Graydon Carter – författare

A MOST ANTICIPATED BOOK OF 2025 IN THE INDEPENDENT, GQ, NEW STATESMAN, FINANCIAL TIMES AND BBC CULTURE'Graydon Carter is a brilliant raconteur of his own life...it's a real yarn of a lost world' Marina Hyde, The Rest is EntertainmentWhen the Going Was Good is Graydon Carter's lively recounting of how he made his mark as one of society's most talented editors and shapers of culture. Carter arrived in New York from Canada with little more than a suitcase, a failed literary magazine in his past and a keen sense of ambition. He landed a job at Time, went on to work at Life, co-founded Spy magazine and edited The New York Observer before catching the eye of Condé Nast chairman Si Newhouse, who tapped him to run Vanity Fair.With his inimitable voice and raconteur's quip, Carter brings readers inside the drawing rooms of the great and not-always-good of America, Britain and Europe. He assembled one of the best-ever stables of writers and photographers under one roof, and here he re-creates in real time the steps he took to ensure that Vanity Fair during his 25-year run cemented its place as the epicentre of art, culture, business and politics. Charming, candid and brimming with humour, When the Going Was Good perfectly captures the last golden age of print magazines from the inside out.

A MOST ANTICIPATED BOOK OF 2025 IN THE INDEPENDENT, GQ, NEW STATESMAN, FINANCIAL TIMES AND BBC CULTURE'Graydon Carter is a brilliant raconteur of his own life...it's a real yarn of a lost world' Marina Hyde, The Rest is EntertainmentWhen the Going Was Good is Graydon Carter's lively recounting of how he made his mark as one of society's most talented editors and shapers of culture. Carter arrived in New York from Canada with little more than a suitcase, a failed literary magazine in his past and a keen sense of ambition. He landed a job at Time, went on to work at Life, co-founded Spy magazine and edited The New York Observer before catching the eye of Condé Nast chairman Si Newhouse, who tapped him to run Vanity Fair.With his inimitable voice and raconteur's quip, Carter brings readers inside the drawing rooms of the great and not-always-good of America, Britain and Europe. He assembled one of the best-ever stables of writers and photographers under one roof, and here he re-creates in real time the steps he took to ensure that Vanity Fair during his 25-year run cemented its place as the epicentre of art, culture, business and politics. Charming, candid and brimming with humour, When the Going Was Good perfectly captures the last golden age of print magazines from the inside out.

The magazine world's monthly arbiter of culture, personality and world affairs, "Vanity Fair" has always offered the definitive insider's look at Hollywood power and glamour since its re-launch twenty-five years ago. Now, for the first time ever, "Vanity Fair" presents a one-of-a-kind collection featuring thirteen behind-the-scenes stories on some of cinema's most iconic films - including pictures as varied as "All About Eve", "Cleopatra", "Sweet Smell of Success", "Rebel Without a Cause" and "Saturday Night Fever". For pop-culture fanatics and movie-buffs alike, "Vanity Fair's Tales of Hollywood" is an irresistible glimpse at how classic films - and box office bombs - are made.

From the pages of Vanity Fair to the red carpets of Hollywood, editor Graydon Carter’s memoir revives the glamorous heyday of print magazines when they were at the vanguard of American cultureWhen Graydon Carter was offered the editorship of Vanity Fair in 1992, he knew he faced an uphill battle—how to make the esteemed and long-established magazine his own. Not only was he confronted with a staff that he perceived to be loyal to the previous regime, but he arrived only a few years after launching Spy magazine, which gloried in skewering the celebrated and powerful—the very people Vanity Fair venerated. With curiosity, fearlessness, and a love of recent history and glamour that would come to define his storied career in magazines, Carter succeeded in endearing himself to his editors, contributors, and readers, as well as many of the faces that would come to appear in Vanity Fair’s pages. He went on to run the magazine with overwhelming success for the next two and a half decades.Filled with colorful memories and intimate details, When the Going Was Good is Graydon Carter’s lively recounting of how he made his mark as one of the most talented editors in the business. Moving to New York from Canada, he worked at Time, Life, The New York Observer, and Spy, before catching the eye of Condé Nast chairman Si Newhouse, who pulled him in to run Vanity Fair. In Newhouse he found an unwavering champion, a loyal proprietor who gave Carter the editorial and financial freedom to thrive. Annie Leibovitz’s photographs would come to define the look of the magazine, as would the “New Establishment” and annual Hollywood issues. Carter further planted a flag in Los Angeles with the legendary Vanity Fair Oscar party.With his inimitable voice and signature quip, he brings readers to lunches and dinners with the great and good of America, Britain, and Europe. He assembled one of the most formidable stables of writers and photographers under one roof, and here he re-creates in real time the steps he took to ensure Vanity Fair cemented its place as the epicenter of art, culture, business, and politics, even as digital media took hold. Charming, candid, and brimming with stories, When the Going Was Good perfectly captures the last golden age of print magazines from the inside out.

The Hopper-esque, cinematic photographs piece together fragments of a chiaroscuro universe, blending autobiographical elements with portraits of a disillusioned society. Unfolding like traces of a story dreamlike, and mysterious, yet strangely familiar. Deserted streets glow with pale light, anonymous figures linger at crossroads, and landscapes shimmer between the ordinary and the surreal. A woman lost in thought seems ready to step out of her own life, garden gate opens, impossibly, onto an abyss. Each image is suspended in time, charged with silence, suspense, and the feeling that something has just happened or is about to. Rachline blurs the borders between reality and imagination, between the tangible and the cinematic. Capturing the solitude of contemporary life, but also its fragile beauty the nostalgia for something lost, the hope for something else, the tension of waiting in an uncertain world. Rachline offers not just photographs but a journey into the subconscious, where noir fiction, poetry, and private dreams intersect. This book is an invitation to wander through the in-between spaces of existence mysterious, melancholic, yet deeply human.

Vanity Fair 100 Years showcases a century of personality and power, art and commerce, crisis and culture—both highbrow and low. In the sumptuous 384-page coffee table book, the editors of Vanity Fair have created the definitive history of the most talked-about magazine of our day. From its inception in 1913, through the Jazz Age and the Depression, to its reincarnation in the boom-boom Reagan years (after a 47-year hiatus), to the image-saturated Information Age, Vanity Fair has presented the modern era as it has unfolded—using wit, imagination, peerless literary narrative and bold, groundbreaking imagery. The most innovative voices in popular culture are all compiled within these pages (from Robert Benchley, Jacques Cocteau and Dorothy Parker, to William Styron, Christopher Hitchens and Dominick Dunne) along with the greatest magazine illustrators, artists and photographers of all time—most notably Edward Steichen and Annie Leibovitz, who, through Vanity Fair, virtually invented the modern celebrity portrait. Writers Sam Kashner and Nancy Schoenberger contribute an essay on the incomparable Frank Crowninshield and the birth of the Jazz Age Vanity Fair, Jim Windolf chronicles the magazine’s rebirth in 1983, and Frank DiGiacomo gives the history of the glamorous Vanity Fair Oscar Party.

A MOST ANTICIPATED BOOK OF 2025 IN THE INDEPENDENT, GQ, NEW STATESMAN, FINANCIAL TIMES AND BBC CULTURE'Graydon Carter is a brilliant raconteur of his own life...it's a real yarn of a lost world' Marina Hyde, The Rest is EntertainmentWhen the Going Was Good is Graydon Carter's lively recounting of how he made his mark as one of society's most talented editors and shapers of culture. Carter arrived in New York from Canada with little more than a suitcase, a failed literary magazine in his past and a keen sense of ambition. He landed a job at Time, went on to work at Life, co-founded Spy magazine and edited The New York Observer before catching the eye of Condé Nast chairman Si Newhouse, who tapped him to run Vanity Fair.With his inimitable voice and raconteur's quip, Carter brings readers inside the drawing rooms of the great and not-always-good of America, Britain and Europe. He assembled one of the best-ever stables of writers and photographers under one roof, and here he re-creates in real time the steps he took to ensure that Vanity Fair during his 25-year run cemented its place as the epicentre of art, culture, business and politics. Charming, candid and brimming with humour, When the Going Was Good perfectly captures the last golden age of print magazines from the inside out.

When Benedikt Taschen asked the most important portrait photographer working today, Annie Leibovitz, to collect her pictures in a SUMO-sized book, she was intrigued by the challenge. The project took several years to develop and when it was finally published in 2014, it weighed in at 26 kg (57 pounds). This incredible collection is now available in an accessible XXL book format. Leibovitz drew on more than 40 years of work, starting with the photojournalism she did for Rolling Stone magazine in the 1970s through the conceptual portraits she made for Vanity Fair and Vogue. She selected iconic images—such as John Lennon and Yoko Ono entwined in a last embrace—as well as portraits that had rarely, if ever, been seen before. The Annie Leibovitz SUMO covered political and cultural history, from Queen Elizabeth II and Richard Nixon to Laurie Anderson and Lady Gaga. “What I had thought of initially as a simple process of imagining what looked good big, what photographs would work in a large format, became something else,” Leibovitz says. “The book is very personal, but the narrative is told through popular culture. It’s not arranged chronologically and it’s not a retrospective. It’s more like a roller coaster.” Fans of Leibovitz and her many celebrated subjects can now enjoy that same roller coaster ride for themselves with this unlimited edition.