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Dorothy Parker - Wikipedia, the free encyclopedia

Dorothy Parker

From Wikipedia, the free encyclopedia

Dorothy Parker

Parker in Los Angeles, mid 1930s
Born August 22, 1893(1893-08-22)
Long Branch, New Jersey, United States
Died June 7, 1967 (aged 73)
New York, New York, United States
Occupation Author, poet, critic, screenwriter
Genres Poetry, satire
Literary movement American modernism
Influences
Influenced

Dorothy Parker (August 22, 1893–June 7, 1967) was an American writer and poet, best known for her caustic wit, wisecracks, and sharp eye for 20th century urban foibles.

From a conflicted and unhappy childhood, Parker rose to acclaim, both for her literary output in such venues as The New Yorker and as a founding member of the Algonquin Round Table, a group she would later disdain. Following the breakup of that circle, Parker traveled to Hollywood to pursue screenwriting. Her successes there, including two Academy Award nominations, would eventually be curtailed, as her involvement in left-wing politics would lead to a place on the infamous Hollywood blacklist.

Parker survived three marriages (two to the same man) and several suicide attempts, but grew increasingly dependent on alcohol. Although she would come to dismiss her own talents and deplore her reputation as a "wisecracker," her literary output and her sparkling wit have endured long past her death.

Contents

[edit] Early life

Also known as Dot or Dottie, Parker was born Dorothy Rothschild to Jacob Henry[1] and Eliza Annie Rothschild (née Marston)[2] at 732 Ocean Avenue in the West End village of Long Branch, New Jersey,[3] where her parents had a summer beach cottage. Dorothy's mother was of English descent, and her father was a German-Jew. Parker wrote in her essay "My Hometown" that her parents got her back to their Manhattan apartment shortly after Labor Day so she could be called a true New Yorker. Her mother died in West End in July 1898, when Parker was a month shy of turning five.[4] Her father remarried in 1900, a woman named Eleanor Francis Lewis.[5] Parker detested her father and stepmother, accusing her father of being physically abusive and refusing to call Eleanor either "mother" or "stepmother," instead referring to her as "the housekeeper."[6] She grew up on the Upper West Side, and attended Roman Catholic elementary school at the Convent of the Blessed Sacrament, despite having a Jewish father and Protestant stepmother.[7] She was asked to leave following her characterization of the Immaculate Conception as "spontaneous combustion."[8] Her stepmother died in 1903, when Parker was nine.[9] Parker later went to Miss Dana's School, a finishing school in Morristown, New Jersey.[10] Her formal education ended when she was 13. Her father died in 1913. Following his death, she played piano at a dancing school to earn a living[11] while she worked on her verse.

She sold her first poem to Vanity Fair magazine in 1914 and some months later, she was hired as an editorial assistant for another Condé Nast magazine, Vogue. She moved to Vanity Fair as a staff writer following two years at Vogue.[12]

In 1917, she met and married a Wall Street stock broker, Edwin Pond Parker II,[13] but they were separated by his army service in World War I. She had ambiguous feelings about her Jewish heritage given the strong antisemitism of that era and joked that she married to escape her name.

[edit] Algonquin Round Table years

In 1919, her career took off while writing theatre criticism for Vanity Fair, which she began in 1918 as a stand-in for the vacationing P. G. Wodehouse.[14] At the magazine she met Robert Benchley, who became a close friend, and Robert E. Sherwood.[15] The trio began lunching at the Algonquin Hotel on a near-daily basis and became founding members of the Algonquin Round Table. The Round Table numbered among its members the newspaper columnists Franklin Pierce Adams and Alexander Woollcott. Through their re-printing of her lunchtime remarks and short verses, particularly in Adams' column "The Conning Tower," Dorothy began developing a national reputation as a wit.

Parker's caustic wit as a critic initially proved popular, but she was eventually terminated by Vanity Fair in 1920 after her criticisms began to offend powerful producers too often. In solidarity, both Benchley and Sherwood resigned in protest.[16]

When Harold Ross founded The New Yorker in 1925, she and Benchley were part of a "board of editors" established by Ross to allay concerns of his investors. Parker's first piece for the magazine appeared in its second issue.[17] Parker became famous for her short, viciously humorous poems, many about the perceived ludicrousness of her many (largely unsuccessful) romantic affairs and others wistfully considering the appeal of suicide.

Her greatest period of productivity and success came in the next 15 years. In the 1920s alone she published some 300 poems and free verses in outlets including the aforementioned Vanity Fair, Vogue, "The Conning Tower" and The New Yorker along with Life, McCall's and The New Republic.[18]

Cover of the first edition of Enough Rope
Cover of the first edition of Enough Rope

Parker published her first volume of poetry, Enough Rope, a collection of previously-published work along with new material in 1926. The collection sold 47,000 copies[19] and garnered impressive reviews. The Nation described her verse as "caked with a salty humor, rough with splinters of disillusion, and tarred with a bright black authenticity."[20] Although some critics, notably the New York Times, dismissed her work as "flapper verse,"[21] the volume helped cement her status, as the New York World review put it, as "one of the most sparkling wits who express themselves through light verse."[19] Parker released two more volumes of verse, Sunset Gun (1927) and Death and Taxes (1931), along with the short story collections Laments for the Living (1930) and After Such Pleasures (1933). Not So Deep as a Well (1936) collected much of the material previously published in Rope, Gun and Death and she re-released the fiction with a few new pieces in 1939 under the title Here Lies.[22]

In 1924, Parker collaborated with fellow Algonquinite George S. Kaufman on a one-act play, Business is Business.[23] She next collaborated with playwright Elmer Rice to create Close Harmony. The play was well-received in out of town previews and was favorably reviewed in New York, but closed after a run of just 24 performances. It did, however, become a successful touring production under the title The Lady Next Door.[24]

Some of her most popular work was published in The New Yorker in the form of acerbic book reviews under the byline "Constant Reader" (her response to a moment of whimsy in A. A. Milne's The House at Pooh Corner: "Tonstant Weader Fwowed up."[25]). Her reviews appeared semi-regularly from 1927 to 1933,[26] were widely read and were later published in a collection under the name Constant Reader in 1970.

Her best-known short story, "Big Blonde", published in The Bookman magazine, was awarded the O. Henry Award as the best short story of 1929.[27] Her short stories, though often witty, were also spare and incisive, and more bittersweet than comic.

She eventually separated from her husband and had a number of affairs, including with reporter-turned-playwright Charles MacArthur and the publisher Seward Collins. Her relationship with MacArthur resulted in a pregnancy, which Parker aborted,[28] and a depression that culminated in her first attempt at suicide.[29] Edwin and she would divorce in 1928.[30]

It was toward the end of this period that Parker began to become politically aware and active. What would become a life-long commitment to left-leaning causes began in 1927 with the pending executions of Sacco and Vanzetti. Parker travelled to Boston to protest the proceedings. She and fellow Round Tabler Ruth Hale were arrested and Parker eventually pleaded guilty to a charge of "loitering and sauntering," paying a $5 fine.[31]

[edit] Hollywood

In 1934, she married Alan Campbell,[32] an actor with aspirations of being a screenwriter. He was reputed to be bisexual—indeed, Parker did some of the reputing by claiming in public that he was "queer as a billy goat"—but there is no substantial evidence for this. The pair moved to Hollywood and signed ten-week contracts with Paramount Pictures, with Campbell (who was also expected to act) earning $250 per week and Parker earning $1,000 per week. They would eventually earn $2,000 and in some instances upwards of $5,000 per week as freelancers for various studios.[33] She and Campbell worked on more than 15 films.[34]

In 1936, she contributed lyrics for the song "I Wished on the Moon", with music by Ralph Rainger. The song was introduced in the The Big Broadcast of 1936 by Bing Crosby.

With Robert Carson and Campbell, she wrote the script for the 1937 film A Star is Born, for which they were nominated for an Academy Award for Best Writing - Screenplay.[35] She wrote additional dialogue for The Little Foxes in 1941, and she would receive another Oscar nomination, with Frank Cavett, for 1947's Smash-Up, the Story of a Woman.[36]

In 1944, Parker and Alexander Woollcott collaborated to produce an anthology of her work as part of a series published by Viking Press for servicemen stationed overseas. With an introduction by Somerset Maugham[37] the volume compiled over two dozen of Parker's short stories along with selected poems from Enough Rope, Sunset Gun, and Death and Taxes. It was released in the United States under the title The Portable Dorothy Parker. Parker's is one of only three of the Portable series (the other two being William Shakespeare and The Bible) to remain continuously in print.[38]

During the 1930s and 1940s period, Parker became a more vocal advocate of increasingly radical left-wing causes, a fierce civil libertarian and civil rights advocate and a frequent critic of those in authority. She reported on the Loyalist cause in Spain for the Communist New Masses magazine in 1937.[39] At the behest of Otto Katz, a covert Soviet Comintern agent and operative of German Communist Party agent Willi Muenzenberg, Parker helped to found the Hollywood Anti-Nazi League in 1936.[40] The Hollywood Anti-Nazi League's membership eventually grew to some 4,000 strong, whose often wealthy but mostly unsuspecting members were, in the words of David Caute,[41] "able to contribute as much to [Communist] Party funds as the whole American working class."[42][43]

Parker also served as chair of the Joint Anti-Fascist Rescue Committee. She organized Project Rescue Ship to transport Loyalist veterans to Mexico, headed Spanish Children's Relief and lent her name to many other left-wing causes and organizations.[44] Her former Round Table friends saw less and less of her, with her relationship with Robert Benchley being particularly strained (although they would reconcile).[45]

Her marriage with Campbell was tempestuous, with tensions exacerbated by Parker's increasing alcohol consumption and Alan's long-term affair with a married woman while he was in Europe during World War II.[46] They divorced in 1947,[47] then remarried in 1950,[48] and remained married (although they lived apart from 1952–1961) until his death in 1963 in West Hollywood.[49]

Parker's final screenplay was The Fan, a 1949 adaptation of Oscar Wilde's Lady Windermere's Fan, directed by Otto Preminger.

[edit] Later life

Parker was heard occasionally on radio, including Information Please (as a guest) and Author, Author (as a regular panelist). She wrote for the Columbia Workshop, and both Ilka Chase and Tallulah Bankhead used her material for radio monologues.[50]

Parker was listed as a Communist by the publication Red Channels in 1950.[51] The FBI compiled a 1,000 page dossier on her because of her suspected involvement in Communism during the McCarthy era.[52] As a result, she was placed on the Hollywood blacklist by the movie studio bosses.

In 1952 Parker moved back to New York, into the Volney residential hotel.[53] She drew upon her experiences there to co-write, with Arnaud d'Usseau, the play Ladies of the Corridor. The play opened in October 1953 to uneven reviews and closed after six weeks.[54]

From 1957 to 1962 she wrote book reviews for Esquire,[55] though these pieces were increasingly erratic due to her continued abuse of alcohol. One of these reviews had a huge impact on the career of the young Harlan Ellison. Reviewing his paperback short story collection Gentleman Junkie and Other Stories of the Hung-Up Generation (Regency, 1961), she described Ellison as "a good, clean, honest writer, putting down what he has seen and known and no sensationalism about it" and lavished praise on his story "Daniel White for the Greater Good,"[56] commenting, "It is without exception the best presentation I have ever seen of present racial conditions in the South and of those who try to alleviate them. I cannot recommend it too vehemently... Incidentally, the other stories in Mr. Ellison's book are not so dusty, either."[57] Her favorable nod gave Ellison a foothold with both mainstream publishers and film producers, and shortly afterwards he headed for Hollywood.[58]

In 1961 Parker returned to Hollywood and reconciled with Campbell. They worked together on a number of unproduced projects; among her last was an unproduced film for Marilyn Monroe.[59] Parker found Campbell dead in their home in 1963, a suicide by drug overdose.[60]

Following Campbell's death Parker returned to New York City and the Volney. In her later years, she would come to denigrate the group that had brought her such early notoriety, the Algonquin Round Table:

“ These were no giants. Think who was writing in those days - Lardner, Fitzgerald, Faulkner and Hemingway. Those were the real giants. The Round Table was just a lot of people telling jokes and telling each other how good they were. Just a bunch of loudmouths showing off, saving their gags for days, waiting for a chance to spring them....There was no truth in anything they said. It was the terrible day of the wisecrack, so there didn't have to be any truth...[61] ”

Parker died of a heart attack[3] at the age of 73 in 1967. In her will, she bequeathed her estate to the Dr. Martin Luther King, Jr. foundation. Following King's death, her estate was passed on to the NAACP.[62] Her executrix, Lillian Hellman, bitterly but unsuccessfully contested this disposition.[63] Her ashes remained unclaimed in various places, including her attorney Paul O'Dwyer's filing cabinet, for approximately 17 years.[64]

[edit] Posthumous honors

In 1988, the NAACP claimed Parker's remains and designed a memorial garden for them outside their Baltimore headquarters. The plaque reads,

“ Here lie the ashes of Dorothy Parker (1893–1967) humorist, writer, critic. Defender of human and civil rights. For her epitaph she suggested, 'Excuse my dust'. This memorial garden is dedicated to her noble spirit which celebrated the oneness of humankind and to the bonds of everlasting friendship between black and Jewish people. Dedicated by the National Association for the Advancement of Colored People. October 28, 1988.[65] ”
Marker at Parker's birthplace.
Marker at Parker's birthplace.

On August, 22, 1992, the 99th anniversary of Parker's birth, the United States Postal Service issued a 29¢ U.S. commemorative postage stamp in the Literary Arts series. The Algonquin Round Table, as well as the number of other literary and theatrical greats who lodged there, helped earn the Algonquin Hotel its status as a New York City Historic Landmark. The hotel was so designated in 1987.[66] In 1996 the hotel was designated a National Literary Landmark by the Friends of Libraries USA based on the contributions of Parker and other members of the Round Table. The organization's bronze plaque is attached to the front of the hotel.[67] Her birthplace was also designated a National Literary Landmark by Friends of Libraries USA in 2005 and a bronze plaque marks the spot where the home once stood.[68]

[edit] Pastiches and fictional portrayals

Parker was the inspiration for a number of fictional characters in several plays of her day. These included "Lily Malone" in Philip Barry's Hotel Universe (1932), "Mary Hilliard" (played by Ruth Gordon) in George Oppenheimer's Here Today (1932), "Julia Glenn" in the George S. Kaufman-Moss Hart collaboration Merrily We Roll Along (1934) and "Paula Wharton" in Gordon's 1944 play Over Twenty-one (directed by Kaufman). She also appeared as "Daisy Lester" in Charles Brackett's 1934 novel Entirely Surrounded.[69] Kaufman's representation of her in Merrily We Roll Along led Parker, once his Round Table compatriot, to despise him.[70]

She has been portrayed on film and television by Dolores Sutton in F. Scott Fitzgerald in Hollywood (1976),[71] Rosemary Murphy in Julia (1977),[72] Bebe Neuwirth in Dash and Lilly (1999),[73] and Jennifer Jason Leigh in Mrs. Parker and the Vicious Circle (1994).[74] Neuwirth was nominated for an Emmy Award for her performance and Leigh received a number of awards and nominations, including a Golden Globe nomination.

Parker, along with other figures of the era such as Ira Gershwin and George Gershwin, is featured as a character in Act 1, Scene 12 of the stage musical version of Thoroughly Modern Millie, "Muzzy's Party Scene."

[edit] Spoken word recordings

Men

A 30-second excerpt of Dorothy Parker's Men (Text of poem)
Problems listening to the file? See media help.

[edit] References

  1. ^ Meade, Marion (1987). Dorothy Parker: What Fresh Hell Is This?. New York, NY: Penguin Books, 5. ISBN 0140116168 (paperback). 
  2. ^ Meade 6
  3. ^ a b "Dorothy Parker, 73, Literary Wit, Dies", New York Times, June 8, 1967. 
  4. ^ Meade 12
  5. ^ Meade 13
  6. ^ Herrmann, Dorothy (1982). With Malice Toward All: The Quips, Lives and Loves of Some Celebrated 20th-Century American Wits. New York: G. P. Putnam's Sons, 78. ISBN 0399127100. 
  7. ^ Meade 14
  8. ^ Chambers, Dianne (1995), “Parker, Dorothy”, in Wagner-Martin, Linda, The Oxford Companion to Women's Writing in the United States, Oxford University Press 
  9. ^ Meade 16
  10. ^ Meade 27
  11. ^ Silverstein, Stuart Y. (1996). Not Much Fun: The Lost Poems of Dorothy Parker. New York: Scribner, 13. ISBN 0743211480 (paperback). 
  12. ^ Silverstein 13
  13. ^ Herrmann 78
  14. ^ Silverstein 18
  15. ^ Altman, Billy (1997). Laughter's Gentle Soul: The Life of Robert Benchley. New York: W. W. Norton & Company, 146. ISBN 0393038335. 
  16. ^ Altman 156–8
  17. ^ Silverstein 32
  18. ^ Silverstein 62-3
  19. ^ a b Silverstein 35
  20. ^ Meade 177
  21. ^ Meade 178
  22. ^ Silverstein 36
  23. ^ Meade 132
  24. ^ Meade 138
  25. ^ Parker, Dorothy (1976). Far From Well, collected in The Portable Dorothy Parker, Revised and Enlarged Edition. New York: Penguin Books, 518. ISBN 0140150749. 
  26. ^ Silverstein 38
  27. ^ Herrmann 74
  28. ^ Meade 105
  29. ^ Silverstein 29
  30. ^ Herrmann 79
  31. ^ Silverstein 44
  32. ^ Meade 238
  33. ^ Silverstein 40
  34. ^ Dorothy Parker. Internet Movie Database. Retrieved on 2007-09-24.
  35. ^ A Star is Born (1937) - Awards. Internet Movie Database. Retrieved on 2007-09-24.
  36. ^ Smash-Up: The Story of a Woman - Awards. Internet Movie Database. Retrieved on 2007-09-24.
  37. ^ Meade 318
  38. ^ Publisher's Note (1976). The Portable Dorothy Parker Revised and Enlarged Edition. New York, NY: Penguin. ISBN 0140150749. 
  39. ^ Meade 285
  40. ^ Koch, Stephen, Double Lives: Stalin, Willi Munzenberg and the Seduction of the Intellectuals, New York: Enigma Books (2004), Revised Edition, ISBN 1929631200
  41. ^ Caute, David, The Fellow Travellers: Intellectual Friends of Communism, New Haven: Yale University Press (1988), ISBN 0300041950
  42. ^ Caute, David, The Fellow Travellers: Intellectual Friends of Communism, New Haven: Yale University Press (1988), ISBN 0300041950
  43. ^ http://www.heretical.com/miscella/munzen.html
  44. ^ Buhle, Paul; Dave Wagner (2002). Radical Hollywood: The Untold Story Behind America's Favorite Movies. New York, NY: The New Press, 89. ISBN 1565847180. 
  45. ^ Altman 314
  46. ^ Meade 327
  47. ^ Meade 329
  48. ^ Meade 339
  49. ^ Silverstein 58
  50. ^ Dunning, John (1998). On The Air: The Encyclopedia of Old-Time Radio. Oxford University Press. ISBN 0-19-507678-8. 
  51. ^ DOROTHY PARKER Writer, Versifier. Red Channels: The Report of Communist Influence in Radio and Television. Counterattack. Retrieved on 2007-09-24.
  52. ^ Kunkel, Thomas (1996). Genius in Disguise: Harold Ross of The New Yorker. Carrol & Graf, 405. ISBN 0786703237. 
  53. ^ Meade 346
  54. ^ Silverstein 56
  55. ^ Itzkovitz, Daniel (1998-05-28). Dorothy Rothschild Parker (1893–1967). Jewish Virtual Library. Retrieved on 2005-09-25.
  56. ^ Ellison, Harlan. Daniel White for the Greater Good. Retrieved on 2007-09-25.
  57. ^ Strickland, Galen. Harlan Ellison. The Templeton gate. Retrieved on 2007-09-25.
  58. ^ alt.fan.harlan-ellison Harlan Ellison FAQ (1995). Retrieved on 2007-09-25.
  59. ^ Meade 380
  60. ^ Meade 392–3
  61. ^ Herrmann p. 85
  62. ^ Silverstein 59
  63. ^ Meade 413
  64. ^ Meade 412
  65. ^ Hitchens, Christopher (2000). Unacknowledged Legislation: Writers in the Public Sphere. New York, NY: Verso, 293. ISBN 1 85984 786 2. 
  66. ^ Heller Anderson, Susan (09-20), “City Makes It Official: Algonquin is Landmark”, New York Times, <http://query.nytimes.com/gst/fullpage.html?res=9B0DE6DE1E38F933A1575AC0A961948260>. Retrieved on 21 October 2007 
  67. ^ Friends of Libraries USA. 1996 dedications. Retrieved on 2007-09-13.
  68. ^ Friends of Libraries USA. Dedications by Author - P. Retrieved on 2007-09-25.
  69. ^ Silverstein 10–11
  70. ^ Meade 241
  71. ^ F. Scott Fitzgerald in Hollywood. Internet Movie Database. Retrieved on 2007-09-24.
  72. ^ Julia. Internet Movie Database. Retrieved on 2007-09-24.
  73. ^ Dash and Lilly. Internet Movie Database. Retrieved on 2007-09-24.
  74. ^ Mrs. Parker and the Vicious Circle. Internet Movie Database. Retrieved on 2007-09-24.

[edit] Further reading

  • Keats, John, 1970. You Might As Well Live: The Life and Times of Dorothy Parker. Simon and Schuster.
  • Fitzpatrick, Kevin C., 2005. A Journey into Dorothy Parker's New York. Berkeley, CA: Roaring Forties Press.
  • Addonizio, Kim, and Dumesnil, Cheryl, eds., 2002. Dorothy Parker's Elbow - Tattoos on Writers, Writers on Tattoos. New York: Warner Books.

[edit] External links

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