By Richard Bradford
Novelists, poets, and playwrights stay double lives. once they fall out with one another they appear to take action with nice ardour. This hugely exciting publication appears at probably the most complicated friendships and enmities in literary background and examines the dramatic results on literature itself. Grudge fits lined the following contain Vladimir Nabokov opposed to Edmund Wilson; Norman Mailer, Truman Capote, Gore Vidal, Virginia Wolfe, and John Updike opposed to one another; Ernest Hemingway's fantastic and intensely public falling-out with former associates Gertrude Stein and Alice Toklas; Lillian Hellman opposed to Mary McCarthy; plus many more.
Richard Bradford is professor of English and a senior exotic study fellow on the collage of Ulster.
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Extra info for Literary Rivals: Feuds and Antagonisms in the World of Books
Sample text
Thereafter, he existed in the hinterland between writing and ‘literary art’, resenting those who had achieved fame in the latter and vilifying them in print whenever the opportunity arose. He heaped loathing on Tom Wolfe, author of the bestselling Bonfire of the Vanities, and he hated Gore Vidal – the last literary celebrity to be punched by him in public, at a cocktail party in 1974. Mailer’s contempt for his peers was not, as a rule, reciprocated. Most treated it as a backhanded compliment. Indeed, it seemed almost an insult not to be insulted by Mailer.
The facts of Wilde’s rise to eminence and tragic fall are well known, but what is striking about his case is its bizarre resemblance to what happened to Kingsley Amis at the end of the ’50s. The Importance of Being Earnest is a fine play, yet it is also a hastily self-addressed suicide note. All of Wilde’s drama involves the process of deception and dissimulation, of not being quite what you seem. Most critics, rather sanctimoniously, have treated this as Wilde’s satirical assault against the prevailing moral hypocrisies of his age.
Capote’s biographer Gerald Clarke commented: However he pronounced it, he was aware what it meant and there could be but one enfant terrible at a time. Even as he shook his hand, Vidal knew the same, and from the beginning theirs was more a rivalry, a bloodthirsty match of wits, than an alliance of affection. Thus, despite three decades of irony-laden expressions of mutual respect, the vitriolic confrontation of 1975 had been festering since they met. The bitterness of the Vidal–Capote feud typified the American post-war literary world and Vidal himself commented shrewdly on the mood of the early ’60s: it was confusing ‘because there are no critics in a position to set standards, right or wrong.
