Bohemians, bootleggers, flappers, and swells : the best of early Vanity Fair
- 4 of 4 copies available at Evergreen Indiana.
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|Location||Call Number / Copy Notes||Barcode||Shelving Location||Status||Due Date|
|Hussey-Mayfield Mem. PL - Zionsville||810.8 BOHEMIANS (Text)||33946002967409||Nonfiction . 2nd Floor||Available||-|
|Jefferson Co PL - Madison Main Branch||810.8005 BOH (Text)||39391006643314||Nonfiction||Available||-|
|Porter County PL - Portage Public Library||810.80052 BOHEM (Text)||33410013233863||Adult Nonfiction||Available||-|
|Putnam County Public Library - Main||810.8 BOH (Text)||30041002004297||Adult Nonfiction||Available||-|
- ISBN: 9781594205989
- ISBN: 1594205981
420 pages ; 24 cm
- Publisher: New York, New York : Penguin Press, 2014.
|Formatted Contents Note:|
Vanity Fair and the birth of the new / Graydon Carter -- 1910s. Physical culture peril (May 1914) / P.G. Wodehouse ; August Strindberg (October 1914) / Georg Brandes ; World's new art centre (January 1915) / Frederick James Gregg ; Are odd women really odd? (June 1915) / Hyman Strunsky ; New York women who earn $50,000 a year (August 1915) / Anne O'Hagan ; Any porch (poetry) (September 1915) / Dorothy Rothschild (Parker) ; Football and the new rules (September 1915) / Walter Camp ; War scenes across the Canadian border (October 1915) / Stephen Leacock ; Are the rich happy? (December 1915) / Stephen Leacock ; An Afghan in America (February 1916) / Syyed Shaykh Achmed Abdullah ; Art of being a bohemian (March 1916) / Robert C. Benchley ; Why I haven't married (October 1916) / Dorothy Rothschild (Parker) ; Men: a hate song (poetry) (February 1917) / Dorothy Rothschild (Parker) ; Shifting night life of New York (February 1917) / James L. Ford ; Actresses: a hate song (poetry) (May 1917) / Dorothy Rothschild (Parker) ; Relatives: a hate song (poetry) (August 1917) / Dorothy Rothschild (Parker) ; George Jean Nathan (November 1917) / The editors ; From left to right in the movies (January 1918) / Douglas Fairbanks ; Excursions into Hunland (March 1918) / Lieut. E.M. Roberts, R.F.C. ; Great American army (poetry) (June 1918) / Gertrude Stein ; Gateway to an artificial paradise: the effects of hashish and opium compared (October 1918) / Arthur Symons ; Our office: a hate song (poetry) (May 1919) / Dorothy Parker -- 1920s. William Somerset Maugham: a pen portrait by a friendly hand (January 1920) / Hugh Walpole ; My autobiography (January 1920) / A.A. Milne ; Higher education on the screen (February 1920) / Robert E. Sherwood ; Mr. Wilson's inelastic intelligence (February 1920) / John Jay Chapman ; Lamps of Limehouse (short story) (March 1920) / Thomas Burke ; "Hippocketiquette" (April 1920) / Richard Connell ; Poems (November 1920) / Edna St. Vincent Mlllay ; This is a magazine (December 1920) / F. Scott Fitzgerald ; Sport for art's sake (September 1921) / Heywood Broun ; Memoirs of court favourites (November 1921) / Noël Coward ; James Joyce (March 1922) / Djuna Barnes ; Without the cane and the derby (poetry) (May 1922) / Carl Sandburg ; I like Americans: they are so ridiculous (poetry) (August 1922) / Edna St. Vincent Millay (pseudonym Nancy Boyd) ; Public and the artist (October 1922) / Jean Cocteau ; High-low controversy (January 1923) / Randolph Dinwiddie ; Early days of Pablo Picasso (May 1923) / Max Jacob ; Jazz: a brief history (June 1923) / Samuel Chotzinoff ; Poems (July 1923) / T.S. Eliot ; An essay on behaviorism (October 1923) / Bertrand Russell ; Woman behind the mask (short story) (November 1924) / Colette ; When Calvin Coolidge laughed (April 1925) / e. e. cummings ; What, exactly, is modern? (May 1925) / Aldous Huxley ; Poems (September 1925) / Langston Hughes ; Education of Harpo Marx (March 1926) / Alexander Woollcott ; Hello, big boy (June 1926) / Sherwood Anderson ; A western reunion (short story, in telegrams) (August 1926) / Geoffrey Kerr ; Liberty, equality, fraternity (December 1926) / Clarence Darrow ; Some American expatriates (April 1927) / Ford Madox Ford ; Blazing publicity (September 1927) / Walter Lippmann ; A primer of Broadway slang (November 1927) / Walter Winchell ; Russia: the great experiment (June 1928) / Theodore Dreiser ; Do women change? (April 1929) / D.H. Lawrence ; If you are going to Antibes (July 1929) / Alexander Woollcott ; An American Museum of Modern Art (November 1929) / Alfred H. Barr Jr. ; Extremely moving pictures (December 1929) / Thomas Mann -- 1930s. A stock market post-mortem (January 1939) / David Cort ; A portrait of Joan Crawford (June 1930) / Douglas Fairbanks Jr. ; A close-up of Cole Porter (February 1931) / Charles G. Shaw ; Twilight of the economic gods (April 1931) / Jay Franklin ; Banks and the collapse of money values (January 1932) / J.M. Keynes ; Babe (May 1932) / Paul Gallico ; Bootlegging for Junior (June 1932) / Dalton Trumbo ; Jimmy Walker era (December 1932) / Alva Johnston ; When lovely women stooped to the follies (February 1933) / Helen Brown Norden ; Moll in our midst (August 1934) / Stanley Walker ; Little Caruso (short story) (October 1934) / William Saroyan ; Tarzan;ape-man into industry (January 1935) / Darwin l. Teilhet ; Grand guillotiner of Paris (May 1935) / Janet Flanner ; Bums at sunset (short story) (October 1935) / Thomas Wolfe ; Golden swank (February 1936) / Allene Talmey.
For the magazine's centenary celebration, an anthology of pieces from the early golden age of Vanity Fair. Editor Graydon Carter introduces these fabulous pieces written between 1913 and 1936, when the magazine published a murderers' row of the world's leading literary lights. It features great writers on great topics, including F. Scott Fitzgerald on what a magazine should be, Clarence Darrow on equality, D.H. Lawrence on women, e.e. cummings on Calvin Coolidge, John Maynard Keynes on the collapse in money value, Thomas Mann on how films move the human heart, Alexander Woollcott on Harpo Marx, Carl Sandburg on Charlie Chaplin, Djuna Barnes on James Joyce, Douglas Fairbanks, Jr., on Joan Crawford, and Dorothy Parker on a host of topics ranging from why she hates actresses to why she hasn't married. These essays reflect the rich period of their creation while simultaneously addressing topics that would be recognizable in the magazine today, such as how women should navigate work and home life; our destructive fascination with the entertainment industry and with professional sports; the collapse of public faith in the financial industry; and, as Aldous Huxley asks herein, "What, exactly, is modern?"--
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