“was oddly appropriate”: LW, p. 128.
[>] Gerald had paid for . . . complicated proposition: GCM to E. R. Cawdron, 12 Mar. 1951, HMD. It was important to have the case handled by a French lawyer because Esther was a French resident; the cost for this was 28, francs.
“I am sorry”: Esther Murphy to GCM, 9 Sept. 1950, HMD.
[>] “our relationship” . . . not Sara’s: GCM to Esther Murphy, undated, HMD.
“It was my irreparable”: GCM to DP, 17 Dec. 1962, CUL.
[>] “another generation growing”: FSF to GCM and SWM, 31 Jan. 1937, HMD.
It was Gerald . . . “very important”: Sherman Donnelly interview.
Edward Gorey . . . it was vain: John Donnelly and Laura Donnelly Taylor interviews.
Sometimes the games . . . he’d been fooling them: Laura Donnelly Taylor interview.
“like a Japanese garden”: Sherman Donnelly interview.
“Dow was in charge . . . what a man”: William MacLeish interview; additional details, HMD interview.
[>] “a little too much . . . it leaves you”: SWM to JDP and Elizabeth Dos Passos, S& G, p. 231.
Edmund Wilson . . . “bufferage”: DaP to JDP, 19 Mar. 1963, CUL.
“Great White Father” . . . least favorite picture: Undated, unsigned drawing in Edmund Wilson file, Dawn Powell papers, CUL. inscribed . . . “fromage de Brie”: Edmund Wilson to JDP, 2 May 1963, in Wilson, Letters on Literature and Politics, pp. 638–39.
[>] “lots of vins et liqueurs”: S& G, p. 230.
“an incredible meal”: Edmund Wilson to JDP, 2 May 1963, in Wilson, Letters on Literature and Politics, pp. 638–39.
“We’ve never done . . . from the heart”: GCM to DaP, 5 Apr. 1963, CUL.
26. “Only half a person without you”
[>] “much more irresponsible” . . . funeral barge: GCM to DaP, 5 Apr. 1963, CUL.
“I feel sure I’ll come”: GCM to AMacL, 15 Sept. 1963, LOC.
“Every once in a while . . . beautiful and free!”: Ibid., 30 May 1964.
[>] What they didn’t know . . . chance of survival: William Abel interview. “Dearest Gerald”: SWM to GCM, 7 Aug. 1963, HMD.
“sitting in the sun . . . doctors’ satisfaction”: GCM to AMacL, 15 Sept. 1963, LOC.
[>] “Featureless horizon . . . things unknown”: AMacL to GCM, 19 Sept. 1963, HMD.
“dinner and dancing . . . makes it worse”: SWM to DaP, 9 Mar. 1964, CUL.
“in the night”: GCM to AMacL, 30 May 1964, LOC.
“All of that . . . Trop tard": GCM to CT, [Apr. 1964], HMD.
[>] “had been the only”: S& G, p. 238.
“how Paris was”: EH, A Moveable Feast, p. 211.
“a life without consequences”: Mellow, Flemingway: A Life Without Consequences.
“The rich have . . . wrong with it?”: EH, A Moveable Feast, pp. 207–209.
[>] “I am—contre coeur . . . of course”: GCM to AMacL, 30 May 1964, LOC. paints, but is not really a painter: Item 841, JFK.
“these rich . . . bad luck could go”: Baker, Emest Hemingway: A Life Story, p. 593n
Gerald was very firm . . . ran down: William Abel interview.
[>] “I had so wanted . . . peace hereafter”: GCM to Ada MacLeish and AMacL, 18 Jul. 1964, LOC.
When Dr. Abel . . . travels in the tropics: William Abel interview.
“Dear Dow”: AMacL inscription to GCM, HMD.
Recalling . . . “clarion-call”: GCM to AMacL, 4 Sept. 1964, LOC.
“thinking of himself”: AMacL, “The Art of Poetry” interview, The Paris Review, vol. 14, no. 58, p. 70.
[>] “How wonderful”: HMD interview.
“Dear Tad”: SWM to CT, 4 Oct. [1964], HMD.
On October 17 . . . slipped away forever: HMD interview.
“DEAREST SARA . . . disguised as taste”: DP to SWM, quoted in Miller, Letters from the Lost Generation, p. 275; DaP to JDP, 26 Oct. 1964, CUL. Other details from interviews with CT, FMB, Patricia Vaill, and others.
[>] “Don’t go . . . know you”: Lillian Hellman/HMD interview, HMD.
“We know . . . Hemingway Collection”: Valerie Danby-Smith to SWM, 15 Dec. 1965, HMD.
“Dear Mrs. Hemingway . . . who is gone”: SWM to Mary Hemingway, handwritten copy, [14 Jan. 1966], HMD.
But Sara, veteran . . . blotchy with fury: FMB interview.
[>] “stuck with rather unpleasant”: SWM to FMB, 12 Nov. [late 1960s], FMB.
“wonderful talking letters”: AMacL to SWM 3 Dec. [1964], HMD.
“It is such fun . . . see you all”: SWM to JDP, [1966], UVA. missing Boatdeck . . . plaques on the wall: In fact, as discussed earlier, the titles of Turbines and Pression were confused, with the former being applied as an alternative title to the painting Engine Room. I have tried to adhere to what I believe to be the original titles in describing and discussing all works.
[>] “a major American artist”: S& G, p. 3.
“a distinct contribution”: John Russell, “Surviving Murphy Art Is at the Modern,” New York Times, 11 Apr. 1974.
“an astonishingly original”: Hayden Herrera, “Gerald Murphy, An Amurikin in Paris,” Art in America, Sept./Oct. 1974.
[>] she spent much . . . Belvoir: Laura Donnelly Taylor interview.
On October 9 . . . “going to Dowdow”: HMD interview.
Selected Bibliography
A book like this one has many sources, some indirect, some cumulative; the following list names those (including works mentioned in the endnotes) of which I have made the most direct use. Page numbers in the notes are to the editions I used, although they are not in every case the original ones.
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Blake, William. Songs of Innocence and Experience, unpaged facsimile edition. New York: Orion Press, 1967.
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——. A Second Flowering: Works and Days of the Lost Generation. New York: Viking Press, 1973.
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——. The Big Money. New York: Signet Books, 1969.
——. The Fourteenth Chronicle: Letters and Diaries of John Dos Passos (Townsend Ludington, ed.). Boston: Gambit, 1973.
——. Manhattan Transfer. Boston: Houghton Mifflin, 1925.
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——. The Great Gatsby. New York: Charles Scribner’s Sons, 1925.
——. Ledger. Washington, D.C.: NCR/Microcard Editions (A Bruccoli/Clark Book), 1972.
——. The Letters of F. Scott Fitzgerald (Andrew Turnbull, ed.). New York: Charles Scribner’s Sons, 1963.
——. The Notebooks of F. Scott Fitzgerald (Matthew J. Bruccoli, ed.). New York: Harcourt Brace Jovanovich, 1978.
——. Tender Is the Night. New York: Charles Scribner’s Sons, 1934.
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——. The Torrents of Spring. New York: Charles Scribner’s Sons, 1972.
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——. Riders on the Earth: Essays and Recollections. Boston: Houghton Mifflin, 1978.
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——. Hemingway: A Life Without Consequences. Boston: Houghton Mifflin, 1992.
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——. The Wicked Pavilion. South Royalton, Vt.: Steerforth Press, 1996.
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——. Hemingway: The 1930s. New York: W. W. Norton, 1997.
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——. Picasso and Portraiture: Representation and Transformation. New York: Museum of Modern Art, 1996.
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