By Christopher Isherwood
In 1939 Christopher Isherwood and W. H. Auden emigrated jointly to the U.S.. In spare, luminous prose those diaries describe Isherwood's look for a brand new existence in California; his paintings as a screenwriter in Hollywood, his pacifism in the course of global warfare II and his friendships with such proficient artists and intellectuals as Garbo, Chaplin, Thomas Mann, Charles Laughton, Gielgud, Olivier, Richard Burton and Aldous Huxley.
Throughout this era, Isherwood persisted to jot down novels and maintain his literary friendships - with E. M. Forster, Somerset Maugham, Tennessee Williams and others. He grew to become to his diaries a number of instances every week to checklist jokes and gossip, observations approximately his followed kingdom, philosophy and mystical insights. His devotion to his diary was once a fashion of accounting for himself; he used it as either a self-discipline and a liberate.
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Extra info for Christopher Isherwood Diaries Volume 1
I told him I would pay for the music. He allowed it. I felt I had a companion. I didn’t feel like I was all alone.
42 Mae Murray The son of a tobacco magnate lost $60,000 on the wheel, and attachés of the Russian consulate, who were lured to Murray’s by girls they met at a horse show, parted with about $25,000. The roulette wheel, the police said, never failed to net big profits for its owners. S. Mauretania, O’Brien and Davis were said to have helped their fellow passengers lose over $20,000. Their romance burned hot, but Mae, frightened by O’Brien’s dubious reputation and temper, brushed off any suggestion of marriage.
If true, it is almost certain the litigious Mae would have slapped her studio with a lawsuit. The Disillusions of a Dream Girl 51 With Wallace Reid in To Have and to Hold (1916). Courtesy of David Menefee. To Have and to Hold was released in March 1916 to generally positive reviews. They were not so gracious to the star. ” The harshest criticism came from the New York Tribune: “It was occasionally pathetic to watch Miss Murray endeavoring to realize the character of Lady Jocelyn Leigh. Not more than three or four times during the film did her face express a real emotion, and the exceptions were moments when the intensity of the action simply compelled emotion.