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In this widely praised follow-up to her National Book Award-winning first volume of memoirs, An Unfinished Woman, the legendary playwright Lillian Hellman looks back at some of the people who, wittingly or unwittingly, exerted profound influence on her development as a woman and a writer. The portraits include Hellman's recollection of a lifelong friendship that began in childhood, reminiscences that formed the basis of the Academy Award-winning film Julia.
- Sales Rank: #730176 in Books
- Brand: Back Bay Books
- Published on: 2000-03-29
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .69" w x 5.51" l, .88 pounds
- Binding: Paperback
- 320 pages
- Great product!
From Library Journal
Hellman's 1973 title was the second of three volumes of memoirs written after she had dried up as a playwright. These remembrances have come under fire by many who claim she lifted some of these stories from others, such as the famous "Julia" chapter upon which the film was based, and completely invented others. Whether fact or fiction, begged, borrowed, or stolen, who cares? This book makes for great reading.
Copyright 2000 Reed Business Information, Inc.
From the Back Cover
In this widely praised follow-up to her National Book Award-winning first volume of memoirs, An Unfinished Woman, the legendary playwright Lillian Hellman looks back at some of the people who, wittingly or unwittingly, exerted profound influence on her development as a woman and a writer. The portraits include Hellman's recollection of a lifelong friendship that began in childhood, reminiscences that formed the basis of the Academy Award-winning film Julia.
About the Author
"Lillian Hellman (1905-1984) is best known as the author of the plays The Children's Hour, The Little Foxes, Watch on the Rhine, Another Part of the Forest, The Autumn Garden, and Toys in the Attic. She also wrote three volumes of autobiography: An Unfinished Woman, for which she received the National Book Award in 1969, Pentimento, and Scoundrel Time.
Wendy Wasserstein is a Pulitzer Prize winning playwright whose works include An American Daughter, The Sisters Rosenzweig,The Heidi Chronicles, Isn't It Romantic, and Uncommon Women and Others."
Most helpful customer reviews
35 of 35 people found the following review helpful.
The Infamous Miss Hellman
By Gary F. Taylor
Lillian Hellman's PENTIMENTO, A loose collection of autobiographical essays and stories, has been both controversial and famous, and very specifically so for "Julia." In this particular tale, Hellman describes her attempt to aid a friend by smuggling money to support anti-Nazi efforts in 1930s Germany--and subsequently finding herself unable to protect Julia from the ferocity of the Nazi machine. Powerfully written, it is the centerpiece of the book, and in 1977 was adapted into a very popular and much-praised film starring Jane Fonda and Vanessa Redgrave.
It was at this point, however, that controversy arose. The film caught the attention of Muriel Gardner, who promptly asserted that she was 'Julia' and the story itself was significantly based on her own life and work in pre-World War II Germany. She also stated that she had never met Lillian Hellman--but it transpired that she and Hellman had at one time shared the same attorney, who was well aware of her past and who could have described it to Hellman.
Hellman flatly stated that Gardner was not 'Julia' and insisted that the story, while altered re details and circumstances to protect the identities of those involved, was indeed factual. As more details of Gardner's life came to light, however, it seemed increasingly likely that Hellman had indeed made use of it in creating the story, and the dispute continues to provoke strong feelings even some thirty years after the deaths of both Hellman and Gardner.
It was not the first time Hellman had been accused of literary fraud and it would not be last. During her long love affair with novelist Dashiell Hammett, Hellman was frequently accused of draining his ideas to further her own work. In 1979 writer and critic Mary McCarthy prompted a suit for slander when she described Hellman's work by saying "every word she writes is a lie, and that includes 'and' and 'the!'" But regardless of how Hellman came by her ideas, there is no getting around the fact that she had the gift: at her best, she was the equal of the best of the best, turning out several masterpiece dramas and three autobiographical works that jolted best seller lists from end of the country to the other.
PENTIMENTO is the second of these autobiographies, published in 1973 between the equally famous UNFINISHED WOMAN (1969) and SCOUNDREL TIME (1976.) And although "Julia" remains the most famous--or perhaps most infamous--work in the collection, Hellman is actually at her finest in the other stories she tells, most particularly those that center on her childhood home of New Orleans.
In both these writings and others, Hellman shows a remarkable gift for capturing place, time, and character, zeroing in on her New Orleans family, her lover Hammett, and the legendary Tallulah Bankhead to name but a few. From the lunacy of personalizing condoms in Hollywood to the drunken jitters of opening night on Broadway, Hellman makes you see it, feel it, touch it, taste it. It is a brilliant accomplishment--and if you suspect that the stories on which she hangs these talents are at best misrecalled, at worst deliberate falsifications--is this not, after all, what we demand that writers do? Recast reality in order to spin a good story? Strongly recommended.
GFT, Amazon Reviewer
0 of 0 people found the following review helpful.
Four Stars
By susan shain
this is Lillian Hellman…do I need to say more?
12 of 13 people found the following review helpful.
A Woman's Life: Real Stuff
By Deborah Martinson
Pentimento is a brilliant--and entertaining--portrait of a woman's life seen through the doubleness of "then and now." Hellman sketches the people within her life, now housed in her memory. Although dubbed a memoir, it transcends a mere record of Lillian Hellman's life and portrays instead the way in which a woman's history merges with the memory of it. Each chapter is a portrait of someone or something symbolically important, and each is written in a different style reflecting its content and theme. Not history, not autobiography, not fiction, Hellman tried instead to get the feeling of her life right, to find something individual and universal. Drama, humor, tragedy--it's here, and it's important.
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