DIVDIVThe esteemed American composer and unabashed diarist Ned Rorem provides a fascinating, brazenly intimate first-person account of his life and career during one of the most extraordinary decades of the twentieth century /divDIV Ned Rorem is often considered an American treasure, one of the greatest contemporary composers in the US. In 1966, he revealed another side of his remarkable talent when The Paris Diary was published, and a year later, The New York Diary, both to wide critical acclaim. In The Later Diaries,Rorem continues to explore his world and his music in intimate journal form, covering the years 1961 to 1972, one of his most artistically productive decades./divDIV /divDIVThe Ned Rorem revealed in The Later Diaries is somewhat more mature and worldly than the young artist of the earlier works, but no less candid or daring, as he reflects on his astonishing life, loves, friendships, and rivalries during an epoch of staggering, sometimes volatile change. Writing with intelligence, insight, and honesty, he recalls time spent with some of the most famous, and infamous, artists of the era—Philip Roth, Christopher Isherwood, Tallulah Bankhead, and Edward Albee, among others—openly exploring his sexuality and his art while offering fascinating, sometimes blistering, views on the art of his contemporaries./div/div

And in addition to the reviews, profiles, tributes, and even obituaries, there are dialogues with critic John Simon and with physician Lawrence Mass that center on homosexuality, as it obtains both in the arts and in general conversation.

Publisher description

DIVDIVA thrilling, poignant, and bold memoir of the early years and accomplishments—both musical and sexual—of renowned contemporary composer Ned Rorem/divDIV Ned Rorem, arguably the greatest composer of art songs that America has produced in more than a hundred years, is also revered as a diarist and essayist whose unexpurgated writings are at once enthralling, enlightening, and provocative. In Knowing When to Stop, one of the most creative American artists of our time offers readers a colorful narrative of his first twenty-seven years, expertly unraveling the intriguing conundrum of who he truly is and how he came to be that way./divDIV /divDIVAs the author himself writes, “A memoir is not a diary. Diaries are written in the heat of battle, memoirs in the repose of retrospect.” But careful thought and consideration have not dulled the sharp point of Rorem’s pen as he writes openly of his life and loves, his missteps and triumphs, and offers frank and fascinating portraits of the luminaries in his circle: Aaron Copland, Truman Capote, Jean Cocteau, Martha Graham, Igor Stravinsky, Billie Holliday, Paul Bowles, and Alfred C. Kinsey, to name a few. The result is an early life story that is riveting, moving, and intimate—a magnificent self-portrait of one of the great minds of this age. /div/div

Virgil Thomson had already established himself as one of the nation's leading composers when he published The State of Music (1939), the book that made his name as a writer and won him a fourteen-year stint as chief music reviewer at the New York Herald Tribune. This feisty, often hilarious polemic, presented here in the extensively revised edition of 1962, surveys the challenges confronting the American composer in a hide-bound world where performance and broadcast outlets are controlled by institutions shocked by the new and suspicious of homegrown talent. For Aaron Copland, The State of Music was not just “the most original book on music that America has produced,” but “the wittiest, the most provocative, the best written.”