by Christopher Bram (2012)
Describes how the trailblazing, post-war gay literary figures, including Tennessee Williams, Gore Vidal, Truman Capote, and Allen Ginsberg, paved the way for newer generations, including Armistead Maupin, Edmund White, and Edward Albee.
Reeve Lindbergh
"In 1999 Anne Morrow Lindbergh, the famed aviator and author, moved from her home in Connecticut to the farm in Vermont where her daughter, Reeve, and Reeve's family live." "Mrs. Lindbergh was in her nineties and had been rendered nearly speechless years earlier by a series of small strokes that also left her frail and dependent on others for her care. No More Words is a memoir by Reeve Lindbergh of the final seventeen months of her mother's life."--BOOK JACKET.
Catherine Texier
Breakup is the erotically charged chronicle of the tempestuous final months of an eighteen-year romantic and literary partnership, self-destructing in the aftermath of the ultimate betrayal. Fearlessly and courageously, Texier chronicles the end of the love as it is wrecked by infidelity and deceit in a literary tour de force reminiscent by turns of Marguerite Duras and Henry Miller. Texier writes in harrowing detail about the powerful sexual relationship she shared with her husband even during their breakup, how sex between them became a substitute for real intimacy, and how the fabric of a marriage (a shared cup of cafe au lait on a yellow table every morning, the memories of giving birth to two glorious daughters, of coediting their own literary magazine) is brutally dissolved.
Robert A. Schanke
"In the first book-length biography of Mercedes de Acosta, theater historian Robert A. Schanke adroitly mines lost archival materials and mixes in his own interviews with de Acosta's intimates to correct established myths and at last construct an accurate, detailed, and vibrant portrait of the flamboyantly uninhibited early-twentieth-century author, poet, and playwright." "Born to wealthy Spanish immigrants, Mercedes de Acosta (1893-1968) lived in opulence and traveled in the same social circles as the Astors and Vanderbilts. She was introduced to the New York theater scene at an early age, and her dual loves of performance and of women informed every aspect of her life thereafter. De Acosta was notorious for walking the streets of New York in mannish pants, pointed shoes trimmed with buckles, a tricorn hat, and a cape. With her chalky white face, deep-set eyes, thin red lips, and jet black hair, de Acosta was labeled "Countess Dracula" by Tallulah Bankhead. And Alice B. Toklas's observation, "Say what you will about Mercedes, she's had the most important women in the twentieth century," was well justified, as her romantic conquests included such internationally renowned beauties as Greta Garbo, Marlene Dietrich, and Isadora Duncan, as well as Alla Nazimova, Eva Le Gallienne, Tamara Karsavina, Pola Negri, and Ona Munson." "Not merely a record of her personal life and infamous romances, this account offers the first analysis of de Acosta's complete oeuvre, including three volumes of poetry, two novels, two film scripts, and a dozen plays. Although only two of her plays were ever published during her lifetime, four of them were produced, featuring such stage luminaries as John Gielgud, Ralph Richardson, and Eva Le Gallienne. When she published her first volume of poetry, Moods, in 1919, critics praised her achievements and predicted her rise to literary fame. Unfortunately, the love of other women that fueled her writing also limited her opportunities to fulfill this destiny. Failing to achieve any lasting fame, she died in relative poverty at the age of seventy-five." "Aided by twenty-seven photographs, Schanke establishes Mercedes de Acosta's rightful place as a pioneer - and indeed a champion - in the early struggle for lesbian rights in this country. The famous portrayal of her as "that furious lesbian" should now be considered an admiring description rather than a scornful slur."--Jacket.
Hannah Rothschild
A biography of the author's great-aunt, jazz patroness Nica de Koenigswarter, drawing on family records to examine the traditions that shaped her youth, her marriage to Baron Jules de Koenigswarter, and her role in supporting the New York jazz world.