Word: lover
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Dates: during 1980-1989
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...Edith Wharton, then 47, was referring to her love letters in the possession of Morton Fullerton, a charming rotter who alternately pursued and ignored her. She was also, and none too subtly, trying to make her unpredictable suitor do something -- anything. But Fullerton did not send back his married lover's mail, then or later, after the affair had finally sputtered out. In 1980 some 300 of these "inanimate things" turned up for sale and were bought by the University of Texas at Austin. Most of those included in The Letters of Edith Wharton appear in print for the first...
...aside from facile parallels that Huffington draws between Picasso's treatment of his current lover and that woman's appearance in his work, there is no effort made to probe the source of Picasso's artistic wellspring. The biographer has taken Andy Warhol's dictum that everyone will be famous for 15 minutes too seriously, and, angered by Picasso's constant fame, she has tried to steal a few precious moments in the spotlight for herself at the artist's expense...
Holleran's collection of essays and Paul Monette's memoir of his dying lover, Borrowed Time (Harcourt Brace Jovanovich; 342 pages; $18.95), are reports from the combat zone. They are far more personalized than Randy Shilts' And the Band Played On (1987), a survey of the medical, political and social impact of AIDS. Holleran and Monette stand waist-deep in the wreckage of homosexual society, particularly that mayfly culture that soared during the '70s and plunged abruptly when the virus struck hard at the beginning...
...interaction between life (non-fiction) and art (fiction) fascinated and troubled Chekhov as much as Carver. Chekhov's lover, Lydia Avilov, recorded in her memoirs that Chekhov's story, "About Love," was material stolen from their furtive affair. Ms. Avilov reproached Chekhov for his theft: "The colder the writer, the more sensitive and moving his story. Let the reader weep over it. That's what...
...days things were almost better. Compared with Hollywood's caricaturing of other minorities, the industry's treatment of Hispanics was benign. In the silent era of the Latin lover, actors named Ricardo Cortez, Antonio Moreno and Ramon Novarro all wooed Garbo on screen. In the '30s and '40s, Hollywood called on Cesar Romero, Gilbert Roland or Ricardo Montalban for Continental elegance and rewarded them with careers as durable as Corinthian leather. Even those two camp goddesses of the '40s, Carmen Miranda and Maria Montez, did not wallow in the spitfire stereotype so much as they exploded it, with...