(As this complete collection of her short stories demonstr...)
As this complete collection of her short stories demonstrates, Dorothy Parker’s talents extended far beyond brash one-liners and clever rhymes. Her stories not only bring to life the urban milieu that was her bailiwick but lay bare the uncertainties and disappointments of ordinary people living ordinary lives. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
The Portable Dorothy Parker (Penguin Classics Deluxe Edition)
(The second revision in sixty years, this sublime collecti...)
The second revision in sixty years, this sublime collection ranges over the verse, stories, essays, and journalism of one of the twentieth century's most quotable authors. In this new twenty-first-century edition, devoted admirers will be sure to find their favorite verse and stories. But a variety of fresh material has also been added to create a fuller, more authentic picture of her life's work. At the heart of her serious work lie her political writings dealing with race, labor, and international politics. "A Dorothy Parker Sampler" blends the sublime and the silly with the terrifying, a sort of tasting menu of verse, stories, essays, political journalism, a speech on writing, plus a catchy off-the-cuff rhyme she never thought to write down. The introduction of two new sections is intended to provide the richest possible sense of Parker herself. "Self-Portrait" reprints an interview she did in 1956 with The Paris Review, part of a famed ongoing series of conversations ("Writers at Work") conducted with the best of twentieth-century writers. "Letters: 1905-1962," which might be subtitled "Mrs. Parker Completely Uncensored," presents correspondence written over the period of a half century, beginning in 1905 when twelve-year-old Dottie wrote her father during a summer vacation on Long Island, and concluding with a 1962 missive from Hollywood describing her fondness for Marilyn Monroe. Features an introduction by Marion Meade and cover illustrations by renowned graphic artist Seth, creator of the comic series Palooka-ville For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
(Best remembered as a member of the Algonquin Round Table,...)
Best remembered as a member of the Algonquin Round Table, the fabled Jazz Age literay coterie, Dorothy Parker built a reputations as one of the era's most beloved poets. Parker's satirical wit and sharp-edged humour earned her a reputation as the wittiest woman in America. This Penguin Classics edition of her poetry - the companion to Parker's Complete Stories and introduced by her noted biographer, Marion Meade - is the only complete collection available, showcasing the dry quips and piercingly introspective verse of a writer whose legend continues to fascinate. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
(Marion Meade's engrossing and comprehensive biography of ...)
Marion Meade's engrossing and comprehensive biography of one of the twentieth century's most captivating women In this lively, absorbing biography, Marion Meade illuminates both the charm and the dark side of Dorothy Parker, exploring her days of wicked wittiness at the Algonquin Round Table with the likes of Robert Benchley, George Kaufman, and Harold Ross, and in Hollywood with S. J. Perelman, William Faulkner, and Lillian Hellman. At the dazzling center of it all, Meade gives us the flamboyant, self-destructive, and brilliant Dorothy Parker. This edition features a new afterword by Marion Meade.
(As this complete collection of her short stories demonstr...)
As this complete collection of her short stories demonstrates, Dorothy Parker’s talents extended far beyond brash one-liners and clever rhymes. Her stories not only bring to life the urban milieu that was her bailiwick but lay bare the uncertainties and disappointments of ordinary people living ordinary lives. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
(Despite her prolific output, ageless writer and wit Dorot...)
Despite her prolific output, ageless writer and wit Dorothy Parker (1893-1967) never penned an autobiography (although if she had, she said that it would have been titled Mongrel). Combing through her stories, poems, articles, reviews, correspondence, and even her rare journalism and song lyrics, editor Barry Day has selected and arranged passages that describe her life and its preoccupations-urban living, the theater and cinema, the battle of the sexes, and death by dissipation. Best known for her scathing pieces for the New Yorker and her membership in the Algonquin Round Table ("The greatest collection of unsaleable wit in America."), Parker filled her work with a unique mix of fearlessness, melancholy, savvy, and hope. In Dorothy Parker, the irrepressible writer addresses: her early career writing for magazines; her championing of social causes such as integration; and the obsession with suicide that became another drama ("Scratch an actor...and you'll find an actress."), literature ("This is not a novel to be tossed aside lightly. It should be thrown with great force.") and much more.
(In a prequel to her appearance in Ellen Meister’s “delici...)
In a prequel to her appearance in Ellen Meister’s “delicious”* Farewell, Dorothy Parker, the acid-tongued writer haunts the halls of the Algonquin Hotel with her piercing wit and unexpectedly tender wisdom. Death cannot quell the feisty spirit of Dorothy Parker. For more than forty years, Mrs. Parker has been spurning the white light and wandering the famous halls of the Algonquin, drink in hand, searching for someone—anyone—who will keep her company on this side of eternity. She may have found the perfect candidate in Ted Shriver, a brilliant literary voice of the 1970s, silenced early in a promising career by a devastating plagiarism scandal. He is now a recluse hiding away in the old hotel, waiting to die. But when a young, ambitious TV producer enters the hotel in search of Shriver, she and Dorothy Parker begin to discover a host of secrets surrounding the life of the famous man—and why he seems as anxious to enter the beyond as Mrs. Parker is to avoid it. *Cleveland Plain Dealer
(Dorothy Parker holds a place in history as one of New Yor...)
Dorothy Parker holds a place in history as one of New York's most beloved writers. Now, for the first time in nearly a century, the public is invited to enjoy Mrs. Parker's sharp wit and biting commentary on the Jazz Age hits and flops in this first-ever published collection of her groundbreaking Broadway reviews. Starting when she was twenty-four at Vanity Fair as New York's only female theatre critic, Mrs. Parker reviewed some of the biggest names of the era: the Barrymores, George M. Cohan, W.C. Fields, Helen Hayes, Al Jolson, Eugene O'Neil, Will Rogers, and the Ziegfeld Follies. Her words of praise-and contempt-for the dramas, comedies, musicals, and revues are just as fresh and funny today as they were in the age of speakeasies and bathtub gin. Annotated with a notes section by Kevin C. Fitzpatrick, president of the Dorothy Parker Society, the volume shares Parker's outspoken opinions of a great era of live theatre in America, from a time before radio, talking pictures, and television decimated attendance. Dorothy Parker: Complete Broadway, 1918-1923 provides a fascinating glimpse of Broadway in its Golden Era and literary life in New York through the eyes of a renowned theatre critic.
("I love a martini— But two at the most. Three, I’m under ...)
"I love a martini— But two at the most. Three, I’m under the table; Four, I’m under the host." Raise a glass to Dorothy Parker’s wit and wisdom. Kevin C. Fitzpatrick, founder and president of the Dorothy Parker Society, gives us an intoxicating new look at the doyenne of the ripping riposte through the lens she most preferred: the bottom of a glass. A bar book for Parker enthusiasts and literary tipplers alike, Under the Table offers a unique take on Mrs. Parker, the Algonquin Round Table, and the Jazz Age by celebrating the cocktails that she, her bitter friends, and sweetest enemies enjoyed. Each entry of this delicious compendium offers a fascinating and lively history of a period cocktail, a complete recipe, and the characters associated with it. The book also features a special selection of twenty first–century speakeasy-style recipes from the country’s top mixologists. Topping it off are excerpts from Parker’s poems, stories, and other writings that will allow you to enjoy her world from the speakeasies of New York City to the watering holes of Hollywood. "I love a martini— But two at the most. Three, I’m under the table; Four, I’m under the host." Raise a glass to Dorothy Parker’s wit and wisdom. Kevin C. Fitzpatrick, founder and president of the Dorothy Parker Society, gives us an intoxicating new look at the doyenne of the ripping riposte through the lens she most preferred: the bottom of a glass. A bar book for Parker enthusiasts and literary tipplers alike, Under the Table offers a unique take on Mrs. Parker, the Algonquin Round Table, and the Jazz Age by celebrating the cocktails that she, her bitter friends, and sweetest enemies enjoyed. Each entry of this delicious compendium offers a fascinating and lively history of a period cocktail, a complete recipe, and the characters associated with it. The book also features a special selection of twenty first–century speakeasy-style recipes from the country’s top mixologists. Topping it off are excerpts from Parker’s poems, stories, and other writings that will allow you to enjoy her world from the speakeasies of New York City to the watering holes of Hollywood.
Dorothy Parker was an American poet, short story writer, critic, and satirist, best known for her wit, wisecracks and eye for 20th-century urban foibles.
Background
Also known as Dot or Dottie, Parker was born Dorothy Rothschild to Jacob Henry and Eliza Annie Rothschild (née Marston) at 732 Ocean Avenue in Long Branch, New Jersey, where her parents had a summer beach cottage. Dorothy's mother was of Scottish descent, and her father was of German Jewish descent. 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. Her father remarried in 1900 to a woman named Eleanor Francis Lewis. Parker hated her father, whom she accused of physical abuse; and likewise despised her stepmother, whom she refused to call "mother", "stepmother", or even "Eleanor", instead referring to her as "the housekeeper".
Education
She grew up on the Upper West Side and attended a Roman Catholic elementary school at the Convent of the Blessed Sacrament on West 79th Street with sister Helen, despite having a Jewish father and Protestant stepmother. (Mercedes de Acosta was a classmate.) Parker once joked that she was asked to leave following her characterization of the Immaculate Conception as "spontaneous combustion". Her stepmother died in 1903, when Parker was nine. Parker later went to Miss Dana's School, a finishing school in Morristown, New Jersey. She graduated from Miss Dana's School in 1911, at the age of 18. Following her father's death in 1913, she played piano at a dancing school to earn a living while she worked on her verse.
She sold her first poem to Vanity Fair magazine in 1914 and some months later was hired as an editorial assistant for another Condé Nast magazine, Vogue. She moved to Vanity Fair as a staff writer after two years at Vogue.
Career
Her career took off while she was writing theatre criticism for Vanity Fair, which she began to do in 1918 as a stand-in for the vacationing P. G. Wodehouse. At the magazine, she met Robert Benchley, who became a close friend, and Robert E. Sherwood. 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. One of her most famous comments was made when the group was informed that famously taciturn former president Calvin Coolidge had died; Parker remarked, "How could they tell?"
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.
When Harold Ross founded The New Yorker in 1925, Parker 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. 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.
The next 15 years were Parker's greatest period of productivity and success. In the 1920s alone she published some 300 poems and free verses in Vanity Fair, Vogue, "The Conning Tower" and The New Yorker as well as Life, McCall's and The New Republic.
Parker met Alan Campbell, an actor with aspirations to become a screenwriter, in 1932; they married two years later in Raton, New Mexico. Campbell, like Parker, had a Jewish mother and Scottish father. He was bisexual—Parker later proclaimed in public that he was "queer as a billy goat". 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. She and Campbell worked on more than 15 films.
In 1936, she contributed lyrics for the song "I Wished on the Moon", with music by Ralph Rainger. The song was introduced in The Big Broadcast of 1936 by Bing Crosby.
With Campbell and Robert Carson, 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. She wrote additional dialogue for The Little Foxes in 1941 and received another Oscar nomination, with Frank Cavett, for 1947's Smash-Up, the Story of a Woman, starring Susan Hayward.
After the United States entered the Second World War, 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 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 in 1944 under the title The Portable Dorothy Parker. Only three Portable series—Parker's, William Shakespeare's, and The Bible—have remained in continuous print.
During the 1930s and 1940s, Parker became an increasingly vocal advocate of causes like civil liberties and civil rights, and a frequent critic of those in authority. She reported on the Loyalist cause in Spain for the Communist magazine The New Masses in 1937. 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 (which was suspected by the FBI of being a Communist Party front). The Hollywood Anti-Nazi League's membership eventually grew to some 4,000 strong. Its often wealthy members' contributions (probably not intended to support Communism) were, in the words of David Caute, "able to contribute as much to Communist Party funds as the whole American working class".
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. Her former Round Table friends saw less and less of her, with her relationship with Robert Benchley being particularly strained (although they would reconcile). Parker met S. J. Perelman at a party in 1932, and despite a rocky start (Perelman called it "a scarifying ordeal") they remained friends for the next 35 years, even becoming neighbors when the Perelmans helped Parker and Campbell buy a run-down farm in Bucks County, Pennsylvania.
Parker was listed as a Communist by the publication Red Channels in 1950. The FBI compiled a 1,000-page dossier on her because of her suspected involvement in Communism during the McCarthy era.[49] As a result, she was placed on the Hollywood blacklist by the movie studio bosses. Her final screenplay was The Fan, a 1949 adaptation of Oscar Wilde's Lady Windermere's Fan, directed by Otto Preminger. Her marriage to Campbell was tempestuous, with tensions exacerbated by Parker's increasing alcohol consumption and Campbell's long-term affair with a married woman in Europe during World War II. They divorced in 1947, remarried in 1950, then separated in 1952 when Parker moved back to New York. From 1957 to 1962, she lived at the Volney Residential Hotel on Manhattan's Upper East Side and wrote book reviews for Esquire magazine. Her writing became increasingly erratic due to her continued abuse of alcohol. She returned to Hollywood in 1961, reconciled with Campbell, and collaborated with him on a number of unproduced projects until Campbell died from a drug overdose in 1963.
Parker died on June 7, 1967, of a heart attack at the age of 73. In her will, she bequeathed her estate to Dr. Martin Luther King, Jr. Following King's death, her estate was passed on to the NAACP. Her executor, Lillian Hellman, bitterly but unsuccessfully contested this disposition. Her ashes remained unclaimed in various places, including her attorney Paul O'Dwyer's filing cabinet, for approximately 17 years.
("I love a martini— But two at the most. Three, I’m under ...)
Connections
In 1917, she met and married a Wall Street stockbroker, Edwin Pond Parker II (1893–1933[15]), but they were separated by his army service in World War I. She had ambivalent feelings about her Jewish heritage given the strong antisemitism of that era and joked that she married to escape her name.
She was married two times. The first husband - Edwin Pond Parker II (1917–1928) and the second spouse - Alan Campbell (1934–1947, 1950-1963).