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Grover Lewis
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Grover Lewis (November 8, 1934 – April 16, 1995) was an American journalist now regarded as one of the forerunners of new journalism.[1][2] His lengthy examinations of film, music and more in the 1970s included profiles of Paul Newman, The Allman Brothers Band, and an influential piece written about The Last Picture Show. He also did freelance work for The Village Voice, Texas Monthly, and was an editor and contributor to Rolling Stone.
Key Information
Lewis published two books during his lifetime: I'll Be There in the Morning If I Live, a book of poetry, and Academy All the Way, a collection of essays he wrote for Rolling Stone. In 2005, the University of Texas Press released a compendium of his entire career entitled Splendor in the Short Grass, edited by and with an introduction by Jan Reid and W.K. Stratton, and with a foreword by Dave Hickey and a remembrance by Robert Draper.
Books
[edit]- I'll Be There in the Morning If I Live (poetry)
- Academy All The Way (collection)
- Splendor in the Short Grass (collection)
Personal life
[edit]When he was 8 years old, his parents, Grover Sr. and Opal, "shot each other to death with a pawnshop pistol".[3]
Lewis was close friends with Gustav Hasford, author of The Short-Timers, the book that was adapted into the feature film Full Metal Jacket. Lewis wrote in-depth essays on Hasford at the height of his notoriety and after his death.[citation needed]
Filmography
[edit]| Year | Title | Role | Notes |
|---|---|---|---|
| 1971 | The Last Picture Show | Mr. Crawford | |
| 1972 | The Candidate | Himself (Rolling Stone) | (final film role) |
References
[edit]- ^ Hickey, Dave (June 22, 1995). "Grover Lewis: An Appreciation". The Los Angeles Times.
- ^ "Grover Lewis: The Wittliff Collections". The Wittliff Collections, Texas State University.
- ^ Blount, Roy Jr (April 3, 2005). "'Splendor in the Short Grass': Romancing the Stoned". The New York Times. Retrieved October 3, 2022.
External links
[edit]
Grover Lewis
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Early life
Childhood and family tragedy
Grover Virgil Lewis Jr. was born on November 8, 1934, in San Antonio, Texas, to Grover Virgil Lewis Sr.—known as Big Grover—and Opal Bailey Lewis.[4][5] In 1943, when Lewis was eight years old, his parents died in a murder-suicide amid a bitter divorce dispute that had involved his father stalking his mother for a year while fighting the separation.[5] According to Lewis's own later account, his father cornered his mother and shot her with a pawnshop pistol, but before she died she seized the weapon and shot him fatally in return.[5] Following the tragedy, Lewis was sent to live with his maternal aunt and her husband in Fort Worth, where he endured a "haunted" and "painful" existence in an abusive household that sought to break his body and spirit.[4][5] His guardians, described as ultra-religious, brutally reprimanded him for activities such as reading books, compounding the trauma.[1] Lewis also lived with severe astigmatism that left him with only 17 percent of normal vision, rendering him "blind as a bat" and intensifying his sense of isolation and vulnerability during this period.[1][5] After five years in these conditions, Lewis fled the household and refused to return, eventually finding refuge with his great-uncle C. E. "Spook" Bailey in the Oak Cliff neighborhood of Dallas.[4][5] Lewis later credited Spook with saving his life by providing a stable and supportive home that allowed him to begin recovering from his earlier damage and encouraged his interests in literature and film.[5][1]Education and early literary development
Lewis graduated from W. H. Adamson High School in Dallas in 1953. [2] [6] He subsequently attended North Texas State College (now the University of North Texas) in Denton, where he majored in English and drama, earning a B.A. in English in 1958. [2] [6] [4] Following his undergraduate degree, Lewis pursued some graduate work at North Texas and later at Texas Tech, though he did not complete a doctorate. [2] [4] At North Texas, Lewis formed a close literary friendship with fellow student Larry McMurtry, and together with another student they self-published two issues of the campus literary magazine The Coexistence Review, featuring original poetry, short fiction, and essays. [6] [4] Intended as a tribute to inspiring professors, the magazine—with its red lone-star cover—became notoriously controversial, interpreted by the administration as a thinly veiled attempt to broadcast communist propaganda, leading to Lewis and McMurtry being prohibited from publishing in the school's official literary magazine Avesta despite prior awards. [6] [4] Amid this environment, Lewis emerged as a brilliant literary figure on campus, regarded by peers and faculty as the student with the most promising future in writing and attracting a loyal following that resembled disciples. [2] Around 1963, Lewis discovered a passionate interest in film journalism when he accepted an invitation from McMurtry to spend a week on the set of Hud in Amarillo, the film adaptation of McMurtry's novel Horseman, Pass By; his unrealized notes from that experience later informed his approach to on-set reporting. [6] [4]Early journalism career
Newspaper work in Texas
After attending North Texas State University, Grover Lewis began his professional journalism career as a copy editor at the Fort Worth Star-Telegram, where he contributed frequent book reviews and launched the first pop music column in a Texas daily newspaper. [6] He drew on material from an earlier manuscript about blues musician Lightnin’ Hopkins to produce a series that earned him a national journalism award. [2] In 1966, Lewis moved to the Houston Chronicle, continuing on the copy desk. [2] He participated in the loose Fort Worth–Dallas literary scene, associating with writers such as Larry McMurtry and Bud Shrake. [2] Dissatisfied with management, Lewis dramatically resigned from the Chronicle in the late 1960s; he stood up from the copy desk, put on his sport coat, and announced to his colleagues, “Adiós, motherf—ers,” before walking out permanently. [2] By 1969, he had relocated to the Bay Area and begun contributing to the Village Voice. [2]Career at Rolling Stone
Associate editor role and contributions
Grover Lewis served as associate editor at Rolling Stone from 1970 to 1973, a period during which he played a key role in expanding the magazine's coverage beyond its primary focus on rock music to include serious, long-form film journalism.[1][7] He introduced immersive reporting formats, particularly on-set dispatches from film productions, where he embedded himself for extended periods to document the process as a kind of traveling caravan populated by eccentric characters, interviewing not only stars but also supporting players, crew members, extras, and onlookers to create unfiltered portraits of the filmmaking world.[1] Lewis often referred to himself in these pieces as "the writer" or "the fellow traveler," reflecting his participant-observer approach that treated film sets as rich cultural environments worthy of in-depth exploration.[1] His clear preference for film over most music subjects was famously signaled by a sign on his desk reading "I Don’t Write No Rock & Roll," a quote adapted from Muddy Waters.[1] Although he contributed pieces on major rock acts of the era, Lewis's emphasis on literary-style film profiles and features helped establish the kind of serious, pop-culture reporting that broadened Rolling Stone's scope and became a hallmark of its evolution in the early 1970s.[1][7] Lewis frequently clashed with publisher Jann Wenner, whom he described as "a brat and a groupie."[1] Their relationship deteriorated to the point that Wenner withdrew support for a book deal Lewis had for a biography of former Texas governor John Connally; Lewis sued Wenner for breach of contract, ultimately settling for $13,000 and retaining possession of a typewriter Wenner had sought to reclaim.[1] These contributions and conflicts marked Lewis's tenure as a transformative, if contentious, phase in the magazine's development toward wider cultural coverage.[1]Key articles and profiles from the period
During his tenure at Rolling Stone from 1970 to 1973, Grover Lewis produced several standout articles and profiles, primarily on film sets and actors, marked by immersive reporting, extended direct quotations, and a commitment to verbatim transcription that retained natural speech elements such as filler words and hesitations. [2] This approach, rooted in rigorous accuracy and observational depth, distinguished his work and influenced the magazine's coverage of movies and music. [2] Among his most celebrated contributions was “Splendor in the Short Grass,” published in the September 2, 1971 issue, which chronicled the on-set atmosphere and personalities during the filming of Peter Bogdanovich’s adaptation of Larry McMurtry’s novel The Last Picture Show, establishing a benchmark for narrative film journalism at the magazine. [2] Lewis also appeared briefly in the film in a small role as the father of the character Sonny. [2] That same year, he profiled Barbra Streisand in “The Jeaning of Barbra Streisand,” published June 24, 1971, capturing her life and work through extended interviews and observations. [8] Lewis turned his attention to other film figures with pieces such as “Robert Mitchum: The Last Celluloid Desperado,” written on the set of The Friends of Eddie Coyle, which presented candid anecdotes from the actor that Mitchum later found embarrassing despite the piece's factual grounding in taped conversations. [9] He profiled Paul Newman in “The Redoubtable Mr. Newman,” published in 1973, and documented Sam Peckinpah’s volatile directing process during the making of The Getaway in “Sam Peckinpah in Mexico,” published in 1972. [10] [11] Lewis ventured into music coverage with “Hitting the Note with the Allman Brothers Band,” published in late 1971 shortly after Duane Allman’s fatal motorcycle accident on October 29, which detailed the band’s road life, including heavy drug use and hedonistic excess, and provoked lasting controversy and resentment from band members, particularly Gregg Allman, who never forgave the portrayal. [12] These works highlighted Lewis’s focus on unvarnished truth through prolonged immersion and precise quotation, even when the results proved divisive. [2]Later career
Freelance writing and other publications
Following his departure from Rolling Stone in 1973, Grover Lewis worked as a freelance writer, contributing to Playboy and Oui magazines. [4] In late 1976, he relocated to Los Angeles and began writing for New West magazine (later renamed California), where he produced several notable pieces. [4] His cover feature for the March 27, 1978, issue, “The Shooting of Larry Flynt: An Eyewitness Account by Grover Lewis,” described the assassination attempt on publisher Larry Flynt outside a Georgia courthouse, an event Lewis witnessed while walking just steps behind Flynt. [4] Another New West article, “Buried Alive in Hype: My Years Among The Reality Vultures,” received a National Magazine Award nomination in 1979. [4] Freelance magazine assignments grew more elusive during the 1980s, prompting Lewis to shift toward contributions to newspapers and other outlets, including stories and book reviews for The Washington Post, the Los Angeles Times Sunday Magazine, the Los Angeles Times Book Review, and the St. Petersburg Times. [4] He also served as book editor for Movieline magazine, where he wrote the “Cut and Print” column. [4] In 1992, Lewis returned to personal themes with “Farewell to Cracker Eden” in Texas Monthly, an article confronting memories of his childhood in Oak Cliff that earned a PEN West journalism award nomination in 1993. [4] The success of that piece led to a 1993–1994 contract with HarperCollins (under editor Judith Regan) for a memoir titled Goodbye If You Call That Gone, though the project remained unfinished due to his declining health. [4] In 1993, Lewis published the cover story “The Killing of Gus Hasford: The Rise and Fall of a Short-Timer” in LA Weekly. [4] His output diminished in his final years as lung cancer took hold, and he died on April 16, 1995. [4]Writing style and impact
Film appearances
Grover Lewis made minor appearances in two films during his journalism career, both while reporting on their productions.- In ''The Last Picture Show'' (1971), he appeared as Mr. Crawford.[13][14]
- In ''The Candidate'' (1972), he appeared as Grover Lewis (Rolling Stone).[15][14]