Word: 20s
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...Mother's got to work," mused Dorothy Parker, speaking of herself. "Mother hasn't written anything since the New England Primer." Author Parker, 56, rhymester-wit of the '20s (Enough Rope), more recently a scenarist (The Fan), was back in Manhattan after a long stint in Hollywood ("Two years out there and you'd go anywhere") and a three-month vacation in the tiny Mexican village of Acapantzingo, where she found the Indians magnificent and the countryside "beautiful, terrifying. . . I felt that I could live and die there, but I realized that I was doing neither...
Married. James Branch Cabell, 71, 50-book Virginia author, whose refined preciosity, elaborately tortured allegory and subtly understated bawdry made his novels (Jurgen, The Cream of the Jest, Smirt, Smith, Smire, etc.) critical and popular favorites in the '20s and '30s; and Margaret Waller Freeman, 56, Manhattan interior decorator; he for the second time; in Richmond...
...brief, that was Jelly Roll's story. Bordello pianist ("professor"), pool-playing shark and pimp, he was in & out of trouble all his life. In his most glorious days, in the '20s, when such youngsters as Benny Goodman and Bix Beiderbecke gathered around to hear Jelly's style ("Jazz music is to be played sweet, soft, plenty rhythm"), he was "all in diamonds." As his wife Mabel Bertrand recalls: "His watch was circled in diamonds. His belt buckle was in gold and studded with diamonds. He even had sock-supporters of solid gold set with diamonds. Then...
...immigration had been different. The Puerto Ricans came not by ship, huddled in the steerage, but by plane. Being U.S. citizens, they beat at no immigration bars, never had their pictures taken in colorful native costume behind the wire enclosures of Ellis Island. They simply seeped in, landing by 20s and 30s from battered planes at La Guardia field, Teterboro and Newark, suddenly appearing beside their cardboard suitcases on the city's sidewalks outside a hole-in-the-wall travel agency...
...Show-Off (by George Kelly; produced by David Heilweil & Derrick Lynn-Thomas) revives on Broadway an old favorite of the '20s, while familiarizing Broadway with a new favorite of the provinces-theater-in-the-round. Both the play and the production have drawbacks, but both come off pleasantly enough. Performed on an arena-like stage with the audience at its elbow and on all four sides, Broadway's theater-in-the-round at times resembles theater-in-the-rough. But the illusion of life is quite as strong as with orthodox staging; what is diminished is the illusion...