Gore Vidal – författare

A literary cause célèbre when first published in 1948, Gore Vidal's now-classic The City and the Pillar stands as a landmark novel of the gay experienceJim Willard, former high-school athlete and clean-cut boy-next-door, is haunted by the memory of a romantic adolescent encounter with his friend Bob Ford. As Jim pursues his first love, in awe of the very same masculinity he possesses himself, his progress through the secret gay world of 1940's America unveils surreptitious Hollywood affairs, the hidden life of the military in the Second World War and the underworld bar culture of New York City.With the publication of his daring third novel The City and the Pillar in 1948, Gore Vidal shocked the American public, which has just begun to hail him as their newest and brightest young writer. It remains not only an authentic and profoundly important social document but also a serious exploration of the nature of idealistic love.'Gore Vidal, a writer of lustrous and fabulously readable prose, was always ahead of his time, so it is wonderful to see some of his finest works being republished for an audience who will be ready to (re)discover his daring, his insight and his wickedly waspish wit' STEPHEN FRY

Gore Vidal’s uniquely irreverent take on America’s founding fathers will enliven all future discussion of the enduring power of their nation-building ideas  “Trust Gore Vidal to teach us things we never learned in school. In Inventing a Nation, his quick wit flickers over the canonical tale of our republic’s founding, turning it into a dark and deliciously nuanced comedy of men, manners, and ideas.”—Amanda Heller, Boston Globe (Sunday)  “Entertaining and enlightening. . . . A must for buffs of American civilization and its discontents.”—Booklist  Gore Vidal, one of the master stylists of American literature and one of the most acute observers of American life and history, turns his immense literary and historiographic talent to a portrait of the formidable trio of George Washington, John Adams, and Thomas Jefferson. In Inventing a Nation, Vidal transports the reader into the minds, the living rooms (and bedrooms), the convention halls, and the salons of Washington, Jefferson, Adams, and others. We come to know these men, through Vidal’s splendid and percipient prose, in ways we have not up to now—their opinions of each other, their worries about money, their concerns about creating a viable democracy. Vidal brings them to life at the key moments of decision in the birthing of our nation. He also illuminates the force and weight of the documents they wrote, the speeches they delivered, and the institutions of government by which we still live. More than two centuries later, America is still largely governed by the ideas championed by this triumvirate.

When two women tragically perish in a Duluth snowdrift, the one called Edna is reborn in 'Duluth', the popular television series and the one called Beryl finds herself in a 'Hyatt Regency' romantic novel entitled ROGUE DUKE. In Duluth they do it all with word processors. Meanwhile Lieutenant Darlene Ecks, strip-search enthusiast, terrorizes a barrio full of illegal Mexican immigrants until they rise up in defiance, the mayor plumbs the mysteries of a bright red spaceship and a life and death contest is waged between Duluth's leading socialite and its foremost author to complete contradictory biographies of Betty Grable.Gore Vidal's wicked extravaganza sports special effects not expected in a novel; and it poses taunting puzzles like who is the guy they call The Dude? And why is it said, 'Every society gets the Duluth it deserves'?

Investigative journalist and aviatrix Teddy, who narrates Gore Vidal's metaphysical thriller, has moulded herself on flying ace Amelia Earhart. Although she's aware that's a bit anachronistic, it qualifies her to pilot Kalki, Vietnam vet and incarnate of Vishnu, round Kathmandu in a story that soars from New Orleans to Washington, Paris to New Delhi - ever above and outside of this world ...

It is a risky (and risque) business becoming 'Woman Triumphant' - exercising total power over men like Rusty Godowski. Rusty just wants to be a Hollywood star like everyone else at Buck Loner's academy, but now that Buck's niece, Myra Breckinridge, has arrived, the curriculum is taking a wildly strange turn. Willing to risk all to be superb and unique, Myra means to prove to her old friend Dr Montag that it is possible to work out in life all one's fantasies - and survive.'From Myra's fist appearnce on the page she was a megastar', explains her creator, Gore Vidal. Myra caused a second furore when she returned in Myron to battle it out with her eponymous alter ego, a drab little man fallen into marriage and a job in Chinese catering. Theirs is a contest of hormonal roulette, with glorious Myra off on time-travelling missions of mercy back to 1948 to try to change cinema history and to introduce her own radical theories of popuation control. Meanwhile Myron tries desperately to stay in the present as inconspicuously as Mrya will allow.

Gore Vidal's fictional recreation of the Roman Empire teetering on the crux of Christianity and ruled by an emperor who was an inveterate dabbler in arcane hocus-pocus, a prig, a bigot, and a dazzling and brilliant leader.

Vidal's historical novel set in the 5th century BC and narrated by Cyrus Spitama, son of a Persian prince and Greek sorceress, grandson of the prophet Zoroaster, and ambassador to the courts of India, China and Greece. Pericles, Thucydides, Sophocles and Confucius are among the book's characters.

A collection of essays taken from 40 years of work by the bestselling and celebrated Gore VidalGore Vidal's reputation as America's finest essayist is an enduring one. This collection, chosen by the author from 40 years of work, contains about two-thirds of what he published in various magazines and journals. He has divided the essays into three categories, or states. State of the art covers literature, including novelists and critics, bestsellers, pieces on Henry James, Oscar Wilde, Suetonius, Nabokov and Montaigne (a previously uncollected essay from 1992). State of the union deals with politics and public life: sex, drugs, money, Abraham Lincoln, Eleanor Roosevelt, The Holy Family (his essay on the Kennedys), Nixon, and finally Monotheism and its Discontents , a scathing critique of Christianity, Judaism and Islam. In state of being, we are given personal responses to people and events: recollections of his childhood, E. Nesbit, Tarzan, Tennessee Williams and Anais Nin.'Magnificent... irresistible from beginning to end' The Times'All the Vidals are on display in this glittering showcase' Guardian'Vidal is the outstanding literary radical of America' Melvyn Bragg

Continuing what has been dubbed his 'revenge on two hundred years of American history', Gore Vidal locates this novel in Washington. But this is 1917, and Hollywood is now competing with America's capital as the nation's power-base, just as it fights for centre-stage in this book. Caroline Sanford, erstwhile newspaper magnate, launches herself into the West Coast land of celluloid dreams and becomes, overnight, an international star. Not for nothing, on the dawn of World War One, is Caroline making films like the Huns from Hell. She is a government agent. But in Washington, that government isn't doing awfully well. Weighed down by his League of Nation's failure, by Roosevelt, Clemenceau, a stroke and the ship-like tonnage of his wife Edith, President Woodrow Wilson is on the wane - and Warren Harding is on the up. A popular, handsome, toothpick-chomping philanderer and dimwit whose wife is given to consulting spiritualists, he is about to usher in a new era. One of unprecedented scandal, cinematic extravagance and tawdry disintegration. The sort of era where the President could easily be mistaken for a film star ...

History is gossip,' says a protagonist in Washington, D.C., 'but the trick is determining which gossip is history.' It is a trick that Gore Vidal has mastered in his ongoing chronicle of that circus of opportunism and hypocrisy called American politics and which he plays with renewed vigour in this expose of the nation's capital.Young Clay Overbury, Senator Burden Day's assistant, has both a modest background and immense ambitions. Extremely handsome, oozing charm and seemingly dedicated to the Senator's cause, he is also duplicitous, conniving, and disloyal. But Enid Canford doesn't think so: she marries him, so providing the Sanford newspaper dynasty with a direct line to the Senator. Her father Blaise, at first loathing his son-in-law, later learns to love him - for all the wrong reasons. So begins this tale of lust and ambition set in the Republic's high noon. From the late 1930s to Jo McCarthy's reign of terror, Gore Vidal charts the seamy, sleazy side of Washington. Mixing sober history with nakedly Gothic melodrama, he provides an intoxicating cocktail of blackmail, betrayal, sexual ambivalence, lunacy and conspiracy - or, in a word, politics.

Here is the story of arguably America's finest hour; of the time when the twentieth century dawned, Queen Victoria died, and America, basking deliciously in excess wealth, rather thought it might snap up an empire of its own. Yet while politicians muse over the potential of China or the Philippines - even Russia - empires are being built at home; railway empires; industrial empires; newspaper empires. Into this arena float the delectable Caroline Sanford, putative heiress and definite catch. Caroline is an oddity; she has been raised in France where they teach rich girls to talk and think. American society women, required only to think of themselves as the most interesting beings on earth, are rather alarmed. American men are amused - until Caroline shirks from marriage, sues her brother, buys a newspaper, and becomes that even greater oddity - a powerful woman. Mingling with the movers and shakers of the day - with President McKinley, Theodore Roosevelt, William Randolf Hearst, Henry James, the Astors, Vanderbilts and Whitneys - Caroline Sanford echoes the glorious passage of the United States as it sweeps into a new century, reaching boldly for the world.

With the centennial year of the United States as the target of this historical novel, Gore Vidal again mounts a glorious expedition into that grimy and intricate activity called politics. And this is politics as it ought to be: gossip, corruption, money, dinner parties, more corruption, and all the tacky panoply of power. Into the rarefied atmosphere of a world where money has begun to talk very loudly ? usually through the mouths of people called Astor ? step Charles Schuyler and his daughter Emma. Charlie is the unacknowledged bastard son of Aaron Burr; Emma is rather beautiful; and both think it is prudent to return from penury in Europe and secure a fortuitous marriage for Emma. But America is no longer a young republic; it's a fledgling international superpower with its attendant seedy administration, dubious election campaigns, snobbery, 'popped corn', 'speaking tubes' and 'perpendicular railways' (lifts). It's a world that will welcome into its social and political bosom these two attractive exotics with the right names. And it's a world whose every political peccadillo, social slip-up and irresistible intrigue is recorded in this, the journal of Charlie Schuyler.

In the hazardous fictional terrain of his historical novels, Gore Vidal is never especially kind to American history in general, or to its icons in particular. Yet in this brilliantly realised study of Abraham Lincoln, he paints a surprising and near-heroic picture of the man who led America through four of the most divisive and dangerous years of the nation's history. Observed alternately by his loved ones, his rivals and his future assassins, Lincoln at first appears as an inept and naïve backwoods lawyer. People in this novel are not averse to turning up, getting drunk, and regaling the reader with details of Lincoln's whoring activities and his seemingly inexhaustible supply of folksy stories. Yet gradually Lincoln the towering leader of deep vision emerges in a Washington engulfed by fear, greed and the horrors of the Civil War. Lincoln's loving but mentally decomposing wife, his view from the White House on slavery and America's bloodiest war, and his own, fierce personal ambition: all are portrayed with a vibrancy and an urgency that almost belies what they have now become ? history itself.

Gore Vidal's classic novel of Aaron Burr - the man who shot Alexander Hamilton.In 1804, Colonel Aaron Burr, Vice-President of the United States, shot and killed Alexander Hamilton in a duel. Three years later, on the order of President Thomas Jefferson, he was tried for treason: for plotting to dismember the United States.Gore Vidal, romping iconoclastically through American history, debunks, in this historical novel of Burr's life, the common and casually held notion of the man as a scoundrel and an adventurer. Instead he appears as one of the 'host of choice spirits' forced to live among coarse, materialistic, hypocritical people, among them Jefferson and Hamilton. Here, the latter appears as a power-hungry 'parvenu' from the West Indies and the former as a semi-literate slave-owning tyrant. American politics, suggests Vidal, had a penchant for the vulgar. Even then.Veering backwards to the revolution and the early days of the republic, stopping at dinner-parties on the way, and reaching forward to the future, Burr is a novel about treason, both the particular and in general. For what, asks Vidal, really belongs to whom? What properly belongs to the Constitution, to the nation, to the family even, intriguingly, to novelists and historians?

A boat of the army transportation corps fights through the fierce wind of the williwaw, carrying two officers and a chaplain with its crew. Human nature and the elements move the men through their uncertain destiny. This is Gore Vidal's first novel. Written when he was just seventeen and based very strongly on his own traumatic experiences in the US Navy as WW2 reached its end, this is a compelling story of one young man's bravery under fire.

Jim Willard, former high-school athlete and clean-cut boy-next-door-, is haunted by the memory of a romanctic adolescent encounter with his friend Bob Ford. As Jim pursues his first love, in awe of the very same masculinity he possesses himself, his progresss through the secret gay world of 1940's America unveils surreptitious Hollywood affairs, the hidden life of the military in the Second World War and the underworld bar culture of New York City. With the publication of his daring thrid novel The City and the Pillar in 1948, Gore Vidal shocked the American public, which has just begun to hail him as their newest and brightest young writer. It remains not only an authentic and profoundly importatnt social document but also a serious exploration of the nature of idealistic love.

This is a memoir of the first 40 years of Gore Vidal's life, ranging back and forth across a rich history. He spent his childhood in Washington DC, in the household of his grandfather, the blind senator from Oklahoma, T.P. Gore, and in the various domestic situations of his complicated and exasperating mother, Nina. Then come schooldays at St Albans and Exeter; the army; life as a literary wunderkind in New York, London, Rome and Paris in the '40s and '50s; sex in an age of promiscuity; and a campaign for Congress in 1960. His cast includes Tennessee Williams, the Kennedys, Eleanor Roosevelt, Truman Capote, Paul Newman and Joanne Woodward, Christopher Isherwood, Jack Kerouac, Jane and Paul Bowles, Santayana, Anais Nin, Norman Mailer, Leonard Bernstein and the Duke and Duchess of Windsor, among others.

By the bestselling and celebrated Gore Vidal, a novel about a brilliant and precocious schoolboy whose parents separate when he is young, and whose mother is portrayed as a 'monster'A novel based on the emotional conflict centered around a son's urge to sever the psychological umbilical cord which ties him to a selfish and possessive mother. Completely unsympathetic to his young experiences and inclinations, forever critical of his interests and reactions, she nevertheless appeals to his sympathies and attempts to hold him emotionally.

Good Friday, 1939, and T., a sixteen-year-old schoolboy, arrives at the Smithsonian Institute in Washington. The museum is closed, but T. manages to slip in, and it would appear that somehow, he is expected. An old man, Bentsen, shows him around, and T. realises that all is not as it seems. As he goes to examine a Native American exhibit, he is drawn magically into the nineteenth-century world of a reservation of Sioux Indians. They like what they see of T. and immediately get the pot boiling. T. is forced to take refuge in the tent of a young Squaw. They become lovers, and she helps him to escape back to the safety of the Smithsonian.Back with Bentsen, T. explores the Smithsonian further and begins to fathom the mysteries of time travel. The Smithsonian scientists have discovered how to get back to the past, but still don't know how to travel to the future. T. puts his brilliant mathematical brain to the problem. However, given a glimpse into the future, T. sees his own untimely death, and becomes determined to prevent the outbreak of WWII...

Vidal writes with ease and grace, and roams through many subjects and genres. He is a master of the historical novel, in which he has explored American history, ancient history, and the history of religion. He has developed his own style of science fiction combined with satire, and in the books he refers to as his 'inventions' he writes cautionary tales about sex, politics, art, and philosophy. He is at once a contrarion, a wise man, and a romantic. He is also wickedly funny, and often outrageous. This collection (the only single volume that includes Vidal's fiction and his essays) contains two complete works - MYRA BRECKINRIDGE, his most famous novel, and THE BEST MAN, a play about the American presidency. There are selections from THE CITY AND THE PILLAR, his early, controversial novel about homosexual love, and excerpts from later works as JULIAN, DULUTH, and LIVE FROM GOLGOTHA. Selections from the American history novels - BURR, LINCOLN, 1876, EMPIRE, and WASHINGTON, D.C. - have been woven together to provide a continuous narrative.

THE GOLDEN AGE is the final, eponymous novel that brings to an end what Gabriel García Márquez has called 'Gore Vidal's magnificent series of historical novels or novelised histories', NARRATIVES OF EMPIRE. Like a latter day Anthony Trollope, Vidal masterfully balances the personal with the political, the invented with the historical fact. His heroine from Hollywood, Caroline Sanford, reappears in Washington as President Roosevelt schemes to get the USA into the war by provoking the Japanese. In the novel's ten year span America is master of the globe, with Japan and Europe as colony and dependency under her empire. Against this backdrop there is a glittering explosion in the arts (we see the likes of Lowell, Bernstein and Tennessee Williams and witness the opening night of A STREETCAR NAMED DESIRE). But by 1950 and the coming of the Korean War, the Golden Age is over. For the reader who wants to be informed as well as vastly entertained about the last two hundred years of American history there could be no better place to start than with Vidal's NARRATIVES.

Gore Vidal's new collection of essays shows him still writing at his finest. His comments on the deplorable state of American politics - from Bill Clinton to George Bush - are as apposite as ever and, controversially, there are two magnificent essays on the Oklahoma bomber Timothy McVeigh - who entered into an extraordinary correspondence with Vidal when he was in gaol - to the recent terrorist attacks on the World Trade Center.