General

The Library Book

by Kitty Kelley

As a writer who reveres libraries and genuflects to librarians, I was predisposed to embrace The Library Book by Susan Orlean. I just didn’t expect to fall in love so quickly. But by page three, I was head over heels when I read how she made magic of the mundane. Strolling through the grounds of the Central Library in Los Angeles, she noticed: “Pigeons the color of concrete marched in a bossy staccato.”

God really is in the details.

Orlean, a staff writer for the New Yorker, was onsite in downtown L.A., “a glassy landscape of office buildings,” to research the cause and effect of the single biggest library fire in U.S. history, which occurred in April 1986. You may not recall reading about the library disaster; it occurred the same day as the Chernobyl nuclear meltdown, when most of us were waiting to see if we were about to witness global incineration.

The Library Book is not simply an investigation into a fire that burned for seven-and-a-half hours and left 400,000 books in ashes and 700,000 more covered in soot and slime from the over 3 million gallons of water sprayed to extinguish the flames. In addition to the mystery of who or what started the inferno, the book becomes a fascinating mix of crime and history and biography and investigative journalism, all told by a superb storyteller who holds you in thrall to the pathology of arson, a subject you might not realize you care about until you pick up this book, which the publisher has generously bound in red paper-over-board and embossed in gold.

Orlean takes you on her journey as she interviews detectives, policemen, and firefighters. She gives you the physics of fire and the terror of libricide. You become engaged; you want to find the culprit; you agonize for the traumatized librarians; you cheer for the hundreds of volunteers who rush to help remove the smoked wreckage from the Central Library; you applaud the man — the wonderful man — from ARCO who opens his corporate headquarters across the street to warehouse the damaged books, and then helps raise $14 million to rebuild the library.

With this book, Orlean wrote a love story to her mother, who first introduced her as a little girl to the pleasures of reading at the Bertram Woods Library in Cleveland, Ohio. Sadly, her mother slipped into dementia and died before she could read her daughter’s tribute to libraries and her homage to librarians, who stand as the citadels of civilization.

Orlean makes music with her words; they warble and trill across her pages and sing straight into your heart. She writes about the mission of a library as “a gathering pool of narratives and of the people who come to find them. It is where we can glimpse immortality; in the library, we can live forever.”

She makes you see a library like a giant oak tree spreading its branches to give shade and comfort and beauty to a community. The destruction of either tears an ugly gash in the landscape, leaving a crater of dashed dreams. Yet, as she reports, there are more than 200 library fires in the U.S. every year — and most are set on purpose.

If it’s a sin to kill a mockingbird, it’s a crime against humanity to burn a library, because, as the German poet Heinrich Heine wrote in the 19th century: “Where they have burned books, they will burn human beings.” World War II proved that prediction by destroying more books and libraries than any event in history, and killing over 60 million people, making that war the world’s deadliest. The chain that links books and libraries and human beings is indisputable.

Orlean opens her book by quoting from William Faulkner’s Light in August: “Memory believes before knowing remembers.” So, it seems fitting to conclude here with a quote from Faulkner’s 1950 Nobel Prize address, in which he talks about the writer’s duty to write from the heart “to help man endure by lifting his heart.” Susan Orlean has done her duty with The Library Book

Crossposted with Washington Independent Review of Books

A History of France

by Kitty Kelley

Imagine you have an 88-year-old grandfather who lives in London and is crossing the pond to tell you about his newest book. Besotted by all things French, he intends to take you from Gaul to de Gaulle in 400 pages, and your mother insists you give him respectful attention. After all, he’s written 23 history books, edited 11 more, and narrated 30 television documentaries. He’s also hosted the BBC Radio game show “My Word!”

On top of that, he’s a viscount.

(That’s a British title that confers immense prestige on a man, who gets to be addressed in the U.K. as “Lord.” In the five degrees of British nobility, viscount is less than duke, marquess, or earl, but higher than baron. At royal investitures, each nobleman wears a coronet and a crimson coronation robe with a white miniver fur collar.)

So now you’re prepared for John Julius Norwich and A History of France, which is the viscount’s Valentine to Francophiles.

“I have loved every moment of the work on [this book],” he writes in his preface, “and see it as a sort of thank-offering [sic] to France for all the happiness that glorious country has given me over the years.”

He indicates this may be the last book he writes, and, sadly, he’s right; he died this year, a few months after its publication. He ended his French history at 1945, leaving the Fourth and Fifth Republics to another chronicler.

The preface intrigues as Norwich begins with the first words Charles de Gaulle wrote in his memoirs: “Toute ma vie, je me suis fait une certaine idee de la France.” (“All my life, I have had a certain conception of France.”)

Lest you think the author identifies with Le gran Charles, be assured that he applauds him as “one of the greatest men in all [French] history,” but lambasts him for “almost unbelievable pusillanimity and small-mindedness.” To underscore this point, Norwich writes: “No wonder Churchill used to say, ‘The heaviest cross I have to bear is the Cross of Lorraine.’”

Being the son of Duff Cooper, for whom the title Viscount Norwich of Aldrich in the County of Sussex was created in 1952, the author casually drops the names of de Gaulle and Winston Churchill, men he had met through his father when he was a teenager.

He recalls meeting de Gaulle at a commemorative luncheon on the third anniversary of the D-Day landings. Young Norwich had arrived late after all the plates were cleared, except for de Gaulle’s plate of apple pie, into which he was tapping his cigarette ash. The hungry young man asked the general if he might have his dessert, and the general immediately pushed the plate over, apologizing for the ashes.

The teenager replied: “I said that it would be an honor to eat the general’s ash — a remark that proved a distinct success. It was my only conversation with the great man; but unlike most of those he had with my father or Winston Churchill it could hardly have been more friendly.”

The author’s preface becomes even more intriguing when he mentions spending Christmas 1944 in the British embassy in Paris, where his father was serving as ambassador. There, the young man meets the poet Louise de Vilmorin, “my father’s mistress,” whom, he claims, “my mother loved…almost as much as my father did,” adding that his mother, Lady Diana Cooper, “had no conception of jealousy” about his father’s many lovers.

And we’re still only in the preface!

If you’re as curious as I was, you might be tempted to Google Duff Cooper, whom you’ll find described by London’s Telegraph as “a legendary womanizer” whose “many…early liaisons left his wife in tears but as his health failed, she accepted them.”

In addition to the aforementioned poetess, these liaisons included Singer sewing machine heiress Daisy Fellowes, socialite Gloria Guinness, fashion model Maxine de la Falaise, and writer Susan Mary Alsop, with whom Cooper had an illegitimate son.

Now the author’s family history is looking as interesting as any of the 58 French kings he writes about, including Charlemagne, with his “five legal wives and four supplementary spouses.” I confess: I ran to Google again to learn that “supplementary spouses” are “an important but often unrecognized relationship” in a marriage, rather like the third leg of a tripod.

After reading the preface, one almost wishes Norwich had written his own memoir and left the history book to French scholars. He states that he did not write his book for professional historians, and certainly none would nominate him for a Pulitzer.

He breezes through the Crusades in a few pages, dusting off two centuries’ worth of battles, from the Fall of Jerusalem to the Fall of Constantinople. Along the way, he introduces a variety of regents, from Clovis I to Napoleon III, with 18 Louises in between, plus an odd duck named Dagobert I, who wore his trousers inside out. (Why? We’re not told.)

You may have difficulty keeping separate “King of Franks” (as France was originally called), “King of France,” “King of the French,” and “Emperor of the French,” but, remember, you’re getting your history in one drive-by gobble rather than dainty little sips.

You can’t help but be amused as you meet various kings, including Robert the Pious (he liked to pray), Philip the Amorous (he was excommunicated for adultery), Louis the Fat (he weighed a lot), John the Posthumous (he lived just five days), John the Fearless (he loved waging war, but then, all French kings did), Charles the Bold, Philip the Fair, and Philip the Good (he founded the Order of the Golden Fleece).

You’ll appreciate the author’s Oxford credentials when he writes that King John of England “was responsible for the murder” of his nephew, Prince Arthur of Brittany, which, Norwich adds, provided “Shakespeare with one of his most poignant scenes.”

(The Groucho-glasses-wearing duck will drop down and pay you $25 if you can name the Shakespeare play to which Norwich refers, because he doesn’t tell. He assumes you are as educated as he is and will know the Bard’s “The Life and Death of King John.”)

Far be it from me to question an esteemed viscount, but I was startled to read that when St. Denis, third-century bishop of Paris, was beheaded, he “calmly picked up his severed head and walked several miles to the site of the abbey that bears his name while preaching a sermon on repentance.” No documentation, but in a sly footnote, Norwich quotes Madame du Deffand: “It’s the first step that counts.”

Regarding Madame: Again, consult Google and then — Ça Alors — continue your merry romp through A History of France.

Crossposted with Washington Independent Review of Books

Picasso and the Painting That Shocked the World

by Kitty Kelley

I had no idea until I read Picasso and the Painting That Shocked the World by Miles J. Unger that Picasso’s “Les Demoiselles d’Avignon” was so shocking. After visiting the Musée National Picasso in Paris last week, I would’ve pinned that ribbon on “Guernica” (1937), his mammoth evocation of the horrors of war. (Obviously, I missed the memo proclaiming sex more shocking than man’s inhumanity to man.)

Strictly translated, “Les Demoiselles d’Avignon” means the young, unmarried women of Avignon — the ancient town in southeast France in the Vaucluse, on the left bank of the Rhone. But elementary French does not capture Picasso’s revolutionary painting meant to rivet and revolt. As he said, “Art is not made to decorate apartments…It is an instrument of offensive and defensive war against the enemy.”

In 1907, Picasso’s enemy was “the centuries-old tradition” of art, which he attacked with his full artillery, producing a wall-size painting of five androgynous nudes with knife-sharp breasts, misshapen heads, and hollow eyes that looked fatigued and fed up with the sexual demands of their paying customers.

For Picasso, “Les Demoiselles” encompassed a narrative of lust and rage and repulsion and illicit desire. He stripped sex of all romance and displayed the brothel business as a basic transaction of cash for services rendered.

“Indeed, the dynamic interplay between the constructive and destructive principles, Freud’s Eros and Thanatos, was the key to the artist’s creativity,” states the author. At the time, those accustomed to the idealized nudes of Botticelli’s “Venus” and the soft Madonna curves of Raphael did not see Picasso’s masterpiece as creative, but rather as dark, disruptive, and dystopian.

In fact, he was shunned by his adoring bohemian disciples (aka, bande a’ Picasso), who were horrified when he pronounced the painting his glorious “exorcism.” Henri Matisse, his main rival among avant-garde artists in Paris, denounced “Les Demoiselles” as a crime against art, an elaborate hoax, and a personal affront. Dealers and collectors fled, showing only disgust for the painting.

One left Picasso’s studio practically in tears, telling Gertrude Stein, the artist’s biggest patron: “What a loss for French art!” Gertrude’s brother, Leo, once a Picasso patron, called the painting “a horrible mess.” Picasso so scandalized the art world by his depiction of these hard-edged prostitutes that, after one studio showing, he rolled up his canvas and stashed it under his bed for nine years until the world caught up with his vision that introduced the school of painting known as Cubism.

Given the heaving shelves of Picasso books, and the fourth and final volume of the artist’s life to be published soon by Sir John Richardson, one has to applaud Unger, an art historian, for carving his own niche in the adoration wall that surrounds Picasso’s genius.

While the author genuflects to the artist’s protean talents, he does not spare the man holding the paintbrush. Unger describes Picasso’s whorehouse as “the great battlefield of the human soul, an Armageddon of lust and loathing but also of liberation, the site where our conflicted nature reveals itself in all its anarchic violence.”

Some might wish Unger had grappled more vigorously with Picasso’s misogyny and his well-documented cruelty to women, but his savagery remains palpable on the page. “An unrepentant male chauvinist,” Unger calls him, Picasso used and abused women, discarding wives, mistresses, and lovers like a snake shedding its skin. His art was his first priority in life. Everything else — family, friends, children, even pets — was sacrificed on the altar of his raging ambition.

At one point, Picasso and Fernande Olivier, his first true love and mistress of many years, decided to adopt a 13-year-old girl from a Paris orphanage. Within weeks, we learn, “Picasso’s feelings veered dangerously far from the paternal.”

A sketch he titled “Raymonde Examining Her Foot” shows her spreading her legs to Picasso’s devouring gaze. “There’s no indication that Picasso ever abused Raymonde,” writes Unger, “but it’s clear she aroused feelings in him that might have led to disaster. His attraction to adolescent girls, at least later in life, is well-documented.”

The youngster lived with Picasso and Fernande for four months, during which time he was working on “Les Demoiselles.” Then they decided a child was too much of a strain on his art and their relationship, so they returned Raymonde to the orphanage, discarding her along with her dolls.

One of the artist’s most despicable acts occurred in 1944, when Picasso, a Spaniard living in Paris during World War II, was spared military service. Famous and influential at the time, he refused to help his lifelong colleague Max Jacob, Jewish and homosexual, who, the author tells us, “died at Drancy while awaiting transfer to Auschwitz, after Picasso failed to intervene on behalf of his old friend.”

The young prodigy from Barcelona lived to be 91 years old. He became rich beyond his imaginings and made himself the most renowned artist of the 20th century, but he was hardly a man beloved. Like his art, Pablo Picasso never tried to please.

Crossposted with Washington Independent Review of Books

 

 

Robin

by Kitty Kelley

Shakespeare set the gold standard for honoring a beloved comedian no longer alive. In Act 5 of Hamlet, when the Prince of Denmark sees the skull of his father’s court jester, he nearly weeps: “Alas poor Yorick…A fellow of infinite jest, of most excellent fancy…”

And now, in Robin, we come to another man of merriment — a comedic genius who has, unfortunately, been buried in a turgid biography. Melancholy suffuses this book like a shroud, but perhaps that’s because the 2014 suicide of Robin Williams still saddens those of us once dazzled by his ricocheting brilliance, his hilarious humor, his raucous one-man shows, and many of his movies, particularly Good Morning, Vietnam, Mrs. Doubtfire, Dead Poets Society, and Good Will Hunting, which earned him the Oscar for best supporting actor.

As his friend Billy Crystal said the first time he saw Robin Williams perform: “Oh, my god. What is this? It was like trying to catch a comet with a baseball glove.”

Alas, poor Robin. While your star shines, your biographer shambles.

Granted, the challenge of writing about someone of sparkling talent is daunting, but there’s no excuse for plodding prose from “a culture reporter for The New York Times,” which is how the author, Dave Itzkoff, identifies himself on the back of the book.

On page eight, Itzkoff describes a photograph of Williams’ mother: “Even in this black-and-white image, the soft sparkle of her blue eyes is unmistakable.” Later he writes: “Still, there were lessons that Juilliard could not teach Robin…itches it could not scratch.”

Itzkoff continues scratching in another chapter: “After all the extravagant ambitions he had chased in show business and all the self-indulgent itches he had been able to scratch, none of which had led to his finding fulfillment, maybe this was what he truly wanted in life — maybe becoming a father is what would finally make him happy.”

The first few times Itzkoff mentions Williams wearing “rainbow suspenders,” I noted the colorful detail and remembered he had made them a fashion trend in 1978 with his breakout performance in the sitcom Mork and Mindy on network television.

By the fifth and sixth mention of “rainbow suspenders,” I wondered what I was missing. Was Itzkoff perseverating? His editor dozing? Were “rainbow suspenders” supposed to be Robin’s Rosebud? Did he wear them for good luck? To support the LGBTQ movement? I still don’t know.

By the age of 35, Dave Itzkoff had written two memoirs about himself, recalling his father’s cocaine addiction, his own drug use, and his attempted suicide, which presumably sensitized him to the addictions that plagued Williams, who was open about his struggles with drugs and alcohol, and frequently used them to fuel his comedy. He told audiences:

“I believe that cocaine is God’s way of saying you’re making too much money.”

“The only difference between me and a leprechaun is I snorted my pot of gold.”

“An alcoholic is someone who violates their standards faster than they can lower them.”

By contrast, discussing his decision to finally get sober, which he was for the last eight years of his life, Williams said: “I had to stop drinking alcohol because I used to wake up nude on the hood of my car with my keys in my ass. Not a good thing.”

When his second wife divorced him because of his extra-marital affairs, Williams said, “I’ve learned this: There’s (sic) penalties for early withdrawal and depositing in another account.”

Itzkoff covers all the biographical bases: Williams’ lonely childhood, his family’s many moves, his imaginary playmates, aloof parents, different schools, bullying, and the fear of disapproval and rejection, plus a bottomless need to please and perform, to be noticed and applauded.

No surprise that the best lines in the book belong to Williams, who psychoanalyzed himself better than anyone could: “I don’t think I’ll ever be the type that goes, ‘I am now at one with myself’…therapy helps…it makes you reexamine your life, how you related to people. How far you can push the ‘like me’ desire before there’s nothing left of you to like.”

Williams joked that he had to work nonstop because divorce was expensive, but the book makes clear that he worked for the same reason a dervish whirls — he had to. As one friend said, “He operated on working. That was the true love of his life. Above his children, above everything. If he wasn’t working he was a shell of himself. When he worked, it was like a lightbulb was turned on.”

Robin Williams turned the lightbulb off on August 11, 2014, when he hung himself by a leather belt. Months before, he had been diagnosed with Parkinson’s disease, leading many to assume that depression prompted his suicide. But three months later, the Marin County Sheriff’s office released the autopsy report, showing that Williams suffered from “diffuse Lewy body dementia,” a toxic, devastating brain disorder for which there is no cure or control.

“Robin was aware that he was losing his mind and there was nothing he could do about it,” said one of his doctors. Billy Crystal said: “My heart breaks that he suffered and only saw one way out.”

Williams left behind one widow, two ex-wives, three children, and an estate worth $20-$50 million, which was litigated by some of the above. He left the rest of us a legacy of laughter but feeling as desolate as Hamlet over Yorick: “Where be your gibes now? Your gambols? Your flashes of merriment that were wont to set the table in a roar?”

Crossposted with Washington Independent Review of Books

“Martin’s Dream Day” is Woodson Honor Winner

National Council for the Social Studies “established the Carter G. Woodson Book Awards for the most distinguished books appropriate for young readers that depict ethnicity in the United States. First presented in 1974, this award is intended to ‘encourage the writing, publishing, and dissemination of outstanding social studies books for young readers that treat topics related to ethnic minorities and race relations sensitively and accurately.’”

 
 
 

2018
Elementary Level Honoree

Martin’s Dream Day
by Kitty Kelley
Atheneum Books for Young Readers

Avedon: Something Personal

by Kitty Kelley

If you’re into pop culture, you’ll inhale Avedon: Something Personal by Norma Stevens and Steven M.L. Aronson, which drops more names in 700 pages than a prison rollcall.

If you recognize Kate and Naomi and Veruschka and Christy as first-name fashion models, you might pay $40 for the book, but you won’t see any of Richard Avedon’s acclaimed work for Bazaar or Vogue in it. You’ll read about “his iconic image of Dovima and the elephants,” but you won’t see why the image is iconic.

You’ll learn that Calvin Klein paid Avedon “three million in 1980 dollars” ($9.6 million in 2018 dollars) for the famous ad campaign showing a young Brooke Shields in an unbuttoned blouse and blue jeans saying, “Nothing comes between me and my Calvins.”

But, again, no photo.

Astonishingly, this biography of a world-renowned photographer contains none of his photographs.

Avedon was as celebrated for his black-and-white portraits as his fashion photography, but unless you know his work, you won’t understand why these portraits raised the ire of some of his subjects, like Truman Capote, whose “puffy-faced” image is described but not shown.

And neither are Avedon’s “vaunted picture of the Duke and Duchess of Windsor,” described as “two people without a country and without a soul,” and the photographer’s “highly controversial” and “fraught” portraits taken “relentlessly” of his terminally ill father during the months he was dying.

There are snapshots by others throughout the book, but none by Avedon himself. Apparently, this omission is because his images are controlled by the Avedon Foundation, which did not bless the book. In fact, the foundation issued a statement blasting the biography as filled with factual errors (some 200) and fantastical stories, which it claimed could damage Avedon’s legacy.

His son, John, called the book “a collection of half-truths or outright falsehoods,” particularly the last scene in which he prepared a meal and mistakenly sprinkled his deceased father’s ashes, rather than oregano, on the food.

A high school dropout who gravitated to intellectuals, Avedon was the beloved only son of an adoring Jewish mother. He loved theater and film and appeared to have read widely, as was evidenced by the nameplate on his building, which identified him as Dr. Aziz, the emotional character in E.M. Forster’s A Passage to India, whose quicksilver moods lifted him to heights of exuberance and cast him into the depths of despair.

“Avedon chafed at being defined a ‘fashion photographer,’ and longed to reign in the pantheon of artistes. To this end he published heavy books of his portraiture, staged gallery exhibitions and mounted museum openings, his proudest being twice honored at the Metropolitan Museum of Art. Yet by the age of 75, he felt burned out creatively. He agonized over losing his focus, drive and energy, despite daily infusions of amphetamines and sleeping pills. Still, he never lost sight of his financial worth, saying: ‘Money is the only power in the world, and that’s my belief.’

“He once billed the New Yorker for over $1 million in expenses and sent his collected receipts in a large Tiffany box. He considered Qatar’s Sheikh Saud bin Mohammed bin Ali al-Thani to be his own ‘ATM on legs,’ and charged him ‘many millions’ for personal photography.”

The book’s most startling revelation is the 10-year love affair between Avedon and the director Mike Nichols. Despite their marriages to women (two wives for Avedon; four for Nichols, including his widow, Diane Sawyer), the men once considered leaving their spouses and running away together.

Avedon later confided to author Stevens that he could not publicly declare himself as gay because his self-proclaimed stature as “the world’s greatest photographer” would be diminished, and there was nothing he cared more about than his star in the stratosphere. “You do it, after I’m gone,” he told her. Stevens obliged — and then some. She retold his stories about “innocent kissing” with James Baldwin and youthful sexual encounters with his sister and his cousin.

This intimate biography draws on the recollections of Stevens and her 30 years with Avedon as his studio director and confidante, as well as oral histories from friends, associates, and a few disgruntled employees, all of whom acknowledge his creative genius as well as his relentless drive for national recognition.

Despite the bad blood between the foundation and the authors, which comes across clearly in the former’s public statement, nothing contested by the foundation rises to the level of libel, even allowing for no chapter notes indicating where the facts in the narration come from — no diaries, journals, or correspondence are cited as documentation.

Consumed by his legacy, Avedon counted the words in the death notices of his rivals and wondered if he’d get more or fewer. Particularly sad was his obsession over how the New York Times would cover his final exit. “Will I make the front page…Will I be above the fold?” To this end, he sent the newspaper annual but unbidden obituary updates listing his latest shows and exhibits.

Richard Avedon, 81, died of a cerebral hemorrhage while on assignment in San Antonio, Texas. The Times reported his death on the front page — below the fold.

Crossposted with Washington Independent Review of Books

Just a Journalist

by Kitty Kelley

If Linda Greenhouse is “just a journalist,” then Secretariat is just a horse. With a Phi Beta Kappa key from Radcliffe (1968) and a Pulitzer Prize (1998) “for her consistently illuminating coverage of the United States Supreme Court” for the New York Times, Greenhouse is the gold standard of journalism.

(Full disclosure: Greenhouse is a friend, and I admire her — personally and professionally. She’s the woman so many would like to be: smart, accomplished, and principled.)

Her book, Just a Journalist: On the Press, Life, and the Spaces Between, not so much memoir as treatise, took root from a set of lectures she delivered in 2015 at her alma mater about the role of a journalist as a public person and a private citizen. She used herself as an example to pose provocative questions about the shifting boundaries in journalism and whether the old shibboleths remain effective in the 21st century, especially prescient now that we’re in the era of Donald J. Trump and his “fake news” and “alternative facts.”

Sparking her reflections on the subject was her personal experience following a speech she gave after receiving her college’s highest honor, the Radcliffe Medal. It was 2006, during the second term of George W. Bush, when, she told her audience, “Our government had turned its energy and attention away from upholding the rule of law and creating law-free zones at Guantanamo Bay, Abu Ghraib…and let’s not forget the sustained assault on women’s reproductive freedom and the hijacking of public policy by religious fundamentalism.”

She also talked about how the world had in some important ways gotten better, especially in the workplace for women and through the Supreme Court’s recognition of gay men and lesbians’ rights to “dignity” and “respect.”

Greenhouse took heat for expressing herself on these matters of verifiable fact, all part of the public record and covered in depth by the media. She did not reveal state secrets or endanger national security. She simply offered her opinion on the world at that time. Still, her peers pounced.

National Public Radio’s website ran a story headlined “Critics Question Reporter’s Airing of Personal Views.” Among the critics was the Washington bureau chief of the Los Angeles Times, who was shocked — shocked! (Like Claude Raines in “Casablanca.”) The dean of the journalism school at the University of Maryland pronounced her remarks “ill-advised.”

The former chair of the Pulitzer Prize board executive committee said, “The reputation of Greenhouse’s newspaper is at stake when the reporter expresses her strong beliefs publicly.”

The coup de grace was delivered by her own newspaper, whose public editor recommended she not cover the Supreme Court on topics she addressed in her speech. “Ms. Greenhouse has an over-riding obligation to avoid publicly expressing these kinds of personal opinions…[and] giving the paper’s critics fresh opportunities to snipe at its public policy coverage.”

They all sounded like Chicken Little, convinced the sky was going to fall on the New York Times because one of its reporters had expressed herself on public policy. Actually, the sky had fallen two years before, when Jayson Blair was forced to resign from the newspaper for fabricating or plagiarizing half of the 72 stories he had written.

The newsroom was still reeling from that debacle, which may have been why no one stepped forward to defend Greenhouse for telling the truth. She was like the child in the Hans Christian Andersen fairytale who called out the emperor for not wearing clothes. (To the Times’ credit, she continued covering the court until she retired in 2008, when she accepted an offer to teach at the Yale Law School.)

Greenhouse blows holes through the current theory of objectivity that journalists are expected to maintain — to have no private opinions or support any private causes. According to these old rules, journalists should not contribute to their community because it might reflect negatively on their employer or tempt others to see bias in their work. Leonard Downie took this to pious extremes when he was executive editor of the Washington Post and announced that he would not vote and would stop having “private opinions about politicians or issues.”

He felt that would give him a completely open mind in supervising the newspaper’s coverage, and I suppose it would in Brigadoon. But what about the real world, where journalists might want to participate in parent-teacher associations, volunteer for community organizations, contribute to nonprofits, and — God help us — register to vote?

Greenhouse asks how journalists can be objective in their coverage by adhering to “he said, she said” reporting, as if there are only two sides to every story, when, in fact, there are usually several. Under deadline, reporters, trying to be neutral, frequently run to official sources to get their quotes for “on the one hand, on the other hand” presentations. The advocates’ words could be lies or, to use the newspaper euphemism, “factual untruths,” or benign lobbying for their particular causes.

If their words come to the reader without context or correction, they gain credibility for simply being quoted in the news. Hardly neutral reporting. In fact, just the opposite, as these journalists, striving to be fair and balanced, are, according to Greenhouse, doing what they most dread —deferring to power.

Normally, a journalist writing about journalism is like a golfer writing about golf; interesting only to those who play the game. In this case, though, we’ve got a Babe Didrikson Zaharias holding forth on a subject for which she holds the field, and her subject is not “just” journalism, as if journalism is a mere incidental that can be shrugged off with indifference.

In arguing for more context in reporting, Greenhouse echoes the wisdom of Felix Frankfurter, who said: “The responsibility of those in power is not to reflect inflamed public feeling but to help form its understanding.”

While her questions are provocative and meant to be pondered, her style is cool, analytical, and without hyperbole. She writes with restraint and offers no harsh criticism of her former employer. To the contrary, she recognizes the premier position the New York Times holds and wants nothing more than for the paper of record to excel in its mission to inform.

Journalism affects all of us — locally, nationally, internationally. For it’s through journalists that we learn what’s happening in our world and how to traverse its shoals. Journalists are our eyes and ears, and without seeing and hearing, we’d be blind and deaf, unable to function. Linda Greenhouse’s little 192-page book is a big contribution and deserves our attention.

Crossposted with Washington Independent Review of Books

The Watergate: Inside America’s Most Infamous Address

by Kitty Kelley

Hotels can intrigue, even captivate. In the pantheon of places, nothing tantalizes so much as a good story situated in a hotel, particularly a luxury hotel with hot- and cold-running bellhops, genuflecting valets, and chandeliers that drip with crystal. (Think the Metropol in A Gentleman in Moscow by Amor Towles.)

Built on superstition, few hotels have a 13th floor — most elevators go from 12 to 14 — but each floor can hold secrets, whether dreadful or delightful. As such, hotels have been the subject of movies (“Grand Hotel” with Greta Garbo; “The Best Exotic Marigold Hotel” with Judi Dench); novels (Hotel Du Lac by Anita Brookner); children’s books (Eloise at the Plaza by Kay Thompson); a rollicking BBC television series (“The Duchess of Duke Street,” the story of the king’s mistress, who owned the Cavendish Hotel in London); and even an Elvis Presley classic (“Heartbreak Hotel”).

Hotel sites beguile, possibly because they provide escapes from the real world and adventures for the escapees, which translates into vicarious pleasure for the rest of us.

Whether fact or fiction, the standard recipe for a good hotel story contains basic ingredients:

1 lb. Scandal
1 c. Sex
2 c. Eccentric guests
1 dash Crime
1 pinch Skullduggery

For added spice, mix in two cups of chopped celebrity and bake for 350 pages. Voila. You’ve got the perfect hotel-story soufflé.

Joseph Rodota followed this recipe to write his first book, The Watergate: Inside America’s Most Infamous Address. For scandal, crime, and skullduggery, he provides the 1972 burglary of the Democratic National Committee, which led to the resignation of President Richard Nixon, which, in turn, spawned a great film, “All the President’s Men.”

For eccentricity, Rodota showcases Martha Mitchell, wife of Nixon’s attorney general, and her midnight phone calls. Freshly sprung from a psychiatric ward in New York to move to Washington with her husband after Nixon’s inauguration, Martha soon gave hilarious definition to drinking and dialing. Belting back bourbon late at night, she frequently called Helen Thomas, UPI’s White House correspondent, to unload on “Mr. President.”

For eccentric good measure and a smidge of sex, Rodota also tosses in the Chinese hostess (cue Anna Chennault) who served “concubine chicken” at her Watergate dinner parties.

From John F. Kennedy to John Mitchell to the johns who paid for prostitutes, this book drops more names than a prison roll call. With the exception of Monica Lewinsky, who lived in her mother’s Watergate apartment in the 1990s, where she hung the blue dress that led to the impeachment of President Bill Clinton, most of the dropped names are Nixon-era Republicans (Senators Elizabeth and Bob Dole), Rosemary Woods, and cabinet members like Maurice Stans, John Volpe, and Emil “Bus” Mosbacher.

With skillful research from old newspapers and magazines, oral histories from presidential libraries, and a few interviews, Rodota has fashioned an interesting story about the white concrete edifice that looks like a giant clamshell. With three buildings of wrap-around co-op apartments terraced with egg-carton balustrades, the Watergate, facing the Potomac River, sits adjacent to the John F. Kennedy Center for the Performing Arts.

To tell his story from the beginning, Rodota burrows into the complicated bureaucracy that surrounds any major construction in the nation’s capital. He whacks through the weeds of proposals and counter-proposals from the financiers, architects, and developers to the National Capital Planning Commission, the DC Zoning Commission, the National Park Service, the Commission on Fine Arts, the committee overseeing the National Cultural Center (later to be named the Kennedy Center), the U.S. Congress, and, finally, the White House. All had to reach agreement before a shovel broke ground.

Beginning in 1962, numerous hearings were held to discuss plans for Watergate Towne, a complex that would include a gourmet restaurant, spa, beauty salon, grocery store, liquor store, cleaners, florist, bakery, and a boutique of designer clothes for women. Still, there was concern, especially over the project’s financing and what the Kennedy White House called “the Catholic problem.”

As the first Catholic to be elected president — and only by 100,000 votes — John F. Kennedy knew his religion was problematic to many. As president, he genuinely wanted to make Washington “a more beautiful and functional city,” which the Watergate project promised to do. But he would not sign off on the $50 million proposal because it was largely underwritten by the Vatican, then the principal shareholder in the developing company Società Generale Immobiliare.

The formidable columnist Drew Pearson stoked controversy over “popism” with a syndicated column headlined: “Vatican Seeks Imposing Edifice on Potomac.” A group called Protestants and Other Americans United for Separation of Church and State mobilized its members.

Within weeks, the White House received more than 3,000 letters opposing construction of the Watergate and, according to one, “having Miami Beach come to Washington.” Most voiced outrage that Kennedy would be under clerical pressure to do the bidding of “the world’s richest church.” The Vatican soon divested its interest in the project, and, by November 22, 1963, most objections were muted.

Probably because there is no breaking news in Rodota’s book, his publisher sent a letter to editors and producers trying to burnish the fact that “The Vatican, the coal miners of Britain, and Ronald Reagan have something in common: They each owned a piece of the Watergate. Ronald Reagan held a financial stake in the Watergate complex shortly before becoming president, a fact that has never been made public before this book.”

Wowza! Stop the presses!

Yet the author does a good job of mixing historical facts with personal anecdotes to tell the story of what was both the most famous and most infamous hotel in Washington, DC, until the presidential election of 2016. Perhaps Rodota will follow this book with another hotel story entitled Tales from the Trump International, which might indeed provide some needed wowza.

Crossposted with Washington Independent Review of Books

 

Remembering Marianne Means

by Kitty Kelley

I’d much rather be hoisting a glass with Marianne Means, and hearing her rant about “that vulgarian” in the White House than writing this valedictory, but she went to the angels a few days ago,  and her death leaves me with an empty glass, albeit a full heart.

You may have noticed The Washington Post gave her a large obituary, and applauded her as a “trailblazing White House correspondent,” which led to 50 successful years as a syndicated columnist for Hearst newspapers. The obit mentioned that Marianne made a crucial connection as a college student with then-Sen. John F. Kennedy, when he was campaigning for President in Nebraska. In the White House he sought to help her make her way amidst a predominantly male press corps.

“Give her some stories,” the President told one aide. “Give her all the help you can.”

For anyone who knew Marianne then as a pretty blue-eyed blonde—“farm fresh,” recalled one photographer—and JFK as an inveterate chaser, certain assumptions were made, and those assumptions were to Marianne’s advantage, although her romance then was not with Kennedy, but with his deputy press secretary.

I met her many years later in Georgetown, where she lived all of her life since moving from her parents’ farm. She graduated from the University of Nebraska with a Phi Beta Kappa key, and later earned a law degree from George Washington University. We lived near each other, shared the same hairdresser and many mutual friends. Marianne was great fun, wonderfully opinionated, and breezily direct about everything—except for her husbands and lovers. By the end of her life she’d collected five of the former and lots of the latter, but she did not kiss and tell. She would’ve been appalled by #MeToo.

Before Pamela Harriman arrived in Washington, Marianne Means was entertaining presidents, vice presidents, senators and congressmen. “Not all at once, mind you. I saved Lyndon Johnson for a special group of people,” she told me in 1973 when I was writing an article about dinner parties. “As President he came to my house two times. Both times Lady Bird was out of town and both times he approved the guest list in advance.” I asked if she catered an elaborate menu for her illustrious guest. “Can you believe it? I actually cooked it myself,” she said. “The President was not a fussy eater, thank God, so I could get away with a simple dinner of roast beef, which was good because I’m just a plain old meant-and-potatoes girl.”

In the article I mentioned her cat had jumped on President Johnson’s lap. After publication Marianne corrected me: the cat had jumped on the roast beef.

When I was thinking about writing a book on Georgetown as the nexus of power and influence in Washington, D.C., Marianne was my go-to source. She knew that few places in the U.S. carried the panache of instant recognition like the 12 square blocks in the middle of the nation’s capital, which have been home to presidents and prostitutes, senators and scalawags, congressmen and convicts. Even when I decided not to write the book, we’d still meet for dinner at La Chaumiere, where she would be wheel-chaired in by one of her devoted caregivers.

One night she began talking about LBJ, and I gave her the girlfriend-to-girlfriend look. She laughed, but wouldn’t say another word. I mentioned the many references to her in President Johnson’s daily White House diaries from 1964-1967.

“Okay,” she said. She paused for a long minute. “Yes, it was an affair and, no, I won’t share it with people, not even you. It was mine and he was mine.” She was serious, almost fierce, and I realized that Lyndon Baines Johnson had been enormous in her life. Later that was confirmed when I read John Seigenthaler’s oral history in the John F. Kennedy Library regarding the 1964 Democratic National Convention when Robert Kennedy was given a monumental ovation The rancor between then-President Johnson and former Attorney General Kennedy was visceral. Seigenthaler, administrative assistant to Kennedy in the Justice Department, was a close personal friend. Flying back to Washington on the press plane after the convention, he recalled: “I remember Marianne Means who loved Lyndon and really worked on Bob. She was always a friend of mine. [But] I was cold to her on the flight that night.”

During out last dinner Marianne said to me: “I think it’s terrible Johnson has not gotten his due as a great president and he was a great president. Look at all he did for civil rights.”

I agreed, then whispered, “Vietnam.”

“Pew,” she said. (Yes, “pew” was her exact quote.) “Vietnam was started by another president…. Johnson made sure both his sons-in-law [Patrick Nugent and Charles Robb] served—in safe positions, of course, but both went to Vietnam…. Ben Barnes [former Lt. Gov. of Texas] is now the leading guy for helping us try to restore Johnson’s place in history.”

She talked about inviting President Johnson to one of her weddings. “I think it was my second or third…. It was in my small house on 32nd Street. Johnson came. My relatives still remember how they had left something in the car and had to run outside to get it but couldn’t get back in because of the Secret Service.”

“Must be nice to have a lover who is protected at all times,” I said.

“Nice try, Kitty Poo, but I still won’t tell you.”

We both laughed at my clumsy effort to get more information, and now she, God bless her, gets the last laugh.

Photo: Kitty Kelley (seated); Standing, left to right: Barbara Dixon, Susan Tolchin, Marianne Means and Sandra MacElwaine.

Crossposted with The Georgetowner

The Vanity Fair Diaries: 1983-1992

by Kitty Kelley

The British excel as diarists, the most famous being Samuel Pepys, followed by James Boswell (the biographer of Dr. Johnson), and Virginia Woolf, the beacon of the Bloomsbury Group. Currently, Alan Bennett, 83, reigns supreme.

Now comes Tina Brown pawing at that pedestal with The Vanity Fair Diaries: 1983-1992, which chronicles her glory days as the English editor who came to America to revive the magazine, and later to resuscitate the New Yorker. For this she deserves heaps of Yankee praise.

Once I got my mitts on her book, I did what everyone will do: I turned to the index. Back in 1989, I was lucky enough to be selected along with Ted Turner, Diane Sawyer, Steven Spielberg, and others (plus the tombstone of Andy Warhol) as part of “the Media Decade” in Vanity Fair’s Hall of Fame. Each of us was photographed by Annie Leibovitz, who signed and sent originals of the shots as Christmas presents. I was curious to see if the diaries mentioned that 40-page spread in the magazine.

Flipping to the back of the book, I see one entry on page 347 about “the biggest media influencers” of the era. Wowza. There I am. Whoops. “Trashy Biographer Kitty Kelley.” But I’m not alone. Similar smackdowns await others.

Brown zings Jerry Zipkin, “always in high malice mode” as “Nancy Reagan’s viperish portly walker.” She cuffs Charlotte Curtis, the New York Times editor, as “unbearable,” adding, “What a bogus grandee she is, a coiffed asparagus, exuding second-rate intellectualism.”

She bashes Oscar de la Renta as a “conniving bastard,” but after a kiss-and-make-up lunch, she sees “a nicer side of Oscar at last.” Arnold Scaasi is “the dreaded frock miester,” and Richard Holbrooke “an egregious social climber.”

After inviting Jacqueline Kennedy Onassis to a dinner party in honor of Clark Clifford, Brown dings the former First Lady (“Jackie Yo!”) as “crazed,” writing: “I felt if you left her alone, she’d be in front of a mirror, screaming.” Then she zaps Onassis for “understated malice” in not “writing me a thank you note.”

Midway through these diaries, you might think that most of Brown’s roadkill has been gathered up and gone to the angels. Given the passage of time, some attrition among the grandees of Gecko greed is understandable, but one wonders if Brown would’ve disparaged Si Newhouse, her billionaire benefactor at Conde Nast, as “a hamster,” an insecure “gerbil” frequently in “chipmunk mode,” if he were still alive. Safely dead, he gets blasted for having “no balls at all” because he caved to Nancy Reagan’s request to see Vanity Fair’s profile of her and the president before publication.

Read on, though, and you’ll see that Brown’s slingshot takes equal aim at those not yet consigned to the cemetery. Kurt Vonnegut’s photographer wife, Jill Krementz, is zapped for “extreme pushiness”; Henry Kissinger “is a rumbling old Machiavelli”; Peter Duchin “name drop[s] at deafening volume”; Robert Gottlieb, Brown’s predecessor at the New Yorker, is “a preposterous snob”; and Clint Eastwood is an excruciating bore.

“How could one be bored after one course with the world’s biggest heartthrob?” she asks. “I was.”

She cuffs her former friend Sally Quinn for disinviting her to Ben Bradlee’s birthday party because of Vanity Fair’s book review by Christopher Buckley, who characterized Quinn’s first novel as “cliterature.” Sally was “wild with fury,” Brown writes, a bit puzzled that “the sharpshooter journalist,” who had once libeled Zbigniew Brzezinski, would be so sensitive.

(In a profile for the Washington Post, Quinn wrote that Brzezinski, then national security advisor to President Carter, had unzipped his fly during an interview with a female reporter from People, which Quinn claimed had been captured by a photographer. The next day, the Washington Post retracted her false story: “Brzezinski did not commit such an act, and there is no picture of him doing so.”)

Brown does not chop with a cleaver. She wields her scalpel with surgical precision, blood-letting with small, incisive cuts. She doesn’t linger over the corpse, either. In fact, in these diaries, she jumps from mourning the death of a friend one day to tra-la-la-ing the next as she sits with Vogue’s Anna Wintour, drawing up guest lists for yet another dinner party.

Brown makes intriguing entries about New York’s new-money barons, particularly Donald Trump, who keeps a collection of Hitler’s speeches in his office. On February 23, 1990, she writes that Trump, in between wife number one and two, is “having a fling with a well-known New York socialite. If true, this could give Trump what money can’t buy — the silver edge of class.”

Alas, she doesn’t reveal the name of the silver belle, but she does relate that Trump, enraged by Marie Brenner’s 1988 takedown of him in Vanity Fair, sneaks behind her at a black-tie gala and pours a glass of wine down her back.

One marvels at Brown’s indefatigable energy as she sprints from breakfast with Barry Diller to lunch with Norman Mailer to dinner with the Kissingers. Every day, every night: the parties, the premieres, the galas, the spas, the stylists, the hairdressers, the designers, the limousines. Even she admits exhaustion at her frantic drive to see and be seen — all in service to her role as editor, of course.

These diaries are a celebrity drive-by of the great and the good and, sprinkled with high and low culture, are written with style but little humor, save for the night the newly arrived London editor attended her first Manhattan cocktail party and met Shirley MacLaine.

“What do you do?” Brown asked the movie star. This is laugh-out-loud funny, except to someone who’s laughed in many previous lives. MacLaine was not amused. Upon meeting Lana Turner when the MGM siren was 62, Brown, then 29, decides to “get a piece done that uses her [Turner] as a prism for all the glamorous stars who age without pity.”

The British writer Graham Boynton, who applauds Brown’s high-octane journalism, wrote affectionately in the Telegraph about her early days editing Vanity Fair. Reading a submitted draft for the Christmas issue, she scribbled, “Beef it up, Singer.” Boynton recalled, “It had to be tactfully explained to her that Isaac Bashevis Singer was a Nobel Prize winner for literature.”

I’m knocked out by these diaries, marveling that they were written at the time in such perfect prose. Do all her sentences fall to the page like rose petals in a summer breeze? No editing? No rewriting? No tweaking? If so, this “trashy biographer” genuflects. (My own diaries read like the daily romps of an unhinged mind scrambling for cruise control.)

Diaries provide a psychological X-ray of the diarist, an unintentional autobiography of sorts, and these entries show a woman of immense talent consumed with her dazzling career. And as tough as she is (and must be) in a man’s world, her feminist self resents being dismissed.

When Ad Age demeans her as a “starlet wanting to play Juliet,” she punches back. It’s “fucking sexist crap,” she writes. “Women get stuck with being trivialized and just have to smile.”

Flicking off such criticism like a fuzzball from cashmere, Tina Brown smiles all the way to the bank and then rockets upward, leaving the rest of us in her high-heeled wake

Crossposted with Washington Independent Review of Books

Annie Leibovitz Kitty Kelley VF 1989

Vanity Fair December 1989
The 1989 Hall of Fame – The Media Decade

Star Sleuth Kitty Kelley

“Catty Kitty stalked the four great beasts of the celebrity jungle—Jackie, Nancy, Liz and Frank.  Doing it her way, she clawed past hostile flacks and stonewalling cronies….”