In this riveting popular history, the creator of You Must Remember This probes the inner workings of Hollywood’s glamorous golden age through the stories of some of the dozens of actresses pursued by Howard Hughes, to reveal how the millionaire mogul’s obsessions with sex, power and publicity trapped, abused, or benefitted women who dreamt of screen stardom. In recent months, the media has reported on scores of entertainment figures who used their power and money in Hollywood to sexually harass and coerce some of the most talented women in cinema and television. But as Karina Longworth reminds us, long before the Harvey Weinsteins there was Howard Hughes—the Texas millionaire, pilot, and filmmaker whose reputation as a cinematic provocateur was matched only by that as a prolific womanizer. His supposed conquests between his first divorce in the late 1920s and his marriage to actress Jean Peters in 1957 included many of Hollywood’s most famous actresses, among them Billie Dove, Katharine Hepburn, Ava Gardner, and Lana Turner. From promoting bombshells like Jean Harlow and Jane Russell to his contentious battles with the censors, Hughes—perhaps more than any other filmmaker of his era—commoditized male desire as he objectified and sexualized women. Yet there were also numerous women pulled into Hughes’s grasp who never made it to the screen, sometimes virtually imprisoned by an increasingly paranoid and disturbed Hughes, who retained multitudes of private investigators, security personnel, and informers to make certain these actresses would not escape his clutches. Vivid, perceptive, timely, and ridiculously entertaining, The Seducer is a landmark work that examines women, sex, and male power in Hollywood during its golden age—a legacy that endures nearly a century later.

Presents a humorous collection of stories about the author's relationships with the opposite sex told chronologically, from his first kiss to getting engaged.

The Hollywood columnist offers a candid account of her relationship with Fitzgerald and of the motives and circumstances behind his behavior during his later years

Minor Characters: A Memoir Of A Young Women In The 1950s In The B by Johnson, Joyce

'Freud's Women' probes biography and case history, mines dreams, correspondence and journals and examines theory to chart Freud's views on the feminine. It also tells the many stories of the women in Freud's life and explores their influences on him.

Bibliography: p. 83.

This text provides an account of the turbulent romance of F. Scott Fitzgerald and Sheilah Graham. In July 1937 Scott Fitzgerald was broken in spirit, desperate for money and headed for Hollywood for work as a screenwriter - his one last shot at staying sober and re-establishing himself as a writer. There he met the young Sheilah Graham, a fledgling columnist who had transformed herself from a Jewish orphan from London's East End to a British aristocrat, determined to eradicate all traces of her squalid youth. Scott was fascinated by the gutsy Graham, she instinctively understood him and his demons and, together, they sought refuge from the glittering ferment of late-1930s Hollywood among friends such as Robert Benchley, Dorothy Parker and Ogden Nash.

F. Scott Fitzgerald, the brilliant author of The Great Gatsby and Tender is the Night, was a man haunted by failure to live up to his own early successes. In 1937, desperate for money, nearly broken in spirit, he headed west for work as a Hollywood screenwriter and one last shot at staying sober.

Twenty-five years younger than Rand, the author recounts her mentorship, her enmity, and their love affair.

Whom do we choose when we fall in love? How do we make the love-object into what we want? These are questions which only became important at the end of the nineteenth century, as Freud began to formulate a new discipline which would be called psycholanalysis. Freud argues Klaus Theweleit, was the first theoretician of the new situation: boy versus girl in the world series of love. Theweleit looks at a number of relationships: Alfred Hitchcock and Alma Reville; the triangle of Hannah Arendt, Martin Heidegger and Elfriede Heidegger; Jung and Sabina Spierlrein. But the key figure is Freud himself. Who would, who could Freud choose? As it happened, Freud proposed to Martha Bernays. The 1,500 letters of Freud’s courtship became something like the first psychoanalysis; without knowing it, Martha Bernays became an analytic-instance. But Object-Choice is not only a study of the founder of psychoanalysis, it is also an illuminating lexicon of love in the twentieth century. Freud is accompanied here by Jimi Hendrix, the Kinks and the Velvet Underground. Like Theweleits’s Male Fantasies , this is a collage book, mixing auto-biography, theory and pop culture, and always haunted by history, above all the history of Nazism. As an epilogue, Theweleit brings Freud back to the scene of his courtship, and the Beatles back to Hamburg, in an exploration of that city’s Wandsbek district, once home to an important Jewish community. His comments on the transformations and destruction that Wandsbek has endured form an elegiac tribute to German Jewry, and a powerful conclusion to this remarkable book.