'In my time I have said some noteworthy and exceptionally memorable things' Noël Coward. A delightful and revealing collection of quotations from the master wordsmith, Noël Coward. In his plays, verse, song lyrics, stories and everyday life, he chose his words to uniquely stylish and truthful effect. This insightful portrait includes not only his best-loved witticisms, bons mots and lyrics but also excerpts from his private papers and hidden gems from unpublished material. Barry Day delves into the whole range of Coward's talents, as well as his thoughts on theatre, England, the Arts, religion, life and the man himself. In His Own Words displays the usual frivolity, and a surprising capacity for depth and compassion.
"In my time I have said some noteworthy and exceptionally memorable things" – Noël Coward A delightful and revealing collection of quotations from the master wordsmith, Noël Coward. In his plays, verse, song lyrics, stories and everyday life, he chose his words to uniquely stylish and truthful effect. This insightful portrait includes not only his best-loved witticisms, bons mots and lyrics but also excerpts from his private papers and hidden gems from unpublished material. Barry Day delves into the whole range of Coward's talents, as well as his thoughts on theatre, England, the Arts, religion, life and the man himself. In His Own Words displays the usual frivolity, and a surprising capacity for depth and compassion.
Three volumes of his verse were published in Coward's lifetime, but while The Complete Verse features all of the work from these three volumes it also presents previously unpublished material for the very first time. Coward expert Barry Day has collected together the additional verse which Coward sent to family and friends and which paints a vivid portrait of his more private life. For anyone who has enjoyed the Diaries or the Letters of Noel Coward, The Complete Verse offers further enjoyment and appreciation of Coward's wit, insatiable interest in people and skilful rendering of his public and private lives. Day's linking narrative situates the verse in the events of Coward's life.
'A uniquely charming and enticing journey through a remarkable life. Coward's own record is made all the more delightful by the wise and helpful interpolations of Barry Day, the soundest authority on the Master that there is.' Stephen Fry 'Precise, witty, remarkably observed and gloriously English' Dame Judi Dench 'Barry Day's analysis is both perceptive and irresistible' Lord Richard Attenborough With virtually all the letters in this volume previously unpublished - this is a revealing new insight into the private life of a legendary figure. Coward's multi-faceted talent as an actor, writer, composer, producer and even as a war-time spy(!), brought him into close contact with the great, the good and the merely ambitious in film, literature and politics.With letters to and from the likes of: George Bernard Shaw, Virginia Woolf, Winston Churchill, Greta Garbo (she wrote asking him to marry her), Marlene Dietriech, Ian Fleming, Graham Greene, Evelyn Waugh, Fred Astaire, Charlie Chaplin, FD Roosevelt, the Queen Mother and many more, the picture that emerges is a series of vivid sketches of Noel Coward's private relationships, and a re-examination of the man himself. Deliciously insightful, witty, perfectly bitchy, wise, loving and often surprisingly moving, this extraordinary collection gives us Coward at his crackling best. A sublime portrait of a unique artist who made an indelible mark on the 20th century, from the Blitz to the Ritz and beyond.
"The tulips are too excitable" - Sylvia Plath;"African marigolds have abouts much freshness as the leather of a new football, without the quality ofeing easily kicked out of the way" - Christopher Lloyd;"The garden that isinished is dead" - H.E. Bates;"When Wordsworth's heart filled with pleasuret a crowd of golden daffodils, it's a safe bet he didn't see them two weeksater" - Geoff Hamilton;These are just a few of over 400 quotations featuredn this book on the endless fascination of gardening. As well as wittyne-liners, the book contains stanzas of verse and full paragraphs ofarrative. It includes sections on gardening wisdom, planting and design, theeasons, enthusiasms, and the edible and inedible, all introduced bycclaimed gardening star Charles Elliott. Gardening writers past and presentre represented, but the selections also range through a variety of recordediterature, from the Bible, through Chaucer and Dickens, to Prince Charles.ther featured authors include Jane Austen, P.G. Wodehouse, Gertrude Jekyll,ed Hughes, Russell Page, Vita Sackville-West and Oscar Wilde.
The definitive biography of one of the twentieth century’s most celebrated and controversial dramatists. To several generations, actor, playwright, songwriter, and filmmaker Noël Coward (1899-1973) was the very personification of wit, glamour, and elegance. Given unprecedented access to the private papers and correspondence of Coward family members, compatriots, and numerous lovers, Samuel Johnson Prize-winning biographer Philip Hoare has produced an illuminating and sophisticated biography of Coward, whose relentless drive for success and approval fueled the stunning bursts of creativity that launched the once-painfully middle class boy from the suburbs of London into a pantheon of theatrical deities that includes Gilbert and Sullivan, Oscar Wilde, and George Bernard Shaw. As much the embodiment of a lifestyle as an actual inhabitant of it, Coward’s carefully cultivated image defined the aspirations of untold numbers of actors, artists, and writers who succeeded him, and Hoare’s meticulously researched biography peels away the layers of this complex persona to reveal the man underneath it all, whom The Times of London decreed upon his death to be the most versatile of all the great figures of the English theater.
Biography & Autobiography by Alan Farley; Ron Lazar
b. 1936 to d. 2012 For thirty years Mr. Farley thrived in radio broadcasting as producer and announcer for NPR. His enthusiasm for all things Noel Coward guided him on a twenty year expedition to gather these interviews – a unique achievement that brings Noel alive in intimate detail.
December 1999 marks the 100th anniversary of Noel Coward's birth; this bookells the story of his life in his own words - and Noel Coward used words in way that rivalled Oscar Wilde. The witticisms and truthful insightsascaded from him throughout his life - in his plays, musicals, and in hiswn diaries and speeches.;Barry Day, with the full co-operation of the Noeloward estate, has gathered together highlights of Coward's wit and wisdom,nd linked them together to tell the story of his life. Chapters include hisarly days ("Why Must the Show Go On?"), his love of England ("Mad Dogs andnglishmen"), and his last, celebrated years ("The Party's Over Now"). Theook is illustrated with cartoons and caricatures of Coward.
Mad Dogs and Englishmen, Don't Put your Daughter on the Stage, Mrs Worthington and over 250 more lyrics from Coward's musical masterpieces. Noël Coward is one of the greatest lyricists of the twentieth century. Songs such as A Room with a View, The Stately Homes of England, Mad Dogs and Englishmen and Mrs Worthington are known, sung and loved the world over. This edition gathers together over 250 of Coward's lyrics, arranged in chronological order and grouped by show. In addition, these masterpieces of verse are accompanied by an introduction and notes from the Master himself.
This collection brings together three of Coward's most important screenplays – In Which We Serve (1942), Brief Encounter (1945) and The Astonished Heart (1950). The collection features the shooting scripts for each film alongside contextual notes for each play, and a general introduction, by Barry Day. In Which We Serve earned Coward an Academy Honorary Award in 1943 as well as the New York Film Critics Circle Award for Best Film. The film remains a classic of wartime British cinema. Brief Encounter, the most famous screenplay in this collection, is based on Coward's 1936 one-act play Still Life. It remains one of the greatest love stories of all time, coming second in a British Film Institute poll of the top 100 British films. The Astonished Heart tells the story of a psychiatrist's growing obsession for a good-time girl and the resulting tragedy this leads to. This collection features a foreword by Laurence Kardish, Senior Curator Emeritus, Film, at New York's MoMA, and an eight-page black and white plate section of production stills.
This volume brings together Coward's celebrated verse, from snappy epigrams to seven-hundred-line short stories such as 'P&O 1930' and 'Not Yet the Dodo'; from moving war-time encounters to satirical barbs at familiar Coward targets; and from personal reminiscences to occasional verse such as his tribute to Ivor Novello or his counter-attack on Graham Greene. Includes an introduction by Martin Tickner and Coward's long-time companion, Graham Payn.
Includes: Lee Breuer, Christopher Durang, Richard Foreman, Maria Irene Fornes, Charles Fuller, John Guare, Joan Holden, David Henry Hwang, David Mamet, Emily Mann, Richard Nelson, Marsha Norman, David Rabe, Wallace Shawn, Stephen Sondheim, Megan Terry, Luis Valdez, Michael Weller, August Wilson and Lanford Wilson.
Raymond Chandler never wrote a memoir or autobiography. The closest he came to writing either was in—and around—his novels, shorts stories, and letters. There have been books that describe and evaluate Chandler’s life, but to find out what he himself felt about his life and work, Barry Day, editor of The Letters of Noël Coward (“There is much to dazzle here in just the way we expect . . . the book is meticulous, artfully structured—splendid” —Daniel Mendelsohn; The New York Review of Books), has cannily, deftly chosen from Chandler’s writing, as well as the many interviews he gave over the years as he achieved cult status, to weave together an illuminating narrative that reveals the man, the work, the worlds he created. Using Chandler’s own words as well as Day’s text, here is the life of “the man with no home,” a man precariously balanced between his classical English education with its immutable values and that of a fast-evolving America during the years before the Great War, and the changing vernacular of the cultural psyche that resulted. Chandler makes clear what it is to be a writer, and in particular what it is to be a writer of “hardboiled” fiction in what was for him “another language.” Along the way, he discusses the work of his contemporaries: Dashiell Hammett, James M. Cain, Hemingway, Fitzgerald, Agatha Christie, W. Somerset Maugham, and others (“I wish,” said Chandler, “I had one of those facile plotting brains, like Erle Gardner”). Here is Chandler’s Los Angeles (“There is a touch of the desert about everything in California,” he said, “and about the minds of the people who live here”), a city he adopted and that adopted him in the post-World War I period . . . Here is his Hollywood (“Anyone who doesn’t like Hollywood,” he said, “is either crazy or sober”) . . . He recounts his own (rocky) experiences working in the town with Billy Wilder, Howard Hawks, Alfred Hitchcock, and others. . .We see Chandler’s alter ego, Philip Marlowe, private eye, the incorruptible knight with little armor who walks the “mean streets” in a world not made for knights (“If I had ever an opportunity of selecting the movie actor who would best represent Marlowe to my mind, I think it would have been Cary Grant.”) . . . Here is Chandler on drinking (his life in the end was in a race with alcohol—and loneliness) . . . and here are Chandler’s women—the Little Sisters, the “dames” in his fiction, and in his life (on writing The Long Goodbye, Chandler said, “I watched my wife die by half inches and I wrote the best book in my agony of that knowledge . . . I was as hollow as the places between the stars.” After her death Chandler led what he called a “posthumous life” writing fiction, but more often than not, his writing life was made up of letters written to women he barely knew.) Interwoven throughout the text are more than one hundred pictures that reveal the psyche and world of Raymond Chandler. “I have lived my whole life on the edge of nothing,” he wrote. In his own words, and with Barry Day’s commentary, we see the shape this took and the way it informed the man and his extraordinary work.
A collection of essays, reviews, "thought pieces," and obituaries relating to the Pulitzer Prize-winning composer demonstrates the range of his talents and considers his many friendships. 15,000 first printing.