Edwin Campbell was born in rural Ontario, graduated from medical school and settled in Flint where he met Billy Durant and married Durant's daughter Margery. Campbell gave up his medical practice in order to work with Durant in the creation of General Motors. When Durant and Campbell lost control of GM in 1910, Campbell became a founder of the Chevrolet Motor Company which he and Durant built up so that they could use Chevrolet shares to regain control of GM. Campbell's early friendship with Sam McLaughlin as a contributing factor to the creation of General Motors of Canada. Durant became a Wall Street guru and helped Campbell to become immensely wealthy. The Campbells moved to New York and became immersed in the social life of the city. After their divorce in 1919 Margery wound her way through a number of well publicized affairs and marriages. Following Campbell's death in 1929, Durant's life began slow spiral into ill health and eventual poverty. Margery was introduced to her fourth husband by her friend Amelia Earhart. This biography takes the reader through the intrigue of the automotive history of the early twentieth century, as well as the social history of the period.

Wheelock's (1886-1978) memoir is based on tape recorded interviews conducted in 1967 for the Oral History Research Office at Columbia U., with Wheelock's stipulation that they not be used until January 1, 1990. In addition to his writing of poetry as a schoolboy, and a Harvard apprenticeship, the text covers his career as a poet, his friendships with a wide range of literary figures, and the 46 years spent at Charles Scribner's Sons as an editor who assisted and then succeeded Maxwell Perkins as editor in chief. Bruccoli (English, U. of S. Carolina) is considered the leading authority on the House of Scribner and its authors. Annotation copyrighted by Book News, Inc., Portland, OR

Marius de Zayas (1880-1961), a Mexican artist and writer whose witty caricatures of New York's theater, dance, and social elite brought him to the attention of Alfred Stieglitz and his circle at "291," was among the most dedicated and effective propagandists of modern art during the early years of this century. His writings were the first to provide the American public with an intellectual basis upon which to understand and eventually appreciate the newest artistic developments. How, When, and Why Modern Art Came to New York, originally written in the 1940s, is a fascinating chronicle assembled from de Zayas's personal archive of photographs and from newspaper reviews of the exhibitions he discusses, beginning with those held at the Stieglitz gallery and including important shows mounted in his own galleries: the Modern Gallery (1915-1918) and the De Zayas Gallery (1919-1921)

This collection of essays was conceived as part of the centenary celebrations of the first publication in 1896 of one of the most popular collections of poetry ever written - A Shropshire Lad - a collection never out of print in a hundred years. Yet Housman was a recluse, an austere classicist of great renown who devoted his academic life to the correction of ancient texts. He filled his poems with the lives, loves, and deaths of simple country people whose emotions are intense and often violent, but lived his own life in stoic acceptance of his loveless, arid existence. Why his life should have been so intentionally empty of emotion raises questions about Housman's own sexuality and the relationship he had with his friend Moses Jackson and Jackson's brother Afalbert. Housman's poetry, like his life, is deceptively simple: this volume shows some of the complex currents below the surface.

In the early twentieth century, an exuberant brand of gifted men and women moved to New York City, not to get rich but to participate in a cultural revolution. For them, the city's immigrant neighborhoods--home to art, poetry, cafes, and cabarets in the European tradition--provided a place where the fancies and forms of a new America could be tested. Some called themselves Bohemians, some members of the avant-garde, but all took pleasure in the exotic, new, and forbidden. In American Moderns, Christine Stansell tells the story of the most famous of these neighborhoods, Greenwich Village, which--thanks to cultural icons such as Eugene O'Neill, Isadora Duncan, and Emma Goldman--became a symbol of social and intellectual freedom. Stansell eloquently explains how the mixing of old and new worlds, politics and art, and radicalism and commerce so characteristic of New York shaped the modern American urban scene. American Moderns is both an examination and a celebration of a way of life that's been nearly forgotten.