Park Avenue & East 53rd Street

2020 ◽  
Vol 2020 (06) ◽  
Author(s):  
Paul Newland
Keyword(s):  
Park Avenue

The Only Wonderful Things

2020 ◽  
Author(s):  
Melissa J. Homestead
Keyword(s):  
Twentieth Century ◽  
American Southwest ◽  
Advertising Agency ◽  
Greenwich Village ◽  
Early Twentieth Century ◽  
Park Avenue ◽  
Fresh Perspective ◽  
The Cold War ◽  
Relationship Of ◽  
First Time

This book tells for the first time the story of the central relationship of novelist Willa Cather’s life, her nearly forty-year partnership with Edith Lewis. Cather has been described as a distinguished artist who turned her back on the crass commercialism of the early twentieth century and as a deeply private woman who strove to hide her sexuality, and Lewis has often been identified as her secretary. However, Lewis was a successful professional woman who edited popular magazines and wrote advertising copy at a major advertising agency and who, behind the scenes, edited Cather’s fiction. Recognizing Lewis’s role in Cather’s creative process changes how we understand Cather as an artist, while recovering their domestic partnership (which they did not seek to hide) provides a fresh perspective on lesbian life in the early twentieth century. Homestead reconstructs Cather and Lewis’s life together in Greenwich Village and on Park Avenue, their travels to the American Southwest that formed the basis of Cather’s novels The Professor’s House and Death Comes for the Archbishop, their summers as part of an all-woman resort community on Grand Manan Island, and Lewis’s magazine and advertising work as a context for her editorial collaboration with Cather. Homestead tells a human story of two women who chose to live in partnership and also explains how the Cold War panic over homosexuality caused biographers and critics to make Lewis and her central role in Cather’s life vanish even as she lived on alone for twenty-five years after her partner’s death.

The Forces That Shaped Park Avenue

Perspecta ◽  
1963 ◽  
Vol 8 ◽  
pp. 97
Author(s):  
Richard Roth
Keyword(s):  
Park Avenue

scholarly journals American Telefantasy: An Introduction

2012 ◽  
Vol 5 (2) ◽  
Author(s):  
Sophie Halliday ◽  
Rhys Owain Thomas
Keyword(s):  
Science Fiction ◽  
Doctor Who ◽  
Fair Share ◽  
Buffy The Vampire Slayer ◽  
Battlestar Galactica ◽  
The Walking Dead ◽  
Park Avenue ◽  
General Capacity ◽  
True Blood ◽  
Horror Story

Television schedules are rife with Science Fiction, Fantasy and Horror. The re-launched Doctor Who and its prime-time Saturday night stablemate, Merlin spearhead the rise of contemporary British Telefantasy (Being Human, Misfits et al.).  Meanwhile, their American equivalents attract audiences of millions, extensive media attention and, since Peter Dinklage’s Emmy and Golden Globe-winning performance in Game of Thrones, widespread critical acclaim through mainstream industry awards.  Histories of “quality” television are awash with examples of American Telefantasy that have left an indelible impression on popular cultural (and even socio-political) imaginaries; Star Trek, The X-Files, Buffy the Vampire Slayer, Lost, and Battlestar Galactica all being enduringly popular examples. As American television networks prepare to launch their all-important “Fall” schedules, ushering in a new year of programming, it is evident that Telefantasy will continue to garner its fair share of TV viewers’ attention – whether due to hotly-anticipated debuts (666 Park Avenue, Arrow, The Neighbors, Revolution), finales (Fringe), provocative content (American Horror Story, True Blood, The Walking Dead, or a general capacity to entertain, bewitch or amuse (Community), Falling Skies, Grimm, Once Upon a Time, Supernatural).

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