Long before vaudeville, Broadway, and the silver screen, Harpo Marx had triumphed on the greatest stage of all: New York City. For a kid on the streets in 1902, every day demanded wit and improvisation. Beyond the door of the tenement at 179 East 93rd Street lay rival gangs, lucky breaks, failed hustles. While his mother, Minnie, was occupied elsewhere—planning her unruly brood’s ultimate destiny—Harpo roamed the streets doing what any self-respecting second-grade dropout would: grabbing the family’s one left-foot skate and heading to Central Park, preparing for the bonfires of a Tammany election night, and hopping on the El to watch “the Gods in Valhalla—which is to say, the New York Giants in the Polo Grounds.” With an unforgettable cast of characters, and set against turn-of-the-century Manhattan, Harpo Speaks . . . About New York overflows with the optimism and sweetness of the kid who, on the off-chance that “Sandy Claus” just might remember him, never forgot to hang his stocking in the airshaft on Christmas Eve.

First published in 1961, this is the autobiography of Harpo Marx, the silent comedian of The Marx Brothers fame. Writing of his life before, during, and after becoming famous by incorporating lovely and humorous stories and anecdotes, Harp Marx tells of growing up in a rough neighborhood and being poor, being bullied and dropping out of school, teaching himself to read, write, tell time, and to play the piano and harp. He speaks of his close relationships with his family members, particularly his mother and brother Leonard (Chico), who would become his partner-in-crime on screen, and the profound effect that the death of his parents Sam and Minnie had on him. Filled with insider tales of his antics on and off stage, and the hard graft he and his brothers put into reaching their level of success, the reader becomes privy to a rare glimpse into Marx’ thoughts on everything and everyone he had the privilege of working with. The book reveals the friendships he forged and the blows he was dealt in show-business, and of his marriage to his wife, actress Susan Fleming, with whom he adopted four children and built a ranch on which they lived happily ever after, along with numerous animals. A thoroughly enjoyable read. “This is a riotous story which is reasonably mad and as accurate as a Marx brother can make it. Despite only a year and a half of schooling, Harpo, or perhaps his collaborator, is the best writer of the Marx Brother. Highly recommended.”—Library Journal “A funny, affectionate and unpretentious autobiography done with a sharply professional assist from Rowland Barber.”—New York Times Book Review “This is a racy autobiography by the mute Marx Brother with the rolling eyes, oversized pants and red wig who could send a glissando reeling over his harp.[...] It is enjoyable reading and polished writing...”—Kirkus Review

For many years, friends and family have asked me, 'Bill, why don't you write a book about your life? You must have had quite a childhood growing up with your dad, Harpo, and those zany uncles of yours, the Marx Brothers. And what about those weird, maybe fatalistic happenings you've experienced that can only be described as 'too-Hollywood-to-believe?' - Bill Marx This is Bill Marx's story. Not merely a Marx Brothers book, but an intriguing journey down an amazing highway of discovery, and love.

Susan Fleming appeared in three Broadway shows and twenty-eight films before she turned her back on a show business career she never really enjoyed or wanted. The role of her lifetime came when she married Harpo Marx in 1936. Together, they raised four adopted children and enjoyed one of Hollywood's happiest and most successful unions. But their twenty-year age difference made Susan a young widow in 1964. On her path to Hollywood, Susan worked in Broadway musicals produced by Florenz Ziegfeld and George White and befriended a young dancer who would later be known as Paulette Goddard. In Hollywood, she appeared in films with stars like John Wayne, W.C. Fields, and Katharine Hepburn and worked at all the major studios. But it wasn't until she fell in love with a confirmed bachelor, twenty years older than her, that she found her purpose. Her story is the counterpoint to the beloved and acclaimed Harpo Marx autobiography, Harpo Speaks! Susan's frank, opinionated perspective provides a true look behind the curtain and details Harpo's last years, following the publication of his own book. Susan's account of her more than thirty-year adventure with Harpo includes encounters with people like Charlie Chaplin, William Randolph Hearst, Salvador Dalí, Somerset Maugham, Joan Crawford, Howard Hughes, George S. Kaufman, Helen Keller, Oscar Levant, Jean Harlow, Bugsy Siegel, Samuel Goldwyn, Menachem Begin, Ginger Rogers, Alexander Woollcott, and of course, the Marx Brothers. Susan provides an inside look at the family and pulls no punches when discussing her brothers-in-law, who weren't always her favorite comedians.

When Groucho Marx was well into his eighties, Charlotte Chandler approached him about writing a profile of him for a magazine. Groucho invited Charlotte to meet and that meeting grew into a friendship that lasted until Groucho's death in August 1977. Groucho was surrounded by a group of friends - some old timers like George Burns and Jack Benny - some younger comedians, like Woody Allen, who revered Groucho. Charlotte was present for most of these meetings and these conversations form the basis of HELLO, I MUST BE GOING. Some are hilarious, some are poignant, all of them are fascinating. If you ever wondered what it was like to spend some time with Groucho Marx, one of the wittiest men ever, this is your book.

Fat City is a vivid novel of allegiance and defeat, of the potent promise of the good life and the desperation and drink that waylay those whom it eludes. Stockton, California is the setting: the Lido Gym, the Hotel Coma, Main Street lunchrooms and dingy bars, days like long twilights in houses obscured by untrimmed shrubs and black walnut trees. When two men meet in the ring -- the retired boxer Billy Tully and the newcomer Ernie Munger - their brief bout sets into motion their hidden fates, initiating young Ernie into the company of men and luring Tully back into training. In a dispassionate and composed voice, Gardner narrates their swings of fortune, and the plodding optimism of their manager Ruben Luna, as he watches the most promising boys one by one succumb to some undefined weakness; still, "There was always someone who wanted to fight."

The Anatomy of Harpo Marx is a luxuriant, detailed play-by-play account of Harpo Marx’s physical movements as captured on screen. Wayne Koestenbaum guides us through the thirteen Marx Brothers films, from The Cocoanuts in 1929 to Love Happy in 1950, to focus on Harpo’s chief and yet heretofore unexplored attribute—his profound and contradictory corporeality. Koestenbaum celebrates the astonishing range of Harpo’s body—its kinks, sexual multiplicities, somnolence, Jewishness, "cute" pathos, and more. In a virtuosic performance, Koestenbaum’s text moves gracefully from insightful analysis to cultural critique to autobiographical musing, and provides Harpo with a host of odd bedfellows, including Walter Benjamin and Barbra Streisand.