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Calder Willingham
Calder Baynard Willingham Jr. (December 23, 1922 – February 19, 1995) was an American novelist and screenwriter.
Before the age of 30, after three novels and a collection of short stories, The New Yorker was describing Willingham as having “fathered modern black comedy,” his signature a dry, straight-faced humor, made funnier by its concealed comic intent. His work matured over six more novels, including Eternal Fire (1963), which Newsweek wrote “deserves a place among the dozen or so novels that must be mentioned if one is to speak of greatness in American fiction.” He had a significant career in cinema too, with screenplays including Paths of Glory (1957), One-Eyed Jacks (1960), The Graduate (1967) and Little Big Man (1970).
Willingham was born in Atlanta, Georgia, the son of Eleanor Churchill (Willcox) and Calder Baynard Willingham, a hotel manager. After dropping out of The Citadel, then working for the Office of War Information in Washington, D.C., Willingham moved to New York City where he wrote for 10 years, setting three novels there. During the late 1940s and early 1950s, Willingham was considered at the forefront of the gritty, realistic new breed of postwar novelists: Norman Mailer, James Jones, Truman Capote, Gore Vidal, and others, many of whom comprised the Greenwich Village literary scene at the time.
Willingham's career began in controversy with End as a Man (1947), an indictment of the macho culture of military academies, introducing his first iconic character, sadistic Jocko de Paris. The story included graphic hazing, sex, and suggested homosexuality. The New York Society for the Suppression of Vice filed obscenity charges against its publisher Vanguard Press. The charges ultimately were dropped, but not before a trial that made the book a cause célèbre in which famous writers were rallying to its defense. Reviews singled out its savage humor and realistic dialogue.
Willingham adapted the book into a play at New York's Actors Studio, where it was an off-Broadway success featuring a young James Dean and introducing actor George Peppard. Sam Spiegel, one of Hollywood's top producers, commissioned Willingham to adapt the novel to film, his first, retitled The Strange One (1957) for Columbia Pictures, which advertised it as "the first picture filmed entirely by a cast and technicians from the Actors Studio".
Willingham followed it with the first in a semi-autobiographical trilogy of novels about an aspiring writer Dick Davenport. Geraldine Bradshaw (1950) was set in a Chicago hotel during World War II where Dick works as a bellboy (as Willingham had), lusting after a new elevator girl. Its sexual explicitness divided critics, who felt its subject was beneath the writer's gifts, but it sold well and has maintained a cult following among writers. William Styron reported visiting William Faulkner and noticing it prominently placed on his desk, and it appears on various published lists of “lost classics.” The original version was 415 pages long, but a 1964 edition, considerably shorter, is definitive, including a foreword from Willingham who explained how the pressure of End as a Man’s success led him to the grandiose idea of filling the follow-up book with obscure references to the next two in the trilogy. "Success is always dangerous, and early success is deadly," he said in a 1953 interview. "What I went through writing my second book shouldn't happen to a dog."
Next came Reach to the Stars (1951), a second Dick Davenport novel, with Dick as a bell-boy in Los Angeles, making observations and sexual hay on the fringe of the upscale Hollywood scene. In 1951, Willingham also published Gates of Hell (1951), his lone book of short stories, mostly comic. The book was revered in literary circles, and in 1970, Tom Wolfe called it "the most undeservedly neglected book since World War II" referring to Willingham as "the great comic genius of American fiction."
Natural Child (1952), Willingham's first New York novel, was a portrait of two young men and two young women living the bohemian lifestyle of the time. The sophisticated plotting combined with Willingham's ear for realistic dialogue in one of the lesser-known gems in his collection. To Eat a Peach (1955) chronicled life and lust among adults running a summer camp. Confusion about how to place writing considered both literary and prurient resulted in the release of two different paperback versions, one with the original title and another with racy cover art re-titled The Girl in the Dogwood Cabin. The seeming ease with which it was written bolstered rumors the novel had been written start-to-finish in three weeks, which turned out to be true.
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Calder Willingham
Calder Baynard Willingham Jr. (December 23, 1922 – February 19, 1995) was an American novelist and screenwriter.
Before the age of 30, after three novels and a collection of short stories, The New Yorker was describing Willingham as having “fathered modern black comedy,” his signature a dry, straight-faced humor, made funnier by its concealed comic intent. His work matured over six more novels, including Eternal Fire (1963), which Newsweek wrote “deserves a place among the dozen or so novels that must be mentioned if one is to speak of greatness in American fiction.” He had a significant career in cinema too, with screenplays including Paths of Glory (1957), One-Eyed Jacks (1960), The Graduate (1967) and Little Big Man (1970).
Willingham was born in Atlanta, Georgia, the son of Eleanor Churchill (Willcox) and Calder Baynard Willingham, a hotel manager. After dropping out of The Citadel, then working for the Office of War Information in Washington, D.C., Willingham moved to New York City where he wrote for 10 years, setting three novels there. During the late 1940s and early 1950s, Willingham was considered at the forefront of the gritty, realistic new breed of postwar novelists: Norman Mailer, James Jones, Truman Capote, Gore Vidal, and others, many of whom comprised the Greenwich Village literary scene at the time.
Willingham's career began in controversy with End as a Man (1947), an indictment of the macho culture of military academies, introducing his first iconic character, sadistic Jocko de Paris. The story included graphic hazing, sex, and suggested homosexuality. The New York Society for the Suppression of Vice filed obscenity charges against its publisher Vanguard Press. The charges ultimately were dropped, but not before a trial that made the book a cause célèbre in which famous writers were rallying to its defense. Reviews singled out its savage humor and realistic dialogue.
Willingham adapted the book into a play at New York's Actors Studio, where it was an off-Broadway success featuring a young James Dean and introducing actor George Peppard. Sam Spiegel, one of Hollywood's top producers, commissioned Willingham to adapt the novel to film, his first, retitled The Strange One (1957) for Columbia Pictures, which advertised it as "the first picture filmed entirely by a cast and technicians from the Actors Studio".
Willingham followed it with the first in a semi-autobiographical trilogy of novels about an aspiring writer Dick Davenport. Geraldine Bradshaw (1950) was set in a Chicago hotel during World War II where Dick works as a bellboy (as Willingham had), lusting after a new elevator girl. Its sexual explicitness divided critics, who felt its subject was beneath the writer's gifts, but it sold well and has maintained a cult following among writers. William Styron reported visiting William Faulkner and noticing it prominently placed on his desk, and it appears on various published lists of “lost classics.” The original version was 415 pages long, but a 1964 edition, considerably shorter, is definitive, including a foreword from Willingham who explained how the pressure of End as a Man’s success led him to the grandiose idea of filling the follow-up book with obscure references to the next two in the trilogy. "Success is always dangerous, and early success is deadly," he said in a 1953 interview. "What I went through writing my second book shouldn't happen to a dog."
Next came Reach to the Stars (1951), a second Dick Davenport novel, with Dick as a bell-boy in Los Angeles, making observations and sexual hay on the fringe of the upscale Hollywood scene. In 1951, Willingham also published Gates of Hell (1951), his lone book of short stories, mostly comic. The book was revered in literary circles, and in 1970, Tom Wolfe called it "the most undeservedly neglected book since World War II" referring to Willingham as "the great comic genius of American fiction."
Natural Child (1952), Willingham's first New York novel, was a portrait of two young men and two young women living the bohemian lifestyle of the time. The sophisticated plotting combined with Willingham's ear for realistic dialogue in one of the lesser-known gems in his collection. To Eat a Peach (1955) chronicled life and lust among adults running a summer camp. Confusion about how to place writing considered both literary and prurient resulted in the release of two different paperback versions, one with the original title and another with racy cover art re-titled The Girl in the Dogwood Cabin. The seeming ease with which it was written bolstered rumors the novel had been written start-to-finish in three weeks, which turned out to be true.