by Carson, Tom
“A Cross with Many Roots,” Regent’s, December 31, 1941.
“Silent Knight, Lonely Knight” [review of A Sebastian Knight Omnibus], Our Chains, December 24, 1941.
“She Thought of Bunny” [review of Rita Cavanagh’s Sybil Choate], the old Republic, November 17, 1941.
“Ma Semblable, Ma Soeur!” [review of Celia Brady’s The Producer’s Daughter], the old Republic, April 1, 1941.
“Isn’t It Pretty to Think So?” [review of Lady Brett Ashley’s Farewell the Sun], the old Republic, June 3, 1940.
“Chanson d’automne” [poem], Pink Rosebuds, the Literary Magazine of Purcey’s Girls’ Academy of St. Paul, Fall 1934.
Other Sources
May or Mayn’t. By Chris Cadwaller [photographs]. Kaylie & Gallagher, 1969.
You Must Remember This: The Posthumous Career of World War Two. By Tim Cadwaller. First Cold Press, 2005.
The Mountain and the Stream: Letters from Nenuphar. By Brother Nicholas (Nicholas Carraway). Vaughn Trapp & Co., 1969.
It Was All Theater: From Brannigan Murphy to the Moscow Show Trials. By Jake Cohnstein. Sadder, Weiser & Sons, 1954.
Hello, Dottie. Omnibus edition of The Pearl I Left Behind Me: Dottie Crozdetti on Shellfish and Cast a Cold Pie: Dottie Crozdetti on Baking. Introduction by Sebastian Knight Jr. Paris & Bogey, 1999.
The Pilgrim Lands at Malibu. By Addison DeWitt. George Sanders Press, 1956.
An Apple for My Eve. Also by Addison DeWitt. Mankiewicz & Co., 1970.
The Collected Plays of Brannigan Murphy. Edited by Ernest Hemingway. Hofstra University Press, 1981.
How the Red Faded Out of Old Glory. By Alisteir Malcolm. Cowley & Crowley, 1965.
“My Anzio Bobbsey Twin.” By Bill M_. Canceled MS. chapter of Up Front. Unknown to Pam and available only to qualified researchers at UT Austin, Texas, but it seems he loved her too.
Les problèmes de l’Afrique moderne. By Jean-Baptiste M’Lawa. Petit Navire, 1957.
Dat Dead Man Dere: Brannigan Murphy, 1899–1964. By Garth Vader. Odets & Sting, 1990.
The Rough Draft of History. By Edmond Whitling. Murrow, Smoke & Mirror, 1946.
The Gal I Left Behind Me [DVD]. Cast: Eve Harrington (Peg Kimball), Walt Wanks (Eddie Harting), Hal Lime (Chet Dooley). Screenplay: Bettina Hecuba & Claude Estee and Wylie White & Pamela Buchanan, based on Nothing Like a Dame by Pamela Buchanan. Producer: Noah Gerson. Director: Tod Paspartu. Metro, 1949.
Fran Kukla’s Hamlet: The Legendary 1956 Broadcast. Cast: Frank Ukla (Sarah Bernhardt/Hamlet), Dorothy Kirsten (Ophelia), James W. Dean (Laertes), etc. Director: Ike Nixon. Incidental music, not counting “Love for Sale”: Adlai Kefauver. Criterion, 2002.
Exodus. Cast: Paul Newman (Ari ben Canaan), Eva Marie Saint (Kitty Fremont), Sal Mineo (Dov Landau), etc. Director: Otto Preminger. United Artists, 1960. Panavision.
The Longest Day. Cast: Robert Mitchum (Brigadier Norman Cota) and many, many others. Rumored scene featuring Paula Prentiss as Pam and George Peppard as Eddie Whitling on run-in to Dog Green apparently cut before release and now lost. Producer: Darryl F. Zanuck. 20th Century Fox, 1962.
Gatsby le magnifique. Par F. Scott Fitzgerald, traduit de l’américain par Jacques Tournier [only version obtainable in Cannes in May of 2006]. Livres de Poche, passim.
From Pink Rosebuds, the Literary Magazine of Purcey’s Girls’ Academy of St. Paul, Fall 1934
Chanson d’automne
Où est-tu, Maman? Tu sais, je t’ai cherchée,
Ici, aux États-Unis, parmi les grands blés
Inconnus dans ce Mid-West étranger.
Tu n’as les jamais vus. Mais quand même,
Quand je suis seule—pas grand problème,
Maman!—je pense que tu y es.
Ou êtes-vous, mon père? Sale lâche,
Je sais quand-même que c’est ma tâche
De vous trouver dans les sanglots qui m’arrachent.
Et si on se rencontrait maintenant,
Dans les grands blés sanglotants,
Vais-je vous reconnaître, Papa? Signé, votre vache.
English translation by Panama’s dad:
[Note: the “game of nonperpendicular pronouns” Pam mentions can’t be reproduced in English. Otherwise, one or two inevitable liberties aside, the sense is exact.—T.C.]
Where are you, mother? I wish that I could greet
You here, in the United States, amid the rye and wheat
So new to me, in a Midwest still so strange under my feet.
You never saw it. Even so, when I’m
Alone—which would be all the time,
My Ma!—I hope someday we’ll meet.
Where are you, Daddy? Cruel coward, you
Made it my job to find you too
As I sobbed in the fourth-form loo.
And if we do meet by and bye,
In the weeping wheat and rye,
Will I know you, father? Moo.
by Pamela Buchanan
(our newest Pink Rosebud—be nice to her, girls!)
Tom Carson is the author of Gilligan’s Wake, a New York Times Notable Book of the Year for 2003. Currently GQ’s “The Critic,” he won two National Magazine Awards for criticism as Esquire’s “Screen” columnist. Before that, he wrote about pop culture and politics for the Village Voice and LA Weekly. He has contributed essays and reviews over the years to publications ranging from Rolling Stone to the Atlantic Monthly as well as publishing fiction and poetry in Black Clock. He lives in New Orleans with his wife, Arion Berger, and can be found all too often at Buffa’s Lounge on Saints’ days.
Glenn Arthur is a self-taught visual artist from Orange County, California. Born in February of 1979, he grew up in a conservative, religious household with little to no influence in art. Although he constantly doodled and sketched as a child, Glenn did not come to painting until later in life when a friend forced a paintbrush into his hands and said, “You need to do this!” Since then Glenn has been diligently working on creating his own brand of beautifully painted images. Using acrylic paints on wooden panels, he adds elements and influential symbols of his past and present to each piece. Beyond the aesthetics of his artwork, Glenn brings an overwhelming sense of passion to his paintings. Touching on themes of love, death, conflict, and duality, Glenn’s art tells stories of strength and hope through emotion and sentiment with his sensual beauties and signature hummingbirds. www.glennarthurart.com/; www.facebook.com/artist.glennarthurart.