Pauline Kael Archive
Early Writings and Later Correspondence
An archive of early writings by Kael, chiefly from the 1960s, and including statements in which Kael articulates her belief that film criticism is lacking in a generalizable approach based on the tenets of critical theory, a situation which she hopes to both explain and to rectify.
In a grant application included Kael decries the state of American film — which "has shrunk so horribly that there is almost nothing left to criticize (...they can hardly even be called failures as they don't attempt anything much)..." — and she goes on to propose to write "a series of articles on why contemporary American artists haven't yet begun to use the film medium as European artists do... [and] the failure of American film critics to treat film on the level of the other arts." She identifies several of the items holding American film back — "leaving young artists to feel it is hopeless even to try" — and states that she believes she "can make a major contribution to this desperately depressed area of American art." In a second grant application she writes "I have never had an opportunity to do intensive critical studies or to produce work of any great range" and that she hoped, "if a fellowship made this possible, to do more serious study in the aesthetics of film... It is my hope, now, to work out a film aesthetics that would... conform to the best critical practice, and explain it."
Other materials in this lot include creative work — notes for a play, song lyrics — and personal items, including the draft of her letter resigning from managing the Berkeley Cinema Guild, which she had operated for years as the prototype American art cinema of the postwar period; the letter in which her future husband introduces himself; correspondence from James Broughton, the father of Kael's daughter, Gina; and a note to Gina from Kael with instructions — fortunately not followed — on what to do with her papers after she died.
Most of this writing is from Kael's pre-New Yorker period and shows the impetus behind Kael's attaining her stature as a valued force in American film criticism.
Offered together with a file of about 75 pieces of correspondence to Kael, mostly presenting books to her. This is mostly later material — 1970s to 1990s — but include such notable correspondents as Marc Brandel (whose novel was the basis for Oliver Stone's first film), Bill McKibben, Jonathan Carroll, Roz Chast, David Denby, Clancy Sigal, Ted Solotaroff, Willard Manus, Jaime Manrique, Ned Rorem, and others.
Lastly, including a collection of Kael's Honorary Degree Hoods from some of the many institutions that recognized her contribution to, and outspoken defense of, American art.
In all, a rare collection of writings by and to Pauline Kael, the pre-eminent film critic of her time, dating from her years in Berkeley, California in the 1950s and her move to New York in the 1960s, leading to her career at The New Yorker, where she became the best-known, most influential, and most controversial film reviewer in a career that lasted over three decades. SOLD
Inventory
Notes for "The Confidence Woman." Undated. Two multi-page sketches (about 10 pages total), hand-written, for what may be ideas for a play. The original title here was "The Confidence Play," which Kael has crossed out and replaced with "The Confidence Woman." Appears to be a play about the relationship of a female playwright and her relationship to a group of producers as their confidence in each other wanes, bringing up issues of intrinsic value vs. financial worth. Kael's pre-critic ambitions were to be a playwright (she did have some radio plays performed).
Resignation from the Berkeley Cinema Guild. Undated. ca. 1960. A 3-page typewritten draft, signed by Kael, and with holograph corrections, of "the last program I am to write for the Cinema Guild and studio," which also served as her stated resignation, in which she delineates the extent to which the theater was a reflection of her opinions and standards and the extent to which she had to fight to make it so.
Typescript Application. Undated, ca. 1963? Three-plus typescript pages, (incomplete, and unsigned), decrying the current state of American film and film criticism and promising to right the wrongs, "in print (and on the air)." "I think something can be done about American movies and I want to try....We need not only new film art, but a new generation of critics who can evaluate and give critical support to the new work." Undated, but no mention of her 1964 Guggenheim Award.
Typescript Application for the Guggenheim Fellowship. Undated, ca. 1964. Two 2-page drafts of her list of publications; two pages on "General Background," and two one-page drafts of an essay on her goals as a film critic: to work out a film aesthetics to do what the two major schools of film (the social realist, semi-documentary approach of Siegfried Kracauer and the approach characterized by the auteur theory) had failed to do. Signed by Kael.
Typescript Draft Application for the Alfred Hodder Fellowship. 1964. Four-page typescript (incomplete), with holograph corrections, detailing her qualifications for a Princeton University Hodder Fellowship. Much of it is about her work and publication history; some is about that which interests her: "I am interested in the way movies belong to the life of a culture....And I am interested in the relationship of films to political and economic life. For example, why do the young Poles make ambiguous fables, why have the Canadians been unable to break out of the documentary tradtion, why are the new French films…," etc.
Reapplication, Mimeograph. 1964. A reapplication (Guggenheim? Ford Foundation? Hodder Fellowship? Other?) for, in brief, "a study of the relationship of film to the other arts and other popular media (especially the theatre, novels and journalism, and painting)." Six pages, five of which are references: Dwight Macdonald, Brendad Gill, Thomas Parkinson, Colin Young, Daniel Talbot, Edward Harrison, and James Kerans.
Song Lyrics. Undated. Five pages of notepaper, with scrawled song lyrics. Song unknown, so possibly original. Noted: "Lyrics/ Type for Marvin." "Marvin" is also unknown, but Kael and her daughter traveled through Southern France with pianist Marvin Tartack in 1969 as part of her friend Gary Carey's honeymoon party. First line: "There's no shoulder to cry on and that's why I need to cry."
Manuscript Blurb for Lou Stoumen's Times Square: 45 Years of Photography. 1984. Kael's hand-written manuscript, roughly sixty words, much labored over, praising Stoumen's book. Three different sections taped onto a page with a fourth section; nearly a dozen words crossed out. Together with Stoumen's original typed letter signed requesting words from Kael, even though she writes on movies, on the basis that his photographs are "Paper Movies." A follow-up typed letter signed from Stoumen says Kael should have received a "xerox" of the book from his publicist; there is also the retained note from the publicist Alice Acheson, on a business card; and a note of thanks from Acheson to Kael, written on a copy of the transcribed quote that was sent to the publisher (Aperture), on which it is also conveyed that in addition to providing a blurb Kael had also pointed out a typo on page 158. Also together with a letter from Stoumen to Kael one month later asking that the adjective "journalistic" be changed owing to negative connotations; Kael notes in the margin that the word has been changed to "everyday," but not without first writing and crossing out "day-to-day." Further together with Kael's copy, a review copy, of the final book, in which her found typo was not corrected and "everyday" was mistakenly written as "every day." Finally, there is a typed letter signed from Stoumen thanking Kael, offering her lunch in appreciation (in lieu of gold and roses), and adding that her words had lit up aspects of his work of which he was unaware. The correspondence is fine; the book is musty but very good in a very good dust jacket.
Autograph Note Signed. Undated. Two pages of notepaper, addressed to her daughter, directing her what to do after Kael's death, with her letters and her remains. Signed, "Love, P." Rust marks from heavy binder clip.
Typed Letter Signed. 1955. A letter from Kael's future husband, written as founder and directory of the Cinema Guild in Berkeley, noting that he has been impressed with her, in print and on radio, and hoping they can meet, enclosing a complimentary pass (not now present). Kael has written "answered" in the lower corner.
"W.C. Fields." Undated. Hirschman's 1956 poem, apparently ribbon copy typescript, with Hirschman's name written at the bottom by Kael. Hirschman, with Kael, was active in the Bay area film scene of the early 1960s.
Check Registers. 1958-1959, 1961-1962. Two check registers, the first noting a reason for each check written; the second signed by Kael.
Typed Postcard Signed and Announcements. 1962-1963. Announcement of Broughton's 1962 wedding to Suzanna Hart (coffee stained, with envelope); and the announcement of the 1963 birth of their daughter, with 1964 change of address card laid in, also with envelope. Kael and Broughton had had a daughter together fifteen years earlier. There is also, from earlier in 1962 and postmarked San Francisco, a typed postcard initialed, "J.B." which reads, in its entirety, "The 5 Day Lover is truly one of the dreariest phoniest boringest movies I have ever seen. I hate you for it."
Correspondence. 1962. Two typed letters signed from Kauffmann to Kael and Kael's retained response in between. Having previously received a written apology from Kael on another matter, Kauffmann writes to take her to task on what he deems a more serious offense, that she had misguidedly abbreviated a quote of his in Film Quarterly, as well as misspelling his name. In her retained response she mounts a defense and apparently she sends along two upcoming reviews (West Side Story and The Innocents) for his comments. His reply is to again take offense that she has given short shrift to his critique of a film (The Innocents) and then to debate her positions on West Side Story, taking pains to say that his remarks should be construed as "a discussion between professionals, not a personal squabble."
Correspondence. 1962. One typed letter signed and two autograph letters signed (one so long he labels pages 3 and 4 "Volume II") written to Kael from Stockholm, roughly a decade before his book on Ingmar Bergman (Cinema Borealis: Ingmar Bergman and the Swedish Ethos) and his collection On Film: Unpopular Essays on a Popular Art. Money problems; gratitude to Kael for sending him money; critques of films; critiques of Kael's critiques of films; critiques of journals that publish film writing; critiques of countries that make films; etc. Roughly 3000 opinionated words.
Semi-Detached. [1962]. Title page only from the program for the London Production, at the Oxford Theatre, with Laurence Olivier taking over the lead role. Apparently, signed by Olivier. Also apparently inscribed by another, John M___[?].
Rejection Letter. 1963. In which Kael is turned down for a Ford Foundation Fellowship.
Letter. Undated, ca. 1965. Photocopy, from Kael's files. Written on New Yorker stationery, apparently addressed to Peter Davison at the Atlantic Monthly Press upon learning of their plan to publish a volume of Kael's film criticisms (likely I Lost It at the Movies) and revealing that he does not much care for her "line" on film in general but very much agrees with her approach: "sensible, lively and informed....I enjoy reading Pauline however much I disagree with her." He also notes that he is putting together a collection of his own criticism [On Movies was published in 1969].
Telegrams. 1965. Two Western Union telegrams sent to and saved by Kael, congratulating her on the publication of her first book, I Lost It at the Movies. One is from Anne Schutzer in New York; one is from "Bill, Peter and the Press" (likely William Abrahams and Peter Davison at Atlantic Monthly Press).
Correspondence. 1989-2000. Three autograph postcards signed. The first (1989) asks Kael about her views on The Manchurian Candidate for a talk he's giving; the second (1991) notes they are "for the first time under the same covers with the Dylan Companion and offers some film critiques; the third (2000) is entirely about the Bush-Gore election debacle then underway.
Archive of Letters to Pauline Kael. 1970s-2000s. More than 75 pieces of correspondence, the majority sent to Kael accompanying a book with hopes she would read it, love it, see its film potential, or otherwise say something positive about it. Many of the letters share reminiscences of past meetings or hopes of future meetings; many offer compliments on her work, express film opinions, or express opinions on her film opinions. A number of the letters have brief notations by Kael on them, most commonly noting that she has responded. Kael has copied most of the incoming books' covers to go with the letters, and she has often copied inscriptions if present. As follows:
- [1993.] ANS. Transmits a copy of her book, Mark Morris.
- 1994. ALS. Despairs about the current state of film and film criticism and The New Yorker in the post-Kael era. Transmits a copy of his book, A Dancer's Progress and Schrodinger's Cat.
- 1993. ALS. Expresses appreciation for her New Yorker write-up on a retrospective showing of the film Coming Home, and transmits as a gift the book Six American Poets.
- 1993. ALS. Transmits a copy of The Dawn of Meaning by Boris Cyrulnik.
- Undated, ca. 2001. ALS. Expresses holiday wishes, reports on his filming in New Orleans, and tells her he'll edit their Renoir interview upon his return to New York.
- 1980. TNS. Transmits a bound galley of Reruns by Sabina Thorne, on behalf of Viking Penguin.
- 1990. TLS. Transmits a copy of his book, False Match.
- 1999. TLS. Transmits videos of movies she might appreciate, on behalf of Buena Vista Home Entertainment.
- 1975. TLS. Transmits a copy of his book, 13 Castle Walk and tells her about two upcoming books.
- 1974. TLS. Transmits a proof copy of Wings by Adrienne Richard, on behalf of Atlantic Monthly Press.
- 1991. TLS. Transmits a copy of his book, In Memory of Angel Clare.
- 1994. TLS. Transmits a copy of his book, Father of Frankenstein.
- 1981. TLS. Transmits a copy of his book, The Lizard's Tail.
- 1995. APS. Reports progress on his book, Conversations with Pauline Kael.
- 1979. TLS. Transmits a copy of On the Yard, by his client, Raphael Silver.
- 1984. ALS. Extends birthday wishes and transmits a copy of One Fine Day by his friend, Leon Arden.
- Undated, ca. 1989. TLS. Transmits a copy of his book, A Child Across the Sky.
- 1973. ALS. Expresses appreciation for her openness & generosity regarding her "correspondence with [Robert] Duncan." Written on a card that includes an original poem by Cebulski.
- [1988.] ALS. Reminds her of his connection to Robert Duncan and transmits a copy of his book, Mediterranean Sonnets.
- 1989. ALS. Thanks Kael for sending Kael's book, Hooked, and transmits a copy of her own book, The Four Elements.
- 1987-1991. Five Chast-designed cards, one unsigned, one signed by Bill, three signed by both: two birth announcements, two holiday cards, one change of address.
- 1996. ALS. Transmits an advance copy of his book, Great Books.
- [1998.] ANS. Transmits a new edition of Virginia Woolf's Jacob's Room, for which he wrote an introduction.
- 1994. ALS. Written on a promotional sheet for his book, The Vanishing Wetlands.
- 1998. TLS. Offers reviews of films, books, and music to his former New Yorker colleague and transmits a copy of The Best of Outside, an anthology from the magazine to which he moved.
- 1979. ALS. Faas introduces himself as Robert Duncan's biographer.
- 1981. Expresses pleasure at having met her and transmits his 1979 book, Walker Evans.
- 1989, 1991. Two APS. Compliments Kael and reports family news. Not mentioned, but at some point evidence of his having transmitted a copy of his 1988 book, Hearing from Wayne.
- 1988. TLS. Transmits a copy of her book, A Moment's Notice, Portraits of American Jazz Musicians, and asks to photograph Kael for her next book, Heroes.
- 1976. ALS. Letter written in a holiday card. Reports on his work on the film The Last Remake of Beau Geste, with Peter Ustinov and Marty Feldman.
- 1977. ALS. Transmits a copy of his book, Price.
- Undated. TNS. Transmits by request the music of Barbara Lea.
- 2001. TLS. Transmits the Leos Carax film, Pola X.
- 2001. TLS. Transmits the music of Sally Timms.
- 1996. TLS. Transmits an advance galley of Roger Ebert's Book of Film, on behalf of W.W. Norton, and notes in contains Kael's review of Last Tango in Paris.
- 1996. TLS, ANS. The first solicits a blurb for Red Diaper Baby by Josh Kornbluth; the second thanks kael for same.
- 1991. ALS. Congratulates Kael, likely on her retirement from The New Yorker, and begins to make plans for her to make a return appearance at the Walker Art Center.
- 1988. TNS. Transmits a copy of his book, Pearl's Progress.
- 1988. TLS. Transmits an ordered book on behalf of Milkweed Editions and also a copy of her own book, The Only Window That Counts.
- A broadside announcement of a Poets' Follies event; notice of transmittal of a copy of Fall Quarter; review material for The Ceremony; three newspaper clippings about Kees.
- No date. ca. 1975 or later. ANS. Transmits a copy of his book, A Sense of Life, A Sense of Sin.
- 1989. ALS. Very long and personal fan letter, transmitting a copy of her "12th or 13th book."
- 1982. TLS. Inquires about Weldon Kees on behlaf of the University of Nebraska. With an inscribed offprint of Knoll's review of Kees' The Ceremony and Other Stories.
- 1981. TLS. Transmits a copy of S.J. Perelman's The Last Laugh, on behalf of Simon & Schuster.
- 1994. TLS. Transmits a copy of a book he co-edited, Hayek on Hakek.
- 1991. ALS. Transmits a copy of Ben Maddow's A False Autobiography: Poems 1940-1990, which Marcus founded Other Shores Press to publish.
- 1979. ALS. He hopes for another meeting and mentions he has dedicated his book, Notas de Cine, to her.
- 1980. TLS. Transmits a copy of Kabbalah, by his client, David Scott Milton.
- 2000. TLS. Thanks Kael for permission to reprint a review and transmits his book, The Silence of Bartleby, in which Kael is quoted.
- Undated, ca. 1992. TLS. Transmits an advance copy of his book, The Age of Missing Information.
- Undated, ca. 1974. TLS. Transmits Nancy Weber's The Life Swap and belatedly congratulates Kael on the National Book Award.
- 1975. ANS. Agrees to meet with Kael.
- 1982. ALS. Transmits a copy of his newest book of poetry.
- 1991. ALS. Thanks Kael for mentioning his work in a half dozen films and mourns her departure from The New Yorker.
- 1997. ALS. Transmits a copy of his book, The Ragged Vertical, and discusses his upcoming role in Jonathan Demme's filming of Toni Morrison's Beloved.
- 1998. TLS. Transmits a copy of a book and reports on recent film roles.
- 1995. TNS. Reports on his trip to Venice and the new, monthly publication schedule of The New Republic. Transmits a copy of Three Essays on Style by Erwin Panofsky.
- 1996. ALS. Transmits a copy of his book, All the Time in the World.
- 1991. TLS. Inquires at length about Weldon Kees, for a biography.
- 1999. ANS. Delays a visit as he'll be in Detroit on Kael's birthday.
- 1985. TLS. Transmits a copy of The Fifties: Photographs of America, on behalf of Pantheon Books.
- 2001. TLS. Transmits his own book, The Business of Books, and hypes the upcoming New Press publication of Studs Terkel's book [Will the Circle Be Unbroken?].
- 1980. TLS. Transmits a copy of his book, The Experiment.
- 1999. TLS. Transmits a copy of his book, Jazz.
- 1991. ALS. Discusses his book, The Secret Defector, at length, calling her his "ideal reader."
- Undated, ca. 1992. ALS. Transmits a copy of his book, [The Secret Defector] and discusses its connections to film.
- 1978. TLS. Transmits a copy of her book, Side Effects.
- 1987. TNS. Transmits a copy of his book, Talked to Death.
- 1971. TLS. Transmits a copy of Going Nowhere by Alvin Greenberg, on behalf of Simon and Schuster.
- 1975. TLS. Transmits a copy of his book, Second Love.
- TLS. 1983. Expresses thanks for Kael linking him up with David Chute, appends an article he wrote for the New York Times, and notifies her she will receive a copy of his book, Elegant Nightmares.
- 1980. TLS. Requests that Kael read the bound galley sent to her (by Richard Barber) despite its "misleading and offensive" blurb.
- 1991. APS. Announces the premiere of the play based on his book, The Kryptonite Kid.
- [1981.] TNS. Transmits a copy of his book, Pavane, and a copy of his poem, "My Term Paper on Marilyn Monroe," in which Kael appears.
- No date. ANS. Transmits a copy of his book, Candida, or What Shaw Really Meant.
- No date. ALS. Transmits a copy of Frank O'Connor's book, More Stories.
- No date. ANS. A note of appreciation written on a Knopf note card.
- 1970. TLS. Transmits a copy of A Time Piece, by his former student, Peter Neill, along with Neill's prospectus for his screenplay based on the novel. The prospectus is included here.
Six Honorary Degree Hoods and One Tam. 1972-1979. One tam and six hoods (of eight that we know of her having earned). As follows:
- Tam: 4-sided, black with gold tassel.
- Hood: Noted, "Dr. of Laws, Georgetown." Purple, Gray. [1972]
- Hood: White and Yellow. Likely Doctor of Letters, Smith College. [1973]
- Hood: White, Orange and Black. Likely Doctor of Humane Letters, Kalamazoo. [1973]
- Hood: Noted, "Dr. of Humane Letters, Haverford." White, Scarlet and Black. [1975]
- Hood: Noted, "Humane Letters, Reed." White, Rose. [1975]
- Hood: White, Blue and Gold. Likely Doctor of Letters, Allegheny College. [1979]
- Not present:
- Columbia College, Chicago, 1972.
- School of Visual Arts, NYC, 1980.
