The Genius and the Goddess (47 page)

5.
Miller,
Echoes Down the Corridor
, p. 291; Miller,
Timebends
, p. 337; Arthur Miller,
The Crucible
(New York, 1981), p. 54.

6.
Odets, in Zolotow,
Marilyn Monroe
, p. 265; Kazan,
Life
, p. 367; Robert Warshow, "The Liberal Conscience in
The Crucible
,"
The Immediate Experience
(1962; Cambridge, Mass., 2001), p. 167; Roudané,
Conversations with Arthur Miller
, p. 263.

7.
Miller,
Echoes Down the Corridor
, p. 282; Miller,
The Hook
, p. 18, unpublished screenplay, 1949, Lilly Library, Indiana University; Schickel,
Elia Kazan
, pp. 225, 227.

Leo Braudy, in an otherwise excellent study,
On the Waterfront
(London, 2005), p. 17, agrees with Schickel that
Waterfront
is not "a partial ripoff, if not an outright plagiarism, of the script for
The Hook
." But Barbara Leaming,
Marilyn Monroe
, p. 175, and Martin Gottfried,
Arthur Miller
, p. 231, point out some striking resemblances in the theme and atmosphere of both works.

8.
Albert Wertheim, "
A View from the Bridge
,"
The Cambridge Companion to Arthur Miller
, ed. Christopher Bigsby (Cambridge, England, 1997), pp. 107–108, and quoting
The Hook
, p. 173; Gottfried,
Arthur Miller
, p. 235; Christopher Bigsby, ed.,
Arthur Miller and Company
(London, 1990), p. 126.

9.
Budd Schulberg,
On the Waterfront: The Final Shooting Script
(Hollywood, 1980), p. 132; Kazan,
Life
, p. 500; Brando,
Songs My Mother Taught Me
, p. 195.

Both Schulberg and Kazan spent their whole lives trying to exculpate themselves and justify their disgraceful behavior. Schulberg also tried to justify his earlier betrayal of Scott Fitzgerald in Hollywood. See Jeffrey Meyers,
Scott Fitzgerald: A Biography
(New York, 1994), pp. 313–315.

10.
Miller,
Timebends
, pp. 152; 419; Miller, in Gottfried,
Arthur Miller
, p. 305; Eric Bentley, "Theatre,"
New Republic
, 133 (December 19, 1955), 21.

Ten:Witch Hunt

1.
Victor Navasky,
Naming Names
(1980; London, 1981), p. 212n; Miller,
Echoes Down the Corridor
, p. 290; Miller,
Timebends
, p. 406.

2.
Letter from Arthur Miller to Lloyd Garrison, May 22,1956, Library of Congress; Arthur Miller, FBI file.

3.
Navasky,
Naming Names
, p. 202; Caute,
Great Fear
, p. 501.

4.
Mary McCarthy, "Naming Names: The Arthur Miller Case, "
On the Contrary: Articles of Belief, 1946–1961
(1961; New York, 1966), p. 148; Testimony of Miller, HUAC, FBI file, pp. 7, 10; 16; 26; 29.

5.
Testimony of Miller, FBI file, pp. 38; 27; Kenneth Tynan,
Profiles
(1989; New York, 1990), p. 117;Testimony of Miller, FBI file, pp. 30, 31.

6.
Lardner, in Jeffrey Meyers,
Bogart: A Life in Hollywood
(Boston, 1997), p. 207;Testimony of Miller, FBI file, pp. 33, 34, 36.

When asked in 2000 if he'd ever been disappointed with the performance of his plays, Miller echoed his HUAC testimony and replied: "I don't want to mention names because some of these actors are still around and they've got enough trouble" (Enoch Brater, ed.,
Arthur Miller's America: Theater & Culture in a Time of Change
, Ann Arbor, 2005, p. 252).

7.
Miller, FBI file; Walter Goodman,
The Committee
(Baltimore,1968), p. 392; Caute,
Great Fear
, p. 536; McCarthy,
On the Contrary
, pp. 149, 154.

8.
Navasky,
Naming Names
, pp. 199, 200; 423; Lillian Hellman, "Lillian Hellman Wants a Little Respect for Her Agony,"
Show
, 4 (May 1964), 12.

9.
Navasky,
Naming Names
, p. 219; Letter from Arthur Miller to Saul Bellow, July 8, 1956, University of Chicago Library.

10.
Bigsby,
Remembering Arthur Miller
, p. 63; "Arthur Miller,"
"Paris Review" Interviews
, p. 228; Testimony of Miller, FBI file, p. 32; Rosten,
Marilyn
, p. 31.

11.
Guiles,
Legend
, p. 302; Michiko Kakutani, "Arthur Miller,"
The Poet at the Piano: Portraits of Writers
(New York, 1989), p. 163; Mailer,
Marilyn
, p. 93.

12.
Remembering Marilyn
, Vestron video, 1988; Meryman, in Rollyson,
Marilyn Monroe
, p. 212; Letter from Miller to Joseph Rauh, August 12, 1958, Library of Congress.

13.
"Timon," in
Centinela Press
(Hawthorne, California), March 17, 1957, Miller, FBI file; Miller,
Timebends
, p. 403; Marilyn Monroe, FBI file.

14.
Joseph Rauh, "Draft of statement to be issued by Arthur Miller in case of indictment," January 2, 1957; Rauh, "Basis of Appeal, " p. 2, Library of Congress;"Arthur Miller, "
"Paris Review" Interviews
, p. 228.

15.
Letter from Rauh to Alan Howe, August 11, 1958; Miller, statement, August 7, 1958; Letter from Rauh to Allan Seager, January 10, 1959, Library of Congress.

16.
Letter from Miller to Rauh, quoting Skouras, August 9, 1958; Letters from Miller to Rauh, November 13, 1957, June 12, 1959 and August 5, 1960, Library of Congress.

17.
Bigsby,
Remembering Arthur Miller
, p.268;Christopher Bigsby, A
rthur Miller: A Critical Study
, (Cambridge, England, 2005), p. 226.

Eleven: Marriage and England

1.
Leaming,
Marilyn Monroe
, p. 275; Miller,
Timebends
, pp. 379; 522; Leaming,
Marilyn Monroe
, p. 245. For the photo, see Haspiel,
Marilyn
, p. 136.

2.
Letter from Miller to Bellow, July 8, 1956, University of Chicago Library; Susan Strasberg,
Marilyn and Me
, p. 112; Guiles,
Legend
, pp. 306–307; Evelyn Waugh,
Brideshead Revisited
(1945; London, 1962), pp. 184–185; Christie's,
Personal Property
, p. 251.

3.
Evan Zimroth, "Marilyn at the Mikvah," in McDonough,
All the Available Light
, p. 183; Telegram to Spyros Skouras, April 1961, Stanford University Library; Letter from Miller to Bellow, July 8,
1956, University of Chicago Library; Marilyn, in Clare Boothe Luce, in
All the Available Light
, p. 93.

4.
Letter from Marilyn to Charles Feldman, April 18, 1955, American Film Institute; Telegram from Buddy Adler to Spyros Skouras, [1956], Stanford University Library; Rosten,
Marilyn
, p. 39; Sandra Shevey,
The Marilyn Scandal
(New York, 1987), p. 258.

5.
Zolotow,
Marilyn Monroe
, p. 299; Clark,
The Prince, the Showgirl and Me
, p. 105; Hugo Vickers,
Vivien Leigh
(Boston, 1988), p. 239; Letter from Miller to Norman Rosten, October 13, 1956, courtesy of Patricia Rosten Filan.

6.
Paula, in Mailer,
Marilyn
, p. 229; Anthony Holden,
Laurence Olivier
(New York, 1990), pp. 305; 306; Clark,
The Prince, the Showgirl and Me
, pp. 71; 73.

7.
Olivier, in "N.B.,"
Times Literary Supplement
, March 7, 2008, p. 36; Cardiff,
Magic Hour
, p. 207; Miller, in Guiles,
Legend
, p. 321.

8.
Vickers,
Vivien Leigh
, p. 239; Donald Spoto,
Laurence Olivier: A Biography
(New York, 1992), p. 271; Olivier, in Clark,
The Prince, the Showgirl and Me
, p. 109; Pepitone,
Monroe Confidential
, p. 60.

9.
Miller,
Timebends
, pp. 429; 418; Miller, in Guiles,
Legend
, pp. 314; 315; 320; 319.

10.
Susan Strasberg,
Marilyn and Me
, p. 122; Miracle,
My Sister Marilyn
, p. 176; Gottfried,
Arthur Miller
, p. 303; Christie's,
Personal Property
, p. 345.

11.
Letter from Miller to Norman Rosten, October 13, 1956, courtesy of Patricia Rosten Filan; Clark,
The Prince, the Showgirl and Me
, p. 210; Marilyn, in Spoto,
Marilyn Monroe
, p. 388;Winters,
Shelley II
, p. 216.

12.
Miller, in Guiles,
Legend
, p. 276; Zolotow,
Marilyn Monroe
, p. 315; Interview with Arthur Miller, Roxbury, Conn., June 19, 1981; Phone talk with Joshua Greene, New York, October 22, 2007.

Twelve: Heading for Disaster

1.
Mailer,
Marilyn
, p. 234; Miller,
Timebends
, pp. 468; 489; Norman Mailer, "
Strawhead
, "
Vanity Fair
, 49 (April 1986), 63; Nora Johnson,
Flashback on Nunnally Johnson
, p. 277; Adams,
Lee Strasberg
, p. 268.

2.
Interview with Curtice Taylor and Letter from Curtice Taylor to Jeffrey Meyers, February 12, 2008; Pepitone,
Monroe Confidential
, p. 14; Roudané,
Conversations with Arthur Miller
, p. 52.

3.
Sylvia Plath,
Unabridged Journals
, ed. Karen Kukil (New York, 2000), pp. 513–514; Pepitone,
Monroe Confidential
, pp. 40; 30–31; Gottfried,
Arthur Miller
, p. 312.

4.
Carson McCullers,
Illuminations and Night Glare: The Unfinished Autobiography
(Madison, Wisconsin,1999), p.61;Carr,
Lonely Hunter
, p. 480; Judith Thurman,
Isak Dinesen:The Life of a Storyteller
(New York, 1982), p. 424.

5.
Carson McCullers, "Isak Dinesen: In Praise of Radiance,"
Saturday Review
, March 16, 1963, p. 83; Thurman,
Isak Dinesen
, pp. 387n; 425.

6.
James Atlas,
Saul Bellow:A Biography
(NewYork,2000), pp.276–277;
Conversations with Saul Bellow
, ed. Gloria Cronin and Ben Siegel (Jackson, Miss., 1994), p. 130; Jeffrey Meyers,
Robert Frost: A Biography
(Boston, 1996), p. 175.

7.
Barris,
Marilyn in Her Own Words
, p.132 and Meryman, in Rollyson,
Marilyn Monroe
, p.206;Spoto,
Marilyn Monroe
, p.408;Carl Sandburg, "Tribute to Marilyn Monroe from a Friend,"
Look
, 26 (September 11, 1962), 91–92.

8.
R.W.B. Lewis, ed.,
A Century of Arts and Letters
(New York, 1998), p. 163; Interviews with the poet William Jay Smith, Cummington, Mass., October 31, 2007, and with Lydia Kaim, assistant to the director of the Academy, Kennet Square, Penna., December 9, 2007;Victor,
Marilyn Encyclopedia
, p. 299; Rosten,
Marilyn
, p.68.

9.
Meyers,
Robert Frost
, p. 339; Goldman,
Crucial Decade
, p. 331; Winters,
Shelley II
, pp. 271–272; Goldman,
Crucial Decade
, p. 331, and Gavin Lambert, "On Marilyn Monroe,"
On Cukor
(New York, 1972), p. 177.

10.
William Taubman,
Khrushchev: The Man and His Era
(New York, 2003), p. 431; Lambert,
On Cukor
, p. 177; Miller,
Timebends
, p. 405.

11.
Winters,
Shelley II
, p. 273; Rosten,
Marilyn
, p. 20; Pepitone,
Monroe Confidential
, p. 144.

12.
Stacy Schiff,
Véra (Mrs. Vladimir Nabokov)
, (1999;New York, 2000), p. 269n; Zolotow,
Marilyn Monroe
, p. 327;Vladimir Nabokov,
Pale Fire
(1962; New York, 1968), p. 35.

13.
Marilyn, in David Shipman,
Movietalk
(New York, 1988), p. 78; Wagenknecht, ed.,
Marilyn Monroe
, p. 21; Les Brown,
Variety
, August 15, 1962, p. 22.

14.
Pepitone,
Monroe Confidential
, pp. 29, 38, 184;Ted Jordan,
Norma: My Secret Life with Marilyn Monroe
(New York, 1989), pp. 226–227.

15.
Mailer,
Marilyn
, p. 243;W. J. Weatherby,
Conversations with Marilyn
(New York, 1976), p. 131; Guus Luitjers, ed.,
Marilyn Monroe: A Never-Ending Dream
(New York, 1986), p. 81.

16.
Pepitone,
Monroe Confidential
, p. 97; Kazan,
Life
, p. 668;Weatherby,
Conversations with Marilyn
, p. 144.

17.
Stapleton, in Summers,
Goddess
, p. 181; Susan Strasberg,
Marilyn and Me
, p. 170; Pepitone,
Monroe Confidential
, p. 117.

For the similar complaint of another dissatisfied woman, see Hemingway,
"Cat in the Rain" (1925),
Short Stories
, p. 170: "I want to eat at a table with my own silver and I want candles. And I want it to be spring and I want to brush my hair out in front of a mirror and I want a kitty and I want some new clothes."

18.
Letter from Marilyn to Norman and Hedda Rosten, [mid-1950s], courtesy of Patricia Rosten Filan; Jeffrey Meyers, "Miller's Outtakes,"
American Drama
, 15 (Winter 2006), 87;
Conversations with Norman Mailer
, ed. Michael Lennon (Jackson, Miss., 1988), pp. 317; 203.

19.
Rosten, in Manso,
Mailer
, pp. 538–539; Mailer,
Marilyn
, pp. 22, 23.

20.
Susan Strasberg,
Bittersweet
, p. 156; Mailer,
Marilyn
, p. 170; Rosten,
Marilyn
, pp. 66–67.

21.
Susan Strasberg,
Marilyn and Me
, p. 134; Miller, in Guiles,
Legend
, p. 333.

Thirteen: Billy Wilder and Yves Montand

1.
The train going south stops in Washington, Charleston, Savannah, Jacksonville and Miami, as if it were traveling down the East Coast from New York instead of southeast from Chicago.

2.
Tony Curtis and Barry Paris,
Tony Curtis:The Autobiography
(New York, 1993), pp. 169; 157; Interview with Walter Mirisch, Universal City, California, November 14,2007;Maurice Zolotow,
Billy Wilder in Hollywood
(New York, 1977), p. 257.