The 50 Year Argument,” a 2014 documentary film on the history and influence of
The New York Review of Books, opens, as one critic put it, “with a tender and hard-hitting monologue about the subjectivity of journalistic stories due to the impossibility of the human mind being able to objectively record and store memories from our lives.” Scorses’s film is far more exciting than the above sentence may indicate. It captures a time in New York when left wing radical chic was practically the whole of intellectual life. The so-called New York ‘right’ at the time (as represented by William F. Buckley’s
Dec 29, 2020 Web Exclusive By Ed McMenamin
Town Bloody Hall is fascinating, not because it was ahead of its time, really, but because it is so precisely
of its time, a snapshot of progressive women doing battle and also just simply enduring the presence of a Norman Mailer, a troll, an expert crowd-baiter, a brilliant writer and often unparalleled thinker who also harbored ugly and stubborn opinions on women and gender.
Filmed by cinema verité documentarian D.A. Pennebaker and a small crew in 1971,
Town Bloody Hall captures Mailer’s verbal brawl with four prominent women writers and activists Jacqueline Ceballos, Germaine Greer, Jill Johnston and Diana Trilling shortly after his essay, “The Prisoner of Sex,” inflamed the women’s liberation movement and made Mailer its public enemy No. 1, if he wasn’t already.
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Why It’s Time to Acknowledge Germaine Greer, Journalist
The Observer decided not to run the articles.
The pages of Germaine Greer’s University of Warwick diary for 1971 are mostly blank; she was too busy to fill them out. After April 20, 1971, publication day for The Female Eunuch in the United States, Greer plotted her life in single words or urgent phrases. Hamburg. Leave for Sardinia. Quarrel with Ken. Arr. Paris. Esquire Round Table Luncheon. Canada. WET DREAM. Hanoi?