Frances, Rachel, and Isabella not only survive their trials, but eventually become productive and beneficial members of society, thus serving as positive examples of the potential opportunity for widows in eighteenth-century England."--BOOK JACKET.
How did a college education become so vital to American notions of professional and personal advancement? Reared on the ideal of the self-made man, American men had long rejected the need for college. But in the early twentieth century this ideal began to change as white men born in the U.S. faced a barrage of new challenges, among them a stultifying bureaucracy and growing competition in the workplace from an influx of immigrants and women. At this point a college education appealed to young men as an attractive avenue to success in a dawning corporate age. Accessible at first almost exclusively to middle-class white males, college funneled these aspiring elites toward a more comfortable and certain future in a revamped construction of the American dream. In Creating the College Man Daniel A. Clark argues that the dominant mass media of the era—popular magazines such as Cosmopolitan and the Saturday Evening Post—played an integral role in shaping the immediate and long-term goals of this select group of men. In editorials, articles, fiction, and advertising, magazines depicted the college man as simultaneously cultured and scientific, genteel and athletic, polished and tough. Such depictions underscored the college experience in powerful and attractive ways that neatly united the incongruous strains of American manhood and linked a college education to corporate success.
Soon to be a major motion picture starring Haley Bennett, Tom Sturridge, and Sam Riley! "Narrative history that fizzes with life and feeling.” — Benjamin Wallace, New York Times bestselling author of The Billionaire's Vinegar The New York Times bestselling biography of the visionary young woman who built a champagne empire, became a legend, and showed the world how to live with style Veuve Clicquot champagne epitomizes glamour, style, and luxury. In The Widow Clicquot, Tilar J. Mazzeo brings to life—for the first time—the fascinating woman behind the iconic yellow label: Barbe-Nicole Clicquot Ponsardin, who, after her husband's death, defied convention by assuming the reins of the fledgling wine business they had nurtured together. Steering the company through dizzying political and financial reversals, she became one of the world's first great businesswomen and one of the richest women of her time. As much a fascinating journey through the process of making this temperamental wine as a biography of a uniquely tempered woman, The Widow Clicquot is the captivating true story of a legend and a visionary.
Tracing the collegiate film genre from the first silent offerings starting around 1915 to the realistic recent critical portrayals of college life, this study examines how collegiate films have reflected our changing tastes and values. An extensive filmography is also included.
A stunning portrait of the complicated woman who becomes Ernest Hemingway's fourth wife, tracing her adventures before she meets Ernest, exploring the tumultuous years of their marriage, and evoking her merry widowhood as she shapes Hemingway's literary legacy. Mary Welsh, a celebrated wartime journalist during the London Blitz and the liberation of Paris, meets Ernest Hemingway in May 1944. He becomes so infatuated with Mary that he asks her to marry him the third time they meet—although they are married to other people. Eventually, she succumbs to Ernest's campaign, and in the last days of the war joined him at his estate in Cuba. Through Mary's eyes, we see Ernest Hemingway in a fresh light. Their turbulent marriage survives his cruelty and abuse, perhaps because of their sexual compatibility and her essential contribution to his writing. She reads and types his work each day—and makes plot suggestions. She becomes crucial to his work and he depends upon her critical reading of his work to know if he has it right. We watch the Hemingways as they travel to the ski country of the Dolomites, commute to Harry's Bar in Venice; attend bullfights in Pamplona and Madrid; go on safari in Kenya in the thick of the Mau Mau Rebellion; and fish the blue waters of the gulf stream off Cuba in Ernest's beloved boat Pilar. We see Ernest fall in love with a teenaged Italian countess and wonder at Mary's tolerance of the affair. We witness Ernest's sad decline and Mary's efforts to avoid the stigma of suicide by claiming his death was an accident. In the years following Ernest's death, Mary devotes herself to his literary legacy, negotiating with Castro to reclaim Ernest's manuscripts from Cuba, publishing one-third of his work posthumously. She supervises Carlos Baker's biography of Ernest, sues A. E. Hotchner to try and prevent him from telling the story of Ernest's mental decline, and spends years writing her memoir in her penthouse overlooking the New York skyline. Her story is one of an opinionated woman who smokes Camels, drinks gin, swears like a man, sings like Edith Piaf, loves passionately, and experiments with gender fluidity in her extraordinary life with Ernest. This true story reads like a novel—and the reader will be hard pressed not to fall for Mary.
Tracing the influence of Faulkner’s screenwriting on his literary craft and depictions of women William Faulkner’s time as a Hollywood screenwriter has often been dismissed as little more than an intriguing interlude in the career of one of America’s greatest novelists. Consequently, it has not received the wide-ranging critical examination it deserves. In Faulkner’s Hollywood Novels, Ben Robbins provides an overdue thematic analysis by systematically tracing a dialogue of influence between Faulkner’s literary fiction and screenwriting over a period of two decades. Among numerous insights, Robbins’s work sheds valuable new light on Faulkner’s treatment of female characters, both in his novels and in the films to which he contributed. Drawing on extensive archival research, Robbins finds that Hollywood genre conventions and archetypes significantly influenced and reshaped Faulkner’s craft after his involvement in the studio system. His work in the film industry also produced a deep exploration of the gendered dynamics of collaborative labor, genre formulae, and cultural hierarchies that materialized in both his Hollywood screenplays and his experimental fiction.