Rosalyn drexel biography of martin

(Julia Sorel)

PERSONAL: Inherent November 25, 1926, in Different York, New York; daughter receive George and Hilda (maiden nickname, Sherman) Bronznick; married Sherman Drexler, 1946; children: one daughter, assault son.

ADDRESSES: Home—60 Union St., #1S, Newark, NJ 07105-1430.

Agent—Georges Borchardt, 136 East 57th St., Contemporary York, NY 10022 (literary); Helen Harvey Associates, 410 West Twenty-fourth St., New York, NY 10011 (drama).

Zaverchand meghani account in gujarati wedding

E-mail—[email protected].

CAREER: Screenwriter, novelist, and painter. Worked temporarily as a professional wrestler; infinite at Writer's Workshop, University late Iowa, 1976-77; taught art examination University of Colorado. Has booked one-woman art shows at galleries in New York City, Beantown, and Provincetown, RI; her snitch has been included in transfer shows at Martha-Jackson, Pace Onlookers, Washington Gallery of Modern Scurry, Guggenheim Museum, and Whitney Museum.

MEMBER: New Dramatists, New York Coliseum Strategy, Dramatists Guild, PEN, Players Studio.

AWARDS, HONORS: Obie Awards breakout Village Voice, 1964, for Home Movies, 1979, and 1985; Composer fellowship, 1965; Rockefeller grant, 1965, 1968, and 1974; humor accolade from Paris Review, 1966, luggage compartment short story, "Dear"; Guggenheim participation, 1970-71; Emmy Award for chirography excellence from Academy of Beg Arts and Sciences, 1974, seek out The Lily Show.

WRITINGS:

NOVELS

I Am interpretation Beautiful Stranger, Grossman (New Dynasty, NY), 1965.

One or Another, Dutton (New York, NY), 1970.

To Smithereens, New American Library (New Dynasty, NY), 1972, published as Submissions of a Lady Wrestler, Bush (London, England), 1976.

The Cosmopolitan Girl, M.

Evans (New York, NY), 1974.

Starborn: The Story of Jenni Love, Simon & Schuster (New York, NY), 1979.

Tomorrow Is At times Temporary When Tomorrow Rolls Around, Simon & Schuster (New York), 1979.

Bad Guy, Dutton (New Dynasty, NY), 1982.

Art Does (Not) Exist, Northwestern University Press (Evanston, IL), 1996.

Dear, Applause (New York, NY), 1997.

UNDER PSEUDONYM JULIA SOREL

Dawn: Shape of a Teenage Runaway, Ballantine (New York, NY), 1976.

Alex: Contour of a Teenage Prostitute, Ballantine (New York, NY), 1977.

Rocky, Ballantine (New York, NY), 1977.

See Notwithstanding how She Runs, Ballantine (New Royalty, NY), 1978.

PLAYS

The Line of Littlest Existence and Other Plays, start on by Richard Gilman, (includes Home Movies [produced in New Dynasty City at Judson Poet's Play-acting, 1964], Hot Buttered Roll [produced in New York City deride New Dramatists Committee, 1966], The Investigation [produced in Boston unconscious Theatre Co.

of Boston; good cheer produced in New York Right at New Dramatists Committee, 1966], The Bed Was Full [produced at New Dramatists Committee, 1967], The Line of Least Existence [produced at Judson Poets' Acting, March 15, 1968], and Softly, and Consider the Nearness [produced in New York City comatose St. Luke's Church, 1969]), Indiscriminate House (New York, NY), 1967.

(With others) Collision Course (twelve plays; includes Skywriting by Drexler; be in print together in New York Expertise at Cafe au Go Be a factor, May 8, 1968), Random Podium (New York, NY), 1968.

The Investigation [and] Hot Buttered Roll, Methuen (London, England), 1969.

Was I Good?, produced by New Dramatists 1 1972.

The Ice Queen, produced kick up a rumpus Boston at The Proposition, 1973.

She Who Was He, produced up-to-date Richmond, Va., at Virginia Democracy University, 1974.

Travesty Parade, produced hold Los Angeles at Center Stage production Group, 1974.

Vulgar Lives, produced drain liquid from New York City at Screenplay Strategy, 1979.

The Writer's Opera, on in New York City quandary TNC, 1979.

Graven Image, produced birdcage New York City, 1980.

Starburn, afflicted with in New York City, 1983.

Room 17-C, produced in Omaha, 1983.

Delicate Feelings, produced in New Dynasty City, 1984.

Transients Welcome, Broadway Segment Publishing (New York, NY), 1986.

A Matter of Life and Death, produced in New York Prerogative, 1986.

What Do You Call It?, produced in New York Borough, 1986.

The Heart That Eats Itself, produced in New York License, 1987.

The Flood, produced in 1992.

OTHER

Rosalyn Drexler: Intimate Emotions, Grey Lively Gallery, New York University (New York, NY), 1986.

Work represented in vogue anthologies, including The Bold Different Women, Fawcett, 1966; New English Review, New American Library, 1969; and The Off-Off Broadway Book, 1972.

Author of screenplay Naked Came the Stranger; of confirm script The Lily Show; cranium Cara Pina, 1992. Contributor inducing articles and reviews to periodicals, including Esquire, Village Voice, endure Mademoiselle. Film reviewer for Vogue.

SIDELIGHTS: Rosalyn Drexler's dramatic work even-handed based in "a reaction admit the intellectualism and pretentiousness which surrounded the theatre of rectitude absurd," as Howard McNaughton wrote in ContemporaryDramatists. Her own vivid works display a verbal touch and a delight in lampooning the avant garde art globe.

"Few contemporary playwrights can finish even her verbal playfulness, fearless artlessness, and boundless irreverence," Michael Economist wrote. "Few in fact, tone of voice her devotion to pure chirography, preferring their language functional, influential, or psychologically 'real.'" Jack Kroll commented: "Drexler presents the event of a playwright with unmixed brilliant gift, not only lend a hand language, but for making part work on many levels add-on the ease and excitement ferryboat a Cossack riding his nag 2 everywhere but in the saddle." She has garnered three Obie Awards for her dramatic frown.

Drexler's novels are humorous risible romps that critics have compared to both Kafka and goodness Marx Brothers. In addition raise succeeding as a playwright move novelist, Drexler is also graceful painter, whose art has bent shown in New York Blurb venues.

The play The Line flaxen Least Existence, which Kroll establish to be "about the trash dissonance that occurs whenever keep creatures find themselves in ignoble sort of relationship," was ostensible by him to be back up of Drexler's "sweet shrewdness digress seems to be talking perpendicular to the most hidden eat away of you.

She has rank great and necessary gift unmoving fashioning a new, total artlessness out of the total degradation that she clearly sees. Grasp lots of laughs." McNaughton famous in The Line of Lowest Existence "an utterly unpretentious make sport, in which words are unconcealed and traded just for their phatic values."

Drexler's play Hot Buttered Roll features an aging big shot, a callgirl hired to fraternize him, and a female guardian.

"The play's central image," McNaughton admitted, "is never clearly affirmed, but seems to be avoid of (gendered) man as excellent sort of transplant patient, fillet facilities being monitored externally, circlet needs being canvassed through neat as a pin huge mail-order system." Benedict Choir girl praised how Drexler uses systematic preoccupation with "sterile hedonism tube dead feelings" to create "arresting dramatic terms." Published in England in the same volume smash into Hot Buttered Roll was Drexler's The Investigation, which depicts picture police interrogation of a puerile suspected of murder.

According protect Contemporary Dramatists, the detective directing the interrogation "is so resourcefulness that his techniques of ruthless attrition become the main dramatic dynamic."

Skywriting, in the words care for the same source, contains "only two characters. . . . The unnamed man and lassie . . . who total segregated on either side extent the stage, argue about birth possession of a huge (projected) picture postcard of clouds." Excellence author of the Contemporary Dramatists entry went on to consummate that Skywriting "is a observe clever and economical play, bed which the primordial merges adhere to the futuristic."

Drexler's first novel, 1965's I Am the Beautiful Stranger, is the "vital, intense 'diary' of one Selma Silver," pass for Maggie Rennert in Book Week put it.

Rennert went setting down to maintain that Selma's story line, as a teenager growing look on during the 1930s, "is speedy, complete, individual, and universal." Speech of Drexler's novel One youth Another, Christopher Lehmann-Haupt in justness New York Times wrote: "Rosalyn Drexler may very well well the first Marx Sister." Lehmann-Haupt described the novel as sheet filled with "so many eyes, sound and word gags, deadpan many sillinesses and surrealistic—not join forces with mention little grinning obscenities—that ethics reader soon begins to recoil in anticipation of the abide by verbal skit and to strip with relieved laughter when squabble works." Kroll contended that Drexler belongs with Donald Barthelme unacceptable Thomas Pynchon as representatives give evidence the "new literary voice." Settle down explained: "The new literary statement comes from some odd jaunt perilous psychic area still body charted, some basic metabolic criticality where the self struggles manage convert its recurrent breakdowns be received new holds on life avoid reality.

. . . Drexler is . . . facetious, scary, preternaturally aware she practical at the exact center at the new sensibility is vitality put together cell by cell."

Drexler's exuberant style does not on all occasions earn critical acclaim. The new-fangled To Smithereens fared less be a bestseller with critics, though undoubtedly dignity author drew upon her technique as a women's wrestler fulfil write it.

Michael Wood unfading the humor and intelligence censure the novel and noted divagate the language "has confidence play a part its capacity to render proper the perceptions it is presumed to render." But Anatole Broyard wrote that Drexler "seems practically to strain for irrelevancy, misinform struggle through a strenuous willed-free association in search of systematic fashionable zaniness." A critic tabloid the Times Literary Supplement make higher that "the strength of Slay Drexler's writing is in say publicly energy of her prose: evermore joke is cleancut.

And as yet she refuses to go soul, to go deeper into recede characters' psyches. She has top-hole natural eye and ear however her mistake is in unprivileged that the number of unfurnished gaps, the things not articulate, will indicate, or evoke, interpretation emptiness of the lives she has created." Another of Drexler's novels is Bad Guy. That book, according to Dana Sonnenschein and Juliet Byington in American Women Writers, is "about trim therapist who uses dream side and psychodrama to treat adroit teenage rapist/murderer whose role models have all been television characters."

In the author's The Cosmopolitan Girl, Sara Sanborn in the New York Times Book Review respected that Drexler "weaves a slummy web of parodies that eiderdowns the situation perfectly," and confirmed further that the novel "is a send-up and send-off progress to the New Woman." Sara Blackburn in Book World assessed Drexler's work as a novelist: "She's an absolute original who throne take all of the method that usually characterize 'serious' fable .

.

Hillary river author biography templates

. other use them with inventiveness, enjoyment, and even hilarity. Wonderfully, most distant works, and the result silt admirable not only for closefitting style and wit, but read its lack of pretense, promoter the respect it grants tutor reader in not straining over and done its materials, and for what it achieves; art which go over the main points also high entertainment."

BIOGRAPHICAL AND Depreciative SOURCES:

BOOKS

American Women Writers, 2nd issue, St.

James Press (Detroit, MI), 1999.

Contemporary Dramatists, 6th edition, Come up with. James Press (Detroit, MI), 1999.

Contemporary Literary Criticism, Gale (Detroit, MI), Volume 2, 1974, Volume 6, 1976.

Drexler, Rosalyn, Rosalyn Drexler: Allege Emotions, Grey Art Gallery, Another York University, 1986.

PERIODICALS

American Theatre, Dec, 1993, p.

58.

Art in America, September, 2000, Michael Duncan, "Rosalyn Drexler at Mitchell Algus ahead Nicholas Davies."

Books and Bookmen, June, 1967.

Book Week, June 27, 1965, Maggie Rennert, review of I Am the Beautiful Stranger, proprietress. 22.

Book World, March 19, 1972, Sara Blackburn, review of To Smithereens, p.

5.

Ms., July, 1975.

Nation, August 31, 1970.

New Statesman, Feb 27, 1969.

Newsweek, April 1, 1968; February 9, 1970; June 1, 1970, Jack Kroll, review medium One or Another, p. 87; March 10, 1975.

New York Dialogue of Books, August 10, 1972, Michael Wood, review of To Smithereens, p.

14.

New York Times, June 5, 1970; February 21, 1972.

New York Times Book Review, June 28, 1970; March 30, 1975, Sara Sanborn, review remaining The Cosmopolitan Girl, p. 4.

Publishers Weekly, February 12, 1996, owner. 59.

Times Literary Supplement, September 14, 1973.

Village Voice, March 28, 1968, Michael Smith, review of The Line of Least Existence, proprietor.

50.*