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"Nineteen forty-six was a

good time — perhaps the best time — in the twentieth century. The

war was over and there was a terrific sense of coming back, of

repossessing life. Rents were cheap, restaurants were cheap, and it

seemed to me that happiness itself might be cheaply had."

Broyard made his first bid for happiness by moving in with a young

painter, the difficult and challenging Sheri Donatti — a protegee

of Anais Nin — who never wore underpants and who "embodied the new

trends in art, sex, and psychosis." Broyard tells their story; by

turns comic and poignant, while describing along the way his

meetings with Caitlan and Dylan Thomas, Delmore Schwartz, Dwight

MacDonald, Maya Deren, William Gaddis, and other writers and

artists just beginning their careers. He opens a bookstore on

Cornelia Street ("If it hadn't been for books we would have been

entirely at the mercy of sex. Books steadied us, they gave us

gravity."). He goes to the New School and listens to Eric Fromm,

Karen Horney and Meyer Shapiro ("I went to him as students, twenty

years later, would go to India."). He tries going to a

psychoanalysist ("I never gave him a chance. l had a literature

rather than a personality.").

In dazzling prose, Broyard captures with crystalline clarity the

feeling of a particular time and place "when everything mattered,

everything was serious." With economy, style, wit, flair, and

astounding powers of observation, Broyard has left us a most

remarkable memoir.

From Kirkus Reviews

Brilliant, funny, penetrating observations on life and culture in

N.Y.C. after WW II from critic Broyard, who died of cancer in 1990

(Intoxicated by My Illness, 1992). ``Nineteen forty-six was a good

time--perhaps the best time-- in the twentieth century,'' writes

Broyard, and the reader wishes that the critic were still here to

write a dozen more books just like this wonderful one to explain

further exactly what he means. Broyard was 26 the year after the

war, and his entree to then housing-scarce Greenwich Village took

the form of moving in with the difficult and challenging Sheri

Donatti, enigmatic abstract painter, wearer of no underpants, and

proteg?e of Ana?s Nin. Comedy both ribald and poignant follows as

Broyard tells the tale of his brief life with Sheri--including,

along the way, sketches of his meetings with the likes of W.H.

Auden (whom Sheri bumps into- -literally), Erich Fromm, Meyer

Schapiro, Delmore Schwartz and others, including Nin herself (``Her

lipstick was precise, her eyebrows shaved off and penciled in,

giving the impression,'' remarks Broyard, ``that she had written

her own face''). A break with Sheri is inevitable but, by the time

it comes, the reader knows how thoroughly she emblemized the

complicated ironies (and dead-ends) of postwar criticism and

art--and how Broyard was to manage going on afterward in his own

way. Again and again, his independence and right judgment reveal

themselves in a mind that, in a Whitmanesque way, passionately

insists on a genuine integration of life and art: ``I wanted to be

an intellectual, too, to see life from a great height, yet I didn't

want to give up my sense of connection, my intimacy with things.

When I read a book, I always kept one eye on the world, like

someone watching the clock.'' Vital criticism that--in these

woebegone days especially--is wondrously to be valued.

About Author

Anatole Broyard (1920–1990) was an American literary critic for The

New York Times. In addition to his reviews and columns, he

published several books during his lifetime, and his most

autobiographical works, Intoxicated By My Illness and Kafka Was the

Rage: A Greenwich Village Memoir were published after his

death.

Book Dimension :

length: (cm)20.4 　　　 　　　　　 　 width:(cm)13.3

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书籍介绍

What Hemingway's A Moveable Feast did for Paris in the 1920s, this charming yet undeceivable memoir does for Greenwich Village in the late 1940s. In 1946, Anatole Broyard was a dapper, earnest, fledgling avant-gardist, intoxicated by books, sex, and the neighborhood that offered both in such abundance. Stylish written, mercurially witty, imbued with insights that are both affectionate and astringent, this memoir offers an indelible portrait of a lost bohemia.