Word: capua
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...have small little things for Leverett House--a Christmas tree in the dining hall, music nights with beer and musicians. You'd be surprised how fast the money goes on little things like that," says Paul D. Di Capua '02, Leverett House Committee treasurer...
...Elvis and George Plimpton and Jean Stein's Edie, essentially a snip-and-paste collage of interviews. Moreover, these new lives are not exclusively devoted to the scholarly examination of papers and letters. "Not long ago, most biographies were compiled by diligent researchers," says Michael Di Capua, editor in chief of Farrar, Straus & Giroux. But diligent was all they were. "Now it's rare for books like that to get published." Instead, the work is being done by artists who have extended their range far beyond the academic. In their debuts, Edmund Morris (The Rise of Theodore Roosevelt...
Michael di Capua, 42, is among the most respected literary editors in the business. For the past 14 years he has been with Farrar, Straus and Giroux, one of the last major independent houses in New York, where things do not appear to be as rushed as at other firms. Its authors include Isaac Bashevis Singer, Philip Roth, Tom Wolfe and Susan Sontag. Di Capua has edited such acclaimed writers as Larry Woiwode and Michael Arlen. A major project now is the result of one man's highly unusual childhood. Twelve Years: An American Boyhood in East Germany...
Fresh from Rachel, Rachel and stale from lack of motivation, Paul Newman and his wife Joanne Woodward career through the movie looking for an opportunity to display their talents. They have to struggle with a plot as full of gimmicks as a garage. Race Driver Frank Capua (Newman) meets aging Avis girl (Woodward). She tries harder; he marries her. Alas, Capua suffers from autoeroticism. Night after night' he stays at the speedway, revving up his car instead of his wife. One morning he comes home to find her in the arms of another driver (Robert Wagner...
...Capua's race relations deteriorate. The compulsive winner becomes a perpetual loser-until the day of the big one, the Indy 500. Director James Goldstone even manages to make a wreck of the most celebrated American auto race. Progress is as circular and unsurprising as the movement of a minute hand; the script is reminiscent of a radio play, with an announcer booming: "It's a different Frank Capua out there today!" When the film casts a sociological eye, it is toward such riddled targets as baton-twirling teeny-boppers and accident-hungry spectators...