Berkeley was getting rid of a set, forty years of bound New Yorkers , and I bought them for six hundred dollars. I would also have my own new subscription copies bound which is actually not a good way to preserve them. When the magazine put the whole archive online, I stopped paying to bind mine. But I still keep them. I have almost every issue, starting in the nineteen-forties. I also met Lillian Ross with you , who, as we know, wrote about Truffaut and Hemingway and Chaplin for the magazine and was very close to Salinger, and so on and so forth.
The third idea: a French movie. I want to do one of those. An anthology, The New Yorker , and French. Three very broad notions. I think it sort of turned into a movie about what my friend and co-writer Hugo Guinness calls reverse emigration. He thinks Americans who go to Europe are reverse-emigrating. When I saw the movie, I told you how much Lillian Ross, who died a few years ago, would have liked it. It can be lonely, certainly. In a foreign country, even just going into a hardware store can be like going to a museum.
Arthur Howitzer, Jr. Ross had a great feeling for writers. We tried to mix in some of that. He moves to France to find himself, in a way, and he ends up creating a magazine that brings the world to Kansas. Originally, we were calling the editor character Liebling, not Howitzer, because the face I always pictured was A. We tried to make Bill Murray sort of look like him, I think. There are lots of similarities between your Howitzer and Ross.
They share a general grumpiness. But you see a little bit of Shawn in Howitzer, as you mentioned. I think that might be Ross, too! He was a prude, they say. For someone who could be extremely vulgar.
I had to look it up. Forster before taking a trip to Florence. What made you decide to put this together? Two reasons. One: our movie draws on the work and lives of specific writers. This book is almost a great big footnote. These are writers I love and pieces I love. Movies have their own thing. Great actors. There they are. Plus, they sing! There are lots of schoolboys in capes skittering around, like the ones in Truffaut and Jean Vigo movies.
France, more or less, is where the cinema starts. Other than America, the country whose movies have meant the most to me is France. There are so many directors and so many stars and so many styles of French cinema.
I knew that at least part of the movie had to take place around that time. The magazine went from to , so it is all during those fifty years, anyway. I see. You were born in I like that! I came across a good jargon-type phrase after we had made the movie.
We do this thing where sometimes we have one person speak French, with subtitles, and the other person answers in English. They stay in their own language, but they understand. The Mavis Gallant story feels like the heart of the movie. Francine Prose, the novelist, is a big Gallant fan.
Writing about May, , she has a totally independent point of view. Clarity and empathy. She went out every day, alone, in the middle of the chaos. Gallant was Canadian, which I think gave her a kind of double remove from America. Canadians in the United States have the pilot light, too.
The great fiction writers from the American South also have it. Getting maself a job. This point marks the end of their relationship: Alec is going to private school and Ian and his father are likely to be moving away to find work, as Billy is facing redundancy. Soon after we see Billy and Ian working closely together on a painting job; their close relationship contrasts with Alec and Davie who are drifting apart.
Ian has changed his priorities and is willing to forego the football match in order to earn money working overtime. Their cheese or spam sandwiches link them to the working-class. Ian has some ambition to be his own boss or experience working in a different environment, such as the army. Only Mc. Granville was remarkably beautiful and she stole, and broke, many hearts. She was certainly known to Fleming who briefly mentions her in his non-fiction book The Diamond Smugglers.
Christine Granville survived the War but was tragically stabbed by a love-crazed stalker in , aged There were other members of the SOE who Fleming would have encountered during his time working with Section 17 in Naval Intelligence, where he was responsible for coordinating intelligence between divisions.
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