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Startg 1963, Vidal was a regular ntributor to <em>The</em> <em>New York Review of Books</em>, which published about three of his review-says every year, and rejected, as too borg or too ntent, some of his most substantial work this form—“French Letters: Theori of the New Novel,” “The Holy Fay,” about the Kennedys, and “Pk Triangle and Yellow Star,” origally lled “Some Gays and the Jews.” (The beneficiari were <em>Enunter</em>, <em>Esquire</em>, and <em>The Natn</em>, the magaze where much of Vidal’s later polil wrg appeared.)</p><p class="paywall">Pari nicely scrib the “lofty timacy” of Vidal’s style, and mak a strong se for Vidal as one of the crics who helped to “enlarge and refe” the book-review say. But, llg Vidal’s book reviews “his very own Harvard,” Pari miss both their strength and their weakns. Apart om a few exercis self-tn—such as “French Letters,” “Amerin Plastic,” and a review of the <em>Tim</em> bt-seller list—Vidal tend to wre on subjects which he was already expert. The virtue of his bt says—the source of their fluent thory and zty phrasg, along wh the equently heavy provisn of gossip—is that he knew the subjects backward and forward, eher as a rear (“Tarzan Revised,” “On Rereadg the Oz Books,” “The Goln Bowl of Henry Jam”) or as an acquatance (“Rememberg Orson Well”), or both, the se of Christopher Isherwood, whose “I am a mera” nce Vidal sctized an say om 1976:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>Bee of those four words he has been wrten of (and sometim wrten off) as a naturalistic wrer, a rerr of surfac, a film director <em>manqué</em>. Although is te that, up to a pot, Isherwood often appears to be rerdg perhaps too impartially the lights, the shadows, the lns that e wh the area of his visn, he is never whout surpris; the urse of what looks to be an unmandg narrative, the thor will sudnly produce a Polaroid shot of the rear readg, an alarmg effect achieved by the sly e of the send person pronoun. You never know que where you stand relatn to an Isherwood work.</p></div></blockquote><p class="paywall">Like many before him, Pari says that Vidal is a better sayist than he is a novelist. It’s a posn that tends to emphasize the shortgs of Vidal’s fictn—all the thgs he didn’t try to do—while overlookg the vic of his says. Mart Amis, wrg, as he later admted, om snt faiary wh Vidal’s fictn, said that Vidal was too clever to wre novels but not too clever to wre says, bee “you n’t be too clever for them.” But you n be too angry and too anx, too cut off om the taproot of your own strong opns.</p><p class="paywall">Every sayist is a product of his own hobbyhors, but few claim as vehemently as Vidal to be offerg not a view but the Tth. If his novels turned his public persona to an athetic, his says tried to turn his private anxieti to pots of tellectual tegry. Sometim he succeed. In an exchange of letters <em>The</em> <em>New York Review of Books</em>, he advised John Bayley that “The Goln Bowl” is about force, not about love, vokg a readg of Jamian irony and makg work, jt about. At other tim, his arguments look merely like anim.</p><p class="paywall">Pari says that Vidal worried that “beg exclively gay . . . terfered wh” his theori about sexualy. But the reason Vidal me up wh those pansexual theori was so that he uld tell the world he was not exclively gay. It may be te, as Vidal equently mataed, that “gay and straight” are “nonexistent tegori,” but the pot was to tablish that although he lived wh a man, and had sex only wh men, he was not, and never uld be, merely a “homosexual.” (Vidal told Amis that he had been readg D. H. Lawrence: “Every page I thk, J, what a fag. J, what a <em>faggot</em> this guy sounds.”)</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="j7to7"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="m1mcjk"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">A general distaste for thory unrpned a number of Vidal’s posns. For years, he slammed practil cricism for what he lled s “slow killg of the work through a close textual analysis.” Yet, 1979, an attack on another bugbear—the emphasis, beyond ame, on a wrer’s personaly—he enlisted the New Crics to his e, and regretted that “the palads of the word have long sce fad away.” And his wrg on Ameri (the “natnal secury state” at home, the empire abroad) was beholn to a dark, clist view. In the age of the Pentagon Papers, Watergate, and the Iran-Contra affair, he looked nny. But when the facts changed he didn’t change his md, bee his md had not been formed by facts to beg wh. Vidal’s view of the world was the oppose of supple, and someone who says, “It always down to money,” is bound to be wrong at least some of the time. Proof posive that Vidal’s journalism was anythg but a voyage of disvery me 1971, when, at the requt of the Los Angel <em>Tim</em>, he reviewed a new book that he had known about for more than twenty years. “If there is one theme to Volume Four, is Anaïs’s formidable will to power,” Vidal wrote, and though he referred passg to N’s accurate portra of young “Litenant Vidal,” he ed the ocsn to tablish once aga what he believed were their differenc philosophy, knockg her “ntempt for tellect . . . her mystil belief Love”—as if slammg an old iend’s book her home-town newspaper (N had lived L.A. for years) did anythg but show that love might be a eful thg to have around.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p class="paywall">The N review was a classic stance of what Michael Mewshaw, his recent memoir “Sympathy for the Devil: Four Des of Friendship wh Gore Vidal” (Farrar, Strs & Giroux), lls “the chilly, unrg misanthrope portrayed by the prs.” The man he knew was eager to please and sensive to slights—and not always happy to show . His late memoirs, “Palimpst” (1995) and “Pot to Pot Navigatn” (2006), Mewshaw wr, “ntaed strikgly ltle trospectn, few tly timate revelatns . . . almost nothg about the people he mixed wh on a daily basis”—and no hts that Vidal “was genero, hospable, loyal to iends.”</p><p class="paywall">Reprisg N’s rponse to “The Cy and the Pillar” half a century earlier, Mewshaw spends a few pag scratchg his head over “Palimpst,” an acunt of Vidal’s first four s. He grew bored by Vidal’s prentatn of himself as “the yoga master of world-wears” and exprsed bafflement as to “why so many of the emotns I had wnsed him over the years had been leted om this draft of his life.” (Wrg about “Pot to Pot Navigatn,” Pari admir the way Vidal “rtras his emotns.”) Mewshaw rells readg “Palimpst” when he was livg London and Vidal was town on a promotnal tour, and notg the dispary between the book’s announcement of personal happs—“I am past all ser sire for anythg. . . . The Buddha was right: To want is to suffer”—and “the man who jt the night before at the Connght had dnk himself to the brk of unnscns.”</p><p class="paywall">In the openg pag of “Sympathy for the Devil,” Mewshaw exprs the hope that the noise around Vidal has died down enough to “allow for” an “alternative asssment.” So far, the evince seems mixed. In a five-hundred-word “lightng raid” that appeared on the <em>Vany Fair</em> Web se, Jam Woltt—the thor of “The Gore Supremacy,” a Kdle Sgle published after Vidal’s ath—objected to the offscreen, life-size figure Mewshaw’s book, pecially his “glassy-eyed, fallg-down senr moments.” Vidal shouldn’t be remembered that way, Woltt said. He was suave and smooth. He amed whout effort. He didn’t re what people thought—and he didn’t re who knew that he didn’t re what people thought. Woltt nsoled himself wh pickg out the “hilar aperç and asis” reunted the book, as when Vidal challenged Mewshaw to name the three sadst words the English language, and supplied the answer: Joyce Carol Oat. This is the image of Vidal that seems sted to endure: rtoonish, two-dimensnal, other than human. But, although Vidal ma “harsh cril remarks” about Oat at every opportuny, Pari explas, he once ught him readg a volume of her says, and—“he admted”—enjoyg them. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="at9nbn"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM 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byle__preamble">By </span>Hilton Als</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--article summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href="/books/page-turner/gore-vidals-tective-novels" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Gore Vidal’s Detective Novels" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Page-Turner</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href="/books/page-turner/gore-vidals-tective-novels" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Gore Vidal’s Detective Novels</div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Seth Colter Walls</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Fally, the Tmp Case We’ve Been Wag For" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Letter om Bin’s Washgton</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Fally, the Tmp Case We’ve Been Wag For</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">But, wh 2024 loomg, is already too late?</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>San B. 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Neoliberalism</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">The ee market ed to be touted as the cure for all our problems; now ’s taken to be the e of them.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Louis Menand</span></span></p></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectnGridSummaryItem-WColm hKqhyj ad ad--read-more"><div class="ad__slot 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was gore vidal gay

After the celebrated wrer divulged that he fed a gay subtext to Ben-Hur, he and the film's star, Charlton Hton, ded out prt.

Contents:

GORE VIDAL’S SPAT WH CHARLTON HTON OVER GAY ‘BEN-HUR’ SUBTEXT

Gore Vidal's spat wh Charlton Hton over gay 'Ben-Hur' subtext * was gore vidal gay *

It wasn’t as bad as “faggot, ” but rried a dose of ntempt as strong or stronger than most of the other risive ephets for those whom, back then, only gay people lled gay. The ldly clil term “homosexual, ” which some now fd to be as dub as “Negro, ” was seldom seen as herently rogatory.

GORE VIDAL'S DEFENSE OF BEN-HUR'S GAY SUBTEXT

Gore Vidal always hted at a sexual element between the Jewish prce and his Roman betrayer, but the remake seems unterted explorg gay subtext * was gore vidal gay *

“Gay” is too male, “gay and lbian” sufficiently clive, L.

)Though Vidal never “intified” as gay—he never “me out”— was hardly a secret that the thor of “The Cy and the Pillar” was, to e his own favored term, a homosexualist. Buckley was a reactnary, arguably a racist, and arguably a homophobe. ”And Vidal had some unorthodox ias about the reasons why Judah Ben-Hur, played by Charlton Hton, and the Roman tribune Msala (Stephen Boyd) had gone om boyhood pals to adly enemi, culmatg their chart-race triggered the smackdown between Hton and Vidal was the release of the 1995 documentary film “The Celluloid Closet, ” which outed the d gay subtexts -- and closeted gay performers -- a number of Hollywood films.

HOW ONE SEXY GAY NOVEL RAILED GORE VIDAL'S LERARY REER

'Tryg to make tegori is very Amerin, very stupid, and very dangero.' Gore Vidal’s refal to intify as gay was nsistent wh a man who worshipped ancient Greece, but was out of step wh the tim which he lived. * was gore vidal gay *

Directed and wrten by Rob Epste and Jefey Friedman, the documentary’s most talked-about sequence was an terview wh Vidal which the wrer scribed how he’d nvced Boyd and director William Wyler that there had to be a eper motive to expla Msala’s lethal hatred of his old iend Ben-Hur -- namely, that the two men once had a homosexual relatnship that Msala wanted to rume but Ben-Hur did not. ”“Vidal’s claim that he slipped a scene implyg a homosexual relatnship between the two men sults Willy Wyler and, I have to say, irrat the hell out of me, ” Hton, never one to back down om a verbal brawl, rpond to Hton’s terse letter wh a much longer elaboratn of his role “Ben-Hur, ” and tntg Hton as “the spokperson for the Natnal Rifle Assn. He claimed there was no such thg as beg "gay, " only gay sexual acts.

Vidal also claimed that he didn't believe gay people, jt gay sexual acts. Vidal first enuntered Aten at one of New York's gayt lotns of s time.

His first novel, The Cy and the Pillar, is very graphic s scriptn of a gay relatnship and ed a sensatn when was first published, 1948.

GORE VIDAL'S ITALIAN FILMS: ROMA, CALIGULA AND A GAY BEN-HUR

would promently feature gay male characters, and Gore found soon. The acerbic wrer Gore Vidal once said that there was, his opn, “no such thg as a homosexual or a heterosexual person”.

“There are only homo or heterosexual acts. For the release of the 1995 documentary The Celluloid Closet, which revealed the gay subtexts a number of famo Hollywood movi, the celebrated playwright, sayist and thor of ntroversial 1948 novel The Cy and the Pillar revealed he rewrote scen the early part of the 1959 biblil epic Ben-Hur to ht heavily at a prr sexual relatnship between Charlton Hton’s tle character and his childhood iend (and later betrayer) Msala (Stephen Boyd) revelatn ed a storm the letters pag of the Los Angel Tim 1996, wh Hton accg Vidal of exaggeratg his part wrg the screenplay and nigratg the good name of the film’s director, William Wyler. In his reply to the Tim, Vidal revealed there was good reason for the film’s star to have been unaware of the Ben-Hur/Msala relatnship’s gay subtext, as no one had dared tell him about before the shoot.

Asked if the new versn would addrs Vidal’s readg of the relatnship between Ben-Hur and Msala, Kebbell told the UK Prs Associatn: “It wasn’t somethg we avoid but wasn’t somethg we had, ” then add: “In 1959, the gay ntext was very important.

*BEAR-MAGAZINE.COM* WAS GORE VIDAL GAY

Gore Vidal's Italian films: Roma, Caligula and a gay Ben-Hur | Gore Vidal | The Guardian.

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