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Dorothy Parker
Parker, Dorothy - (Dorothy Rothschild Parker), 1893–1967, American short-story and verse writer, b. West End, N.J. While serving as drama critic for Vanity Fair (1916–17) and book critic for the New Yorker (1927), she gained an almost legendary reputation for her sardonic wit. Her first volume of poetry, Enough Rope (1926), brought her fame, and she followed it with such volumes as Read More...
Parker, Dorothy - (Dorothy Rothschild Parker), 1893–1967, American short-story and verse writer, b. West End, N.J. While serving as drama critic for Vanity Fair (1916–17) and book critic for the New Yorker (1927), she gained an almost legendary reputation for her sardonic wit. Her first volume of poetry, Enough Rope (1926), brought her fame, and she followed it with such volumes as Death and Taxes (1931) and Not So Deep as a Well (1936). Although decidedly light and often flippant, Parker's satiric verse is carefully crafted and stunningly concise. Her short stories satirizing aspects of modern life are witty, wry, and often poignant. "Big Blond" is probably her best-known story. Collections of stories include Laments for the Living (1930) and Here Lies (1939). Her Collected Stories was published in 1942 and her Collected Poetry in 1944. She collaborated with Arnaud d'Usseau on the play Ladies of the Corridor (1953). See biographies by J. Keats (1970) and M. Meade (1987); study by A. F. Kinney (1978). The Columbia Encyclopedia, Sixth Edition Copyright© 2004, Columbia University Press. Licensed from Lernout & Hauspie Speech Products N.V. All rights reserved. |
Read full-text books and articles on:
Dorothy Parker
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American Women Writers, 1900-1945: A Bio-bibliographical Critical Sourcebook ("Dorothy Parker (1893-1967)" begins on p. 271)
by Laurie Champion, Emmanuel S. Nelson. 412 pgs.
Women writers have been traditionally excluded from literary canons, not until recently have scholars begun to rediscover or discover neglected women writers and their works. This reference includes alphabetically arranged entries on 58 American women authors who wrote between 1900 and 1945, a period that embraces two major artistic movements, Modernism and the Harlem Renaissance. Each entry is written by an expert contributor and includes a biography, a discussion of major works and themes, a review of the author's critical reception, and extensive primary and secondary bibliographies. The volume reflects the diversity of American culture through its coverage of African American, Native American, Mexican American, and Chinese American women writers.
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The Columbia Companion to the Twentieth-Century American Short Story ("Dorothy Parker" begins on p. 447)
by Blanche H. Gelfant, Lawrence Graver. 880 pgs.
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American Women Fiction Writers, 1900-1960, Vol. Two ("Dorothy Parker (1893-1967)" begins on p. 147)
by Harold Bloom. 176 pgs.
Part of an ongoing series covering the texts and lives of the most important women writers of English, this book contains introductory essays by Harold Bloom and provides biographical information, a wide selection of critical excerpts, and complete bibliographies of 11 authors.
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American Women Playwrights, 1900-1950 ("Dorothy Parker (1893-1967)" begins on p. 421)
by Yvonne Shafer. 560 pgs.
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Making Love Modern: The Intimate Public Worlds of New York's Literary Women (Chap. Four "The Algonquin Round Table and the Politics of Sophistication")
by Nina Miller. 292 pgs.
In the teens and twenties, New York was home to a rich variety of literary subcultures. Within these intermingled worlds, gender lines and other boundaries were crossed in ways that were hardly imaginable in previous decades. Among the bohemians of Greenwich Village, the sophisticates of the Algonquin Round Table, and the literati of the Harlem Renaissance, certain women found fresh, powerful voices through which to speak and write. Enda St. Vincent Millay and Dorothy Parker are now best remembered for their colorful lives; Genevieve Taggard, Gwendolyn Bennett, and Helene Johnson are hardly remembered at all. Yet each made a serious literary contribution to the meaning of modern femininity, relationship, and selfhood. Making Love Modern uncovers the deep historical sensitivity and interest in these women's love poetry. Placing their work in the context of subcultures nested within national culture, Nina Miller explores the tensions that make this literature so rewarding for contemporary readers. A poetry of intimate expression, it also functioned powerfully as public assertion. The writers themselves were high-profile embodiments of femininity, the local representatives of New Womanhood within their male-centered subcultural worlds. This book captures the literary lives of these woman as well as the complex subcultures they inhabited--Harlem, the Village, and glamorous midtown Manhattan.
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Black on Blonde: The Africanist Presence in Dorothy Parker's 'Big Blonde,' in College Literature
by Amelia Simpson. 12 pgs.
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A Library of Literary Criticism: Modern American Literature (1960) (Discussion of Dorothy Parker begins on p. 372)
by Dorothy Nyren. 554 pgs.
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I Hear America ...: Literature in the United States since 1900 ("Dorothy Parker" begins on p. 299)
by Vernon Loggins. 392 pgs.
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Innocent Merriment: An Anthology of Light Verse (Poems by Dorothy Parker begin on p. 160)
by Franklin P. Adams. 546 pgs.
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The Comic in Theory & Practice ("You Were Perfectly Fine" by Dorothy Parker begins on p. 141)
by John J. Enck. 352 pgs.
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America's 93 Greatest Living Authors Present This Is My Best: Over 150 Self-Chosen and Complete Masterpieces, Together with Their Reasons for Their Selections ("Dorothy Parker: Why She Selected 'The Standard of Living'" begins on p. 206)
by Whit Burnett. 1204 pgs.
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A Gendered Collision: Sentimentalism and Modernism in Dorothy Parker's Poetry and Fiction
by Rhonda S. Pettit. 248 pgs.
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