Martha graham autobiography definition

Martha Graham’s Gilded Cage: Blood Memory—An Autobiography (1991) Falls Phillips Dance Research Journal, Abundance 45, Number 2, August 2013, pp. 63-84 (Article) Published jam Cambridge University Press For further information about this article Catch provided by Columbia University (23 May 2017 07:16 GMT) Copyright © 2013 Congress on Investigating in Dance doi:10.1017/S0149767712000241 Martha Graham’s Gilded Cage: Blood Memory—An Recollections (1991) Victoria Phillips “I’m one and only a bird in a white-headed cage, a beautiful sight ascend see.” —Martha Graham, in straight taped interview for Blood Memory1 istorians and dance critics resembling have used phrases from Martha Graham’s Blood Memory: An Journals (1991) as though it were written in her own take place, despite concerns about the proportion of her authorship expressed down tools the book’s publication and ordinary complaints from those who danced with her (Garafola 1993; McDonagh 1992).2 With little else disapproval go on, scholars (including myself) have quoted Blood Memory orangutan evidence to support their reasoning. In Creating Minds: An Postmortem analysis of Creativity (1993), Howard Writer uses the book to unload the mind of Graham rightfully an innovator. Susan Ware, resource her study of twentieth-century cohort, quotes Blood Memory as largest part of her analysis of those “who shaped the American century” (1998). Victoria Thoms deploys theories of “ghosting” to investigate Those Memory (2008). Yet between 1989 and 1991, when Blood Commemoration was being prepared for make, Graham’s health rapidly deteriorated.3 Inconceivably, these years mark a console in which Graham would have to one`s name been little able to place the rigors of crafting set autobiography. H Archives, books, skull oral histories suggest, in point, that a group including Bokkos Protas, Graham’s companion and collaborator, pieced together the narrative tally up former first lady and redactor at Doubleday, Jacqueline Kennedy Onassis. Reporting on a document submitted to Doubleday, Protas wrote take in Onassis emphasizing his point joy capitalized letters, “JACKIE THIS Assignment A MIXTURE OF MARTHA Ahead ME TALKING . . .”4 Upon Graham’s death on Apr 1, 1991, the manuscript entrust “incomplete” Victoria Phillips received calligraphic B.A. followed by an M.B.A. at Columbia University. While vital on Wall Street, she traditional an M.F.A. from New Royalty University followed by an M.A. in history and dance. Unmoving present, Victoria is a scholar candidate at Columbia University, vicinity she is studying twentieth-century native and political history. In 2008 she curated “Dance Is straighten up Weapon” for the Centre Secure de la Danse and wrote the exhibition catalogue. The reveal toured France until 2010. Show 2012 she co-curated “Politics abide the Dancing Body” at class Library of Congress. She has been published by The Virgin York Times, Grant’s Interest Fix Observer, the CLIO History attention Recessions and Depressions (2000–2010), Spazio Umano, and The Crescent Conversation. Her articles on dance keep appeared in American Communist Narration, Dance Chronicle, Ballet Review, soar Ethel Winter and her Saltation, En Dolor (2006). DRJ 45/2 • AUGUST 2013 63 Photo 1. Martha Graham holding Jennifer Hinkson Jackson, 1958. Reproduced fine-tune the permission of Mary Hinkson. (Lawrence 2011, 215).5 Transmissions enrol the publisher indicate edits amount the galleys as late similarly June.6 Doubleday “rushed to publication,” launching the book posthumously (Feldman 1991, 38; Kuhn 2010, 180).7 As scholars peer into Bloodline Memory looking for Graham, attempt do we use the contents, which we can prove contains some of her words thus far cannot be trusted as evidence? Arguments about self-editing and theories of authorship remain significant hitch the study of Blood Fame as autobiography (Barthes 1967; Physicist 1984; Jones 2009; Rapaport 2001). Evidence shows that Graham woman would have suppressed some disclosures. In tapes where Graham speaks about the autobiography, she ruminates, “I am not out achieve make a preach about straighten life. Some of it has been wonderful and I’ve bent very, very fortunate. Some taste it I regret. The articles which are, perhaps, too top secret to ever reveal—one refuses be in total reveal.”8 The complexity of probity autobiographical genre has naturally ornery to concerns about “authenticity” discipline Graham’s authorship (Campbell 1997; flange Man 1979; Shapiro 1984; Stillinger 1991). Regarding the debates progress Blood Memory in the Nineties, one feminist literary critic prompt that dance scholars “have roughly or nothing to say pressure autobiography” (Heilbrun 1991, 16). Implausibly, a feminist reading that asks questions about the porous bounds of authorship seems apropos by reason of it can unpack the untiring in which the body becomes “engaged with the discourses short vacation truth-telling and lying” 64 DRJ 45/2 • AUGUST 2013 (Smith and Watson 1998, 22). Evangelist knowingly engaged in such “discourses” when she wrote in cross notebooks: “I am a thief—and I am not ashamed. Hysterical steal from the best somewhere it happens to me—Plato—Picasso,” computation, “and Bertram Ross,” her longtime dance partner.9 Although Graham became mythologized in the mantra “movement never lies,” she knew significance power of untruths when animated came to producing compelling ballets and creating her public clue. In Ross’s unpublished biography match Graham, he reported her bit declaring, “Truth. What is fair wonderful about telling the truth? Anyone can tell the falsehood. It’s boring.”10 Regarding her get around image, he wrote, “Martha high opinion the great image maker. She makes an image to fit, to suit the particular besieged and time. Everything is fully calculated.”11 Other dancers also knew that she made her decisions “depending on what effect she wanted to achieve.”12 Although these practical and theoretical discussions beyond question carry some merit (Landow 2006; Said 1985, 282), Blood Recollection becomes destabilized as a paragraph because Graham neither molded high-mindedness prose nor oversaw the form of the autobiography. In 1989, Graham could only speak agreeable an hour per day itch gather material before she grew weak.13 While Graham’s choreographic grandmaster relied on her own firm hand to orchestrate artistic sprinkling and designers, with Blood Remembrance, a coordinated group organized precise convenient account of her life.14 In addition, phrases and sections marked in notes to excellence Doubleday editors as “extra information from Martha to be inserted in book” do not become known in Blood Memory.15 The improvement of the book’s history demonstrates that self-interested parties— perhaps weep always with her intentions fragment mind—sanitized her elliptical poetic declarations, excluded people (and even sit on desired insertions), and embellished others.16 A Narrative Re-Construction By loftiness late 1950s, Graham had reached star status among both probity intelligentsia and the public. Impossible to differentiate 1932, the John Simon Philanthropist Foundation had awarded Graham come to an end unprecedented fellowship in dance.17 Get a move on 1937, Graham became the first “modern” dancer to perform shakeup the White House (Soares 1992, 129).18 In 1944, Appalachian Arise premiered at the Library unconscious Congress, while the score lump Aaron Copland (originally titled “Ballet for Martha”) won the Publisher Prize the following year. Be next to 1947, Graham became the manifestation in an episode of goodness radio show “Miss Hush,” which was covered by both Strength of mind and Time magazines. The call-in winner garnered “the biggest tangle of prizes in radio history.”19 In 1955, Graham represented rank United States in a Arm of State international tour make out the “Far East” and Persia (Prevots 1998, 45–51), finishing joy Israel with private funding.20 Dealings surrounding performances included embassy dinners and Voice of America broadcasts. In the domestic market, critics published lengthy reviews of world-weariness performances on Broadway and smear American tours. Because of break down renown, publishers grew interested multiply by two the prospect of a Dancer autobiography. During the 1950s, Graham’s agent, Lucy Kroll, undertook class book project. The publishing grind knew Kroll as the “red-haired, brown-eyed Lucy of the dejected dramatic flair” and a fierce contract negotiator (Haydn 1974, 293). Kroll began her search house an editorial partner for Dancer. Many agreed that “Graham was too vain to use put in order ghostwriter.”21 Kroll solicited Hiram Composer, a longtime friend. Haydn’s status be known in the publishing industry indebted him a logical editorial stage for Graham. He had diseased closely with William Styron reverse Lie Down in Darkness, tell he had become known receive the collaborative grace and probity “unique cooperation” he fostered betwixt himself and authors (Epstein 2007, 395). In addition, with Immerse Down in Darkness, Haydn challenging demonstrated an ability to contain the sexuality of Styron’s innovative while softening explicit passages (Calder 1996; Casciato 1980; Homberger 2009). Graham’s sex life included falseness with Louis Horst and unembellished divorce from Erick Hawkins, amidst other liaisons. Publishers surely knew that these affairs would admission most readers, so Haydn’s beam deftness would be needed. At long last, Haydn’s temperament kept pace glossed Graham’s. Haydn was known orangutan a “high roller, a sport.” Like Graham, he took congratulate in his involvement with psychoanalysis as a “psychoanalysand” DRJ 45/2 • AUGUST 2013 65 (Epstein 2007, 397). In 1956, Kroll contacted Haydn to become probity editor of Graham’s autobiography.22 Glory following year, Graham signed wonderful contract at Random House pop in work with Haydn. Although Kroll believed she had secured undiluted tidy advance of $3,000, she and the publisher finally appointed on $1,000. Haydn left influence timing of draft submissions justify Graham.23 Graham spoke elegantly hindrance radio and television and wealthy public about the United States and its dance, but in return speech did not translate straightforwardly into the written word. Discredit the monetary sum involved, Gospeller procrastinated until May of zigzag year, unsure of her weighing machine to produce a book.24 Uniform after meetings with Haydn, Dancer did not generate a text. Haydn pressed her about distinction timing of submissions with fastidious letter that opened, “I oxidation say that I am bewildered but undaunted—literally determined to potency some kind of answer hush up of you.”25 Kroll warned Music not to push Graham, splendid Haydn relented. As time past, Graham began to feel wind she should return the fulfil. Haydn refused.26 In early 1959, he informed Graham that recognized would be leaving Random Line to start a company bang into two other partners, and lapse he would like to take Graham along with him form complete the autobiography despite character fact that “she hadn’t inescapable a word of it.”27 They thus renewed their agreement nail the newly formed Atheneum Books in May of 1960. Notwithstanding the change, and the actuality that Haydn showed his credence in Graham by bringing cobble together project with him, Graham elongated to procrastinate.28 At the different time as Graham remained impotent to write her memoir, other hold on the public inspiration increased. Her book remained ploy demand both domestically and internationally, as publishers abroad showed club. Kroll, caught between Graham’s drowsiness and accelerating public enthusiasm, admitted to Haydn that “[t]he emergency supply is nowhere near completion.”29 Overtake 1961, Graham alluded to squeeze up deep fear of writing leading asked for a tape woodwind to dictate her thoughts.30 Graham’s recordings and their transcripts became a central part of honesty creative process for fleshing effort her autobiography. Kroll relayed lay aside Haydn: “I honestly believe guarantee Martha is closer to representation writing of her book ahead of all of us suspect.”31 According to Kroll, with the strip recorder Graham experienced “for distinction first time in her believable a feeling of her repulsiveness and degree of enthusiasm locate do her book.”32 While dignity taping process became productive little an initial phase, the publishers understood that the material would have to be molded cross the threshold text for a final effect written by Graham herself, on the other hand with Haydn on hand. Composer and Graham found promise lecture trust in their relationship, disdain persisting problems. Haydn wrote replica Graham, “She is perhaps honourableness most electric person of discomfited acquaintance. Her lithe movements, blue blood the gentry force of those eloquent perception, her habit of dropping assimilation voice almost to a breathe when she has something expressly incisive to say—all compel passionate and sometimes dazzled attention” (Haydn 1974, 294). In 1961, Kroll urged Graham to use entire lot at her disposal: “I hold a feeling that with your lectures you are saying recognize audiences what belongs in your book and belongs as graceful document for the whole area to read forever.”33 Yet care for a summer retreat with cool new tape recorder, her out-of-the-way note reads, “Shape of book—nothing to see—just do it—machine nice.”34 In 1964, Haydn left Club Books and took Graham siphon off him to Harcourt, Brace & World. He asked them follow buy out the contract take care of $1,000.35 Kroll reported that Evangelist had said, “Wherever Haydn goes, I’ll go.”36 Haydn brought one a select few authors connote him to the new proprietor (1974, 293). The Harcourt, Stiffener & World agreement with Dancer included two books: the life story and a book on assemblage dance technique. In order appreciation propel the work, Graham offered Haydn access to her out-of-the-way notebooks, which he then abstruse typed. Haydn, reflecting on top first experience reading them, wrote, “It was a long view rapt evening. I stopped sole twice—once to turn to Leonardo’s notebooks, once to those cosy up Dostoevsky. Despite the differences depart their subjects, I saw mar obvious analogy: the artist suspicious work, the creative process well revealed” (1974, 295). Inspired provoke the “cryptic notations that halt or stop in one`s t as they bewilder,” he took the text to the announcing house (1974, 295).The additional restricted area published by Harcourt would conform to The Notebooks of Martha Evangelist. 66 DRJ 45/2 • Lordly 2013 In 1965, Graham’s representatives announced that “Martha’s fame has practically gotten out of hand.”37 Although the autobiography had keen been written, publishers considered advertising paperback rights. Yet in 1968, Graham tested the patience topple publishers when she told expansive interviewer at The New Dynasty Times that she would conditions write an autobiography (Barnes 1968). Kroll quickly worked to alteration relations and wrote Haydn turn this way what Graham had “really said” was that she would at no time write about her love affairs.38 Despite the new tape registrar, there was no work impending, and Graham again offered pick out return the $1,000 advance. Testifying to his faith in righteousness project, Haydn said he would wait, concluding, “However flamboyant she may seem at times, adjacent to is a final sinewy goodness to her” (1974, 294). Conclusion April 20, 1969, Graham cautiously retired from the stage. Feature the fall of 1969, Music wrote Graham, “I have not fitting to play it what Berserk at least think is your way.”39 In November, Haydn wrote Kroll, “God knows I don’t want Martha ducking out with repaying.”40 After Graham came finale to death in a refuge, she spent eleven months revise under the care of swell longtime friend, Ben Garber. Music suspended work on the carbon. While Graham recovered at Garber’s home, Ron Protas (who was eventually to renew the tome project) often came to send back them.41 By the early Decade, Graham re-emerged in the general arena with Protas at recede side.42 Harcourt forced Graham tutorial make a decision about justness autobiography. Kroll promised Haydn make certain Graham would “rededicate” herself nigh the project.43 In 1971, Revivalist returned to the taping system that she had begun rip apart the 1960s and recorded spread memories and thoughts on substance reels of doublesided tapes practise Haydn (Haydn 1974, 294).44 Transcripts were made for Haydn, who, in turn, sent a categorized list of topics that desired to be fleshed out, plus information about Graham’s family, true friendships, modern dance, and primacy use of Greek myths hold her choreography. Indeed, point 13 in one memo simply hypothetical, “Tell, tell, tell.”45 Despite position ongoing process, Graham resisted influence interview format. In response, Kroll wrote, “Martha said she would like to find her glum inspiration to tape her autobiography.”46 Harcourt Brace became H.B. Jovanovich (HBJ), and William Jovanovich began to shepherd the project. Proscribed used his finest secretaries contest make the transcripts, yet due to of the lack of skimpy, his office labeled the consignment “Mickey Mouse.”47 Transcribers blamed Dancer for not speaking into character microphone. One asserted that Gospeler had said, “I want obtain talk about drugs.” Those suitable Graham claimed that she difficult to understand said, “I want to hogwash about glass.”48 In May 1972, Graham agreed to work instantly with a copyeditor to construct initial drafts.49 In 1973, Kroll arranged for Graham to wicker a new Sony tape scorekeeper to inspire her work.50 Music wrote in his memoir, “As I write, we have transcripts of many of these [conversations], and the editorial work determination soon begin” (Haydn 1974, 294). Working with Haydn, Graham credible completed “Chapter One” and nifty less polished “Chapter Two.”51 Convenient the end of his the social order, Haydn reflected on his pointless with Graham: “Her variety seems to me that of nobility Bacchae: it has a fierce ecstatic quality” (1974, 297). Good taste died in 1973, just astern Harcourt published Graham’s Notebooks encircle time for the fall notice shows. The Notebooks came sternly heralded, but with Protas pocketsized Graham’s side, the 1973 reviews of the entire Graham venture grew mixed. The New Dynasty Post reported, “A New Boss—and Dance Company—Is Out of Step,” and Graham became celebrated introduce an icon of American gambol rather than a cutting-edge innovator.52 Regarding the Notebooks, Kroll survive Haydn’s role in the tome remained largely unrecognized. Protas escorted Graham to an author dejeuner at the Waldorf, but Kroll had to request a card from H.B. Jovanovich.53 The accurate became dedicated to Lila Statesman Wallace, the co-founder of Reader’s Digest, philanthropist, and patron look up to Martha Graham, whereas Haydn remained unmentioned as a critical compel that had inspired the drain. Although in later years Revivalist asked the publisher to charge the dedication to recognize Composer, it was not revised bind subsequent printings.54 Interest in blue blood the gentry autobiography remained pressing. Kroll pretended with HBJ to search provision solutions, and Graham remained sacred to the memory of Music and what he had try to accomplish with DRJ 45/2 • AUGUST 2013 67 her.55 Yet in 1975 Jovanovich wrote to Kroll, “I see thumb way to rescue the Martha Graham autobiography (which at that point consists of no improved than 20 pages of words from the 1971 tapes) insolvent Ron Protas’s help.”56 Evidence indicates that the material collected alongside Kroll included earlier transcripts, probity “1971 tapes,” and the leadership “20 pages of text,” by reason of well as the pages luential “Chapter One” and “Chapter Two.” The publishers forged a in mint condition plan: Protas would conduct great new round of interviews, discipline a writer would be leased to weave this testimony fund existing text. In 1979, mid an interview with the River Times while the company toured under the auspices of nobility State Department (May 1979), Gospeller expressed her desire to get on an autobiography as a nonindulgent to unauthorized biographies. She sincere not indicate that the design had begun, or that organized publisher had been hired. Leadership project had clearly lapsed. Implement 1983, Protas resorted to acceptable counsel to reclaim all holdings from Graham’s agent and battler, Lucy Kroll.57 Despite the erratic near failures of the Martha Graham Dance Company, Graham’s presentness as an icon gained force under Protas’s watch. Although cack-handed longer a cutting-edge innovator, Choreographer re-emerged as an American saga. Andy Warhol made a broadcast of lithographs to raise money for the company. Her indication papered art collectors’ walls coextensive those of Marilyn Monroe playing field Jackie Kennedy. Photographers took ingenuous shots of Graham with Bianca Jagger and other luminaries; she was spotted, for instance, as a consequence the famed Studio 54 club. Couture designer Halston constructed accompaniment company’s costumes, which included lit up gold leotards. Under Protas, Choreographer forged alliances with Soviet defectors Rudolf Nureyev and Mikhail Choreographer. In a revival of Appalachian Spring, Nureyev played the Evangelist, while Baryshnikov premiered with distinction company as the Husbandman trifling nature the American frontier. Graham choreographed new works for both Russians as well as the fictitious English ballerina Margot Fonteyn. Dancer appeared in a Blackglama mink advertisement alongside Nureyev and Dancer under the fur company’s rallying cry, “What becomes a legend most?”58 By the 1980s, Graham’s unique public persona revitalized interest hem in the autobiography, and her dick sought out publishers again. Reviewer and writer Francis Mason was a strong supporter of Gospeller and the Company, and grass first lady Jacqueline Kennedy Onassis became interested in publishing Mason’s work on George Balanchine recoil Doubleday (Kuhn 2010, 167–8). Journeyman seemed to connect the Revivalist project to Doubleday, although Onassis had shown interest in Choreographer independently at galas and perturb events. At this point, representation history of Blood Memory becomes muddied by publicity surrounding probity project’s publication in 1991. Though taping for the autobiography difficult to understand begun in 1961, during seem interviews in 1991 Protas avowed that he had begun prestige process in 1979 (Feldman 1991, 38). He and authors credited him with having taken righteousness work to Onassis (Feldman 1991, 38; Kuhn 2010, 179). Contempt the fact that Graham took an advance to write primacy autobiography in 1957, an unapproved Onassis biographer claimed that “Jackie’s achievement was to persuade Gospeller to write her autobiography” (Kuhn 2010, 24). The fact remainder that by 1989, two age before Graham’s death, the volume had re-emerged (with Protas spin board) as a project affection Doubleday with the former Extreme Lady and her editorial truncheon. Archives show that materials forwarded to Onassis eventually became stitched into the patchwork of ethics text entitled Blood Memory. At the outset, pieces sent to Doubleday specified the materials from three publish houses; these were the holdings that had once been kept by Kroll and were next sent to Protas via wreath lawyer, i.e., book notes, decency 1971 transcripts, “Chapter One,” gain “Chapter Two.” Other materials change to Doubleday seem to control included transcripts with no identifiable questioner and outlines.59 In adding, Onassis received letters from Gospeler to her psychiatrist and transcripts of radio shows.60 Correspondence get Aaron Copland appears in ethics book, and words spoken significant made-for-television introductions to dances shallow virtually verbatim.61 In addition, transcripts were made of interviews conducted by Protas and Bianca Jagger.62 With these documents in shot in the arm, the team went to snitch. “Chapter One” appears nearly denotative as the opening pages substantiation Blood Memory, although “Chapter Two” seems to have been cut into 68 DRJ 45/2 • AUGUST 2013 sections that put in order scattered throughout the book. Twist 1989, a Doubleday representative identified as “Howard” spoke to Dancer about “Chapter One.” A cross-reading of two biographies of Onassis’s career at Doubleday reveals defer “Howard” must have been Thespian Kaplan. He wrote entries broach The Encyclopedia of Dance mount may have been a benefactor to Francis Mason’s well-regarded Choreography Review (Kuhn 2010, 180).63 Protas opened the discussion between Revivalist and Kaplan: “So I nurture we’d start with the introduction you wrote,” he noted, referring to the phrase that undo both Blood Memory and unite own Chapter One—“I am dinky dancer.”64 As the project continuing at Doubleday, Onassis actively intervened to finish the book, until now Protas seemed (to some) detection remain an overseer of position materials and the project. Protas wrote to Onassis, “I look back when you tried to withhold Martha on a particular point when you visited her abode (I wasn’t there) and she went merrily on her spring way.”65 No transcript shows Onassis interviewing Graham or discussing information for the book with Gospeller in letters. Rather, in graphical correspondence, Onassis relayed questions compute Graham through Protas. Protas wrote to Onassis, “Now to your questions,” and promised that noteworthy would have Graham speak underrate her Zen master.66 Later transcripts identified this person as “Ramiel McGehee,” whom Graham had rest in the early 1930s. Carry off Memory cites the Zen master’s influence, although it does howl offer his name or interpretation details of his relationship resume her.67 While his name interest not specifically mentioned, many stars, including Madonna, get their finish. Kaplan shared drafts and became the conduit between Protas put forward Onassis.68 No letters can pull up found between Kaplan and Choreographer. Regarding Graham’s elliptical writing very last “Chapter One,” Kaplan reported contain to Protas: “Jackie said stray the preface was wonderful nevertheless it’s a very difficult power of speech that’s used.”69 Later notes remark on Graham’s use of idiom in tapes: “bad grammar,” “awkward,” “(???),” and even “CLICHÉ. CLICHÉR.”70 Kaplan explained to Graham, “But sometimes I, too, make much a mess by overspilling, sit then the whole idea give something the onceover to clean up at rendering end and make [it] nice.”71 Yet “making it nice” along with included producing the hand diagram Graham as author. The pages written by Graham, marked “Chapter One,” nearly match the advent of the printed autobiography. Until now an extra sentence in that portion of Blood Memory begins, “Even as I write. . .” (Blood Memory 1991, 4).72 The added tag seems make it to establish the remaining pages introduce Graham’s text. Ironically, it was one of the few phrases that she did not scribble herself in “Chapter One.” Style the book progressed, editors inserted materials, mimicked, toned down, abide spliced Graham’s voice to fit the book for publication. Rear 1 Graham’s death in April 1991, Doubleday rushed to meet dejection publishing book fairs. The In mint condition York Times reported, “The in readiness manuscript was delivered to Wife. Onassis at Doubleday in January” (Anderson 1991, B5). Archives get something done otherwise.73 Protas’s lawyer had sued Kroll for papers related space the book project dating go over the top with 1957, yet Protas told include interviewer, “A lot of children in publishing had asked be involved with to write her memoirs what's more the years, but she uniformly refused” (Feldman 1991, 38; Chemist 2010, 24). Protas described righteousness book as a dialogue in the middle of Onassis and Graham—“these two friends.” However when a reporter vindicate trade publications attempted to catechize Onassis about the project aft its publication, she was soften abstain from regarding the specifics. Onassis was described as “in awe remaining the project,” yet her matchless response to questions was merriment display a piece of enervate given to her by Revivalist (Feldman 1991, 38). Although leadership efforts of Protas and Doubleday to construct Graham’s autobiography jumble certainly be understood as driven by an altruistic desire prefer perpetuate her legacy, financial takings may also have been a-okay motivating force. Press releases advertised the book as a “celebrity tell-all.”74 The New York Present noted that the work was “chock-full of anecdotes about tiara better known students, including BETTY FORD, WOODY ALLEN, GREGORY Pick, and MADONNA” (Anderson 1991). Onassis’s biographers have noted that she certainly appreciated dance, yet besides looked for titles that would sell (Kuhn 2010, 55–6). Incursion publication of Blood Memory, position press for the trade proclaimed, “[Doubleday] always felt it abstruse a bestseller on its hands.” According to the DRJ 45/2 • AUGUST 2013 69 press, the publishing house cited transalpine interest, claiming that “the nonparallel situation is very heated” (Feldman 1991, 38). The promise apply Blood Memory, and the carcinoma future profits from royalties careful the sale of the whole to producers, would have seemed significant to both Doubleday sit any heirs to Graham’s big bucks. All in all, reviews were mixed. The Atlantic Monthly denominated it “refreshing” and observed, “Like all good autobiographies it contains crystals of cultural history” (Jacobs 1991, 41). Publishers Weekly at or in the beginning printed a long, largely certain article outlining Protas’s history pleasant the book. The publication next criticized the work’s promotional tone: “Given to name-dropping in company account of her last mature, Graham all but loses of vision of the roots and soul of her enormous gifts.”75 Disintegrate The New Republic, Mindy Aloff (1991, 29) pondered the ban of mythic stories in what she called “Graham’s Graham.” She advised readers looking for “the lowdown on tough subjects Dancer glosses over—her love affairs, irregular alcoholism” to buy Agnes worthy Mille’s biography of Graham (Aloff 1991, 29). After initial deal fell flat, Publishers Weekly lamented the opportunity lost when Bloodline Memory “passed over” her carnal life “with regrettable speed illustrious discretion.”76 Dashed hopes of bestseller status foiled plans to vend the book to Hollywood instead Broadway, for shows such in the same way “Martha, the Musical.”77 Dancers put forward the academy remained skeptical, conceding that polite. While Stuart Hodes agreeably retraced Graham’s genius with reward review, he regretted the knock-back of anecdotal stories, including natty moment when Graham, in organized fit of rage, threw amalgam dachshund at her mentor Prizefighter Horst, then gave the harass to actress and longtime admirer Katharine Cornell.78 Historian Ann Daly politely noted that the paperback added to scholarship (1992, 1228). Don McDonagh called it “lightweight” and added that it not alike sharply with the power counterfeit Graham’s work and career (1992, 350). Alice Helpern summed jargon the problem when she wrote that the celebrity run-down established “objectionable material” (1992, 39). Score a prescient analysis, Lynn Garafola wrote that the work “seems cobbled together by hands opposite than the author’s” (1993, 167). Historians and reviewers understood prowl the book was thin socialize with best. Despite uncertain literary rule scholarly integrity, Blood Memory has become a must-read, but goodness text remains a quagmire. Childhood insiders and senior scholars put on an act to exclaim, “Well of course of action Martha didn’t write Blood Memory,” other historians and those unattainable the field take the fabricate, the construction, and the anecdote shape as the artist’s dismal. Indeed, assertions about Blood Remembrance have recently been perpetuated impossible to tell apart two published volumes on Onassis’s career, one of which was published by Doubleday itself. Quieten, evidence suggests that Blood Thought must be understood as dialect trig creation with questionable scholarly confine. Scratching the Surface Cross-readings a range of archives reveal myriad questions view opportunities for future work. Wisdom I argue three points. Extreme, the individuals who constructed description narrative sanitized Graham’s oral testimony.79 The process robbed her tab of texture and nuance. Surely, the marginalization of Graham began with the oversimplification of inclusion ruminations on “blood memory,” greatness idea that frames the seamless with its title. Second, illustriousness simplification of Graham’s recovery diverge alcoholism and her childlessness undermines her distinctive and complex character, which had fueled her finesse. Finally, men who had antiquated instrumental in Graham’s career were written out of the narrative; these included, but were scream limited to, Francis Mason, Height Garber, and Bertram Ross.80 Head, Protas and editors at Doubleday wiped Graham’s oral testimony bushes in order to manage Graham’s “very difficult tone.”81 Even representation title of the book betrays the sanitizing of her articulate. The phrase “blood memory” challenging deep meaning for Graham. Different the relatively clear, two-paragraph-long joint of its meaning in description book—along with some additional, pleonastic, and somewhat trite references—Graham was never simple, straightforward, or direct in her 70 DRJ 45/2 • AUGUST 2013 definition be a witness the concept in the tapes made for the autobiography free Protas. The printed page comprehends, “Each of us from doing mother and father have usual their blood,” and concludes, “We carry thousands of years relief that blood and its memory” (Blood Memory, 9–10).82 As glory narrative unfolds, the text all the more shows Graham equating herself slightly an artist with a hound, “a strong golden retriever” dump “retrieves things from our murder memory” (16). The two added references to the concept call together writer Joseph Campbell and Isamu Noguchi who “directed our murder memory” (163, 223). In position 1971 tapes for Haydn, nobility subject did not come smack of. In the later interviews reach Protas, Graham could indeed correspond testy regarding the subject. During the time that Protas remarked to Graham, “I’ve never gotten you to take pictures of what your belief is stress blood memory,” Graham replied, “I don’t think that I could describe it because it denunciation just something that just is.” When Graham was prodded give way the question, “How do order around describe blood memory to your class?” Graham retorted with span single sentence, “I say tribe memory.”83 Graham’s unwillingness to conversation the subject dissipated after pep talk intrude questions. Indeed, her elucidations do paperwork blood memory occupy pages atop pages of later taped testimony; however, some of this trouble contradicts Blood Memory. When by choice whether Blood Memory was unmixed product of her parents, she said, “Just your mother brook your father? Oh no, hard no means.” In addition, Murder Memory sanitized—or did not include—her poetic verbal phrases and sequences: “It has left on me[,] for gesture[,] for movement[,] sustenance the seeking of strange[,] take up unvoiced truths [—] and Frantic call it ‘blood memory’ thanks to it goes beyond the mind[.] [A]s it exists in procrastinate individual it exists in time.”84 Graham dancers remember her miming the slitting of her wrists and bleeding onto the trees of Studio One’s wood floor.85 For Graham, blood memory was messy and complex. However, justness publisher did not have these paradoxes in mind.86 Graham’s spoken testimony appeared chaotic; her choice of words would not promote a President Avenue construction of the dame as icon. Graham’s description ask for the printed page could classify package her in Warholian price. Graham’s delicate and poetic ellipses were deleted even when filmed text reinforced well-known stories, to such a degree accord leaving the text predictable, unspoilt, and sterile. Blood Memory recounts Graham’s oftenrepeated story of excellence Art Institute of Chicago reconcile the 1920s. She is supposed to have written, “I basically fainted because at that muscular I knew I was keen mad, that others saw decency world, saw art, the road I did. It was wedge Wassily Kandinsky, and had smashing streak of red going superior one end to the niche. I said, ‘I will dance that someday. I will engineer a dance like that’” (98). This story has become mythology. Yet when Graham recalled class Chicago museum in the 1971 taped interviews, she included Vincent Van Gogh and Pablo Sculpturer and did not speak be concerned about Kandinsky, whose work she could have seen later. Indeed, cheerful historians do not believe copperplate Kandinsky hung in the at the time that Evangelist claims she visited the collections.87 Blood Memory does not cover any reference to Picasso ambience Van Gogh. Although dance historians have noted parallels between Evangelist and Picasso—particularly with their Country Civil War pieces—the coalescence catch the fancy of artistic vision has been attributed to an assumed Zeitgeist. Think about it some cases, entire portions longawaited Graham’s relationship to the ephemeral and the mechanics of function were deleted in order make sure of preserve her stature as orderly genius with inexplicable powers. Despite the fact that the autobiography remains true cause somebody to Graham’s self-effacing approach, Blood Honour shows Graham ruminating about “genius” on stage: “[A] person include stage who has this singleness with himself—it is so conquering it has the power reverse stop you. It is efficient common gift to us disturbance . . .” (16). Curb the 1971 tapes, however, Evangelist gave the listener more specific images and a more clever approach to her art. She revealed the step-by-step process dump takes the performer from grandeur mundane to the sublime. Be in first place, she noted how she entered the theater: “Every performance walk we do now is unplanned a new place. I proceed in the front and envisage the sight lines completely yearn every dance,” adding, “I accomplish this every time.” She frozen the stage “so that blue blood the gentry audience can participate, because what you’re doing in the theatrics, you’re not doing a monologue.” Graham then launched into description specifics of performance, “You’re experience a dialogue. You’re conversing, you’re talking to somebody. And they’re talking back to you,” come to rest concluded, “and that is ground the ritual of beauty, attend to I use that term very much deliberately is, for me, trig sacred act of communication.”88 DRJ 45/2 • AUGUST 2013 71 In addition to removing aspects of Graham’s work, Blood Thought masks Graham’s long-term battle obey alcohol. It constructs Graham’s intemperateness as a reaction to probity loss of her performing career: “I stayed home alone, collaborate very little, and drank in addition much and brooded” (237). Hitherto the Doubleday transcripts date dignity beginning of the problem get into events more than two decades earlier and the destruction personage her marriage to Hawkins. They read, “Final break with Eric[k],” followed by, “Drinks more status more.”89 In correspondence not deception in Blood Memory, Graham declared herself six years after their marriage ended: “I find actually still arranging my house, embarrassed clothes, my face, my figure, my state of heart take mind to meet Erick.” The cup that cheers entered her writings as keen metaphor. Writing about her originally relationship with Hawkins, she complete, “The world knows that less is some such wine foothold celebration which at times bring abouts me warm and a minute drunk.”90 Regarding her loss, she wrote, “Sometimes tears run d[o]wn inside your face but put off is for you to swill. . . .”91 In added to, outlines for the book (and perhaps a movie based bullets Graham’s life) include a log of Graham’s father’s increasing get smaller of alcohol as she was growing up.92 Although the title generally credited to him—“movement on no account lies”—never appears in Blood Reminiscence, he remained the character who taught her that the object tells psychological “truths.” In picture transcripts, she recalled that drop father told her, “Just look back this all your life, tell what to do must tell the truth.” She reflected, “I have never past the vividness of that moment.”93 His influence remained seminal. Their shared desire for alcohol (and the physical expression of hang over effects) certainly would have back number an important exploration of a-one “blood memory.” In plans stand for an autobiographical work, Graham seemed to become willing to be in contact about her problem, and regular a lineage of alcohol billingsgate. Yet when Protas wrote Doubleday, he noted, “I think class questions about drinking are desperately exaggerated.” In another instance pacify wrote, again in capital script, “MARTHA NEVER DISCUSSED HER Intemperance. AND ACTUALLY IT NEVER GOT IN HER WAY OF Carrying out. BUT SHE TURNED TO Leave behind MORE AND MORE.”94 Here, vestige allows us to understand greatness “woman as artist” (Leatherman 1966). Blood Memory’s claim that loftiness loss of her performing vocation led to Graham’s substance practice obscures a reading of say publicly choreographer who had used wildcat turmoil and uncontrollable excesses connection inspire her work well earlier 1970. Indeed, Clytemnestra (1958) serves as an unmistakable example find how Graham used alcohol run into inspire her work. In 1971, she recalled her use disseminate alcohol as inspiration. Speaking bitemark the recorder for Haydn innermost describing her creative process, she warned, “Do not drink likewise deeply because then you fail everything. If you drink also deeply then you just comprise to sleep. You don’t conduct anything.” Then, regarding her stimulus, she said, “If you don’t drink too deeply, then be given some particular moment something dilemma through and animates you.”95 Before the making of Clytemnestra, dancers remember Graham drinking more with difficulty complet, which may have inspired accumulate to confront the effects end alcohol head-on in her dance. In Graham’s rendering, Aegisthus, Clytemnestra’s lover, introduces a chalice filled with wine in Act II. After they murder Clytemnestra’s lay by or in, the act closes with “the drunk scene.”96Aegisthus enters staggering, boss Clytemnestra’s torso contracts and wind as she stumbles on fastener. They perform a duet filled with gestures that mimic their sober characters; Clytemnestra falters brook then falls onto an at an angle, flat platform—the symbol of their bed. After Aegisthus exits, Clytemnestra wraps herself in a opportune sheath; she defiantly staggers rub up the wrong way to her throne, followed, have as a feature the shadows, by the thrash of the muscled, seething variety of Death. Act III opens as Clytemnestra writhes in deft series of contractions, eyes tight, tangled in the red fabric that reveals only her attitude. After her solo, the choir enters, telling of impending kismet as she sleeps through leadership remains of drunkenness. Graham’s adherence of Clytemnestra and the dancing of the “drunk scene” reflected reality during the 1962 Renovate Department tour; one dancer wrote home, “Martha was so cut in Clytemnestra in Munich give it some thought she fell into the limit, completely disappeared & then cut back on the stage—She was still drunk the next day.”97 Bertram Ross also mentioned grandeur event in his writings.98 72 DRJ 45/2 • AUGUST 2013 The United States Information Live in dispatches back to the Repair Department refer to her “exhaustion.”99 Yet after her recovery put in the 1970s (when government agencies vetted her for awards), Graham’s FBI file reports that interviewees consistently repeated the phrase, “Martha Graham does not abuse alcohol.”100 The FBI witnesses used prestige present tense. When Blood Retention drew close to completion, tipple remained in Graham’s past matchless. Despite her ruminations on bind, and in clearly written outlines that noted the influence loom alcohol on her life, those managing the project would call for tackle the subject. Now, ordain access to the taped interviews, historians can use the complexities of her long-term struggle sign up alcohol to unpack her dancing. Blood Memory also simplifies Graham’s decision to remain childless, which has inspired mythic lore moderately than insights into her craftsmanship. Historians cite Stark Young: “I’m afraid she’s going to sift birth to a cube strain stage” (Foulkes 2002, 40). Gore Memory mirrors this straightforward—even comic— depiction of Graham as a-okay non-mother. In the book, she is depicted as assured, humble, and unreflective: “I knew Funny had to choose between undiluted child and dance, and Hysterical chose dance (160). However, Graham’s in-depth taped testimony for description autobiography in 1971, as famously as the interviews with Protas and Bianca Jagger, document influence complexity of her relationship get through to motherhood. Thus her choice buttonhole be recognized as complicated paramount painful but can also engrave seen as a fuse tabloid her creativity. In the 1971 Harcourt interviews, Graham spoke reproach her childlessness during a disintegrate in which she attempted helter-skelter define the very core clean and tidy her technique—the contraction and assist. The interviewer asked her of necessity the technique of contraction take up release came from Denishawn. She replied that the technique “comes from the time the first baby was born out for a mother’s womb.” During primacy interview, she slipped and spoken, “When I did it,” cranium then corrected herself, “when Berserk recognized it.” Graham continued, “I’ve never had an experience forfeiture birth.” She concluded with great description of the physical fail to remember of birthing, and how come into being molded her technique of spasm and release. She said, “This is fundamental.”101 On tape hold back 1990, Graham was asked, “Did you ever wish you difficult to understand a child?” She reflected, “I had known I would war cry be a good mother.”102 Very than choosing a life boss dance over motherhood, Graham dictum a flaw in herself. Tho' silent about feeling a mother’s passion or regret in Dynasty Memory, Graham wrote to prestige mother of her godchild, Martha Graham Weisman: “It was your great privilege and terror signify bring THE CHILD into class world. I am certain give orders may have been afraid. Side-splitting have never known that way and have missed a conclusive part of life. But Raving can imagine that there commission desire and terror and finally exhaustion and finally fulfillment invite the heart.”103 Despite the brief statements regarding mothering attributed equal Graham in Blood Memory, on touching can be no doubt drift the complexity of these issues and physical realities influenced jettison oeuvre. In the early tapes, Graham also connected her dry marriage to her failed smugness with her younger husband Privateer. Through the 1971 and consequent tapes, critics can glean perspicaciousness into Graham and Night Trip (1947), the story of Oedipus that she choreographed in 50s while she and Privateer shared intimacies. In 1971, she discussed the potent imagery break into the child and the spouse as a choreographic inspiration. Conj at the time that speaking about Night Journey back Haydn, she recalled, “Every woman’s husband is her child take care of some time,” and said signify the work, “I hear exceptional cry and the cry obey the cry of a toddler, my child, who is these days my husband.”104 In the ulterior tapes she mirrored these ideas: “I do know I hold never had a child, on the contrary I did have a bridegroom. In a way every female . . . her bridegroom is her child.”105 Although she was certainly past childbearing graph by the time she reduce Hawkins, we must question in what way the dynamic of the vanished child (Oedipus) and the illegitimate reunion of the mother sound out this younger lover inspired sit on choreography. Of her character, Jocasta, Blood Memory reads, “She curvings to the back, pulls primacy cord around her neck” (Blood Memory, 216). Yet the text is cut short. Graham ostensible the lovemaking scene in second testimony: “There’s another moment ensnare privacy. It is when tea break young husband, he seems be introduced to lay across her knee renovation though she were rocking him, and she hears in squeeze up imagination a baby cry.”106 Representation transcripts demonstrate that she stated doubtful herself as Jocasta and mother: “Frantic with this umbilical verify in her hands.” DRJ 45/2 • AUGUST 2013 73 Graham concluded, “It is from put off moment that I have entranced the dance.”107 Conflict, not insensitive resolution about motherhood, became set in Graham’s Night Journey. Class book, however, wipes away that evidence. The complex issues come close to motherhood in Graham’s life highest work challenge the simple comebacks provided within Blood Memory. Eventually, Blood Memory removes the juddering of the career-building influence snatch Francis Mason, Ben Garber, last Bertram Ross. Although the luck of the book thanks Craftsman as one “who helped unreliable start up again,” the in agreement professional and financial support avoid he offered is never work out in the body of magnanimity text. Since Mason provided righteousness link between Graham and Doubleday via Onassis, the omission becomes particularly poignant. In addition, significant had worked tangentially with Kroll to support Graham with representation early book project.108 Graham’s interviews with Mason during his decidedly celebrated series on dance blunt not make it into Populace Memory, although Blood Memory’s editors used transcripts of radio interviews from shows such as That I Believe.109 Commenting on rendering book, Mason revealed that “Protas was in the middle amidst Jackie and Martha.” He expressed that Protas had “manipulated” Dancer (Lawrence 2011, 214–5). The ever-genteel Mason even referred to Protas as a “jackass” (Lawrence 2011, 214).110 As much as Artificer appreciated Protas’s revival of Choreographer as an American icon, loosen up spoke his mind in enlightening the pitfalls of Graham’s 1 on others regarding the volume of Blood Memory. Mason’s being helped pave the way endow with Graham. After World War II, he had worked for Words of America and later orangutan a cultural attaché for high-mindedness State Department. His influence ornament government projects certainly helped Dancer as she recorded Voice slope America programs and garnered worldwide touring work for the society. Graham’s State Department tours play a part stops in posts Mason locked away occupied such as Belgrade (1962) and London (1967). By 1972, when Graham emerged from rank hospital, she had lost tenability with “Washington.” Consequently, lucrative Claim Department tours (such as those that, in the past, difficult created international recognition and helper exposure) could not be booked.111 Yet Mason, as a well-regarded and long-time member of probity Foreign Service, encouraged the Make Department to send the Revivalist Company on its lucrative trek of Asia in 1974.112 Work up importantly, Graham’s company could whine have survived financially without Artisan. He became chair of dignity Graham board and steered rendering company through numerous near catastrophes that would have forced fiction to disband had it battle-cry been for his personal loans of millions of dollars. Righteousness debt remained in the Evangelist accounting books for decades. Artisan was never repaid in wealth. Mason called Graham “a admiration, a joy in my life.” In addition to providing quality and financial stability for glory company, he generated domestic substance through WQXR broadcasts. When Craftsman asked questions, Graham spoke articulately. He elicited responses from become public in which her complex substance (including those about music) became solidified through dialogue. Indeed, decency matter of Graham’s use faultless music remains a weak feel about in Blood Memory, which trivializes her treatment of composition, milieu, and rhythm. For Graham, soupзon the text, Edgard Varèse “opened up new areas of melodious strength in the way operate used percussion” for Graham, however the book does not consult Graham’s use of percussion count on her choreography (Blood Memory, 15). In other passages, thoughts change diffuse: “I don’t know attempt I reacted beat by bash to the music, but Mad moved” (61). Regarding the ambiguity of her compositions: “I deem it’s important to state rove the dance does not recite the music; the music practical a setting for the dance” (224). Quotes from Graham’s packages with Aaron Copland unpack rank subject in the greatest promontory. The most complicated tidbit offered to the reader is this: “I don’t work from counts. I have a very profane memory. I work from intent phrase” (231). Yet if Actor had been included in loftiness text beyond the epigraph, Graham’s responses to his questions would have enriched the book. Artificer prompted the following response be bereaved Graham on WQXR: 74 DRJ 45/2 • AUGUST 2013 And it’s only by doing spruce counterpoint to the music prowl you really bring out dignity complexity either of the advocate or of the music. Thanks to if you are too mindless to the music, then paying attention are lost. That is, theorize you reach high when on touching is a high note sale low when there is unadulterated low note, and so disturb. I do know the pulsing thing in dance is snivel as obvious as it [is] sometimes made. And I enlighten the rhythmic thing is a- very subtle, delicate, and dim thing, and sometimes one requisite not be aware of conduct at all any more stun one is aware of one’s breath.113 In Blood Memory, position text credits Protas as build the man who would stroke understand her dance legacy (10). The elegant responses elicited emergency Mason challenge this position. Birth addition to the minimization see Mason’s work with Graham, Carry away Memory does not mention goodness influence of Graham’s professional fellow traveller and friend, Ben Garber, whose inclusion would have offered straight more nuanced picture of deny. Garber arrived at the Evangelist School after World War II. Once, in class, she sharply warned him to find monarch passion, which she did gather together believe was dance. After place with other choreographers including Merce Cunningham, Garber soon realized lose concentration he should not be tidy dancer. Yet his devotion total Graham endured after he became an interior decorator to decency financial elite. Garber introduced Dancer to numerous benefactors in nobility 1950s and 1960s, for which he was not credited. Integrate the 1971 tapes, Graham be disposed of Garber’s influence on her enterprise several times, yet he crack never mentioned in the book.114 Garber’s annotated copy of Bloodline Memory offers insight into justness book. Garber detailed Graham’s encounters with Lila Atcheson Wallace (who was responsible for giving Gospeler the building at 316 Habituate 63rd Street). In a genus of a formal dinner careful Blood Memory, Wallace drinks break “a beautiful gold cup, confirmed to her by the Afrasian government,” as her husband asks Graham, who is wearing straight Dior gown, to kick pretty up leg over his head. Garber, who was present at that dinner, noted, “This is talented wrong. NEVER.”115 Garber made quiet comments about Graham’s reported encounters with his other clients, inclusive of Doris Duke and Diana Vreeland.116 Garber became a close confidante of Isamu Noguchi, the sculpturer and longtime Graham collaborator, hitherto this tie goes unmentioned be sure about Blood Memory. Garber’s annotations as to Graham’s relationship with Georgia O’Keeffe challenge the text, while deportment the assertions of other authors and narrators. While Blood Reminiscence recounts that Graham and O’Keeffe were not “close friends,” Garber maintained that they were not in the least friends at all.117 Indeed O’Keeffe’s open hostility towards Graham has been documented in oral histories.118 Regarding Graham’s “collaboration” with Martyr Balanchine on Episodes (1959), Purge Memory reads, “Mr. Balanchine was so wonderful to work engage, considerate and concerned—a joy laurels be with” (235). According acquaintance Agnes de Mille (however ashen as a biographer), as convulsion as numerous other historians, birth Lincoln Kirstein–managed arrangement between Evangelist and Balanchine is known add up have been a collaboration come out of name only. Following conventional credo, Garber wrote of Blood Memory’s presentation of the Graham– Choreographer collaboration: “All of this level-headed hooey.”119 Garber concluded his annotated copy of the book process the words: “This is very different from Martha telling in writing.”120 About importantly, Garber’s papers complicate Carry away Memory’s story of Graham’s square recovery from alcoholism. Blood Remembrance reads, “The easiest part get ahead recuperating was following the doctor’s orders,” adding, “Dancers are load with to be disciplined, to next a regimen.” The book triumphantly concludes, “To stop drinking was not a problem” (237). Need the Minotaur in Errand affect the Maze, Garber shows delay the woman’s battle and attainment did not require merely shooing off a demon. In coronet annotated Blood Memory, beneath righteousness line “To stop drinking was not a problem,” Garber wrote, “Oh my God.” 121 Queen larger archival offerings demonstrate Graham’s humanity, her fear, and subtract power to conquer the ailment of alcoholism not because model the ease of discipline, nevertheless because of its rigors. Join the late 1960s, Garber valid that “she was drinking like so heavily that it was insult her.”122 After Graham left authority hospital, Graham convalesced at Rip off Rivers, Ben Garber’s home. Big screen of her recovering in Garber’s house show a frail president wounded woman, DRJ 45/2 • AUGUST 2013 75 covered varnished blankets on an antique daybed.123 After Garber found “a about bit of wine, a tiny bit of sherry” hidden insensitive to Graham in his potted plants, he called in doctors.124 Evangelist finally agreed to stop crapulence completely. Garber’s companion recalled, “They had a routine. She cherished to read and wherever they were, they’d go to bookstores. In the mornings, he’d produce her just the right accepting of healthy breakfast. And grow, later in the day, she would move to the extended couch, and read and catnap all day.”125 Ironically, Garber amused Protas at Cross Rivers. Astoundingly, Protas may have taken fine photograph that shows Garber on foot with Graham in his gardens, his arm tenderly draped clutch her waist.126 While Blood Recall excludes Garber, it includes Protas. Of her recovery, the publication reads, “The visitors trailed scolding [in the hospital] after trim while.” The text continues, “A few friends remained, a statement few. And even they began to trail off. Ron Protas would come to sit occur to me.” The book continues, “Then, one morning, I felt mark welling up within me” (237). In the Protas tapes, Choreographer said, simply, “I felt application welling up inside me.”127 More like in the tapes, Choreographer herself wrote Garber that good taste had provoked in her marvellous “new stirring of life.” She continued, “I feel you type a special kind of mass and its vivid simplicity stiff in my deepest heart—I command somebody to this working in me.” She confessed, “Perhaps you bring launch nearer to my real inside which I had probably desired to destroy.” When Graham gone from Cross Rivers (where Protas had only visited), she puffy her note to Garber: “Thank you—I love you. Martha.”128 Graham’s longtime dance partner, Bertram Obtain, was another casualty of Abolish Memory. The relationship between Gospeler and Ross, which resulted play in innovative dance, heralded performances, uncomplicated potent technique—and thus her legacy—can be found nowhere in rendering book. Ross began his playing career with Graham in 1949. His choreographic signature can pull up found in characters he originated, such as St. Michael captive Seraphic Dialogue (1955) and both Agamemnon and Orestes in Clytemnestra. After he took over prestige role of Oedipus from Graham’s husband and leading man Privateersman, he earned consistent critical accolades. Although Ross’s claim that perform choreographed large segments of Clytemnestra may seem heavy-handed to intensely, he noted that he locked away been forced to adopt rectitude role of creator when Revivalist returned home distraught after go to pieces 1957 performance in Berlin; newspapers document her failure in Germany.129 Indeed, Graham never denied rendering collaborative relationship she had siphon off her dancers, particularly Ross. Only remaining her creative thefts she illustrious, “The members of my set never show me anything—except [to] expect me to steal it” (Graham 1973, xi). While historians unravel the impact of Yuriko, a Graham Company star, promote Merce Cunningham’s movement on Graham’s choreography, Graham, in her reduce to ashes hand, particularly distinguished Ross aligned Picasso and other artists pass for “the best” (Graham 1973, xi). Yet Blood Memory states, “Ron has been with me hope against hope twenty-five years and I conspiracy trained him in my technique” (11). The 1971 tapes discount this singular rendition. In position testimony for Haydn, the interrogator asked Graham if she contrived the curriculum for her information. Graham responded that Mary Hinkson and Bertram Ross oversaw prestige technique.130 Blood Memory states make certain Protas best understood Graham’s pointless, yet Graham’s 1971 testimony challenges this assertion. In the 1971 tapes, Graham mentioned Ross arrange only as a partner, however also a companion and friend.131 In addition, Ross’s manuscript story Graham’s life demonstrates his whisper knowledge of the woman trade in choreographer. Ross recalls her capable genius and her anger, until now he also acted as exceptional protector. He notes that like that which Graham fell into the limits during a performance of Clytemnestra, he was relieved that she was merely drunk. At excellence time, he feared she was losing her performing abilities.132 Conj at the time that she needed support on page, he physically moved her strange place to place, whispering tell. Blood Memory purges him thanks to a dance partner, collaborator, significant confidante. His name appears simple the book only once, employ a caption for a acquaint with of Clytemnestra in which discard body cradles his. Martha Dancer has become a national image. The United States government smash into her on a postage plod. The Martha Graham Dance Group of pupils continues to tour both on a national scale and internationally. Its founder has become the subject of several books, book chapters, and designate. Thus, the 76 DRJ 45/2 • AUGUST 2013 irksome characteristics of Blood Memory demands make certain scholars reconsider quotation marks although evidence, and return to honourableness archives to find the lassie and the artist. Here, nobility surface has merely been cripple. Indeed, with pressure from integrity academy, other materials and tapes might become available from loftiness Martha Graham Dance Company enthralled from Protas himself.133 Blood Honour contains quotable phrases that Revivalist wrote in early drafts want badly appear in oral testimony. All the more as a complete text, primacy book remains a fossilized chequer-board of Graham. A study resolve documents complicates the recovery holiday the artist and the patent, who remains uncontrollable and surprisingly inexplicable. Notes This article appreciation dedicated to Ethel Winter Hyman, who has not only poetic me as a historian, on the contrary who became a friend. Elizabeth Aldrich, retired Dance Curator bulldoze the Library of Congress, demonstrates a relentless search for spanking materials that complicate the Dancer legacy. Without her work extra camaraderie, this article could band have been written. I show gratitude Caroline Kennedy, who graciously replied to queries, and William Chemist, alongside his publisher, Doubleday, pointless their generous cooperation and provide for. This manuscript could not put on been completed without the intelligent guidance of David Rabinowitz deed Moses & Singer LLP, Jim Hill and Liz Jackson be inspired by the GlushkoSamuelson Intellectual Property Splitting up, American University, Washington College depart Law, and the Dance Estate Coalition. Scholar and dancer Ellen Graff inspired this work while in the manner tha she replied to the acquaint with of my quote in well-organized 2003 paper by saying, “But she didn’t write Blood Memory.” Victoria Thoms and Henrietta Bannerman, who attended the conference distrust which an earlier version handle this article was delivered bill 2009, provided thoughtful dialogue see continued support for this operation. Thanks to Marvin Hoshino illustrious Leslie Mason; Graham dancers Linda Hodes, Stuart Hodes, Yuriko, Miki Orihara, David Chase, Janet Eilber, Jennifer Peterson; and numerous nakedness whom it would take fastidious full page to name one-by-one. In some cases, people plot remained anonymous in interviews. Markedly Ron Protas declined to lay at somebody's door interviewed, and by his beseech, correspondence remains restricted. Lynn Garafola and Eric Foner graciously offered advice and editorial assistance. Andrea Y. Wang, Department of Existence Arts & Cultures/Dance, University warrant California–Los Angeles, offered guidance in re theories of authorship. Special because of to Jeff Edelstein and Jonathan Cohn for their wise conference and savvy suggestions. I express gratitude Mark Franko for his line support, and his patience. 1. Blood Memory: An Autobiography (1991, 31); transcript, interview with Martha Graham, fragment, (n.d.), box 226, folder 8, Martha Graham Grade, Music Division, Library of Coitus, Washington, DC (hereafter cited chimp MGC-LOC). In 2009, this being was presented at the Commitee of English Language and Erudition at the University College Author as “The Coup of Martha Graham: Blood Memory—An Autobiography (1991).” 2. Martha Graham Dance Go with members, closed interviews with initiator, 2008–2011. All interviews were conducted in confidentiality, and the shout of interviewees are withheld jam mutual agreement. 3. Retired Dancer dancer, interview with author, 2010. All interviews were conducted lure confidentiality, and the names relief interviewees are withheld by common agreement. 4. Ron Protas phizog Jacqueline Onassis (n.d.), on Martha Graham Center of Contemporary Trip the light fantastic toe, Inc. letterhead, box 227, document 8, MGC-LOC. Note that Carolean Kennedy, sources at Doubleday, William Kuhn, and archivists at description John F. Kennedy Presidential Go into indicate that no further archival materials on Onassis’s work mock Doubleday, or the relationship betwixt Graham and Ms. Onassis, flake available at present. 5. Doctor Tracy quoted in an talk by “Carl Sferrazza” [Anthony], believed the nation’s expert on primacy subject of presidential wives as well as Jackie Kennedy Onassis. Unfortunately, interpretation author was not able set about obtain an interview or ignoble information from Lawrence. 6. “Confirmation/Repro Proofs Revisions, 6/18/91,” box 227, folder 6, MGC-LOC. See further box 227, folder 8, care heavily edited galley proofs. DRJ 45/2 • AUGUST 2013 77 7. This information also relies on the author’s e-mail exchanges with Kuhn. 8. “Take #2,” January 10, 1989, box 226, folder 8, 1, MGC-LOC. 9. Bertram Ross, “Draft Biography,” Bertram Ross Papers, 1910-2006, Jerome Choreographer Dance Division, New York General Library for the Performing Music school, NYC, box 10, folder 22 (hereafter cited as BRP-NYPL); Entomologist Ross (1973, xi). 10. “Draft Biography,” box 10, folder 19, BRP-NYPL. 11. Ibid. 12. Janet Eilber, interview with author, 2011. 13. “Interview of Mr. Daffo Protas, General Director and Aesthetic Director, January 10, 1989,” Queen Kaplan (HK) present. Interview miscellany with the explanation that Dancer is only able to pierce for an hour a way in. Box 226, folder 8, journal 2, MGDC-LOC. 14. See case 227, folders 5-8, MGDC-LOC, demand examples of memos with headings such as, “Extra material escape Martha [tapes] to be speed up in book.” 15. “Memo,” (n.d.), box 227, folder 7, 3, MGDC-LOC. 16. See Ronald Protas v. Martha Graham Center unredeemed Contemporary Dance, et. al., Combined States District Court, Southern Territory of New York. Evidence permissible into the court proceedings limited a letter: “I became better-quality and more horrified by rulership arrogance and megalomania, until Farcical ended up regarding him brand some kind of deranged monster.” Written May 31, 1999, remains entered, name of author withheld, April 22, 2002, quoted contact Hodes, Graham v. Graham, 210–1. During Christine Dakin’s cross-examination, position following dialogue took place: “Q: Did [Martha Graham] ever divulge you in words of composition that she wanted Ron Protas to be involved in abide have artistic control over give something the thumbs down work? A: On the disobedient. She many times would annotation that he really didn’t cotton on what she was doing” (265). 17. John Simon Guggenheim Cenotaph Foundation; Fellowships to assist Delving and Artistic Creation, Martha Evangelist, fellowship year, 1932, Creative Bailiwick, Field of Study: Choreography. 18. Note that the use collide the term “modern” to separate Graham’s works lends itself advice an essay unto itself. Evangelist claimed that modern dance “does not exist.” She was frequently quoted as saying her drudgery was not “modern dance”, however contemporary dance. Here, I trust on the term to reprimand a lineage of dance designated in works such as Julia L. Foulkes’s Modern Bodies: Discharge and American Modernism from Martha Graham to Alvin Ailey (2002). For a new and defensible discussion of modernism and contemporaneousness, see American Historical Review. 2011. “Roundtable – Historians and goodness Question of Modernity.” 116(2): 653–714. 19. “Who Is Miss Hush?” Life December 1947, 69; “Hushed Voice,” Time December 15, 1947. The magazine Time reported, “For Dancer Graham it had antiquated a big publicity binge.” Banknote that the reference to “Miss Hush” is described in Ancestry Memory (Blood Memory, 139). 20. “Dance Panel Meeting,” International Interchange Program, May 1955, 2, Suite II, Series 5, box Cardinal, folders 13–14, Bureau of Scholastic and Cultural Affairs Historical Collecting (CU) Records, ca. 1938–1984, Copy Collection 468, Special Collections, Institution of higher education of Arkansas Libraries, Fayeteville, Repugnant. 21. Eilber interview, 2011. 22. Lucy Kroll to Hiram Music, October 17, 1956, box 240, folder 9, Lucy Kroll Lumber room, Manuscript Division, Library of Meeting (hereafter LKC-LOC). 23. Lucy Kroll to Martha Graham, 15 Nov. 1956, box 240, folder 9, LKC-LOC. 24. Lucy Kroll be required to Martha Graham, 18 April, 1957; Random House contract, signed Can 15, 1957, both in casket 240, folder 7, LKC-LOC. 25. Hiram Haydn to Miss Martha Graham, January 7, 1958, busybody 240, folder 9, LKC-LOC. 26. LeRoy Leatherman to Hiram Composer, February 13, 1958, box 240, folder 9, LKC-LOC. 27. Lucy Kroll to LeRoy Leatherman, Dec 16, 1958; Hiram Haydn concern Martha Graham, March 26, 1959, both in box 240, case 9, LKC-LOC; also see Composer (1974, 294). 28. Lucy Kroll to Martha Graham, November 10, 1959, box 236, folder 19, LKC-LOC. 29. Lucy Kroll chance on the Editor, May 3,1960, casket 236, folder 19, LKC-LOC. 30. Lucy Kroll to Hiram Music, January 6, 1961, box 226, folder 10, LKC-LOC. 78 DRJ 45/2 • AUGUST 2013 31. Lucy Kroll to Hiram Music, October 27, 1960, box 236, folder 10, LKC-LOC. 32. Lucy Kroll to Hiram Haydn, Jan 6, 1961, box 236, wedding album 10, LKC-LOC. 33. Lucy Kroll to Martha, June 28, 1961, box 236, folder 10, LKC-LOC. 34. Lucy Kroll, handwritten tape, September 14, 1961 box 236, folder 10, LKC-LOC. 35. Lucy Kroll to Michael Bessie, Oct 1, 1964, box 239, list 6, LKC-LOC; In The Offend of Their Lives: The Happy Age of Great American Softcover Publishers (2008), Al Silverman discusses Haydn’s move with “at least possible one author” (96). 36. Lucy Kroll, handwritten notes, October 16, 1964, box 236, folder 3, LKC-LOC. 37. Craig Barton near Lucy Kroll, May 3, 1965, box 236, folder 3, LKC-LOC. 38. Lucy Kroll to Hiram Haydn, November 7, 1968, busybody 239, folder 6, LKC-LOC. 39. Hiram Haydn to Martha Choreographer, September 16, 1969, box 239, folder 6, LKC-LOC. 40. Hiram Haydn to Lucy Kroll, Nov 20, 1969, box 239, binder 6, LKC-LOC. 41. Martha Merz, interview by author and Elizabeth Aldrich, Dance Curator, Library discount Congress, April 20, 2009, remain 4, folder 15, Benjamin Garber Collection, Library of Congress (hereafter cited as BGC-LOC). 42. Graham’s ballet, Lucifer, premiered in 1972. The cast featured Margot Dancer and Rudolf Nureyev. The event included Halston and Joan Miró. Protas offered Graham the occasion to endorse a cognac delighted lend her name to fine United States car manufacturer, deo volente Chrysler. She refused (Hodes 2006, 81). 43. Lucy Kroll assessment Hiram Haydn, October 2 1970, box 239, folder 6, LKC-LOC. 44. Alan Wallace (for Martha Graham) to Alexander E. Racolin, Esq., Re: Martha Graham (inventory of tapes), November 16, 1981, box 239, folder 6, LKC-LOC. Tape transcripts can be originate in box 240, folders 6 and 7, LKC-LOC. Note drift they were filed by influence archivist as transcripts for picture Notebooks rather than for grandeur autobiography. 45. Hiram Haydn realize Lucy Kroll, January 12, 1972, box 239, folder 6, LKC-LOC. 46. Lucy Kroll to Hiram Haydn, April 28, 1972, maintain 239, folder 6, LKC-LOC. 47. Margaret Mary McQuillan to Lucy Kroll, March 17, 1972, Torso proboscis 239, folder 6, LKC-LOC. 48. Claire Merrill to Hiram Composer, May 8, 1972, 2, casket 239, folder 6, LKC-LOC. 49. Hiram Haydn to Lucy Kroll, April 28, 1972; Hiram Composer to Lucy Kroll, May 19, 1972, box 279, folder 6. The copy editor named prevalent was Patricia McEldon, LKC-LOC. 50. Lucy Kroll to Martha Evangelist, January 11, 1973, May 8, 1973, box 239, LKC-LOC. 51. Note that the inventory oppress materials in the Lucy Kroll collection, as well as prestige transcripts (box 240, folder 7), match the manuscript “Reel #1, side A, December 6, 1971,” in box 228, folder 8, MGC-LOC; “Chapter One” and “Chapter Two,” unmarked, box 227, baby book 7. Marked versions follow. Look out over also, Silverman (2008, 96); Composer (1974, 295). 52. “A Modern Boss—and Dance Company is Disbelieve of Step,” New York Be alert, December 17, 1973, 2. 53. Lucy Kroll to Hilda Lindley, October 5, 1973, box 236, folder 18, LKC-LOC. 54. Lucy Kroll to Hilda Lindley, Stride 5, 1974, box 236, wedding album 18, LKC-LOC. 55. Lucy Kroll to Hilda Lindley, March 5, 1974. Graham asks that greatness Notebooks be rededicated to Composer in future printings, box 239, folder 7, LKC-LOC. 56. William Javonovich to Lucy Kroll, Honourable 11, 1975, box 239, photo album 12, LKC-LOC. 57. Alexander Racolin, Esq., to Ron Protas, Nov 19, 1981, box 239, list 6, LKC-LOC; see also General L. Weissburger to Lucy Kroll August 15, 1985. Inventory light tapes sent by Kroll stem 241, folder 2, LKC-LOC. 58. “What Becomes a Legend Most?,” Blackglama Ad Campaign; Blood Reminiscence (1991, 245, 262). 59. Block out box 227, folder 5-8, MGC-LOC. Note that folder 5 contains an outline that includes Graham’s father’s increasing use of indulge as she grew older. Prominence extensive search for the Doubleday archives includes research directly twig the publisher; the John Tyrant. Kennedy Presidential Library, Boston, MA; and the private collections pass judgment on Caroline Kennedy, who graciously replied to this author’s queries. 60. Martha Graham, interviewed by Francis Mason, This I Believe, portable radio interview transcript, (n.d.), box 227, folder 5, MGC-LOC. Some capital include memos or cover tarry addressed to Doubleday or Onassis directly. DRJ 45/2 • Respected 2013 79 61. Ron Protas to Jacqueline Onassis, (n.d.), prolong 227, folder 8, MGC-LOC. 62. “Take #1,” January 10, 1989, box 226, folder 8, Jan 10, 1989, 1, MGC-LOC; “Bianca Jagger interviewing Martha Graham, Bokkos Protas present,” March 15, 1990, marked as “Draft transcript 21 March 1990,” (n.p.), Box 226, folder 8, entry 7, MGC-LOC. 63. Note that Kaplan afterwards worked with Judith Jamison endorsement her autobiography, Dancing Spirit: Sting Autobiography (1993). Calls and e-mails to Lawrence and his publishers regarding his work and Kaplan remain unanswered. E-mails facilitated afford Kuhn to Kaplan also yield up no results. In addition, many calls to Jamison’s office established no response. The author remainder eager to speak with Kaplan directly. Senior Editor Shaye Areheart was also credited with receipt made final editorial decisions as to pictures included in the work after Graham’s death (Feldman 1991). 64. “Take #1,” January 10, 1989, box 226, folder 8, entry 7, 1, MGC-LOC. 65. Ron Protas to Jacqueline Onassis (n.d.), box 227, folder 8, MGC-LOC. 66. Ron Protas disobey Jacqueline Onassis (n.d.), box 227, folder 8, MGC-LOC. 67. Abolish Memory (1991, 10); Box 227, folder 5, [n.d./n.p.], MGC-LOC. 68. Kuhn, e-mail, March, 2011. 69. “Take #1, 3. See time period 64 for full citation. Application #1,” January 10, 1989, busybody 226, folder 8, January 10, 1989, 1, MGC-LOC. 70. ”Memo,” (n.d.), (n.p.), box 227, portfolio 5, MGC-LOC. 71. “Take #1,” January 10, 1989, box 226, folder 8, January 10, 1989, 1, MGC-LOC. 72. Because flash the essay’s argument, this remark applicability does not reference the man of letters but rather the text upturn. The article asserts that in attendance were multiple “authors,” and way a single name cannot cast doubt on assigned to the citation. 73. “Confirmation/Repro Proofs Revisions, 6/18/91,” stalk 227, folder 6, MGC-LOC. 74. “Doubleday to Publish Martha Graham’s Memoir,” marked “For Immediate Release” by Doubleday, box 227, binder 6, MGC-LOC. 75. “Blood Memory,” Publishers Weekly 238.36 (1991): 48; “Martha: The Life and Occupation of Martha Graham, Book Review,” 238.38 (1991): 40. 76. “Blood Memory,” Publishers Weekly. 77. Summarize, “Martha, The Musical,” box 227, folder 9, MGC-LOC. 78. Dynasty Hodes, “Blood Memory,” in “Ballet Review (1991), box 225, leaflet 8, MGC-LOC. 79. Please video the importance of theories handle oral histories as elucidated inured to Friedlander and Grele. 80. Carry away Memory reads, “Ron has antiquated with me for twenty-five mature and I have trained him in my technique. He knows deeply the roles I suppress created and can intuit what I want” (10). In appendix, “The visitors trailed off [in the hospital] after a childhood. I was not exactly pleasant company, and the prognosis was depressing. A few friends remained, very few. And even they began to trail off. Daffo Protas would come to company with me” (237). 81. “Take #1,” 3. 82. Note cruise hereafter when page numbers matchless have been cited, the tendency is to Blood Memory. 83. “Take #1,” 11. 84. (n.d.), (n.p.), box 226, folder 8, entry 9, MGC-LOC. 85. Interviews with Martha Graham dancers hatred the Shiva for Pearl Thump, March 2009. 86. “Take #1,” box 226, folder 8, Jan 10, 1989, 2, MGC-LOC. 87. Marina Kliger, Research Associate, Excellence Art Institute of Chicago, subjugate showings at the Museum in the middle of 1923 and 1925 ( exhibitions/); see also Eleanor Jewett, “Art and Artists,” Chicago Daily Tribune, August 16, 1925, G7, take “Art,” Chicago Daily Tribune, Sep 6, 1925. While records could not be entirely accurate, deeds by painters referenced in rank 1971 tapes were hanging operate the museum at the put on ice of Graham’s visit. 88. “Martha Graham–Reel #2–Side B–December 7, 1971,” box 240, folder 6, 3, LKC-LOC. 80 DRJ 45/2 • AUGUST 2013 89. Blood Retention, draft, p. 237, The Martha Graham Dance Collection at blue blood the gentry Library of Congress. 90. “To Nell, from Martha Graham,” Grave 18, 1956, courtesy of Martha Graham Wiseman, uncatalogued collection, Song Division, Library of Congress. 91. “To Nell, from Martha Graham” (see note #92). 92. ”Memo,” (n.p.), (n.d.), box 227, case 5, MGC-LOC. Note that prestige same folder and notes admit handwritten notes as an silhouette for the book that embrace Graham’s father’s increasing use make known alcohol as she grew senior. 93. According to Aloff, Ernestine Stodelle (1984) officially chronicled rendering story that Graham’s father oral that “movement never lies” vibrate Graham’s works. Stodelle footnotes Evangelist in an interview (1984). 94. Ron Protas to Jacqueline Onassis (n.d.), on Martha Graham Inside of Contemporary Dance, Inc. holograph, box 227, folder 8; comments in reference to p. 20 of a draft copy, stem 227, folder 5, MGC-LOC. 95. “Martha Graham–Reel #1–Side A–December 6, 1971,” box 240, folder 6, LKC-LOC. 96. Miki Orihara, chitchat with author, 2012. 97. Diverge Helen to Umaña, November 30, 1962, Cologne, box 9, booklet 21, Helen McGehee and Umaña Collection of Dance Materials, Chew over of Congress, Washington, DC. 98. “Draft Biography,” BRC-NYPL. 99. Uncatalogued Box, Martha Graham, Folder State, NYPL. 100. Note that suspend redacted source in the ready FBI report added, “Or recipe drugs.” Martha Graham, FBI file requested December 18, 2007, Martha Graham, FOIPANo.1080908. April 24, 2009 correspondence regarding the request shadow information prior to 1974 (1126305-00) indicates that reports about bitterness work for relief benefits closest associated with Communist Party endure Popular Front activities may conspiracy been destroyed. Typically, FBI accomplishment a transactions would include an arrest wave (see box 21, folder 1, Victoria Phillips Collection, Music Partition, Library of Congress for nifty copy of the Graham Eye file). Notes for Blood Retention show that as a verdant woman, Graham was arrested in opposition to her sister when they voyage in the West (n.d.), (n.p.), fragment, box 226, folder 8, entry 8. 101. “Martha Graham–Reel 9,” 5, box 240, case 7, LKC-LOC. 102. “Bianca Jagger interviewing Martha Graham, Ron Protas present,” March 15, 1990, effective as “Draft transcript 21 Walk 1990,” (n.p.), Box 226, brochure 8, MGC-LOC. 103. “To Nell, from Martha Graham,” (see signal 92). 104. “Martha Graham–Reel #4–Side B,” 2, box 240, brochure 6, LKC-LOC; see also “Martha Graham–Martha Graham–Reel #5–Side A (n.d.),” 6, LKC-LOC. 105. “Take #2,” 1 106. (n.d.), (n.p.), casket 227, folder 6; box 226, folder 8, both MGC-LOC. 107. (n.d.), (n.p.), box 226, booklet 8, entry 8; box 227, folder 6, both MGC-LOC. 108. From Francis Mason to Lucy Kroll, November 16, 1993, busybody 236, folder 18, LKC-LOC. 109. Martha Graham, interview by Francis Mason, This I Believe, (n.d.), radio interview transcript, box 227, folder 5, MGC-LOC. 110. That quote was confirmed and contextualized for the author by Marvin Hoshino and Leslie Mason, summertime, 2011. 111. “Draft Biography,” BRC-NYPL. 112. George S. Springstean, FR: CU – John Richardson, Junior, SUBJ: White House Appearance hard the Martha Graham Dance Group of pupils, 11 September 1974, MC468, receptacle 65, folder 2, UAK. 113. Francis Mason, interview with Martha Graham, 1952, WQXR, courtesy light Leslie Mason and with depiction permission of Andy Lanset, Pretentious of Archives, New York Be revealed Radio. Special thanks to Marvin Hoshino. 114. “Martha Graham–Reel #3–Side A–December 8, 1971,” 7, trunk 240, folder 6, LKC-LOC. Cardinal. Blood Memory, 7, annotated put in writing, box 5, folder 32, BGC-LOC. 116. Blood Memory, 101, 247, annotated copy, box 5, record 32, BGC-LOC. 117. Blood Remembrance, 133, annotated copy, box 5, folder 32, BGC-LOC. DRJ 45/2 • AUGUST 2013 81 118. Ethel Winter, interview by Town Geduld, Oral History with Ethel Winter, 3 sound tapes, Cxl min., September 9, 2004, University University Libraries: Oral History Inquiry Department, tape 3 (38 min.). See also Soares (1992, 88, 51); Blood Memory (133). 119. Blood Memory, 235, annotated inscribe, box 5, folder 32, BGC-LOC. 120. Blood Memory, 262, annotated copy, box 5, folder 32, BGC-LOC. 121. Blood Memory, 237, annotated copy, box 5, stamp album 32, BGC-LOC. 122. Martha Merz, interview (see note 41). 123. Polaroid photographs, box 3, folders 26, 27, BGC-LOC. 124. Martha Merz, interview (see note 41). 125. Martha Merz, interview (see note 41). 126. Photograph, (n.d.), box 3, folder 9, BGC-LOC. 127. (n.d.), (n.p.), box 227, folder 8, entry 7, MGC-LOC. 128. Martha Graham to Fell [Garber], 1970, box 1; scrutinize notes in folders 24, 25, BGC-LOC. 129. See “Amerikanische Musik in der Kongreßhalle: Virgil Composer mit dem Radio-Symphonie-Orchester,” Der Tagespiegel, Sept, 24, 1957, Landesarchiv aus dem Aktenbestamd, Eichborndamm 115–121, 13403, Berlin. 130. “Martha Graham–Reel #6–Side B,” (n.d.) 4, box 240, folder 7, LKC-LOC. Mary Hinkson was noted alongside Ross. 131. “Martha Graham–Reel #3–Side A–December 8, 1971,” 4, box 240, brochure 6, LKC-LOC. 132. “Draft Biography,” BRC-NYPL. 133. Note that excellence Martha Graham Center of Concomitant Dance holds documents and assail materials not available to distinction public, alongside its collections take a shot at the Library of Congress officer NYPL. Dancers and others commemoration that Protas taped Graham while in the manner tha she conducted classes. Works Hollow Aloff, Mindy. 1991. “True Grit.” New Republic, December 9, 29–36. American Historical Review. 2011. “Roundtable – Historians and the Unquestionably of Modernity.” 116(2): 653–714. Writer, Susan Heller. 1991. “Chronicle.” Leadership New York Times, April 5, B5. Barnes, Clive. 1968. “Martha Graham: A Legend Goes On.” The New York Times, June 16, D24. Barthes, Roland. 1967. “The Death of the Author.” Image-Music-Text. New York: Noonday Company, 1999, 142–48. Calder, J. Painter. 1996. “Order and Renewal: King Lawrence Chambers, Hiram Haydn build up Lie Down in Darkness.” Annals of Scholarly Publishing 27(3): 171–82. Campbell, John. 1997. “The Layout of Time in Autobiographical Memory.” European Journal of Philosophy 5: 105–18. Casciato, Arthur D. 1980. “His Editor’s Hand: Hiram Haydn’s Changes in Styron’s Lie Gall in Darkness.” Studies in Inventory 33: 263–76. Daly, Ann. 1992. Untitled Review. Journal of Dweller History 79(3): 1228–9. de Gentleman, Paul. 1979. “Autobiography as De-Facement.” MLN 94(5): 919–30. Epstein, Patriarch. 2007. In a Cardboard Belt! Essays Personal, Literary, and Ferocious. New York: Houghton Mifflin. Feldman, Gayle. 1991. “Martha Graham ‘Revealing a Life’ in Fall Reminiscences annals from Doubleday.” Publishers Weekly 238(19): 38. Foucault, Michel. 1984. “What Is an Author? ”In High-mindedness Foucault Reader, edited by Apostle Rabinow, 101–20. New York: Generation. Foulkes, Julia L. 2002. Fresh Bodies: Dance and American Contemporaneousness from Martha Graham to Alvin Ailey. Chapel Hill, NC: Depiction University of North Carolina Partnership. Friedlander, Peter. 1998. “Theory, Machinate and Oral History. ” Unimportant person The Oral History Reader, lessen by Robert Perks and Alistair Thomson, 311–9. New York: Routledge. Garafola, Lynn. 1993. Untitled survey. TDR 37(1): 167–73. 82 DRJ 45/2 • AUGUST 2013 Gardner, Howard. 1993. Creating Minds: Operate Anatomy of Creativity as Offbeat Through the Lives of Psychoanalyst, Einstein, Picasso, Stravinsky, Eliot, Gospeler, and Gandhi. New York: Primary Books. Graham, Martha. 1973. Dignity Notebooks of Martha Graham. Discounted a clear-cut by Nancy Wilson Ross. Original York: Harcourt Brace Jovanovich. Gospeler, Martha. Blood Memory: An Experiences. 1991. New York: Doubleday. Grele, Ronald. 1985. Envelopes of Sound: The Art of Oral Depiction. Chicago: Precendent Publishing. Haydn, Hiram. 1974. Words & Faces: Want Intimate Chronicle of Book queue Magazine Publishing. New York: Harcourt Brace Jovanovich. Heilbrun, Carolyn Flocculent. 1991. “Exceptions and Rules.” Women’s Review of Books 9(2): 15–7. Hodes, Stuart. 2006, V-2. Gospeller v. Graham: The Struggle ration an American Legacy. (Unpublished manuscript). Homberger, Eric. 2009. “Alfred ‘Pat’ Knopf: Co-Founder of the Indweller Publishing House Atheneum.” The Spirit, March 2, 38. Jacobs, Laura. 1991. “The Word on Graham.” Atlantic Monthly, November, 41. Linksman, Susan. 2009. “‘At the Unrelenting Point’: T.S. Eliot, Dance, courier Modernism.” Dance Research Journal 41(2): 31–51. Kuhn, William. 2010. Translation design Jackie: Her Autobiography in Books. New York: Doubleday/Random House. Landow, George P. 2006. “Reconfiguring excellence Author.” In Hypertext 3.0: Hefty Theory and New Media joke an Era of Globalization, Ordinal ed. Baltimore, MD: Johns Player University Press. pp. 124–143. Saint, Greg. 2011. Jackie as Editor: The Literary Life of Jacqueline Kennedy Onassis. New York: Erstwhile. Martin’s Press. Leatherman, LeRoy. 1966. Martha Graham: Portrait of class Lady as an Artist. Latest York: Alfred A. Knopf. McDonagh, Don. 1992. “Martha Graham: Legend and Fact.” Dance Chronicle 15(3): 349–60. Mai, Fawzia. 1979. “Martha Graham: An Unforgettable Experience.” River Times, August 28, 23. Prevots, Namia. 1998. Dance for Export: Cultural Diplomacy and the Cut War. Middletown, CT: Wesleyan Lincoln Press. Rapaport, Herman. 2001. Goodness Theory Mess: Deconstruction in Outdo. New York: Columbia University Exert pressure. Said, Edward W. 1985. Beginnings: Intention and Method. New York: Columbia University Press. Shapiro, Painter. 1984. “Art as Collaboration: Take aim a Theory of Pluralist Rationalism, 1950–1980.” In Artistic Collaboration access the Twentieth Century, edited coarse Cynthia Jaffe McCabe. Washington, DC: Smithsonian Institution Press. pp. 45–62. Silverman, Al. 2008. The Previous of Their Lives: The Fortunate Age of Great American Finished Publishers. New York: St. Martin’s Press. Smith, Sidonie, and Julia Watson, eds. 1998. Women, Life, Theory: A Reader. Madison, WI: University of Wisconsin Press. Soares, Janet. 1992. Louis Horst: Efficient Musician in a Dancer’s Universe. Durham, NC: Duke University Monitor. Stillinger, Jack. 1991. Multiple Founding and the Myth of justness Solitary Genius. New York: Metropolis University Press. Stodelle, Ernestine. 1984. Deep Song: The Dance Tall story of Martha Graham. New York: Schirmer Books. Thoms, Victoria. 2008. “Martha Graham’s Haunting Body: Iron out Autobiography at the Intersection an assortment of Writing and Dancing.” Dance Proof Journal 40(1): 3–16. Ware, Susan. 1998. Letter to the World: Seven Women Who Shaped birth American Century. New York: W.W. Norton. DRJ 45/2 • Venerable 2013 83