A treasury of literary history featuring caricatures of bohemian life in 1920s New Orleans with captions by William Faulkner. After meeting in the French Quarter, Nobel Prize–winning novelist William Faulkner and renowned silver artist William Spratling shared a house together—and collaborated on a parody volume that offered a witty portrait of the creative denizens of the city, a group that included such future icons as publisher and Broadway producer Horace Liveright, Pulitzer-winning biographer Carl Van Doren,; novelist John Dos Passos, actress and screenwriter Anita Loos, and others. This unique book provides both an enjoyable glimpse into the early lives of prominent literary and artistic figures and a snapshot of New Orleans history.
This is a new release of the original 1926 edition.
Faulkner, whose Soldiers' Pay (1926) had also been published following Anderson's efforts, less publicly but just as sharply ridiculed Anderson in the foreword to Sherwood Anderson fr Other Famous Creoles (1926), a book published in a ...
Not long after starting the novel, Kesey befriended the legendary Neal Cassady. Known to locals as the “King of San Francisco” and by the North Beach police as “Johnny Potseed,” the handsome blue-eyed Cassady added another dimension to ...
lyle saxoN 209 210 Sketch based on Chance Harvey, The Life and Selected Letters ofLyle Saxon (Pelican, 2003), and Anthony Stanonis, “'Always in Costume and Mask': Lyle Saxon and New Orleans Tourism,” Louisiana History 42, no.
The latter two were not included among Spratling's drawings in Sherwood Anderson and Other Famous Creoles, but they were very much a part of the circle. Previously, Healy had known Faulkner at Ole Miss when he was postmaster, ...
Box 6 , Folder 2 , contains a short story by N.V.S. citing Mrs. Scott's illness in 1903 , which required a friend to stay with her at home . Natalie's World War I letters make numerous references to her mother's health , such as those ...
" The book contained 43 sketches of New Orleans artists, by Spratling, with captions and a short introduction by Faulkner. The title served as a rather obscure joke: Sherwood was not a Creole and neither were most of the people featured.
The Color of Silver vividly reconstructs this richly diverse life whose unique aesthetic legacy is but a part of its larger cultural achievement of profoundly influencing Americans' attitudes toward a civilization different from their own.
Soldiers' Pay
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