The Genius and the Goddess (46 page)

14.
Halsman, in
Marilyn Monroe: A Composite View
, ed. Edward Wagenknecht (Philadelphia, 1969), p. 64; Strasberg,
Marilyn and Me
, p. 179; Mailer,
Marilyn
, p. 102; Strasberg,
Marilyn and Me
, p. 144; Steinem,
Marilyn
, p. 157.

15.
Seymour Hersh,
The Dark Side of Camelot
(Boston, 1997), p. 104; Randall Riese and Neil Hitchens,
The Unabridged Marilyn: Her Life from A to Z
(New York, 1987), p. 476; de Dienes, in Goodman,
Fifty Year Decline
, p. 224; Masters,
Masters Way to Beauty
, p. 69.

16.
Travilla, Minardos and Carmen, in Summers,
Goddess
, pp. 82–83; 69; 204.

Five: Joe DiMaggio

1.
Monroe,
My Story
, pp. 125; 126; Gay Talese, "The Silent Season of a Hero,"
Esquire
, 66 (July 1966), 43; Summers,
Goddess
, pp. 99–100; Mailer,
Marilyn
, p. 134.

2.
Roger Kahn,
Joe and Marilyn
(1986; New York, 1988), p. 280;
The Indianhead
: 2nd U.S. Infantry Division (Korea), February 25, 1954, pp. 2–3; Photographer and Marilyn, in Spoto,
Marilyn Monroe
, pp. 265–266; 223; Pepitone,
Monroe Confidential
, pp. 32–33.

3.
Victor,
Marilyn Encyclopedia
, p.138; Letter from Ben Hecht to Gregson Bautzer, August 11, 1954; Letter from Rose Hecht to Marilyn's lawyer Loyd Wright, June 2, 1954; Jeffrey Meyers,
Somerset Maugham:A Life
(New York, 2004), p. 247; Letter from Rose Hecht to Ken McCormick, June 7, 1954; Letter from McCormick to Rose Hecht, July 30, 1954, Newberry Library, Chicago.

4.
Barbara Leaming,
Marilyn Monroe
(New York, 1988), p. 87; George Barris,
Marilyn: Her Life in Her Own Words: Marilyn Monroe's Revealing Last Words and Photographs
(1995; New York, 2001), p. 106; Kahn,
Joe and Marilyn
, p. 284.

5.
Compare George Axelrod's
play,
The Seven Year Itch
(New York, 1953), p. 87, in which Ewell imagines a man covering his wife with kisses: "Inwardly, downwardly, pulsating, striving, now together, ending and unending, now, now, now!" and Hemingway's "Fathers and Sons" (1933),
Short Stories
(New York, 1953), p. 497, in which Nick Adams makes love to the Indian girl Trudy: "tightly, sweetly, moistly, lovely, tightly, achingly, fully, finally, unendingly, never-endingly, never-to-endingly, suddenly ended."

6.
Censored lines, in Yona McDonough,
All the Available Light: A Marilyn Monroe Reader
(New York, 2002), p. 57. The first two photos are reproduced in this book; the third in
Playboy
, December 2005, p. 78.

7.
Dougherty, in Spoto,
Marilyn Monroe
, p. 84;Wilder, in Earl Wilson, "Marilyn: Mad and Marvelous,"
The Show Business That Nobody Knows
(Chicago, 1971), pp. 297–298;Wilder, in McCann,
Marilyn Monroe
, pp. 100-101.

8.
Pete Martin Calls On
, p. 184; Zolotow,
Marilyn Monroe
, p. 228; Talese, "Silent Season of a Hero," p. 45.

9.
Richard Ben Cramer,
Joe DiMaggio: The Hero's Life
(New York, 2000), p. 373; Miracle,
My Sister Marilyn
, p. 161; Leaming,
Marilyn Monroe
, p. 379.

10.
Gussow,
Conversations with Miller
, p. 146;
Pete Martin Calls On
, pp. 174; 157.

11.
Lois Banner,
American Beauty
(New York, 1983), p. 284; Guiles,
Legend
, p. 218; Goodman,
Fifty Year Decline
, pp. 219–220.

12.
Wagenknecht, ed.,
Marilyn Monroe
, p. 156;
Pete Martin Calls On
, pp. 186; 160; Fyodor Dostoyevsky,
The Brothers Karamazov
, trans. Constance Garnett (New York, 1943), p. 443; Logan,
Movie Stars, Real People, and Me
, p.46.

13.
Lytess, "My Years with Marilyn, "p.6;Robert Stack,
Straight Shooting
(New York, 1980), p. 184.

14.
Letter from Ray Stark to Charles Feldman, December 1, 1953; Letters to Feldman, June 21 and 29, 1954; Letter from Jack Gordean to Feldman, July 1954; Samuel Shaw to Feldman, as recorded by Feldman's secretary Grace Dobish, April 2, 1955, Charles Feldman papers, American Film Institute.

15.
Mailer,
Marilyn
, p. 172; Phone talk with Joshua Greene, December 15, 2007; Zolotow,
Marilyn Monroe
, pp. 242–243.

16.
Joseph Persico,
Edward R. Murrow: An American Original
(1988; New York, 1990), p. 352; Letter from Darryl Zanuck to Charles Feldman, April 14, 1955, American Film Institute; Guiles,
Legend
, pp. 261; 309.

Six: Miller's Path to Fame

1.
Matthew Roudané, ed.,
Conversations with Arthur Miller
( Jackson, Miss., 1987) p. 185; Miller,
Timebends
, p. 4; Martin Gottfried,
Arthur Miller
:
His Life and Work
(New York, 2003) pp. 5; 8.

2.
Miller,
Timebends
, p. 113; Roudané,
Conversations with Arthur Miller
, p. 311; Miller,
Timebends
, p. 213.

3.
Roudané,
Conversations with Arthur Miller
, pp. 13–14; E.M. Halliday,
John Berryman and the Thirties:A Memoir
(Amherst, Mass., 1987), pp. 132–133; Bigsby,
Remembering Arthur Miller
, p. 249.

4.
Zolotow,
Marilyn Monroe
, p. 264; Richard Schickel,
Elia Kazan: A Biography
(New York, 2005), p. 228; Gottfried,
Arthur Miller
, p. 65.

5.
Gottfried,
Arthur Miller
, pp. 114; 241–242; Miller,
Timebends
, p. 202.

6.
Mary McCarthy, "The American Realist Playwrights" (1961),
Theatre Chronicles, 1937–1962
(New York, 1963), p. 225; Brater,
Arthur Miller
, p. 53; Joseph Conrad, "
Heart of Darkness
,"
Three Great Tales
(New York, [1960]), p. 270; Arthur Miller,
Death of a Salesman
(New York, 1987), p. 48.

7.
Interview with Curtice Taylor; Harold Clurman,
All People Are Famous
(New York, 1974), p. 247; Robert Lewis,
Slings and Arrows: Theater in My Life
(New York, 1984), p. 221.

8.
Kazan and Nan Taylor, in Gottfried,
Arthur Miller
, pp. 150; 162; Miller,
Timebends
, pp. 194; 278–279.

Seven: Secret Courtship

1.
Miller,
Timebends
, p. 356; Kazan,
Life
, p. 438; Interview with Joan Copeland, Amagansett, New York, November 12, 2007 and Copeland, in Gottfried,
Arthur Miller
, p. 246.

2.
Ruth Miller,
Saul Bellow:A Biography of the Imagination
(New York, 1991), p. 87; Jeffrey Meyers,
Edmund Wilson: A Biography
(Boston, 1995), p. 289; Gottfried,
Arthur Miller
, p. 282; Miller,
Timebends
, p. 378; Letters from Sondra Bellow to Jeffrey Meyers, January 29 and February 3, 2008.

3.
Saul Bellow, "Brothers' Keepers,"
New Republic
, 114 (January 7, 1946), 30; Roudané, ed.,
Conversations with Arthur Miller
, pp. 242, 287; Gottfried,
Arthur Miller
, p. 286; Letter from Miller to Bellow, June 2, 1956, University of Chicago Library.

4.
Enoch Brater,
Arthur Miller:A Playwright's Life and Works
(London, 2005), p. 68; Conversation with Mary Slattery Miller, Brooklyn, New York, September 5, 1998.

5.
Steinem,
Marilyn
, p.102; Rosten,
Marilyn
, p.33; Bigsby,
Remembering Miller
, p. 262.

6.
Strasberg,
Marilyn and Me
, p. 73;Winters,
Shelley II
, p. 34; Kazan,
Life
, p. 407.

7.
Simon Callow,
Orson Welles: Hello Americans
, Volume 2 (New York,
2006), p. 256; Jonathan Kobal,
People Will Talk
(New York, 1985), p. 613; Miller,
Timebends
, p. 379.

8.
Kazan,
Life
, pp. 178, 415; Miller,
Timebends
, p. 536; Newman, in
Marilyn Monroe: Still Life
, American Masters video, 2006; Interview with Brian Dennehy, Woodstock, Conn., December 17, 2007.

9.
Mailer,
Marilyn
, p. 85; Eli Wallach,
The Good, the Bad, and Me
(New York, 2005), p. 217 (Joshua Logan, Colin Clark and Wallach all favored the cute tripartite title ending with "and Me");Winters,
Shelley II
, pp. 31; 34; Christie's,
Personal Property of Marilyn Monroe
, p. 69.

10.
Truman Capote, "Marilyn Monroe,"
The Dogs Bark: Public People and Private Places
(New York, 1973), pp. 378–379;Truman Capote, "A Beautiful Child,"
Music for Chameleons
(1980; New York, 1981), pp. 229; 235, 241; 244;Virginia Spencer Carr,
The Lonely Hunter: A Biography of Carson McCullers
(Garden City, N.Y., 1976), p. 439.

11.
F. R. Leavis,
New Bearings in English Poetry
(1932; London, 1963), p. 64; John Lehmann,
A Nest of Tigers: Edith, Osbert and Sacheverell Sitwell and Their Times
(London, 1968), pp. 247–248; John Pearson,
Façade: Edith, Osbert and Sacheverell Sitwell
(London, 1967), pp. 437–438.

12.
Victoria Glendinning,
Edith Sitwell: A Unicorn Among Lions
(London, 1981), p. 322; Spoto,
Marilyn Monroe
, p. 376; Glendinning,
Edith Sitwell
, p. 305; Edith Sitwell,
Taken Care Of
(New York, 1965), pp. 221, 223;Weatherby,
Conversations with Marilyn
, p. 186.

Eight: New York and the Actors Studio

1.
Margaret Brenman-Gibson,
Clifford Odets: American Playwright
(New York, 1981), p. 197; Susan Strasberg,
Marilyn and Me
, p. 31.

In his autobiography,
Songs My Mother Taught Me
(New York, 1994), p. 85, Brando wrote:"After I had some success, Lee Strasberg tried to take credit for teaching me how to act. He never taught me anything."

Strasberg made his late film debut in
Godfather II
(1974) and gave an excellent performance as the aging Jewish mobster, Hyman Roth.

2.
Marowitz,
Michael Chekhov
, p. 216; Strasberg, in Conway and Ricci,
Films of Marilyn Monroe
, p. 7; Adams,
Lee Strasberg
, pp. 256–257.

3.
Zolotow,
Marilyn Monroe
, p. 249; "Arthur Miller,"
Writers at Work: The "Paris Review" Interviews
, Third Series, ed. George Plimpton (New York, 1967), pp. 211–212; Interview with Joan Copeland; Adams,
Lee Strasberg
, p. 255.

4.
Eugene O'Neill, "
Anna Christie
,"
Three Plays
(New York, 1949), p. 83; Kazan,
Life
, p. 713; Kobal,
People Will Talk
, pp. 140; 699.

5.
Susan Strasberg,
Marilyn and Me
, pp. 79, 85; Lee Strasberg, in Chandler,
Nobody's Perfect
, p. 182; Tom Wood,
The Bright Side of Billy Wilder, Primarily
(Garden City, N.Y., 1970), p. 153.

6.
Kazan,
Life
, pp. 539–540; Adams,
Lee Strasberg
, p. 278; Maugham, in Spoto,
Marilyn Monroe
, p. 453.

7.
Guiles,
Legend
, p. 268; Gussow,
Conversations with Miller
, pp.146–147, and Miller,
Timebends
, p. 420.

8.
Colin Clark,
The Prince, the Showgirl and Me
(New York, 1996), p. 85; Paula, in Alice McIntyre, "Making
The Misfits
or Waiting for Monroe or Notes from Olympus,"
Esquire
, 55 (March 1961), 75; Clark,
The Prince, the Showgirl and Me
, pp. 102, 103.

9.
Adams,
Lee Strasberg
, p. 271; Susan Strasberg,
Bittersweet
(New York, 1980), p. 156; Guiles,
Legend
, pp. 284, 316.

10.
Diana Trilling,
The Beginning of the Journey
(New York, 1993), p. 246.

11.
Spoto,
Marilyn Monroe
, p. 355; Logan,
Movie Stars, Real People, and Me
, pp. 55–56; 65.

12.
Interview with Don Murray, Santa Barbara, California, January 10, 2008.

13.
Letter from Spyros Skouras to Buddy Adler, April 30, 1956, Skouras papers, Stanford University Library;Logan,
Movie Stars, Real People, and Me
, p. 66.

Nine: Betrayal and Guilt

1.
Sylvia Plath, in the
opening paragraph of her novel,
The Bell Jar
(1963), describes the execution of the Rosenbergs, which foreshadows her heroine's electro-shock treatments: "It was a queer, sultry summer, the summer they electrocuted the Rosenbergs. . . . The idea of being electrocuted makes me sick. . . . I couldn't help
wondering what it would be like, being burned alive all along your nerves."

2.
William Chafe,
The Unfinished Journey: America Since World War II
(New York, 1986), pp. 98; 132; Arthur Miller,
Echoes Down the Corridor: Essays, 1944–2000
, ed. Steven Centola (New York, 2000), p. 190; Eric Goldman,
The Crucial Decade – and After: America, 1945–1960
(New York, 1960), p. 278; Eisenhower, in Samuel Eliot Morison,
The Oxford History of the American People
(New York, 1965), p. 1084.

3.
David Caute,
The Great Fear: The Anti-Communist Purge Under Truman and Eisenhower
(New York, 1978), pp. 508–509; Kazan,
Life
, p. 461; Brater,
Arthur Miller
, p. 60.

4.
Charles Williams, "Salem,"
Witchcraft
(1941; New York, 1959), p. 288; Edmund Morgan, "Arthur Miller's
The Crucible
and the Salem Witch Trials:A Historian's View,"
The Golden and the Brazen World: Papers in Literature and History, 1650-1800
, ed. John Wallace (Berkeley, 1985), pp. 175; 182; 184; Aldous Huxley,
The Devils of Loudon
(1952; New York, 1965), p. 122.