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"The Journals of Spalding Gray": An interview with editor Nell Casey

By Kelsey McKinney

Page from Spalding Gray journal, which spans from February to April 1990.
Page from Spalding Gray journal, which spans from February to April 1990.

Spalding Gray was an actor, performer, and writer. He appeared on Broadway in various one-man shows and is widely accredited with the invention of the autobiographical monologue.  His archive, recently acquired by the Ransom Center, is composed of more than 100 private journals that span more than 40 years of Gray’s career. Nell Casey, editor of the book The Journals of Spalding Gray, which was released today, distilled the mass of journal entries into a portrait of the man behind the magnetic performer who ended his life in 2004. Cultural Compass spoke with Casey about her interest in Gray, the surprising notes she found in the journals, what she admires about his work, and more.

Casey’s interaction with Gray began in 1992 when, after moving to New York, she wrote one of her first magazine articles about him. After Gray’s death, Kathie Russo, Gray’s widow, created the play Leftover Stories to Tell, which told the story of Spalding Gray’s life through excerpts from his monologues and journals.  Casey interviewed Russo for The New York Times and says that the journal entries that appeared in the play were “incredibly beautiful.”

“One of the things about the play was that with other people reading [Gray’s] work you got a sense of his incredible talent as a writer,” said Casey.  “When I saw the play and the writing was taken out and away from him and other people were reading it, I realized that his writing was a talent that had been sort of overshadowed by his personality and performance.”

When Russo approached Casey to ask if she would be interested in writing a book about Gray, Casey enthusiastically agreed. She had always loved Gray’s work. Her first step was to read the journals. Initially, she was concerned that the material found in the journals would be repetitive of what Gray himself told in his monologues.  What she found was anything but.

“[The journals] are this incredible under life and sea of experience that he had not included in his monologues, and part of that experience was the struggle he had,” said Casey.

The writings are so raw and intimate that Casey says she was “caught off guard by almost every journal entry.” On paper, Gray reveals himself as a more extreme version of the person he portrays in his monologues. Casey describes him as a self-reflective narcissist with a broad sense of himself.

“He had this unbelievably broad sort of analytic and therapeutic sense of himself, so he could explore himself, even though he could not stop himself from actions that were very self-destructive and brutal,” said Casey.“The monologues are where he found perspective. The journals were where he showed himself to be completely lost.”

While Gray’s entries do correspond to his monologues, his writings are not for performance but for his life. Casey says, “There is some similarity, but you see in the journals that he just hasn’t gotten his footing yet.”

The themes present in his monologues come up in the book, but they are explored more deeply. As Casey read through the thousands of journal entries, she found that there were very specific themes: his drinking, his narcissism, his performance, his struggle with relationships, his mother’s suicide, and his fantasy life. These themes acted as a guide to help Casey winnow the mass of information into a chronological account of Spalding Gray’s private life.

Above all, Casey says that her years with Gray’s journals have led her to admire him for his writing. She admires it for “its beauty but also for the incredible, tender, searching thought that went into what he wanted to find in life.” Gray’s quest for truth was relentless.  “Honesty is really guesswork, isn’t it?” Casey questioned, quoting British editor and writer Diane Athill.

“The point being, what is truth?” Casey says. “Your own truth is just a stab in the dark, and I admire Spalding Gray for his endless attempts at trying to find his truth.”

“We have lost Gray,” Casey writes in her introduction to the journals, “but there is still more for him to tell us.”

The New York Times recently published an article containing excerpts from the journals.

Nell Casey is the editor of Unholy Ghost: Writers on Depression and An Uncertain Inheritance: Writers on Caring for Family. Her articles have been published in The New York Times, The Washington Post, Slate, Elle, and Glamour. The Journals of Spalding Gray, edited by Nell Casey is published by Alfred A. Knopf and available for purchase October 18, 2011.

Related posts:

Ronald McDonald swims to Cambodia: A first glimpse at Spalding Gray’s notebooks

Spalding Gray’s life as told by…Spalding Gray

Ransom Center acquires Spalding Gray archive

Filmmaker Nicholas Ray's archive opens for research

By Alicia Dietrich

Dennis Hopper and Nicholas Ray, ca. 1971. Photo by Mark Goldstein.
Dennis Hopper and Nicholas Ray, ca. 1971. Photo by Mark Goldstein.

The archive of film director Nicholas Ray (1911–1979), best known for his film, Rebel Without a Cause (1955), is now open for research. Spanning more than 35 years, materials in the collection include original treatments, annotated scripts, photographs, journals, notes, audio reels, video recordings and film that provide an account of Ray’s working methods and ideas. View the finding aid for the collection or read an article about the collection in the Chronicle of Higher Education.

Photo Friday

By Kelsey McKinney

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Guests at the “Uncensored” opening party sign a mock Greenwich Village Bookshop Door.  Photo by Pete Smith.
Guests at the “Uncensored” opening party sign a mock Greenwich Village Bookshop Door. Photo by Pete Smith.
Sanctuary Printshop creates souvenir screen printed T-shirts and totebags at the “Uncensored” opening. Photo by Pete Smith.
Sanctuary Printshop creates souvenir screen printed T-shirts and totebags at the “Uncensored” opening. Photo by Pete Smith.
Guests at the “Uncensored” opening party sport “censoring” sunglasses in conjunction with the "Banned, Burned, Seized, and Censored" exhibition. Photo by Pete Smith.
Guests at the “Uncensored” opening party sport “censoring” sunglasses in conjunction with the "Banned, Burned, Seized, and Censored" exhibition. Photo by Pete Smith.
A student visits the  "Banned, Burned, Seized, and Censored" exhibition. Photo by Pete Smith.
A student visits the "Banned, Burned, Seized, and Censored" exhibition. Photo by Pete Smith.
David Garza, Superintendent for Flynn Construction, oversees the installation of the air handler for the new acetate film storage vault at the Ransom Center. The completed vault will house acetate film and negatives at a constant temperature of 38 degrees F and 35 percent relative humidity. Photo by Pete Smith.
David Garza, Superintendent for Flynn Construction, oversees the installation of the air handler for the new acetate film storage vault at the Ransom Center. The completed vault will house acetate film and negatives at a constant temperature of 38 degrees F and 35 percent relative humidity. Photo by Pete Smith.

Tragic play ending transformed into happier film version in "Sweet Bird of Youth"

By Elana Estrin

Signet paperback edition of Tennessee Williams's play 'Sweet Bird of Youth.'
Signet paperback edition of Tennessee Williams's play 'Sweet Bird of Youth.'

The Tennessee Williams Film Series at the Ransom Center concludes tonight with Richard Brooks’s Sweet Bird of Youth (1962), featuring Paul Newman and Geraldine Page. The series features films highlighted in the current exhibition, Becoming Tennessee Williams, which runs through July 31.

Chance Wayne (Newman), returns to his hometown of St. Cloud in order to reunite with his childhood sweetheart, Heavenly Finley, whose father ran Chance out of town years before. Chance left to become a movie star, but he never made it big. Instead, he supported himself largely by becoming the lover of older, wealthy women. One of them, the aging movie star Alexandra Del Lago (Page), accompanies him on this trip. As Chance feels his youth and good looks fading, he becomes more and more desperate to seize his dreams of happiness with Heavenly.

For the film version of Sweet Bird of Youth, Paul Newman and Geraldine Page reprised their Broadway roles. As with all adaptations of Williams plays from stage to screen, significant changes were made. In the play, Heavenly refuses to run away with him; in the final moments, Heavenly’s brother Tom and a group of his friends prepare to attack, and possibly kill, Chance. Several of Williams’s drafts of this final scene depicted Chance being castrated. In the film, however, Heavenly does leave with Chance. The final image is of the couple, along with Alexandra Del Lago, driving into the distance, presumably to live a happy life. This ending removes the aura of perpetual failure that surrounds Chance in the play and turns him into a more traditionally empowered hero.

Visit the galleries, open until 7 p.m. on Thursdays, before attending the screenings.

Please be aware that the Ransom Center’s Charles Nelson Prothro Theater has limited seating. Line forms upon arrival of the first person, and doors open 30 minutes in advance.

This post was written by Ransom Center volunteer Emily Butts.

Method actor Karl Malden stars in both stage and film version of "Baby Doll"

By Elana Estrin

Film still of Karl Malden, Carroll Baker, and Eli Wallach in 'Baby Doll.'
Film still of Karl Malden, Carroll Baker, and Eli Wallach in 'Baby Doll.'

The Tennessee Williams Film Series continues tonight at the Ransom Center with Elia Kazan’s Baby Doll (1956), featuring Karl Malden, Eli Wallach, and Carroll Baker. The series runs on some Thursdays through July 21 and features films highlighted in the current exhibition, Becoming Tennessee Williams, which runs through July 31.

Middle-aged Archie Lee Meighan (Malden) looks forward to finally consummating his two-year marriage with Baby Doll (Baker) on her upcoming 20th birthday. When rival Silva Vacarro’s (Wallach) cotton gin burns down, Vacarro plots revenge against Archie Lee through Baby Doll.

Karl Malden was an American method actor who created both the Broadway and film roles of Mitch in A Streetcar Named Desire as well as the role of Archie in Baby Doll. Malden had a long and full career and was considered, from a casting agent’s point of view, “the ideal Everyman,” as he was remembered in his obituary in The New York Times. Malden’s performances in Williams’s Streetcar and Baby Doll are two of his strongest, and he flourished as an actor under the direction of Elia Kazan. As Malden put it, critics applauded him for being “No. 1 in the No. 2 parts I was destined to get.”

Visit the galleries, open until 7 p.m. on Thursdays, before attending the screenings. Please be aware that the Ransom Center’s Charles Nelson Prothro Theater has limited seating. Line forms upon arrival of the first person, and doors open 30 minutes in advance.

This post was written by Ransom Center volunteer Emily Butts.

"Cat on a Hot Tin Roof" helps propel Paul Newman and Elizabeth Taylor to stardom

By Elana Estrin

Signet paperback edition of Tennessee Williams's play 'Cat on a Hot Tin Roof.'
Signet paperback edition of Tennessee Williams's play 'Cat on a Hot Tin Roof.'

The Tennessee Williams Film Series at the Ransom Center continues tonight with Richard Brooks’s Cat on a Hot Tin Roof (1958), featuring Elizabeth Taylor and Paul Newman. The series runs on some Thursdays through July 21 and features films highlighted in the current exhibition, Becoming Tennessee Williams, which runs through July 31.

Despondent ex-athlete Brick Pollitt (Newman) resists the affections of his enticing wife, Maggie “the Cat” (Taylor). Tensions climax during cotton tycoon Big Daddy’s 65th birthday celebration on the Pollitt Plantation.

Cat on a Hot Tin Roof helped propel Newman and Taylor to stardom. Although Taylor did not fit Williams’s own “idea of Maggie the Cat,” she was nominated for an Academy Award for her portrayal and was praised by Walter F. Kerr in the New York Herald Tribune for making herself “believable as a rejected wife, determined somehow to win back her cold and hostile husband.”

Williams offered his literary agent Audrey Wood a list of eight “acceptable” directors for the film version of Cat on a Hot Tin Roof. MGM, however, preferred to work with a director they already had under contract. MGM offered George Cukor the directorial job, but Cukor turned it down when he realized that the Hollywood version of the story cut out most of the play’s implications of Brick’s homosexuality. The changes also infuriated Williams, who is said to have cautioned audiences to stay away from the 1958 film, charging that “this movie will set the industry back 50 years!” Richard Brooks, whom Wood identifies as “maybe!” qualified for the job, was eventually chosen to direct the film.

Visit the galleries, open until 7 p.m. on Thursdays, before attending the screenings.

Please be aware that the Ransom Center’s Charles Nelson Prothro Theater has limited seating. Line forms upon arrival of the first person, and doors open 30 minutes in advance.

This post was written by Ransom Center volunteer Emily Butts.

Vivien Leigh takes a mad turn in "A Streetcar Named Desire"

By Alicia Dietrich

Film still of Marlon Brando and Vivien Leigh in 'A Streetcar Named Desire.'
Film still of Marlon Brando and Vivien Leigh in 'A Streetcar Named Desire.'

The Harry Ransom Center kicks off the Tennessee Williams Film Series tonight with Elia Kazan’s A Streetcar Named Desire (1951), starring Marlon Brando and Vivien Leigh. The series runs on some Thursdays through July 21 and features films highlighted in the current exhibition, Becoming Tennessee Williams, which runs through July 31.

Elia Kazan’s A Streetcar Named Desire is a 1951 film adaptation of Williams’s 1947 play, which received the Pulitzer Prize for Drama in 1948. No other play of Williams’s rivaled A Streetcar Named Desire for its intensity, insight, or impact, and it was Williams’s favorite because it embodied “everything I had to say.”

In the story, Blanche DuBois (Leigh) moves in with her sister in New Orleans and is tormented by her brutish brother-in-law (Brando) while her reality crumbles around her.

British actress Vivien Leigh was the only leading member of the screen cast not originally in the 1947 Broadway production of the play. Leigh was given the movie role because the film’s producers felt Leigh had more box office appeal than Jessica Tandy, largely for her Oscar-winning performance as Scarlett O’Hara in 1939’s Gone With the Wind.

Leigh’s performance earned positive reviews from critics. Bosley Crowther of The New York Times called it “haunting,” adding that “Miss Leigh accomplishes more than a worthy repeat of the performance which Jessica Tandy gave on the stage…Blessed with a beautifully molded and fluently expressive face, a pair of eyes that can flood with emotion, and a body that moves with spirit and style, Miss Leigh has, indeed, created a new Blanche Du Bois on the screen—a woman of even greater fullness, torment, and tragedy.”

Later, Leigh, who suffered from bipolar disorder for much of her life, would claim that the part was responsible for her illness following the film’s production. She was hospitalized multiple times and treated with electroshock therapy.

Visit the galleries, open until 7 p.m. on Thursdays, before attending the screenings. Please be aware that the Ransom Center’s Charles Nelson Prothro Theater has limited seating. Line forms upon arrival of the first person, and doors open 30 minutes in advance.

This post was written by Ransom Center volunteer Emily Butts.

In the galleries: David Mamet's "Homicide" outline

By Alicia Dietrich

David Mamet's outline for 'Homicide." Click on image to view full-size version.
David Mamet's outline for 'Homicide." Click on image to view full-size version.

David Mamet is one of America’s best-known and most celebrated playwrights and filmmakers. He has received numerous awards and honors for such plays as American Buffalo (1975), Glengarry Glen Ross (1984), Speed-the-Plow (1988), and Oleanna (1991), and films including The Verdict (1982), Homicide (1991), The Spanish Prisoner (1997), Wag the Dog (1997), and State and Main (2000). The Ransom Center acquired Mamet’s archive in 2007. Since then, Mamet has visited the Ransom Center several times to speak at public events, university classes, and student reading groups, and to lead a screenwriting workshop for students.

Materials such as Mamet’s typescripts and journals, as well as materials related to his 1991 film, Homicide, can be found in the Ransom Center’s current exhibition Culture Unbound: Collecting in the Twenty-First Century.

Mamet wrote and directed Homicide, which follows homicide detective Bobby Gold, who—while trying to solve a murder—discovers a secret Zionist organization operating in the city. A series of circumstances awaken in Gold a deeper connection with his Jewish upbringing and test his loyalty to the badge. The film stars Joe Mantegna and William H. Macy, actors who frequently collaborate with Mamet.

In this outline for Homicide, Mamet structures the plot of the film following the classic sequence of action that mythologist Joseph Campbell identified in his theory of the “hero’s journey” or “monomyth.” In his 1949 book The Hero with a Thousand Faces, Campbell theorized that a fundamental structure could be found in ancient myths from around the world. He identified a number of “steps” or actions that were common to many ancient myths, from the “call to adventure” to the “freedom to live.” Mamet lists these steps in the middle column at the top of the page and correlates them with the film’s action in the middle row of this chart.

This post was written by Ransom Center volunteer Emily Butts.

Ronald McDonald swims to Cambodia: A first glimpse at Spalding Gray’s notebooks

By Molly Schwartzburg

Cover of Spalding Gray’s performance notebook for ‘Swimming to Cambodia.’
Cover of Spalding Gray’s performance notebook for ‘Swimming to Cambodia.’

During the initial staff inspection of Spalding Gray’s papers at the Ransom Center some weeks ago, when each shipping carton was opened and its contents checked for condition, I passed my hands over multiple audio tapes, notebooks, and other documents marked with the single word “Swimming.” It had been around 20 years since I had seen Gray’s critically acclaimed and influential film Swimming to Cambodia, and I decided it was time for a refresher viewing.

Released in 1987, Swimming was the first of Gray’s stage monologues to be adapted for the screen, and hence to reach a mass audience. In it, Gray tells the partly scripted, partly improvised story of his experience as a cast member in the 1984 feature film The Killing Fields, which was nominated for seven Academy Awards and awarded three. This film tells the story of the Khmer Rouge regime in Cambodia in the 1970s through the eyes of an American reporter and his Cambodian interpreter. It offers a powerful critique of American involvement in the events leading up to and following the Khmer Rouge genocide of more than a million Cambodians. Gray had a small role in the film as an American diplomat. His Swimming monologue investigates the many ironies involved in his experience making the film: most prominent is the combination of pleasure and guilt he experienced while on location in Thailand, a country whose idyllic beauty, poverty, and services of all kinds for American tourists produced disturbing contrasts and parallels to the Cambodia of the previous decade.

I rented the film that weekend, and settled in to view it. Less than two minutes in, I hit the pause button, sat back with a laugh, and half-seriously considered heading straight to the Ransom Center to begin searching the shipping cartons. I rewound, watched the opening minutes again, and then sat back to enjoy the remainder of the film, hoping that the object I had just seen had arrived in Austin with Gray’s papers. The first two minutes of the film (and more) may be viewed here:

As directed by Jonathan Demme, with a soundtrack by Laurie Anderson, the opening sequence shows Gray walking through New York to a small theater, accompanied by upbeat background music (Gray looks both ways earnestly before crossing the street). As he walks, you can see that there is a notebook tucked under his arm. When he reaches the theater, the notebook becomes more prominent. He enters the building, sits down at a table in front of his waiting audience, and begins his performance. He carries it to the stage and places it on the table in front of him as the opening credits begin.

Demme’s camera angle places the notebook at the center of the film viewer’s experience, while cropping out most of Gray’s body (notably, this creates a very different experience to that of the live theatergoers, for whom the combination of speaker, notebook, and table is an uninterrupted, organic whole). The camera clearly shows a schoolchild’s spiral notebook featuring a brightly colored image of Ronald McDonald and his pals playing soccer. The opening credits appear on the screen on either side of the notebook, quite literally emphasizing the centrality of the notebook’s iconography to the film’s message: very soon, the viewer comes to understand that the notebook’s banal iconography of American consumerism and corporate power, layered with Anderson’s buoyant music and the image of Gray walking in his coat through the cold, concrete landscape of New York, is preparing you for the more profound ironies to come.

First page from Spalding Gray’s performance notebook for ‘Swimming to Cambodia.’
First page from Spalding Gray’s performance notebook for ‘Swimming to Cambodia.’

The notebook did, in fact, arrive with Gray’s papers. The Ronald McDonald cover is bright, though the notebook is softened, its corners bumped and curled from much use. The first page in the notebook can be identified as the one visible at the opening of the monologue in the film. One can follow along with the film’s soundtrack while reading the notebook, tracking Gray’s progress through key phrases and words noted in order on the page. Only nine of the notebook’s 50 sheets have been used. Presumably, Gray’s other Swimming notebooks contain preparatory material for this final, brief promptbook.

Critics often mention Gray’s use of notebooks in his monologues; his stage sets generally included a table, chair, microphone, glass of water, and notebook. (Side note: when I looked on Amazon.com for the latest printed edition of Swimming to Cambodia, I was fascinated to see that it features a still-life photograph of this combination of objects on the cover. Without a high-resolution image, I couldn’t tell what kind of notebook was used in place of the original.) As the papers are cataloged, I expect that notebooks for other monologues will surface, and I look forward to seeing how researchers will use these materials.

There are at least two distinct types of research value in this particular notebook: that which its content possesses as a stage in Gray’s compositional process, and that which its look and feel possess as a movie prop. The Ronald McDonald notebook has a kind of magical value too, as an object that represents the major turning point in Gray’s long, richly layered career—the breakthrough moment when this memoirist, playwright, filmmaker, and performer brought his unique vision to a film audience, gaining a prominence that would determine the directions his work took from that point on.

The New York Times drama critic Mel Gussow, whose papers also reside at the Ransom Center, wrote an admiring review of the stage version of Swimming to Cambodia in 1984. He opened the review with this statement: “Were it not for the absolute simplicity of the presentation, one might be tempted to say that Spalding Gray has invented a performance art form.” Little did Gussow know the complexity that would accrete as this work became first a film and then a printed book, gaining new layers of irony as it went along, with no little thanks due to Ronald McDonald’s well-aimed kick at a soccer ball.

Ransom Center acquires Spalding Gray archive

By Alicia Dietrich

Performance notebooks and journals from the Spalding Gray archive.
Performance notebooks and journals from the Spalding Gray archive.
The Ransom Center has acquired the archive of writer and actor Spalding Gray (1941–2004). Spanning more than 40 years, the archive traces the author’s career since the late 1970s, when Gray helped define a new era in theater where public and private life became an indivisible part of each new performance.

Recognized for his critically acclaimed dramatic monologues in which he drew upon his experiences, Gray wrote and performed such works as Swimming to Cambodia (1985), Monster in a Box (1992), Gray’s Anatomy (1994), It’s a Slippery Slope (1997) and Morning, Noon and Night (1999).