By Faye Hammill
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Extra info for Women, Celebrity, and Literary Culture between the Wars (Literary Modernism Series)
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Indb 36 5/2/07 6:45:38 AM Dorothy Parker, Vogue, and Vanity Fair | 37 sketches illustrated various difficult celebrity marriages. Among the characters are “two great opera-stars,” who cannot agree which of them should sing first, leading to “harmony distinctly à la Stravinsky”; a “feature-film star of the first magnitude” who marries into the aristocracy; a “famous man-modiste” in a relationship with his mannequin; and a “leading lady who insists on hitching her wagon to a male star” (“Mysterious Marriages,” 66, 67).
Greer, Bishop of New York. The photograph captions offer a diverse range of reasons for the nominations, from financial power and justice toward employees (Albee) through birth, beauty, and charm (Lady Patricia) to “energy, inspiration” and advocacy “of the destruction of false conventionalism” (Greer). But while this suggests a fairly traditional idea of fame as something which must be earned by unusual ability, virtue, and effort, the magazine also participates in the search for novelty and gossip typical of more lowbrow publications.
1 Like some of the other authors discussed in this study, Parker tended to underrate her own work. Yet her career was highly successful: she published in the most prestigious American magazines, and her theater and book columns were popular and influential. Her first poetry collection, Enough Rope (1926), made the best seller lists, an almost unprecedented achievement for a book of verse, and her next volume, Sunset Gun (1928), followed suit. Her story “Big Blonde” won the coveted O. Henry Award for 1929, and she also worked on the scripts for several films which became classics, including A Star Is Born (1937), Nothing Sacred (1937), and Saboteur (1942).