{"product_id":"an-editors-burial-isbn-9781782276647","title":"An Editor’s Burial","description":"\u003cb\u003eA scintillating collection of inspirations for Wes Anderson's star-studded tenth film\u003ci\u003e The French Dispatch\u003c\/i\u003e--fascinating essays on the expatriate experience in Paris by some of the twentieth century's finest writers.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eA glimpse of post-war France through the eyes and words of 14 (mostly) expatriate journalists including Mavis Gallant, James Baldwin, A.J. Liebling, S.N. Behrman, Luc Sante, Joseph Mitchell, and Lillian Ross; plus, portraits of their editors William Shawn and \u003ci\u003eNew Yorker\u003c\/i\u003e founder Harold Ross. Together: they invented modern magazine journalism. Includes an introductory interview by Susan Morrison with Anderson about transforming fact into a fiction and the creation of his homage to these exceptional reporters.Contents\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e \u003ci\u003eThe Pilot Light                                                                      \u003c\/i\u003e7\u003cbr\u003e \u003ci\u003eA conversation between Wes Anderson and Susan Morrison\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eThe Years with Ross                                                         \u003c\/i\u003e25\u003cbr\u003e JAMES THURBER\u003cbr\u003e \u003ci\u003eHere at The New Yorker                                                 \u003c\/i\u003e42\u003cbr\u003e BRENDAN GILL\u003cbr\u003e \u003ci\u003eThe Other Paris                                                                  \u003c\/i\u003e54\u003cbr\u003e LUC  SANTE\u003cbr\u003e \u003ci\u003eThirty-two Rats from Casablanca                                \u003c\/i\u003e81\u003cbr\u003e JOSEPH MITCHELL\u003cbr\u003e \u003ci\u003eMr. Hulot                                                                           \u003c\/i\u003e103\u003cbr\u003e LILLIAN  ROSS\u003cbr\u003e \u003ci\u003eRemembering Mr. Shawn                                             \u003c\/i\u003e107\u003cbr\u003e VED  MEHTA\u003cbr\u003e \u003ci\u003eThe Days of Duveen                                                         \u003c\/i\u003e129\u003cbr\u003e S.M.  BEHRMAN\u003cbr\u003e \u003ci\u003eArt Talker                                                                          \u003c\/i\u003e166\u003cbr\u003e CALVIN  TOMKINS \u003ci\u003eThe Events in May: A Paris Notebook Part I               \u003c\/i\u003e170\u003cbr\u003e MAVIS  GALLANT\u003cbr\u003e \u003ci\u003eDearest Edith                                                                   \u003c\/i\u003e229\u003cbr\u003e JANET  FLANNER\u003cbr\u003e \u003ci\u003eEqual in Paris                                                                \u003c\/i\u003e239\u003cbr\u003e JAMES BALDWIN\u003cbr\u003e \u003ci\u003eMemoirs of a Feeder in France: A Good Appetite      \u003c\/i\u003e261\u003cbr\u003e A.J.  LIEBLING\u003cbr\u003e \u003ci\u003eMemoirs of a Feeder in France: Just Enough Money \u003c\/i\u003e285\u003cbr\u003e A.J.  LIEBLING\u003cbr\u003e \u003ci\u003eWolcott Gibbs                                                                   \u003c\/i\u003e307\u003cbr\u003e e.b. white\u003cbr\u003e \u003ci\u003eHarold Ross: A Recollection                                         \u003c\/i\u003e310\u003cbr\u003e S.M.  BEHRMAN\u003cbr\u003e \u003ci\u003eH.W. Ross                                                                         \u003c\/i\u003e318\u003cbr\u003e e.b. white\u003cbr\u003e Letters from \u003ci\u003eThe New Yorker \u003c\/i\u003eArchives             323\u003cbr\u003e Acknowledgments                                                      351Wes Anderson's films include \u003ci\u003eBottle Rocket\u003c\/i\u003e, \u003ci\u003eRushmore\u003c\/i\u003e, \u003ci\u003eThe Royal Tenenbaums\u003c\/i\u003e, \u003ci\u003eFantastic Mr Fox\u003c\/i\u003e, \u003ci\u003eIsle of Dogs\u003c\/i\u003e and \u003ci\u003eMoonrise Kingdom\u003c\/i\u003e. \u003ci\u003eThe French Dispatch\u003c\/i\u003e will be released on October 22, 2021Art Talker\u003cbr\u003e \u003ci\u003eCalvin Tomkins\u003c\/i\u003e\u003cbr\u003e \u003ci\u003e1977\u003c\/i\u003e\u003cbr\u003e A fiery redhead with the speed of light, a cloud of\u003cbr\u003e blue chiffon, and a hearty “This lecture is about a very\u003cbr\u003e good-looking man with rather thin legs who was born just under\u003cbr\u003e five hundred years ago and had ideas about hospitality which\u003cbr\u003e most of us would find it hard to put into practice”—who but\u003cbr\u003e Rosamond Bernier, talking about François I of France, on a\u003cbr\u003e recent Wednesday evening at the Metropolitan Museum of Art?\u003cbr\u003e We are not alone in thinking Mme. Bernier the most stylish art\u003cbr\u003e talker around. A recent lecture series in the Met’s Grace Rainey\u003cbr\u003e Rogers Auditorium was sold out two months in advance. Her\u003cbr\u003e invigoratingly literate television interviews with Philip Johnson,\u003cbr\u003e the architect, on CBS-TV’s “Camera Three” made the three\u003cbr\u003e Sunday mornings when they were shown astonishingly bearable\u003cbr\u003e for a much larger audience. Could we catch up with this\u003cbr\u003e scintillating creature (who has been married since 1975 to John\u003cbr\u003e Russell, the \u003ci\u003eTimes’s \u003c\/i\u003eequally scintillating art critic) and importune\u003cbr\u003e her with a few questions? We could and we did.\u003cbr\u003e “Imagine being paid to talk!” Mme. Bernier said to us over\u003cbr\u003e lunch in a midtown French restaurant the other day. “I’ve been a\u003cbr\u003e listener all my professional life, and here I am talking everybody’s\u003cbr\u003e head off.” Mme. Bernier’s lecturing self, it seems, rose quite\u003cbr\u003e recently from the ashes of her former, publishing-and-writing\u003cbr\u003e self. After twenty-odd very busy years in Paris, where she and\u003cbr\u003e her ex-husband, Georges Bernier, founded the magazine \u003ci\u003eL’OEil\u003c\/i\u003e\u003cbr\u003e in 1955 and made it into one of the century’s best art journals,\u003cbr\u003e she was, as she put it, left “absolutely flat” when, in 1969, she\u003cbr\u003e lost both Bernier and \u003ci\u003eL’OEil \u003c\/i\u003ethrough divorce. “All at once, I\u003cbr\u003e had nothing to do,” she said. “I just cried all day.” Friends did\u003cbr\u003e what they could to cheer her up, but nothing really helped\u003cbr\u003e until Michael Mahoney, an art historian, persuaded her to\u003cbr\u003e give fourteen lectures on modern art to his students at Trinity\u003cbr\u003e College in Hartford in the fall of 1970. “I was terrified at the\u003cbr\u003e start, but it worked,” she said. “I’m probably the only person\u003cbr\u003e you know who hasn’t been psychoanalyzed. Those lectures\u003cbr\u003e literally saved my life.”\u003cbr\u003e Mme. Bernier, who was born in Philadelphia but grew up\u003cbr\u003e mostly in London, approached her subject from the point of\u003cbr\u003e view of an active participant. Having arrived in Paris in 1946\u003cbr\u003e as European feature editor for the American \u003ci\u003eVogue\u003c\/i\u003e, she followed\u003cbr\u003e her natural bent toward art by becoming a close friend\u003cbr\u003e of virtually all the important European artists of the period.\u003cbr\u003e Picasso took to her because she spoke fluent Spanish as well as\u003cbr\u003e French, and she was the first to see and report on his postwar\u003cbr\u003e paintings. Matisse saw to it that she wrote the first article on\u003cbr\u003e the chapel he was designing in Vence. Miró, Braque, Max\u003cbr\u003e Ernst, and many other artists gave her exclusive interviews and\u003cbr\u003e became lifelong Bernier-philes, and from 1955 on they all took\u003cbr\u003e a personal interest in the development of \u003ci\u003eL’OEil\u003c\/i\u003e. In her lectures\u003cbr\u003e at Trinity, she was careful to avoid the “famous-men-who-havebreathed-\u003cbr\u003e on-me” sort of gossip, but her close connection with\u003cbr\u003e the Paris art scene, her memory for the telling detail, and her\u003cbr\u003e own infectious delight in recapturing the atmosphere of the\u003cbr\u003e period made for a wonderfully vivid presentation.\u003cbr\u003e The Hartford success led to an invitation from Rice University,\u003cbr\u003e in Houston, where she spent a month in 1971 as a guest of John\u003cbr\u003e and Dominique de Menil. “Roberto Rossellini was staying with\u003cbr\u003e them, too, and we became great friends,” she told us. “What a\u003cbr\u003e talker! He would sit down at the breakfast table and say, ‘\u003ci\u003ePascal\u003c\/i\u003e\u003cbr\u003e \u003ci\u003en’avait pas raison\u003c\/i\u003e,’ or something similar, and we’d be off on that\u003cbr\u003e for an hour.” The Metropolitan Museum heard about her Rice\u003cbr\u003e lectures and signed her up for the fall of 1971, and she has\u003cbr\u003e been in demand ever since, from places as far apart as Paris\u003cbr\u003e (where she has lectured at the Grand Palais on the painters of\u003cbr\u003e the School of Paris) and Yakima, Washington (where she spoke\u003cbr\u003e last spring on contemporary French painting).\u003cbr\u003e As one could gather from her Metropolitan lectures on “Four\u003cbr\u003e Royal Collectors” (François I, Charles I, Queen Christina of\u003cbr\u003e Sweden, and Catherine the Great), Mme. Bernier does not\u003cbr\u003e limit herself to modern art. \u003ci\u003eL’OEil’s \u003c\/i\u003eslogan was “\u003ci\u003eTous les arts,\u003c\/i\u003e\u003cbr\u003e \u003ci\u003etous les pays, tous les temps\u003c\/i\u003e,” and Mme. Bernier, who draws upon\u003cbr\u003e her years with the magazine for most of her lecture ideas and\u003cbr\u003e much of her material, now has more than thirty lectures in her\u003cbr\u003e quiver. But whether she is discussing the French Renaissance\u003cbr\u003e under François I, the Paris of Paul Poiret, or the effect on art of\u003cbr\u003e writers such as Baudelaire, Mallarmé, Apollinaire, and Proust,\u003cbr\u003e she manages to bring to her subject what sounds like firsthand\u003cbr\u003e knowledge. “I’m not a scholar or an art historian,” she told us.\u003cbr\u003e “As a matter of fact, I’ve never gone to lectures—once, I went\u003cbr\u003e to hear Erwin Panofsky, but that’s about it. I’ve always loved\u003cbr\u003e books and magazines, and playing around with images, and to\u003cbr\u003e me making a lecture is just like making a book. I started projecting\u003cbr\u003e two slides simultaneously, side by side, because that’s like\u003cbr\u003e having an open book with facing pages. And I love making the\u003cbr\u003e juxtapositions between images, tying things together, without\u003cbr\u003e a lot of big blocks of talk. That keeps things moving, and it\u003cbr\u003e keeps people amused. I think it’s important to be amused,\u003cbr\u003e don’t you? I must say, after one of my early lectures at the Met\u003cbr\u003e I overheard one woman in the audience say to another, ‘Well,\u003cbr\u003e she’s obviously slept with Léger. I wonder what she’ll have to\u003cbr\u003e say next week about Braque.’ Actually, I never slept with any\u003cbr\u003e of them, worse luck. But I’m enjoying it all very much. In fact,\u003cbr\u003e I’ve recently had two of the biggest thrills of my life. The first\u003cbr\u003e was dancing the Charleston and the Black Bottom with Merce\u003cbr\u003e Cunningham, at the Whitney Museum dinner for Sandy Calder.\u003cbr\u003e Merce Cunningham! And later John Cage told me that Merce\u003cbr\u003e had said he enjoyed it. The second was flying across the country\u003cbr\u003e for a lecture, getting off the plane, and seeing a huge sign in\u003cbr\u003e red lights that read ‘Welcome to Yakima Rosamond Bernier.’”Inspirations for The French Dispatch, an American Empirical Picture by Wes Anderson","brand":"Pushkin Press","offers":[{"title":"Default Title","offer_id":46300784460005,"sku":"NP9781782276647","price":16.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781782276647.jpg?v=1767721501","url":"https:\/\/k12savings.com\/products\/an-editors-burial-isbn-9781782276647","provider":"K12savings","version":"1.0","type":"link"}