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Letters & Essays: P-R

Letters & Essays of the Day

Helen Frankenthaler and James Schuyler: A Correspondence

By James Schuyler, Helen Frankenthaler & Douglas Dreishpoon

In bohemian postwar Manhattan, poets (Frank O’Hara, John Ashbery, Kenneth Koch) naturally gravitated to painters (Joan Mitchell, Grace Hartigan, Larry Rivers) whose work they appreciated on its own terms. Certain poets were lauded for their perceptive, unbiased eye; some painters instinctively sensed a resonant poem. Painter Helen Frankenthaler and poet James Schuyler had such a mutual appreciation. Their run-in during the 1954 Venice Biennale was memorable enough to open Schuyler’s poem “Torcello” (they must have met previously to have recognized each other, though it is unclear when). In any case, they kept circling: Schuyler reviewed Frankenthaler’s shows at the Tibor de Nagy Gallery in 1957 and at the André Emmerich Gallery in 1960.

Answers to A Query on Thomas Wolfe

By Maxwell Perkins

1. I also enclose a brief statement of some of the facts of Mr. Wolfe's life, which will complete the answer to this question. He began to write for publication about three years before the publication of "Look Homeward Angel" which appeared in 1929. Before that he had written two plays but neither one was ever produced although those to whom they were submitted did discern the great talent of the man. Probably the play form is too precise and sharply limited for his sort of expansive genius.

The Paris Review Sketchbook

By George Plimpton

The Paris Review Eagle, or “the bird” as it was referred to, was designed by William Pène du Bois, the magazine’s art editor, in the spring of 1952. The symbolism is not difficult: an American eagle is carrying a pen: the French association is denoted by the helmet the bird is wearing—actually a Phrygian hat originally given a slave on his freedom in ancient times and which subsequently became the liberty cap or bonnet rouge worn by the French Revolutionists of the 19th Century.