DIVDIVIn the earliest published diaries of Ned Rorem, the acclaimed American composer recalls a bygone era and its luminaries, celebrates the creative process, and examines the gay culture of Europe and the US during the 1950s/divDIV One of America’s most significant contemporary composers, Ned Rorem is also widely acclaimed as a diarist of unique insight and refreshing candor. Together, his Paris Diary, first published in 1966, and The New York Diary,which followed a year later, paint a colorful landscape of Rorem’s world and its famous inhabitants, as well as a fascinating self-portrait of a footloose young artist unabashedly drinking deeply of life. In this amalgam of forthright personal reflections and cogent social commentary, unprecedented for its time, Rorem’s anecdotal recollections of the decade from 1951 to 1961 represent Gay Liberation in its infancy as the author freely expresses his open sexuality not as a revelation but as a simple fact of life./divDIV /divDIVAt once blisteringly honest and exquisitely entertaining, Rorem’s diaries expound brilliantly on the creative process, following their peripatetic author from Paris to Morocco to Italy and back home to America as he crosses paths with Picasso, Cocteau, Gide, Boulez, and other luminaries of the era. /divDIV /divWith consummate skill and unexpurgated insight, a younger, wilder Rorem reflects on a bygone time and culture and, in doing so, holds a revealing mirror to himself. /div

As a composer and as an author, Ned Rorem occupies a position of considerable influence and importance in American music. His numerous musical works are performed frequently, and his critical writings offer unmatched insights into contemporary music. This bibliography will serve as an important resource for those seeking more information about this distinguished American composer and his works. The book is divided into four sections: a brief biography, a complete list of works and performances, a discography of commercially produced sound recordings, and a bibliography of writings by and about Ned Rorem. The list of works and performances includes Rorem's plays and books, works in preparation, and his musical compositions. The latter are classified by genre and arranged alphabetically within each category. Each entry provides as much information as possible about the date of composition and publication, publisher, duration, medium of performance, literary source, commission, dedication, and dates of the premiere and subsequent performances. A directory of publishers and their addresses is also provided. Citations in the discography are arranged by label and number and include contents, performers, date of issue, and album title. The bibliographical section includes annotations or brief quotations from the cited item. Three appendixes complete the work. The first provides an alphabetical listing of Rorem's compositions, including individual songs in cycles, distinctive subtitles, working titles, and titles of unpublished works. Appendix II is a chronological list of compositions and Appendix III provides a list of the literary sources for Rorem's works. This unique reference tool belongs in all music reference collections.

DIVDIVThe esteemed American composer and unabashed diarist Ned Rorem provides a fascinating, brazenly intimate first-person account of his life and career during one of the most extraordinary decades of the twentieth century /divDIV Ned Rorem is often considered an American treasure, one of the greatest contemporary composers in the US. In 1966, he revealed another side of his remarkable talent when The Paris Diary was published, and a year later, The New York Diary, both to wide critical acclaim. In The Later Diaries,Rorem continues to explore his world and his music in intimate journal form, covering the years 1961 to 1972, one of his most artistically productive decades./divDIV /divDIVThe Ned Rorem revealed in The Later Diaries is somewhat more mature and worldly than the young artist of the earlier works, but no less candid or daring, as he reflects on his astonishing life, loves, friendships, and rivalries during an epoch of staggering, sometimes volatile change. Writing with intelligence, insight, and honesty, he recalls time spent with some of the most famous, and infamous, artists of the era—Philip Roth, Christopher Isherwood, Tallulah Bankhead, and Edward Albee, among others—openly exploring his sexuality and his art while offering fascinating, sometimes blistering, views on the art of his contemporaries./div/div

A sparkling life of the monumental fashion designer Cristóbal Balenciaga When Cristóbal Balenciaga died in 1972, the news hit the front page of The New York Times. One of the most innovative and admired figures in the history of haute couture, Balenciaga was, said Schiaparelli, “the only designer who dares do what he likes.” He was, said Christian Dior,“the master of us all.” But despite his extraordinary impact, Balenciaga was a man hidden from view. Unlike today’s celebrity designers, he saw to it that little was known about him, to the point that some French journalists wondered if he existed at all. Even his most notable and devoted clients—Marlene Dietrich, Barbara Hutton, a clutch of Rothschilds—never met him. But one woman knew Balenciaga very well indeed. The first person he hired when he opened his Paris house (then furnished with only a table and a stool) was Florette Chelot, who became his top vendeuse—as much an adviser as a saleswoman. She witnessed the spectacular success of his first collection, and they worked closely for more than thirty years, until 1968, when Balenciaga abruptly closed his house without telling any of his staff. Youth-oriented fashion was taking over, Paris was in upheaval, and the elder statesman wanted no part of it. In The Master of Us All , Mary Blume tells the remarkable story of the man and his house through the eyes of the woman who knew him best. Intimate and revealing, this is an unprecedented portrait of a designer whose vision transformed an industry but whose story has never been told until now.

The national bestselling biography and the basis for the film Capote starring Philip Seymour Hoffman in an Academy Award–winning turn. One of the strongest fiction writers of his generation, Truman Capote became a literary star while still in his teens. His most phenomenal successes include Breakfast at Tiffany’s, In Cold Blood, and Other Voices, Other Rooms. Even while his literary achievements were setting the standards that other fiction and nonfiction writers would follow for generations, Capote descended into a spiral of self-destruction and despair. This biography by Gerald Clarke was first published in 1988—just four years after Capote’s death. In it, Clarke paints a vivid behind-the-scenes picture of the author’s life—based on hundreds of hours of in-depth interviews with the man himself and the people close to him. From the glittering heights of notoriety and parties with the rich and famous to his later struggles with addiction, Capote emerges as a richly multidimensional person—both brilliant and flawed. “A book of extraordinary substance, a study rich in intelligence and compassion . . . To read Capote is to have the sense that someone has put together all the important pieces of this consummate artist’s life, has given everything its due emphasis, and comprehended its ultimate meaning.” —Bruce Bawer, The Wall Street Journal “Mesmerising . . . [Capote] reads as if it had been written alongside his life, rather than after it.” —Molly Haskell, The New York Times Book Review

In the decades preceding the Stonewall riots—in the wake of the 1948 publication of Alfred Kinsey’s controversial report on male sexuality and in the midst of a cold war culture of suspicion and paranoia—discussions of homosexuality within the New York art world necessarily circulated via gossip and rumor. Between You and Me explores this informal, everyday talk and how it shaped artists’ lives, their work, and its reception. Revealing the “trivial” and “unserious” aspects of the postwar art scene as key to understanding queer subjectivity, Gavin Butt argues for a richer, more expansive concept of historical evidence, one that supplements the verifiable facts of traditional historical narrative with the gossipy fictions of sexual curiosity. Focusing on the period from 1948 to 1963, Butt draws on the accusations and denials of homosexuality that appeared in the popular press, on early homophile publications such as One and the Mattachine Review, and on biographies, autobiographies, and interviews. In a stunning exposition of Larry Rivers’s work, he shows how Rivers incorporated gossip into his paintings, just as his friend and lover Frank O’Hara worked it into his poetry. He describes how the stories about Andy Warhol being too “swish” to be taken seriously as an artist changed following his breakthrough success, reconstructing him as an asexual dandy. Butt also speculates on the meanings surrounding a MoMA curator’s refusal in 1958 to buy Jasper Johns’s Target with Plaster Casts on the grounds that it was too scandalous for the museum to acquire. Between You and Me sheds new light on a pivotal moment in American cultural production as it signals new directions for art history.