Few literary celebrities have lived with more abandon and under a brighter spotlight than Lillian Hellman. Even fewer have been doubted as absolutely as Hellman, famously denounced by rival Mary McCarthy. Attacked by critics and idealized by admirers, Hellman's determination to control and manipulate her image helped make her a figure of unknowable half–truths and rumors. Until now. Lillian Hellman: A Life with Foxes and Scoundrels is the first biography of the iconoclastic playwright written with the full cooperation of her family, friends, and inner circle. Deborah Martinson moves beyond the myths around Hellman and finds the sassy, outrageous woman committed to writing, to politics, and to having her say. Martinson's research—through interviews, archives, recently declassified CIA files, and her unprecedented access to Hellman's confidants—paints the most complete, and surprisingly admiring, portrait of this remarkable writer that we've ever had. Distinctly American—a New Orleans Jew with one foot in Manhattan and one in Hollywood, a writer whose experience spanned the Great Depression, the Cold War, and the Nixon years—Hellman lives again in this riveting biography, facing the world with wit, truth, lies, and chutzpah.

This portrait traces the controversial life of the successful playwright, including her relationship with Dashiell Hammett and details her active role in ideological battles and her celebrated feuds with everyone from Tallulah Bankhead to Mary McCarthy.

People remain fascinated by her love affairs, her thirty-year relationship with the detective fiction writer Dashiell Hammett, and her visits to Spain during its civil war and to Russia during World War II."--BOOK JACKET.

The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material. The major playwrights and their works to receive in-depth coverage in this volume include: * Clifford Odets: Waiting for Lefty (1935), Awake and Sing! (1935) and Golden Boy (1937); * Lillian Hellman: The Children's Hour (1934), The Little Foxes (1939), and Days to Come (1936); * Langston Hughes: Mulatto (1935), Mule Bone (1930, with Zora Neale Hurston) and Little Ham (1936); * Gertrude Stein: Doctor Faustus Lights the Lights (1938), Four Saints in Three Acts (written in 1927, published in 1932) and Listen to Me (1936).

Widely acclaimed as one of America's most distinguished female playwrights, Lillian Hellman made an entrance into a largely male-dominated field in 1934 with The Children's Hour, a drama that rocked the literary establishment with its frank treatment of lesbianism while calling attention to her writing talents. Written between 1934 and 1963, Hellman's dramatic canon includes eight original plays and four adaptations. Two of these, Watch on the Rhine (1941) and Toys in the Attic (1960), received Drama Critics' Circle Awards. In addition to her dramatic activities, she wrote three memoirs and a novella, contributed articles to national magazines, edited Chekov's letters and Dashiell Hammett's mysteries, and penned several screenplays. She is probably best known for The Little Foxes (1939), her drama about a family of predatory entrepreneurs who seek to build an industrial fortune on the ruins of the old South. Both a quick reference guide and an exhaustive resource, this volume provides broad and thorough coverage of Hellman's dramatic career. It begins with a critical overview of her life, along with a chronology of her accomplishments. The bulk of the book, which treats her eight original plays and four adaptations, all written for the Broadway stage, provides detailed plot summaries, stage histories, and critical overviews. The next section offers an annotated bibliography of primary sources. This is followed by an annotated secondary bibliography, which is divided into sections on reviews, books, and articles. Entries in the bibliographies are first arranged chronologically and then alphabetically, so that the reader can gain a fuller sense of the development of Hellman's career and the response to her works over time. Detailed indexes conclude the volume and offer full alphabetical access to its contents.

A new edition of this best-selling textbook reintroduces the topic of library cataloging from a fresh, modern perspective. Not many books merit an eleventh edition, but this popular text does. Newly updated, Introduction to Cataloging and Classification provides an introduction to descriptive cataloging based on contemporary standards, explaining the basic tenets to readers without previous experience, as well as to those who merely want a better understanding of the process as it exists today. The text opens with the foundations of cataloging, then moves to specific details and subject matter such as Functional Requirements for Bibliographic Records (FRBR), Functional Requirements for Authority Data (FRAD), the International Cataloging Principles (ICP), and RDA. Unlike other texts, the book doesn't presume a close familiarity with the MARC bibliographic or authorities formats; ALA's Anglo-American Cataloging Rules, 2nd Edition, revised (AACR2R); or the International Standard Bibliographic Description (ISBD). Subject access to library materials is covered in sufficient depth to make the reader comfortable with the principles and practices of subject cataloging and classification. In addition, the book introduces MARC, BIBFRAME, and other approaches used to communicate and display bibliographic data. Discussions of formatting, presentation, and administrative issues complete the book; questions useful for review and study appear at the end of each chapter.

Dorothy Parker biographer Marion Meade shares insight into the last days in the life of Dorothy Parker—the horrible and the hilarious—including her colorful friendship with Lillian Hellman, and the bizarre afterlife of Parker’s remains from a file cabinet on Wall Street to a small burial site by the NAACP office in Baltimore. The Volney was a dignified residence hotel, favored by older women and their dogs, on Manhattan’s Upper East Side. Dorothy Parker died there, of a heart attack, on June 7, 1967. She was seventy-three and had been famous for almost half a century. As befitted a much-loved humorist, poet, and storywriter, the New York Times announced her exit in a front-page obituary. This was followed by a star-studded memorial service, also reported in the paper, which was attended by some 150 of her friends and admirers. More than twenty years later, on October 20, 1988, Parker was buried in Baltimore, in a memorial garden at the national headquarters of the NAACP. Why did it take more than two decades for Dorothy Parker to get a decent burial? What accounts for her macabre Edgar Allan Poe–style ending, arguably one of the most ghoulish in modern literary history? And just what happened to her during those twenty-one years? Dorothy Parker biographer Marion Meade draws from new research to portray Parker in her last years and last days, with an emphasis on her posthumous existence. The story also features Parker’s enduring friendship of over thirty years with playwright and screenwriter Lillian Hellman, along with other notable figures in Parker’s circle, including Dashiell Hammett and John O’Hara. Always riotous and occasionally ghastly, The Last Days is utterly and completely Dorothy Parker.