applaud the author's wish to honor the screenwriter, Kipen's exemplary list, by starting off with James Agee, demonstrates the difficulty in pinning down exact credits. Kipen claims that a "robust anticlericalism" thematically unites the adaptations of "The African Queen" and "The Night of the Hunter," citing "Agee's choices, both of materials and accentuation."
February 5, 2006 |
TO enter a parallel universe, just dial (323) 782-4591. A blithe female voice speaks the titles of half a dozen or so current movies, the dates and times they will screen at a certain private auditorium in Beverly Hills and, finally, the names of the filmmakers responsible. The titles are largely familiar. The names, to any but the most uncommon cinephile, are not.
May 15, 2005 |
In the spring of 1947, Charles Chaplin brought "Monsieur Verdoux," his first film in seven years, to New York for its world premiere. Those years had not been kind to Chaplin; his predilection for much younger women, culminating in a spectacular paternity trial in 1944, together with his radically leftist politics, had alienated substantial portions of the press and public. "Verdoux" -- chilly, charmless and preachy, unlike anything he had ever made before -- would only widen this breach.