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PORTRAIT OF MAX (317 pp.)-S. N. Behrman-Random House...
Sempiternal Edwardia. Thus the man whom Playwright S. N. Behrman came to know as a friend in 1952, when Max was almost 80, was merely biologically old. Essentially, he had not changed for more than four decades: he had not retreated to the past; he had simply refused to leave...
...Behrman found him doodling caricatures of Balfour, Oscar Wilde and Henry James as if he inhabited a kind of sempiternal Edwardia. He also found him talking. Apart from copious quotations from Max's own writings and a generous sprinkling of his superlative caricatures, Portrait of Max is a graciously spliced tape recording of the twilight talk of a minor, but finely mannered, man of letters...
...crux of his philosophy rests on this concept of the life-enhancing work of art. These objects were the noblest achievements of mankind and of the utmost importanced for the attainment of the Good Life. In "Duveen," S.N. Behrman quotes B.B. referring to a painting of Il Salvatore Benedicente owned by the Louvre. It gives an especially arresting example of B.B.'s application of his philosophy to works...
Many of its demanding fans, and even some of its own writers, sigh that the magazine has become afflicted with middle-aged spread. Profiles that once ran in two parts now run in three, and in the case of S. N. Behrman's recent seven-part profile on Max Beerbohm, a good-sized short story might have been told in the space it took Behrman just to arrive at his first meeting with Beerbohm, outside Rapallo. William Shawn, Ross's successor as editor, once told a friend over a drink: "The stories just seem to get longer...