A Chance Meeting
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- £5.99
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- £5.99
Publisher Description
Each chapter in this remarkable consideration of American culture evokes an actual meeting between two historical figures.
In 1854, as a boy, Henry James has his daguerreotype made by Mathew Brady. We encounter Brady again as he photographs Walt Whitman and then Ulysses Grant. Meanwhile, Henry James begins a lasting friendship with William Dean Howells, and also meets Sarah Orne Jewett, who in turn is a mentor to Willa Cather...
Cohen brilliantly reanimates these unforgettable pairings and those of Edward Steichen and Alfred Stieglitz; Carl Van Vechten and Gertrude Stein; Hart Crane and Charlie Chaplin; Langston Hughes and Zora Neale Hurston; Elizabeth Bishop and Marianne Moore; Richard Avedon and James Baldwin; and John Cage and Marcel Duchamp; Norman Mailer and Robert Lowell. Ultimately, Cohen reveals and long chain of friendship, rebellion and influence stretching from the moment before the Civil War through a century that had a profound effect on our own time. A Chance Meeting is an intimate and original act of biography and cultural history that makes its own contribution to the tradition about which Cohen writes.
PUBLISHERS WEEKLY
Though writers are notorious loners, they often form bonds with their peers. By focusing on these irregular alliances, Cohen, in her book debut, provides an engrossing, if simplistic, cavalcade of American arts from the Civil War period through the 1960s. She has selected 30 American artists (mostly writers) and produced admirably vivid portraits of their friendships with their fellow artists. The picturesque and piquant are paramount in Cohen's method Marianne Moore sports a tricorn hat, Elizabeth Bishop sips coffee in Brazil. Though her anecdotes will be familiar to cognoscenti, Cohen does a fair job of digesting and recapitulating Leon Edel's Henry James, Arnold Rampersad's Langston Hughes, Justin Kaplan's Twain et al. into pointillist chunks that have their own febrile charm. The visual arts are represented largely by portrait photographers such as Steichen, Van Vechten and Richard Avedon. Since their circles of acquaintance were larger, the gregarious and extroverted get more space in Cohen's presentation. This has the effect of skewing the big picture of American letters into a continuous cocktail party. And while Cohen shines at description taking the reader into the streets and into the parlors of a dozen different eras the book as a whole suffers from a persistent use of what Cohen calls "guesswork," including imagined conversations and invented characters that lend a novelistic sheen to the proceedings. Never less than readable, this book bears the same relation to history as Irving Stone's once-celebrated treatments of notable lives (Lust for Life, The Agony and the Ecstasy) only he called his fantasias "novels."
