New Releases by Nancy Schoenberger

A penetrating consideration of Tennessee Williams’s most enduring character—Blanche DuBois from A Streetcar Named Desire—written by the co-author of The Fabulous Bouvier Sisters and Furious Love. Ever since Jessica Tandy glided onto the stage in Tennessee Williams’s A Streetcar Named Desire at the Ethel Barrymore Theatre in 1947, Blanche DuBois has fascinated generations of audiences worldwide and secured a place in the history of literature, theater, and film. One of Williams’s greatest creations, Blanche has bedazzled, amused, and broken the hearts of generations of audiences. Before the Covid pandemic, the stage classic was performed somewhere in the world every hour. It has been adapted into a ballet and an opera, and it was satirized in an episode of The Simpsons. The final twelve words Blanche utters at the play’s end—“I have always depended on the kindness of strangers”—have taken on a life of their own. Endlessly fascinating, this indelible figment of one of America’s greatest midcentury playwrights garners nearly universal interest—but why? In Blanche, Nancy Schoenberger searches for the answer. An exploration of the cultural impact of Blanche DuBois, Schoenberger’s absorbing study examines Tennessee Williams's most enduring creation through the performances of seven brilliant actresses who have taken on the role—Jessica Tandy, Vivien Leigh, Ann-Margret, Jessica Lange, Patricia Clarkson, Cate Blanchett, and Jemier Jemier Jenkins—as well as the influence of the playwright's tragic sister, Rose Williams, the person he was most haunted and inspired by. In examining various Blanches from throughout the decades and their critical reception, Schoenberger analyzes how our perception and understanding of this mesmerizing figure has altered and deepened over time. Exploring themes of womanhood, sexuality, mental illness, and the idealized South, Blanche is an engrossing cultural history of a rich and complex character that sheds light on who we are. Blanche includes 20-30 color and black-and-white photographs.

Accomunate da tanti interessi eppure diverse per indole e aspirazioni. Inseparabili nei momenti più belli come nei più drammatici, ma eternamente divise da invidie e gelosie. Legate da un affetto profondo e tuttavia sempre venato di rivalità e spirito di competizione. Dopo un'infanzia idilliaca, Jacqueline (Jackie) e Caroline (Lee) Bouvier hanno avuto un rapporto tormentato, chiuso nel peggiore dei modi, alla morte di Jackie, con l'inspiegabile esclusione della sorella dal testamento. Figlie dell'esuberante «Black Jack» Bouvier, un operatore di borsa noto per il fascino tenebroso, lo stile elegante e i modi da simpatica canaglia, era chiaro fin dall'inizio che sarebbero diventate donne completamente diverse: Lee era uno spirito ribelle che amava distinguersi, Jackie una ragazzina giudiziosa che cercava di integrarsi; una era estroversa, civettuola e allegra, l'altra intelligente, curiosa, appassionata di letteratura e, soprattutto, era la prediletta del padre, che entrambe adoravano. Per ironia della sorte, fu proprio la schiva e riservata Jackie a conquistare il centro della scena, quando, al fianco di John Fitzgerald Kennedy, diventò una first lady straordinariamente amata e ammirata, e finì per relegare la vulcanica e intraprendente sorella minore allo sgradito ruolo di semplice «damigella d'onore». E se prima era Lee a coltivare sempre nuovi interessi, anticipando Jackie e influenzandone i gusti tanto nella moda quanto nelle arti, da quel momento la sua esistenza si trasformò in una sorta di corsa, più o meno consapevole, per uscire dall'ombra dell'ingombrante sorella. Sullo sfondo di anni cruciali per la storia americana, Sam Kashner e Nancy Schoenberger offrono un racconto brillante e ricco di aneddoti, molti dei quali svelati dalla stessa Lee nel corso di una lunga intervista. Fra matrimoni, figli, amanti, amici e nemici, gli autori tratteggiano il profilo meglio conosciuto ma anche quello privato di due donne indimenticabili, strette in un rapporto fatto di strappi e riavvicinamenti, attese e delusioni, sconfitte e rivalse, che tuttavia rappresentò per entrambe la relazione più forte e importante della vita.

John Ford and John Wayne, two titans of classic film, made some of the most enduring movies of all time. The genre they defined—the Western—and the heroic archetype they built still matter today. For more than twenty years John Ford and John Wayne were a blockbuster Hollywood team, turning out many of the finest Western films ever made. Ford, known for his black eye patch and for his hard-drinking, brawling masculinity, was a son of Irish immigrants and was renowned as a director for both his craftsmanship and his brutality. John “Duke” Wayne was a mere stagehand and bit player in “B” Westerns, but he was strapping and handsome, and Ford saw his potential. In 1939 Ford made Wayne a star in Stagecoach, and from there the two men established a close, often turbulent relationship. Their most productive years saw the release of one iconic film after another: Rio Grande, The Quiet Man, The Searchers, She Wore a Yellow Ribbon, The Man Who Shot Liberty Valance. But by 1960 the bond of their friendship had frayed, and Wayne felt he could move beyond his mentor with his first solo project, The Alamo. Few of Wayne’s subsequent films would have the brilliance or the cachet of a John Ford Western, but viewed together the careers of these two men changed moviemaking in ways that endure to this day. Despite the decline of the Western in contemporary cinema, its cultural legacy, particularly the type of hero codified by Ford and Wayne—tough, self-reliant, and unafraid to fight but also honorable, trustworthy, and kind—resonates in everything from Star Wars to today’s superhero franchises. Drawing on previously untapped caches of letters and personal documents, Nancy Schoenberger dramatically narrates a complicated, poignant, and iconic friendship and the lasting legacy of that friendship on American culture.

New York Times–Bestseller: “A lush picture of the complicated relationship between . . . Jackie Onassis and Lee Radziwill. . . . Gossipy gems are studded throughout.” —Vanity Fair When sixty-four-year-old Jackie Kennedy Onassis died in her Fifth Avenue apartment, her younger sister Lee wept inconsolably. Then Jackie’s thirty-eight-page will was read. Lee discovered that substantial cash bequests were left to family members, friends, and employees—but nothing to her. I have made no provision in this my Will for my sister, Lee B. Radziwill, for whom I have great affection, because I have already done so during my lifetime, read Jackie’s final testament. Drawing on the authors’ candid interviews with Lee Radziwill, The Fabulous Bouvier Sisters explores their complex relationship. In life, Jackie and Lee were alike in so many ways. Both women had a keen eye for beauty—in fashion, design, painting, music, dance, sculpture, poetry—and both were talented artists. Both loved pre-revolutionary Russian culture, and the blinding sunlight, calm seas, and ancient olive groves of Greece. Both heard the siren call of the Atlantic, sharing sweet early memories of swimming with the rakish father they adored at his East Hampton retreat. But Jackie was her father’s favorite, and Lee, her mother’s. One would grow to become the most iconic woman of her time, while the other lived in her shadow. As they grew up, the two sisters developed an extremely close relationship threaded with rivalry, jealousy, and competition. Yet it was probably the most important relationship of their lives. For the first time, the complete story of these larger-than-life sisters is told. Drawing on new information and extensive interviews with Lee, this dual biography sheds light on the public and private lives of two extraordinary women who lived through immense tragedy in enormous glamour. Includes photographs “[An] intricate chronicle rife with romance, tragedy, and surprising details, such as that Jackie may have helped choose JFK’s paramours.” —Publishers Weekly (starred review) “Taut and fascinating.” —In Style “Suffice it to say, more than fifty years on, explorations of the truths and fictions of Camelot continue to mesmerize.” —Kirkus Reviews

A tough Welshman, he was softened by the affections of a breathtakingly beautiful woman: she was a modern-day Cleopatra madly in love with her own Mark Antony. For quarter of a century, Elizabeth Taylor and Richard Burton were the king and queen of Hollywood. Yet their two marriages to each other represented much more than outlandish romance. Together, Elizabeth and Richard were a fascinating embodiment of the mores and transgressions of their time and even luminaries like Jacqueline Kennedy looked to them as a barometer of the culture. The enduring glamour, grandeur, drama and bravado embodied in the couple gave rise to the type of rabid gossip and wide-eyed adoration that are the staples of todayÕ s media. Using brand-new research and interviews Ð including unique access to Taylor herself, the Burton family, and TaylorÕ s extensive personal correspondence Ð this ultimate celebrity biography is the gripping real-life story of a fairy-tale couple whose lives were even grander and more outrageous than the epic films they made.

Caroline Blackwood was born into the Guinness family in 1931, the daughter of the Fourth Marquess and Marchioness of Dufferin and Ava. Brought up on the ancestral estate in Northern Ireland, Blackwood moved easily among the Anglo-Irish aristocracy, the Soho bohemians of postwar England, and the liberal intelligentsia of 1960s New York. She was on intimate terms with some of the most celebrated artists and writers of her time. An unpredictable beauty known for her wit and her courage, she has been called a muse to genius. But her marriages to three brilliant men: the painter Lucian Freud, the composer Israel Citkowitz, and the poet Robert Lowell were as troubled as they were inspiring. During her marriage to Lucian Freud, Caroline became part of an artistic and literary group that included Francis Bacon and Cyril Connolly who was infatuated with her but eventually Freud's gambling caused irrevocable problems between them. Caroline was also in the grips of her own unfolding tragedy: a fatal attraction to alcohol that would plague the rest of her life. Upon the breakup of her first marriage, she moved to America , where she met her second and third husbands. Once regarded as the obvious successor to Aaron Copland, Israel Citkowitz had stopped composing long before he met Caroline. While he and Caroline had three children together, it was her subsequent seven year marriage to Robert Lowell that she considered her "main marriage." Her life with Lowell was probably the most difficult time of her life as she dealt with his increasingly frequent and worsening attacks of mania. And to Lowell she was not only an inspiration but_as he described in his Pulitzer-prize- winning book of verse The Dolphin, she was also "a mermaid who dines upon the bones of her winded lovers." In 1977, Robert Lowell fled London to return to his former wife Elizabeth Hardwick. He died from a heart attack in the backseat of a taxi, clutching Girl in Bed, Lucian Freud's haunting portrait of Caroline. Blackwood was an artist in her own right. Her literary talents were dark and satiric; her ten books of fiction and nonfiction betrayed an extraordinary eye for human physiognomy, attire, and behavior. Arguably her best book, Great Granny Webster described the comic terrors of her upbringing in Northern Ireland, and was shortlisted for the Booker Prize. She herself died of cancer on Valentine's Day 1996, at the age of sixty-four. Dangerous Muse is the first biography of Lady Caroline Blackwood. Drawing upon numerous interviews and unpublished letters from Blackwood's mother, Maureen Dufferin, and friends and family, including Andrew Harvey, Jonathan Raban, John Richardson, and Caroline's sister Perdita Blackwood, Nancy Schoenberger eloquently captures one of the most original and provocative figures in contemporary letters of the twentieth century.

Many rivers run through Nancy Schoenberger's third collection of poems, Long Like a River, winner of the 1997 New York University Press Prize for Poetry. From the Clark Fork ("its full house of trout the dream of a summer noon"), to the Mississippi ("long as its Indian name"), to the Amazon and Napo Rivers, these poems explore the poet's Deep South roots, plumbing memory and desire and paying homage along the way to Theodore Roethke and George Seferis.

Oscar Levant was one of the wildly self-destructive personalities ever to become a household name. This biography looks at his life, from his work as concert pianist and the premier interpreter of Gershwin's concert works, to his presence as an insulting wit, raconteur and best-selling author.

Investigates the death of television Superman George Reeves by a bullet in 1959, revealing his dangerous double life and the tale of jealousy and revenge that lie behind his alleged suicide in Los Angeles. Reprint.

"Girl on a White Porch was chosen from over four hundred entries as the best new poetry manuscript of the year. These poems, by a writer whose roots are in Louisiana, evoke a strong sense of nostalgia for the Deep South, for family, and for a lost innocence that is both personal and regional."--