Liberation (120 page)

Childers, Michael (b. 194[4]).
American photographer; born in North Carolina, educated at UCLA Film School. He was the longtime companion of film director John Schlesinger, whom he met in 1968. Schlesinger asked him to assist on
Midnight Cowboy
(1969), and they afterwards collaborated on other productions. Childers was a photographer for Andy Warhol's magazines
Interview
and
After Dark
from their inception and for
Dance
magazine, and he created the multimedia presentation used in
Oh! Calcutta!
He was also the photographer for a number of productions at the National Theatre in London during the 1970s. Other work includes hundreds of record album sleeves; film posters and stills for Hollywood productions such as
Grease
,
Marathon Man
,
The Year of Living Dangerously
,
Coal Miner's Daughter
,
The Terminator
, and
Torch Song Trilogy
; and covers for
Life
,
GQ
,
Esquire
,
Vogue
,
Elle
, and
Paris Match
.

Clark, Ossie (1942–1996) and Celia (b. 1941).
British dress designer and his wife, British fabric designer Celia Birtwell. He studied at the Manchester School of Art, where he met David Hockney in 1961, and later at the Royal College of Art when Hockney was also there. She trained at the Salford School of Art and later taught at the Chelsea College of Art. He used her fabrics in his designs and together they ran Quorum, a popular clothing boutique. Hockney was best man at the Clarks' wedding in 1969, and Celia posed for him so often that she is sometimes called his muse. During 1970 and 1971, Hockney made a large painting of them with their cat,
Mr. and Mrs. Clark and Percy
, now in the Tate. The Clarks had two sons before separating. Later, she ran her own fabric shop in London and launched a clothing line.

Clarke, Gerald (b. 1937).
American journalist and biographer; raised in California, educated at Yale, settled in New York. He wrote magazine profiles of artists and celebrities for many years and then published
Capote: A Biography
(1988) and
Get Happy: The Life of Judy Garland
(2000), both adapted as films.

Claxton, Bill (1927–2008) and Peggy Moffitt (b. 1939).
He was a photo grapher known for his work with musicians and actors. His wife, Peggy Moffitt, was a model and actress. She was muse to fashion designer Rudi Gernreich, modelling his topless bathing suit in the mid-1960s, and she had a small role in Antonioni's
Blow-up
(1965). In 1991, they published
The Rudi Gernreich Book
, full of Claxton's photographs of Gernreich's designs worn mostly by Moffitt in her signature white pancake makeup with heavily blacked eyes. One shot shows Bachardy drawing her portrait while Gernreich looks on. Isherwood met Bill Claxton through Jim Charlton, and he appears in
D.1.
They both appear in
D.2.

Clay, Camilla (d. 2000).
American stage director. She assisted Ellis Rabb at the APA Repertory Company in 1966 and occasionally later. In 1967, she assisted José Quintero when he directed O'Neill's
More Stately Mansions
with Ingrid Bergman and Colleen Dewhurst at the Ahmanson before bringing it to New York. From 1967 to 1972, she rented a house in Malibu with writer Linda Crawford and before that, briefly, they lived at the Château Marmont. In 1972, the pair moved back east where Clay directed
Cabaret
at a community theater on the North Fork of Long Island in 1974 and
Stuck
by Sandra Scoppettone in 1976. She lived in Los Angeles again for a few years from 1979 onward before finally settling in New York, where she died of cancer. Isherwood met her through Gavin Lambert. She appears in
D.2.

Clement.
See Scott Gilbert, Clement.

Clytie.
See Alexander, Clytie.

C.O.
Conscientious objector.

Cockburn, Jean.
See Ross, Jean.

Cohan, Robert (Bob) (b. 1925).
American dancer from New York; he was a longtime soloist with the Martha Graham Dance Company. In the late 1950s, he also became a choreographer and teacher, launching his own school and company in Boston, where he joined the faculty of Harvard's Loeb Drama Center. Then, in 1966–1967, he founded the London Contemporary Dance Theatre and School, bringing Martha Graham's technique to Europe. Isherwood generally misspelled his surname as Coh
e
n.

Cohen, Andee (b.
circa
1946).
American photographer. She began taking pictures of her friends—actors, artists, and rock-and-roll musicians in London and Los Angeles—when her boyfriend, James Fox, gave her a camera in 1966. Her work appeared on album covers for Frank Zappa, Joe Cocker, Tom Petty, and others. Later she married Rick Nathanson, a film producer. She appears in
D.2.

Collier, John (1901–1980).
British novelist and screenwriter. He is best known for
His Monkey Wife
(1930) and also wrote other fantastic and satirical tales. Isherwood admired his short stories. Collier was poetry editor of
Time and Tide
in the 1920s and early 1930s and came to Hollywood in 1935. Isherwood met him in the 1940s, perhaps at Salka Viertel's, and they became close friends while working at the same time at Warner Brothers during 1945. In 1951, Collier moved to Mexico, though he continued to write films, including the script, deplored by Isherwood in
D.1
, for the film version of
I Am a Camera
. He appears in
Lost Years.

Connolly, Cyril (1903–1974).
British journalist and critic; educated at Eton and Oxford. He was a regular and prolific contributor to English newspapers and magazines, including
The New Statesman
,
The Observer
(where he was literary editor in the early 1940s) and
The Sunday Times
. He wrote one novel,
The Rock Pool
(1936), followed by collections of criticism, autobiography, aphorisms, and essays—
Enemies of Promise
(1938),
The Unquiet Grave
(1944),
The Condemned Playground
(1945),
Previous Convictions
(1963), and
The Evening Colonnade
(1973). In 1939, he founded
Horizon
with Stephen Spender and edited it throughout its publication until 1950. He was perhaps the nearest “friend” of Isherwood and Auden who publicly criticized their decision to remain in America during World War II. He blamed them for abandoning a literary-political movement which he was convinced they had begun and were responsible for. Connolly married three times: first to Jean Bakewell, who divorced him in 1945, then to Barbara Skelton from 1950 to 1956, and finally, in 1959, to Deirdre Craig with whom he had a son, Matthew, and a daughter, Cressida. From 1940 to 1950 he lived with Lys Lubbock, who worked with him at
Horizon
; they never married, but she changed her name to Connolly by deed poll. He appears in
D.1
,
D.2
, and
Lost Years.

Cooper, Billy.
See McCarty-Cooper, Billy.

Cooper, Douglas (1911–1984).
London-born heir to an Australian fortune, which he spent on Modernist art, especially early French Cubism. He was a curator at the Mayor Gallery in London, investigated Nazi art thieves after World War II, and lectured and wrote widely on Léger, Picasso, Juan Gris, and others. Among the works at his Château de Castille, and which Isherwood mentions, was a design commissioned by him from Picasso and sandblasted onto one of the walls. American decorator Billy McCarty was a longtime companion, and Cooper adopted him in 1972.

Cooper, Gladys (1888–1971).
British stage and film star; she was a teenage chorus girl, World War I pin-up, and silent film actress before establishing her reputation on the London stage. As Isherwood tells in
D.1
, he first met her in Los Angeles in 1940 when she was past fifty and had made few films. She had a supporting role in
Rebecca
that year and afterwards appeared in
The Song of Bernadette
(1943),
Green Dolphin Street
(1947),
The Secret Garden
(1949),
Madame Bovary
(1949),
The Man Who Loved Redheads
(1955),
Separate Tables
(1958), and
My Fair Lady
(1964), among many others. She also appears in
D.2.

Cooper, Wyatt (1927–1978).
Actor, screenwriter, editor, from Mississippi; educated at Berkeley and UCLA. He appeared on stage and T.V., had a small role in
Sanctuary
(1961), and wrote the screenplay for
The Chapman Report
(1962). In
D.1
, Isherwood describes meeting Cooper when Cooper was involved with Tony Richardson; he also appears in
D.2
. He became the fourth husband of Gloria Vanderbilt (b. 1924), only granddaughter of Cornelius Vanderbilt and in girlhood the subject of a headline-making custody battle between her widowed, reportedly lesbian mother and her forceful, richer aunt, Gertrude Vanderbilt Whitney, who raised her in lonely splendor on Long Island. At seventeen, Gloria married Pasquale “Pat” DiCicco, a Hollywood agent; at twenty-one she inherited four million dollars. Her two other husbands were conductor Leopold Stokowski and film director Sidney Lumet. She again made her name a household word with her designer jeans in the 1980s. She had two sons with Cooper: the younger one, Carter, committed suicide in 1988; the older one is CNN anchor Anderson Cooper. Beginning in 1969, Wyatt Cooper edited a magazine,
Status
, to which, as Isherwood mentions, Bachardy contributed an interview and, later, some drawings, but the magazine ceased publication before the work appeared. Cooper also wrote
Families: A Memoir and a Celebration
(1978).

Copland, Aaron (1900–1990).
American composer; born and raised in Brooklyn, trained in New York and Paris. He drew on jazz, folk, and other popular idioms to give his orchestral and choral works an American character.
Appalachian Spring
(1944), composed for Martha Graham's dance company, won a Pulitzer Prize. His film score for
The Heiress
(1949) won an Academy Award, and three of his many later film scores were also nominated. His numerous other works include
Our Town
(1940),
Rodeo
(1942),
The Tender Land
(1954), and
Lincoln Portrait
(1942).

Corcoran, James and Dagny.
Los Angeles gallery owner and art dealer and his wife. He took over Nicholas Wilder's gallery in 1979 and for several years represented Bachardy. She is an art collector and founder of the West Hollywood bookstore Art Catalogues which specializes in current and out-of-print exhibition catalogues and books on modern art and photography. She is the daughter of real estate developer and art collector Edwin Janss, Jr. who helped expand Sun Valley and Snowmass ski resorts and whose father and grandfather developed parts of Los Angeles and its suburbs and donated 385 acres to UCLA for its campus.

Coricidin.
A brand-name cold remedy. Some versions contain a cough suppressant (dextromethorphan) attractive to recreational drug users and dangerous in combination with the antihistamine ingredient (chlorphenamine maleate). When Isherwood used it, Coricidin contained a decongestant (pseudoephedrine) and not an antihistamine. Some versions also contain an analgesic (acetaminophen), for fever and pain.

Cotten, Joseph (1905–1994).
American actor. He worked on Broadway from the early 1930s and played the lead opposite Katharine Hepburn in
The Philadelphia Story
in 1939 and 1940. He was also a member of Orson Welles's Mercury Theater from 1937 to 1939, and Welles brought him to Hollywood to appear in
Citizen Kane
(1941). He went on to star in
The Magnificent Ambersons
(1942) and
Journey Into Fear
(1943) for Welles and then, for Hitchcock, in
Shadow of a Doubt
(1943). His many other films include
Portrait of Jennie
(1948),
The Third Man
(1949), and
Hush . . . Hush, Sweet Charlotte
(1964). He appears in
D.1
with his first wife, Lenore Kipp; she was wealthy in her own right and a friend to Isherwood and Bachardy until her death from leukemia in 1960. The year Lenore died, Cotten married British actress Patricia Medina (b. 1920), who was in
The Three Musketeers
(1948) and Welles's
Mr. Arkadin
(1955) and starred with Cotten on Broadway. They appear in
D.2.

Courtenay, Tom (b. 1937).
British actor, educated at the University of London and RADA; he came to prominence in Richardson's 1962 film
The Loneliness of the Long Distance Runner
. His many other stage and film roles include Pasha in David Lean's
Doctor Zhivago
(1965),
The Dresser
, which he took from stage to screen in 1983, and
Last Orders
(2001).

Craft, Robert (Bob) (b. 1923).
American musician, conductor, critic, and author; colleague and surrogate son to Stravinsky during the last twenty-three years of Stravinsky's life. Isherwood first met Craft with the Stravinskys in August 1949 when Craft was about twenty-five years old and had been associated with the Stravinskys for about eighteen months. Craft was part of the Stravinsky household, and travelled everywhere with them, except when his own professional commitments prevented him. Increasingly he conducted for Stravinsky in rehearsals and supervised recording sessions, substituting entirely for the elder man as Stravinsky's health declined. In 1972, a year after Stravinsky's death, Craft married Stravinsky's Danish nurse, Alva, who had remained with Stravinsky until the end, and they had a son. Craft published excerpts from his diaries as
Stravinsky: Chronicle of a Friendship 1948–1971
(1972; expanded and republished 1994), edited three volumes of
Selected Correspondence
by Stravinsky, which appeared in 1981, 1984, and 1985, and produced other books arising from his relationship with the Stravinskys as well as articles, essays, and reviews on musical, literary, and artistic subjects. He appears in
D.1
,
D.2
, and
Lost Years
.