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#Margaret Case Harriman
ultraozzie3000 · 1 year
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Up In The Air
The 1930s saw steady improvements in the fledging airline industry, which catered mostly to major businesses or well-heeled (and somewhat brave) folks who were interested in getting to places relatively quickly. Margaret Case Harriman reported on the many ways one could criss-cross the country by heading to the Newark Airport, the first major airport to serve the New York metro. August 11, 1934…
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Best World War II Non-fiction History Books
ABRAMSKY, C. (ed.), Essays in Honour of E. H. Carr ('The Initiation of the Negotiations Leading to the Nazi-Soviet Pact: A Historical Problem’, D. C. Watt) Macmillan, 1974
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ALEXANDROV, VICTOR, The Kremlin, Nerve-Centre of Russian History, George Allen 8: Unwin, 1963
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AMORT, R., and JEDLICKA, I. M., The Canan's File, Wingate, 1974
ANDERS, LIEUTENANT-GENERAL W., An Army in Exile, Macmillan, 1949
ANDREAS-FRIEDRICH, RUTH, Berlin Underground, 1939-1945, Latimer House, 1948
ANON, A Short History of the Bulgarian Communist Party, Sofia Press, Sofia, 1977
ANON, The Crime of Katyn, Facts and Documents, Polish Cultural Foundation, 1965
ANON, The Obersalzberg and the Third Reich, Plenk Verlag, Berchtesgaden, 1982
ANTONOV-OUSEYENKO, ANTON, The Time of Stalin, Portrait of a Tyranny, Harper & Row, New York, 1981
BACON, WALTER, Finland, Hale, 1970
BARBUSSE, HENRI, Stalin: A New World Seen Through One Man, Macmillan, New York, 1935
BAYNES, N. H. (ed), Hitler’s Speeches, 1922-39, 2 vols, OUP, 1942
BEAUFRE, ANDRE, 1940: The Fall of France, Cassell, 1968
BECK, JOSEF, Demier Rapport, La Baconniére, Brussels, 1951
BEDELL SMITH, WALTER, Moscow Mission 1946-1949, Heinemann, 1950
BELOFF, MAX, The Foreign Policy of Soviet Russia, Vol Two, 1936-1941, Oxford, 1949
BEREZHKOV, VALENTIN, History in the Making, Progress Publishers, Moscow, 1983
BIALER, S., Stalin and His Generals, Souvenir Press, 1969
BIELENBERG, CHRISTABEL, The Past is Myself, Chatto & Windus, 1968
BIRKENHEAD, LORD, Halifax, Hamish Hamilton, 1965
BOHLEN, CHARLES E., Witness to History, 1929-1969, Weidenfeld & Nicolson, 1973
BONNET, GEORGES, Fin d’une Europe, Geneva, 1948
BOURKE-WHITE, MARGARET, Shooting the Russian War, Simon 8: Schuster, New York, 1942
BOYD, CARL, Magic and the Japanese Ambassador to Berlin, Paper for Northern Great Plains History Conference, Eau Claire, Wisconsin, 1986
BUBER, MARGARETE, Under Two Dictators, Gollancz, 1949
BUBER-NEUMANN, MARGARETE, Von Potsdam nach Moskau Stationens eines Irrweges, Hohenheim, Cologne, 1981
BULLOCK, ALAN, Hitler: A Study in Tyranny, Pelican, 1962
BURCKHARDT, CARL I., Meine Danziger Mission, 1937- 1939, Munich, 1960
BUTLERJ. R. M. (editor), Grand Strategy, Vols I-III, HMSO, 1956-1964
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CALDWELL, ERSKINE, All Out on the Road to Smolensk, Duell, Sloan and Pearce, New York, 1942
CALIC, EDOUARD, Unmasked: Two Confidential Interviews with Hitler in 1931, Chatto & Windus, 1971
CARELL, PAUL, Hitler’s War on Russia, Harrap, 1964
CASSIDY, HENRY C., Moscow Dateline, Houghton Mifilin, Boston, 1943
CECIL, ROBERT, Hitler’s Decision to Invade Russia, 1941, Davis-Poynter, 1975
CHANEY, OTTO PRESTON, JR., Zhukov, David & Charles, Newton Abbot, 1972
CHAPMAN, GUY, Why France Collapsed, Cassell, 1968
CHURCHILL, WINSTON S., The Second World War. Vol. I: The Gathering Storm, Vol. II: Their Finest Hour, Vol. III: The Grand Alliance, Penguin, 1985
CIENCIALA, ANNA M., Poland and the Western Powers, Routledge & Kegan Paul, 1968
CLARK, ALAN, Barbarossa, Hutchinson, 1965
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COLLIER, RICHARD, 1940 The World in Flames, Hamish Hamilton, 1979
COLVILLE, JOHN, The Fringes of Power, Downing Street Diaries, 1939-1955, Hodder & Stoughton, 1985
COLVIN, IAN, The Chamberlain Cabinet, Gollancz, 1971
CONQUEST, ROBERT, The Great Terror: Stalin’s Purge of the Thirties, Macmillan, 1968
COOKE, RONALD C., and NESBIT, ROY CONGERS, Target: Hitler’s Oil, Kitnber, 1985
COOPER, DIANA, Autobiography, Michael Russell, 1979
COULONDRE, ROBERT, De Staline a Hitler, Paris, 1950
CRUIKSHANK, CHARLES, Deception in World War II, CUP, 1979
DAHLERUS, BIRGER, The Last Attempt, Hutchinson, 1948
DALADIER, EDOUARD, The Defence of France, Hutchinson, 1939
DEAKIN, F. W., and STORRY, G. R., The Case of Richard Sarge, Chatto 8: Windus, 1966
DEIGHTON, LEN, Blitzkrieg, Jonathan Cape, 1979
DELBARS, YVES, The Real Stalin, George Allen 8: Unwin, 1953
DEUTSCHER, ISAAC, Stalin. A Political Biography, CUP, 1949
DIETRICH, OTTO, The Hitler I Knew, Methuen, 1957
DILKS, DAVID, (ed.), Diaries of Sir Alexander Cadogan 1938-1945, Cassell, 1971
DJILAS, MILOVAN, Conversations with Stalin, Penguin, 1963
DOBSON, CHRISTOPHER and MILLER, JOHN, The Day We Almost Bombed Moscow: Allied War in Russia 1918-1920, Hodder & Stoughton, 1986
DOLLMANN, EUGEN, The Interpreter, Hutchinson, 1967
DONNELLY, DESMOND, Struggle for the World, Collins, 1965
DOUGLAS, CLARK, Three Days to Catastrophe, Hammond, 1966
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EDEN, ANTHONY, Facing the Dictators, Cassell, 1962
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Stuttgart, 1974
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FLEISHER, WILFRID, Volcano Isle, Jonathan Cape, 1942
FOOTE, ALEXANDER, Handbook for Spies, Museum Press, 1949, 1953
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GIBSON, HUGH (ed.), The Ciano Diaries, 1939-1 943, Doubleday, New York, 1946
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GORALSKI, ROBERT, World War II Almanac, 1931-1945, Hamish Hamilton, 1981
GORBATOV, ALEKSANDR v., Years Of My Lips, Constable, 1964
GORODETSKY, G., Stahhrd Cripps’Mission to Moscow, 1940-42, Cambridge U.P., 1984
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Nebraska Press, Lincoln, 1965
GUDERIAN, HEINZ, Panzer Leader, Ballantine Books, New York
GUN, NERIN E., Eva Braun, Hitler’s Mistress, Frewin, 1968
HALDER, COLONEL-GENERAL FRANZ, Kriegstagehuch, Kohlhammer, Stuttgart, 1963 Hitler als Feldherr, Miinchener Dom-Verlag, Munich, 1949
HALIFAX, LORD, Fulness of Days, Collins, 1957
HARLEYJ. H. (based on Polish by Conrad Wrzos), TheAuthentic Biography of Colonel Beck, Hutchinson, 1939
HARRIMAN, W. A., and ABEL, 13., Special Envoy to Churchill and Stalin, 1941-1946, Random House, New York, 1975
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HAUNER, MILAN, Hitler. A Chronology of His Life and Time, Macmillan, 1983
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HESSE, FRITZ, Das Spiel um Deutschland, List, Munich, 1953 Hitler and the English, Wingate, 1954
HESTON, LEONARD and RENATO, The Medical Case Boole of Adolf Hitler, Kimber, 1979
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HILL, LEONIDAS E. (ed.) Die Weizsacleer Papiere, 1933-1950, Berlin, 1974
HINSLEY, F. H. with THOMAS, E. E., RANSOM, C. F. G., and KNIGHT, R. (3., British Intelligence in the Second World War, Vol. 1, HMSO, 1979
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KORDT, ERICH, Nicht aus den Akten: Die Wilhelrnstrasse in Frieden und Krieg, Stuttgart, 1950
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KUBIZEK, AUGUST, The Young Hitler I Knew, Houghton, Mifflin, Boston, 1955
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docnad · 3 years
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Robert Frank Author photo of Margaret Case Harriman and Topper. The Vicious Circle: The Story of the Algonquin Round Table, 1951 Al Hirschfeld and the Vicious Circle buff.ly/3DWj4HA #RobertFrank #Dog https://www.instagram.com/p/CTpW9ORryTs/?utm_medium=tumblr
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lastsonlost · 7 years
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GOD DON’T MAKE ME HAVE TO DEFEND TAYLOR SWIFT
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San Francisco — The ACLU of Northern California today sent a letter to Taylor Swift and her attorney refuting their meritless legal defamation threats against a local blogger.
On Sep. 5, PopFront editor Meghan Herning wrote a post titled “Swiftly to the alt-right: Taylor subtly gets the lower case kkk in formation.” The post is a mix of political speech and critical commentary, and discusses the resurgence of white supremacy and the fact that some white supremacists have embraced Swift. It also provides a critical interpretation of some of Swift’s music, lyrics, and videos. The post ends by calling on Swift to personally denounce white supremacy, saying “silence in the face of injustice means support for the oppressor.”
On Oct. 25, Herning received an intimidating letter from Swift and her attorney labeling the blog post as defamatory and demanding that she issue a retraction, remove the story from all media sources, and cease and desist. The letter threatened a lawsuit.
“This is a completely unsupported attempt to suppress constitutionally protected speech,” said ACLU of Northern California attorney Michael Risher.
The letter went on to say that it should serve as an “unequivocal denouncement by Ms. Swift of white supremacy and the alt-right.” But that denunciation would only be known by Herning because the letter also attempts to use copyright law to forbid her from making it public.
“Intimidation tactics like these are unacceptable,” said ACLU attorney Matt Cagle. “Not in her wildest dreams can Ms. Swift use copyright law to suppress this exposure of a threat to constitutionally protected speech.”
Herning contacted the ACLU after receiving the letter from Swift's attorney, and ACLU lawyers determined the legal claims were unsupported. The blog post is opinion protected by the First Amendment.
“The press should not be bullied by high-paid lawyers or frightened into submission by legal jargon,” said Herning. “These scare tactics may have worked for Taylor in the past, but I am not backing down.”
The ACLU has requested a response from Swift and her attorney by Nov. 13 confirming that they will not pursue a lawsuit.
THIS IS THE ORIGINAL POP FRONT ARTICLE RIGHT HERE
Swiftly to the alt-right: Taylor Swift subtly gets the lower case “kkk” in formation with “Look What You Made me Do”
An anti–Marxist Mixtape review.
A little over a decade after her musical debut, Taylor Swift has made a career out of being portrayed as a good girl unjustly wronged. Her song catalog is stocked with tunes about how innocent she is, and how men seem to wrong her. But the most notable moment of the Taylor-as-an-innocent-victim narrative may have come when Kanye West interrupted her Best Female Video acceptance speech at the 2009 Video Music Awards to drunkenly ramble about how Beyoncé should have won.
Kanye upstaging Taylor in that moment not only gave that narrative merit in a lot of people’s eyes, it also looked like the personification of many a long-standing white fear: a black man taking away a white woman’s power. And Taylor has been playing off that narrative ever since, while America has embraced the notion of white victimhood — despite the reality. Kanye West is still hated for that moment, and the media has documented further fights between Taylor Swift and other pop stars such as Katy Perry, Calvin Harris, and Kim Kardashian. There is no shortage of media details about these “feuds”, whatever their purpose may be.
On the other hand, the idea that Taylor Swift is an icon of white supremacist, nationalists, and other fringe groups, seems to finally be getting mainstream attention. But the dog whistles to white supremacy in the lyrics of her latest single are not the first time that some have connected the (subtle) dots. A white supremacist blogger from neo-Nazi site The Daily Stormerwas quoted in a Broadly article in May 2016 as saying, “it is also an established fact that Taylor Swift is secretly a Nazi and is simply waiting for the time when Donald Trump makes it safe for her to come out and announce her Aryan agenda to the world.” What “facts” the blogger is pointing to are unclear (and likely invented); still, his statement exemplifies how neo-Nazis and white supremacists look to her as their pop icon.
And it is fitting: in the past few months, white supremacist trolls have jumped off line and onto the streets. Charlottesville was a coming out story for white supremacists and nationalists, a chance to show who they were and what they want — or really who they didn’t want in “their” country. But the brazen white supremacists on the streets are not the only ones who have bought into the current form of white supremacy. There is still a contingent of the country that agrees with the president and his response to the tragedy of Charlottesville. For all Trump’s tomfoolery and cavorting with white nationalism, his approval rating has stayed steady: almost 40% of the country thinks he is doing a good job. Perhaps this is an affirmation of the racist policies and climate that this administration has capitalized on and intensified, because racism and white supremacy have always existed in America — and the president alone cannot take credit for the movement.
The American eugenics movement  — a pseudo-science theory that the human race would be improved by controlled breeding to increase the occurrence of desirable heritable characteristics that favor the white or anglo race — was alive and well long before Hitler came to power. In fact, the American Eugenics movement actually inspired Hitler. During the Progressive Era of the late 19th and early 20th century, eugenics was considered a method of preserving and improving the dominant groups (a.k.a. “white” groups — a shifting political label) in the population. These early ideas paved the way for racist and nativist reactions to emigration from Europe rather than scientific genetics. Meaning, as the Italian, Irish, and other immigrants poured into the country, eugenics was used as the basis for keeping those groups out. [Source]
The American eugenics movements received extensive funding from various corporate foundations including the Carnegie Institution, Rockefeller Foundation, and the Harriman railroad fortune. Eugenics was championed by Ivy League scholars, Congressmen, and Presidents alike. One of the major campaigns emergent from the Eugenics movement was the restriction of immigration and scapegoating of immigrants, similar to what we see today. Another was the systematic sterilization of the poor and disabled. By 1910, eugenics had become so popular that even women’s suffragists groups were lobbying for eugenics legal reforms. Prominent birth control advocate and Planned Parenthood founder Margaret Sanger advocated for controlling birth rates among poor people, people of color, and the disabled.
Eugenics was popular among those who wanted the US to stay out of World War II, and until the US was attacked at Pearl Harbor, they were successful. Eugenics only fell out of favor because of the Nazi defeat in that war. Yet America never quite defeated the eugenics-based racial hatred in our country and culture, which is why it is no surprise that today the alt-right is echoing the cries of eugenicists. Indeed, signs with slogans like “defend the European race” are not new; the support of Trump for “extreme vetting” is just another form of advocacy for segregation.
Indeed, we often forget that there were many Americans who thought we entered the wrong side of the war. The Nazis received myriad support from the American business community and wealthy, WASP-y Americans, who seemed to see common cause. And while prior to the U.S. entering World War II, American support for the Nazis was never explicitly stated, the silence and refusal to help in the face of racial atrocities said everything. The racialized politics of the era lived on in America through segregation in housing (e.g. redlining), banking, xenophobic immigration policies, reactionaries against the civil rights movement, the Reagan era, the War on Drugs, etc.
Taylor’s lyrics in “Look What You Made Me Do” seem to play to the same subtle, quiet white support of a racial hierarchy. Many on the alt-right see the song as part of a “re-awakening,” in line with Trump’s rise. At one point in the accompanying music video, Taylor lords over an army of models from a podium, akin to what Hitler had in Nazis Germany. The similarities are uncanny and unsettling.
Aziz Ansari has aptly referred to the quiet support of white supremacy as “the lower case kkk”: that is, the quiet racial hatred that has played a role in the social, cultural, legal, and political history of America, and not just the “backwards” south as some may think. Quiet racism only needs subtle encouragement, and it seems that “look what you made me do” fits the criteria perfectly. The song “Look What you made Me Do” evidently speaks to the lower case kkk; and they have embraced it.
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The day the song came out, Breitbart jumped on the lyrics on Twitter:  “I rose up from the dead, I do it all the time,” a line that they interpreted as racism and racial hatred rising from the dead. Those tired old beliefs about protecting the white race have found new racists to carry the torch (literally) and their beliefs into the 21st century. Breitbart and their loyal followers are central to the movement to be proud of being a racist, white supremacist and have the audacity to equate that with patriotism. And for liberal Bay Area natives like myself, who grew up with a healthy dose of 90’s era “racism is dead” propaganda, it feels like racism has risen from its grave with the stamina of a White Walker. While society at large seemed to reject racism as an abstract concept, the internet provided an “underground” space for racists to congregate without fear of retribution until Donald Trump encouraged them to come out in the open.
Taylor’s are lyrics that connect with whites that are concerned with what they see as the white dispossession of power. Breitbart highlighted another lyric on Twitter, the line, “but I got smarter, I got harder in the nick of time. Honey, I rose up from the dead, I do it all the time.” The lyrics were paired with the image of a story about a loophole for buying AR-15s. And the lyrics speak to even more than just unnecessary gun glorification but also to the white people who have been closeted racists for years.
Later in the song, there is another telling line: “I don’t like your kingdom keys. They once belonged to me. You asked me for a place to sleep. Locked me out and threw a feast (what?).” These lyrics are the most explicit in speaking to white anger and affirming white supremacy. The lyrics speak to the white people resentful of any non-white person having a position of power and privilege. Think of Barack  Obama: the fears of white dispossession of power were actualized in his success, which was a huge factor in the appeal of candidate Trump. He is a patriarchal, rich white man that embodied the anger and white supremacist ideology.
From the White House to the streets, chants like, “ you will not replace us” and call and responses like “whose streets” “our streets” were yelled by white men carrying torches in the night in Charlottesville a few short weeks ago are reminiscent of Swift’s lyrics. “I don’t like your kingdom keys, they once belonged to me,” is another way of saying, I will not be replaced and anger over white dispossession of power.
The lyrics validate those who feel that have been wronged, e.g. white people angry about a black president. The chant, “our streets” is similar to saying “you locked me out and threw a feast.” It is about feeling displaced, feeling wronged.  
In other words, these lyrics became the voice of the lower case kkk, and Taylor’s sweet, victim image is the perfect vehicle and metaphor for white supremacists’ perceived victimization. With the song at the top of the charts, it makes one wonder: how large is the lower case kkk? How much are people paying attention to the lyrics of the song? It is clear that Breitbart has embraced the song as being a white supremacist anthem, so why wouldn’t Trump’s base — and other white Americans that believe they deserve their white privilege — embrace it as well? And considering Taylor’s fan base is mostly young girls, does the song also serve as indoctrination into white supremacy?
It is hard to believe that Taylor had no idea that the lyrics of her latest single read like a defense of white privilege and white anger — specifically, white people who feel that they are being left behind as other races and groups start to receive dignity and legally recognized rights. “We will not be replaced” and “I don’t like your kingdom keys” are not different in tone or message. Both are saying that whites feel threatened and don’t want to share their privilege. And there is no way to know for sure if Taylor is a Trump supporter or identifies with the white nationalist message, but her silence has not gone unnoticed.
“Quiet racism only needs subtle encouragement, and it seems that ‘look what you made me do’ fits the criteria perfectly.”
Swift is not one for politics. She did not endorse Hillary Clinton until November 8th, 2016 on the eve of the election. She has stayed away from race conversations directly, but her music has been interpreted as racially offensive before. Her song “Shake it Off” has come under fire many times [salon]. The song has long been considered an insult to black America, yet it debuted at the top of the charts and is one of Swift’s biggest hits. It is clear her message of being white, pretty, and consequence-free is one that many in America have embraced. And like the quiet support that Trump received to the surprise of polls, Democrats, and the world, Taylor is giving support to the white nationalist movements through lyrics that speak to their anger, entitlement, and selfishness.
When Katy Perry, Lady Gaga, and Beyonce openly campaigned for Hillary Clinton, Taylor’s political silence appeared to be a rejection of her peers’ support of the inclusive Democrat platform. And when one of the most popular female artists in the world declines to join the many in her field in voicing for progressive politics, it could well be construed as her lending support to the voices rising against embracing diversity and inclusion emblematic of Trump supporters. Further, the single attacks other pop stars in the same way that the alt-right has attacked the “liberal” media. Taylor’s song identifies with the oppressed conservative trope, and the song is indeed their anthem.
Taylor Swift was called “Nazi barbie” by Camille Paglia, who stated that Swift is “a silly, regressive public image of white 50’s America.” That seems to fit nicely with the imagery of the alt-right. Her lyrics are like an affirmation for everything the alt-right has been feeling for years: oppressed, afraid to come out, and made to look like a fool. And now that they feel empowered, it befits the movement to have a white, blonde, conservative pop star that has no doubt been “bullied” by people of color in the media, singing their feelings out loud. And with a president that openly addresses hate groups and justifies racial hatred, this is not a time for neutrality.
And while pop musicians are not respected world leaders, they have a huge audience and their music often reflects their values. So Taylor’s silence is not innocent, it is calculated. And if that is not true, she needs to state her beliefs out loud for the world — no matter what fan base she might lose, because in America 2017, silence in the face of injustice means support for the oppressor.
AS MUCH AS I WOULD LOVE TO SEE KARMA COME TAYLOR SWIFT’S AWAY THIS IS BULLSHIT.
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carot-dj · 7 years
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A great way to introduce yourself to a group who made literary history It seems my entire life has been connected to the Algonquin Round Table. When I first discovered Harpo Marx, as a youngster, it led me to his autobiography, Harpo Speaks,where I then learned about the Round Table. Alexander Woollcott, George S. Kaufman, Dorothy Parker, Robert Benchley, Franklin P. Adams, Edna Ferber, Heywood Broun, and all the rest who made up the Vicious Circle, became an obsession to me and I had to learn about their lives and, more importantly, their work. Go to Amazon
THERE IS NO SUCH THING AS THE GONK! I spent the day with this "book" yesterday and where to begin, where to begin... I am one of those Algonquin Hotel bores who has read FAR TOO MUCH about the place and been far too fixated on The Algonquin Round Table and The Vicious Circle over the last 40 years - especially D. Parker, R. Benchley, S. J. Perelman, and Frank Case. I have stayed in the hotel dozens of times since 1985. I not only own all the books that have been published over the years about the Hotel and the Literary Circle but I have read them as well. AND I HAVE NEVER ONCE HEARD THE HOTEL REFERRED TO AS "THE GONK"! NOT ONE TIME! And in the Foreword of the book a former hotel "manager" calls it by that name dozens of times! And it is utterly ridiculous! Despite his having been a "manager" there, he has not earned the right! Not at all! It sounds to me like some modern (read: lame) and deep-as-a-birdbath attempt to re-brand and market the place. It does not need it! Certainly we could do without the ministrations of Melchiorri entirely. A very inauspicious beginning. I can recommend this book to any true lover of the Algonquin and certainly it'll intrigue you if you are interested in the history of the place. Although I'd suggest you read some other titles as well...read all of the books that Frank Case and his daughter Margaret Case Harriman wrote about the hotel. They knew it when! Read James R. Gaines "Wit's End...Days and Nights of The Algonquin Round Table." The Gonk indeed! Go to Amazon
A nice walking tour of a very particular history I love reading about the Vicious Circle and the Algonquin Round Table, so I picked this up thinking it would provide some good stories. Contrary to my expectations, the book turns out to be a guide to the locales in New York associated with the Algonquin, the New Yorker magazine, and all the people who moved in and around the Vicious Circle. There are indeed anecdotes, but because of the focus on locations and buildings, it's a bit disjointed. The final section, detailing the ends of the lives of the thirty prominent men and women (and their final resting places), is sad, but I suppose if I were interested in visiting the gravest of the greats, it would be very helpful. Go to Amazon
A Must Read! A must read for Round Table devotees. This book gives us fun anecdotes, as well as wonderful bio's on all of the main members. It also provides readers with addresses of their homes and haunts (easy to find in their bold font) that we can seek out and see for ourselves. A true historical guide to help us feel closer to all the talent, imagination, and wit that we can never seem to get enough of! Fitzpatrick helps the magic of The Algonquin Round Table stay alive for future generations to learn about and love. Go to Amazon
Delightful! I loved everything about this book! I started reading on my flight to NYC for business and couldn't put it down. I stayed at The Algonquin and this book only enhanced my joy at being in such a fantastic, historic building. If you're interested in history, theatre, newspapers, books, movies, or art, you'll find this book fascinating. Well researched and well written, it's a breeze to read and you'll be sad when you've finished it so soon. It's a must for any Vicious Circle fans. Go to Amazon
Fitzpatrick's Great Job I am very enthusiastic about recommending this exquisitely written history of the legendary Round Table; this is the best and most engrossing tale of this motley crew I have read. I had visited the Algonquin ( the "Gonk") during its celebration in 2002 because my father recommended doing so. I was not disappointed to visit and learn more about early New Yorker, movie and theater days. Go to Amazon
Loved the interview with a former manager For fans of the Round Table and its occupants, this is a must read. Loved the interview with a former manager. Go to Amazon
If you're a fan of the Algonquin this is book for you Everything you ever wanted to know about the Algonquin Hotel and the Round Table, but was afraid to ask. Excellent and well researched book. Go to Amazon
... small book of subpar quality but it contains some good trivia bits for readers interested in the Round Table A Round of Applause for Tales of the Round Table I loved this big little book! Really brings these people to life. Cavorting with the literati Enjoy learning about NYC through reading this book.
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ultraozzie3000 · 1 year
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America's Sweetheart
Above: A scene from Mary Pickford’s 1922 film Tess of the Storm Country. (Library of Congress) In today’s celebrity-saturated culture it is difficult to find a parallel to silent film star Mary Pickford, who was dubbed Queen of the Movies more than a century ago. Indeed, during the 1910s and 1920s Pickford was regarded as the most famous woman in the world. April 7, 1934 cover by Rea…
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docnad · 6 years
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Ink Spill for February 24, 2019! Book Of Interest: Margaret Case Harriman's The Vicious Circle: The Story Of The Algonquin Round Table; It's Oscar Day! | #Inkspill buff.ly/2NoKMmu #AlHirschfeld https://www.instagram.com/p/BuRjiIPB5Lz/?utm_source=ig_tumblr_share&igshid=1q5gr1vwqerxv
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