{"id":95161,"date":"2016-03-02T09:31:30","date_gmt":"2016-03-02T14:31:30","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=95161"},"modified":"2016-03-02T10:43:39","modified_gmt":"2016-03-02T15:43:39","slug":"i-left-your-manuscript-in-a-cab-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/03\/02\/i-left-your-manuscript-in-a-cab-and-other-news\/","title":{"rendered":"I Left Your Manuscript in a Cab, and Other News"},"content":{"rendered":"<div id=\"attachment_95163\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/valley-of-the-dolls.jpg\" rel=\"attachment wp-att-95163\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-95163\" class=\"wp-image-95163\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/valley-of-the-dolls.jpg\" alt=\"\" width=\"600\" height=\"300\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/valley-of-the-dolls.jpg 640w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/valley-of-the-dolls-300x150.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-95163\" class=\"wp-caption-text\">Patty Duke in <i>Valley of the Dolls<\/i>, 1967.<\/p><\/div>\n<ul>\n<li>Today in comedies of errors: William Empson began work on <em>The Face of the Buddha <\/em>in 1932, but the book is only now being published. What took so long? Well, for starters, Empson gave the manuscript to a dangerous guy: \u201c<a href=\"https:\/\/literaryreview.co.uk\/in-praise-of-asymmetry\" target=\"_blank\">The man of letters John Davenport had left it in a taxi when very, very drunk, circa 1947<\/a> \u2026 Davenport was so embarrassed by his bungle that he did not confess to Empson until 1952. But his apology was far from accurate. Thanks to an inspired curator at the British Library (let his name be honored: Jamie Andrews), we now know the full story. What actually happened is that Davenport, still three sheets to the wind, handed the manuscript and its photographic illustrations over to that most colorful figure of 1940s literary bohemia, the Tamil poet and editor of <em>Poetry London<\/em>, Tambimuttu. Shortly afterwards, Tambimuttu quit London and returned to his native Ceylon, leaving <em>The<\/em> <em>Face of the Buddha<\/em> in the hands of his coeditor, Edward Marsh. And shortly after the handover, Marsh took ill and died. His papers remained unexamined until they were bought by the British Library in 2003. Andrews discovered Empson\u2019s material two years later.\u201d<\/li>\n<li>While we\u2019re on the joys of rediscovery, let\u2019s bring Bob Dylan into the mix: \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/03\/06\/arts\/music\/bob-dylans-secret-archive.html?_r=0\" target=\"_blank\">There have long been rumors that Mr. Dylan had stashed away an extensive archive. It is now revealed that he did keep a private trove of his work, dating back to his earliest days as an artist, including lyrics, correspondence, recordings, films and photographs<\/a>. That archive of 6,000 pieces has recently been acquired by a group of institutions in Oklahoma for an estimated $15 million to $20 million, and is set to become a resource for academic study \u2026 With voluminous drafts from every phase of Mr. Dylan\u2019s career, the collection offers a comprehensive look at the working process of a legendarily secretive artist \u2026 Seeing the archive may conjure a familiar feeling of astonishment at just how deep the well of Dylanology goes. There is always far more beneath the surface than anyone could guess.\u201d<\/li>\n<li>Tim Murphy reminds us not just that\u00a0<em><a href=\"http:\/\/www.thenation.com\/article\/jacqueline-susanns-queer-feminism\/\" target=\"_blank\">Valley of the Dolls <\/a><\/em><a href=\"http:\/\/www.thenation.com\/article\/jacqueline-susanns-queer-feminism\/\">is fifty years old now<\/a> but that talk shows used to be a lot more combative, and all the better for it: \u201cJacqueline Susann, with thickly rimmed eyes, signature lacquered black hair and in a print mini-dress, went on the David Frost talk show. There, the notoriously scabrous critic John Simon eviscerated her before a live audience. What was <em>Valley of the Dolls<\/em>, he asked her, but \u2018a piece of trash on which you can get famous, rich, known quick, and make money?\u2019 Smiling gamely and (literally) leaning in, Susann, then fifty, asked him if his name was Goebbels, G\u00f6ring, or Simon, \u2018because you sound like a stormtrooper.\u2019 She then told him <em>Valley of the Dolls<\/em> was \u2018too sophisticated a story for you to understand, because it\u2019s <em>dirty<\/em>!\u2019 \u201d<\/li>\n<li>Movie premieres used to be better, too, even when they were for art-house films by Samuel Beckett starring Buster Keaton: \u201c<em><a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/when-samuel-beckett-tried-to-capture-the-power-of-the-movies\">Film <\/a><\/em><a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/when-samuel-beckett-tried-to-capture-the-power-of-the-movies\" target=\"_blank\">premiered on September 4, 1965 \u2026 Rex Reed, in<\/a><a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/when-samuel-beckett-tried-to-capture-the-power-of-the-movies\" target=\"_blank\">\u00a0the<\/a> <em><a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/when-samuel-beckett-tried-to-capture-the-power-of-the-movies\" target=\"_blank\">New York Times<\/a><\/em><a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/when-samuel-beckett-tried-to-capture-the-power-of-the-movies\">,<\/a><a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/when-samuel-beckett-tried-to-capture-the-power-of-the-movies\"> described the scene<\/a>: \u2018several hundred bikini-clad starlets\u2019 surrounding the likes of Luchino Visconti, Michelangelo Antonioni, and Jean-Luc Godard, and then Keaton, looking \u2018for all the world like the kind of man dogs kick,\u2019 with \u2018his pants a little baggy\u2019 and \u2018his hat a bit crushed.\u2019 Keaton said it was the first time he\u2019d ever been invited to a film festival. Critics mostly panned the movie\u2014but then Keaton hadn\u2019t given them much to go on. \u2018Heck, I\u2019d be the last one in the world to comment,\u2019 he told Reed, \u2018because I didn\u2019t know what those guys were doing half the time.\u2019 \u201d<\/li>\n<li>The \u201cshot reverse shot\u201d is a fundamental filmmaking technique: you turn the camera on one character, then you turn another camera on whatever that character is looking at, and boom, you\u2019re making movies. But the Coen brothers take the technique in another direction, according to Tony Zhou: their filmography \u201c<a href=\"http:\/\/www.openculture.com\/2016\/02\/how-the-coen-brothers-put-their-remarkable-stamp-on-the-shot-reverse-shot.html\" target=\"_blank\">is full of shot reverse shots that feel both \u2018kind of uncomfortable, and kind of funny,\u2019<\/a> a visual evocation of the Coen brothers\u2019 frequent use of isolated characters trapped in \u2018situations they really have no control over\u2019\u2014and because of the choice of lens and placement of the camera, \u2018you\u2019re trapped with them.\u2019 And that setup gives them a host of options when they want to emphasize or even exaggerate certain qualities of the characters talking or the situation the story has put them in.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Today in comedies of errors: William Empson began work on The Face of the Buddha in 1932, but the book is only now being published. What took so long? Well, for starters, Empson gave the manuscript to a dangerous guy: \u201cThe man of letters John Davenport had left it in a taxi when very, very [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[12528,4219,10851,3184,13393,8031,13963,21362,21360,21363,9534,21364,19468,4429,21365,14568,21359,21361,19336],"class_list":["post-95161","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-accidents","tag-bob-dylan","tag-buster-keaton","tag-coen-brothers","tag-david-frost","tag-drunkenness","tag-filmmaking","tag-jacqueline-susann","tag-john-davenport","tag-john-simon","tag-manuscripts","tag-movie-premieres","tag-rex-reed","tag-samuel-beckett","tag-shot-reverse-shot","tag-talk-shows","tag-the-face-of-the-buddha","tag-valley-of-the-dolls","tag-william-empson"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u201cThe Valley of the Dolls\u201d at Fifty<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/03\/02\/i-left-your-manuscript-in-a-cab-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"I Left Your Manuscript in a Cab, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"March 2, 2016 \u2013 Today in comedies of errors: William Empson began work on The Face of the Buddha in 1932, but the book is only now being published. What took so long?\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/03\/02\/i-left-your-manuscript-in-a-cab-and-other-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2016-03-02T14:31:30+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-03-02T15:43:39+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/valley-of-the-dolls.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"640\" \/>\n\t<meta property=\"og:image:height\" content=\"320\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" 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