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Riveting, funny, heartbreaking, at once raw and lyrical: these journals reveal the complexity of the actor/writer who invented the autobiographical monologue and perfected the form in such celebrated works as Swimming to Cambodia. Here is the first intimate portrait we have of the man behind the charismatic performer who ended his life in 2004: evolving artist, conflicted celebrity, a man struggling for years with depression before finally succumbing to its most desperate impulse. Begun when he was twenty-five, the journals give us Gray’s reflections on his childhood; his craving for success; the downtown New York arts scene of the 1970s; his love affairs, marriages and fatherhood; his travels in Europe and Asia; and throughout, his passion for the theater, where he worked to balance his compulsion to tell all with his terror of having his deepest secrets exposed. Culled from more than five thousand pages and including interviews with friends, colleagues, lovers, and family, The Journals of Spalding Gray gives us a haunting portrait of a creative genius who we thought had told us everything about himself—until now.
Within the span of a single year, Spalding Gray marries and divorces one woman, moves in with another who bears him a son, and learns to ski.
This is a collection of six monologues by the master of one-man drama. Included are "Sex and Death at the Age of 14," "Booze, Cars, and College Girls," "47 Beds," "Nobody Wanted to Sit Behind a Desk," "Travels through New England," and "Terror of Pleasure: The House." Also includes a preface by the author.
A reissue of Spalding Gray's masterpiece.
Having detailed the agonies of writing a book in his monologue Monster in a Box, Spalding Gray now gives us the monster itself: a convulsively funny, unexpectedly moving novel about a man eternally searching for a moment of protected pleasure even as he is permanently incapable of finding it. Brewster North witnesses his mother's madness but misses her suicide; searches frantically for enlightenment in the Poconos and zipless sex in India; suffers family ennui in Rhode Island and a nervous breakdown in Amsterdam. In the process he emerges as a hilariously complex everyman. And as Gray narrates his hero's free fall, he confirms his own stature as one of our funniest, most eccentric, and most engaging storytellers.
For some time now, writer-actor-performance artist Spalding Gray has been carrying around with him a monster: a manuscript of a novel called Impossible Vacation, a book that at last sighting weighed in at about 1,800 pages. Monster in a Box is a guided tour between the stations of his writing block, which include a field trip to Nicaragua, a disastrous guest appearance at the Moscow film festival, and a stint in Los Angeles hunting down the fabled few who have never written a screenplay. Hilarious and poignant, Monster in a Box is further proof that Gray has not only captured the dangerous spirit of our age but swallowed it whole.
The Undiscovered Chekhov gives us, in rich abundance, a new Chekhov. Peter Constantine's historic collection presents 38 new stories and with them a fresh interpretation of the Russian master. In contrast to the brooding representative of a dying century we have seen over and over, here is Chekhov's work from the 1880s, when Chekhov was in his twenties and his writing was sharp, witty and innovative. Many of the stories in The Undiscovered Chekhov reveal Chekhov as a keen modernist. Emphasizing impressions and the juxtaposition of incongruent elements, instead of the straight narrative his readers were used to, these stories upturned many of the assumptions of storytelling of the period. Here is "Sarah Bernhardt Comes to Town," written as a series of telegrams, beginning with "Have been drinking to Sarah's health all week! Enchanting! She actually dies standing up!..." In "Confession...," a thirty-nine year old bachelor recounts some of the fifteen times chance foiled his marriage plans. In "How I Came to be Lawfully Wed," a couple reminisces about the day they vowed to resist their parents' plans that they should marry. And in the more familiarly Chekhovian "Autumn," an alcoholic landowner fallen low and a peasant from his village meet far from home in a sad and haunting reunion in which the action of the story is far less important than the powerful impression it leaves with the reader that each man must live his life and has his reasons.
A colorful journey through the first decade of Gray Malin’s vibrant photography career Gray Malin: The Essential Collection celebrates the first decade of work from bestselling photographer Gray Malin. This new collection features beloved images from his most iconic shoots, as well as new material that has never been seen or published. Journey high above Manhattan’s skyline, return to the sunny beaches of Positano, and take a stroll through the Parker Palm Springs with Malin’s unforgettable four-legged hosts. With vibrant imagery from all seven continents and stories of how each collection was made, this stunning volume will invite you into the colorful world of Gray Malin and help make every day a getaway.
As the first decade of the new century was getting underway, Spalding Gray worried that the joy he’d finally found with his wife, stepdaughter, and two sons would fail to fuel his work as a theatrical monologist the way anxiety, conflict, doubt, and various crises once had. Before he got the chance to find out, however, an automobile accident in Ireland left him with the lasting wounds of body and spirit that ultimately led him to take his own life. But as his dear friend novelist Francine Prose notes in this volume’s foreword, “Even when his depression became so severe that he was barely able to hold a simple conversation, he was, miraculously, able to perform.” As was always his method, Gray began to fashion a new monologue in various workshop settings that would tell the story of the accident and its aftermath. Originally titled Black Spot—for what the locals called the section of highway where Gray’s accident occurred—it began as a series of workshops at P.S. 122 in New York City and eventually became Life Interrupted.Gray died in early 2004, and though never completed, Life Interrupted is rich with brave self-revelation, masterfully acute observations of wonderfully peculiar people, penetrating wit and genuine humor, an irresolvable fascination with life and death, and all the other attributes of Gray’s singular and unmistakable voice. In the final performance of Life Interrupted, Gray read two additional pieces: a short story about a day he spent with his son Theo at the carousel in Central Park and a brief, poignant love letter to New York City that he wrote after the terrorist attacks in 2001. This volume includes these pieces as well as many of the eulogies that were delivered by his friends and family at memorial services held at Lincoln Center and in Sag Harbor. [If you had to reduce all of Spalding’s work to its essence, its core, if you wanted to locate the subject to which, no matter what else he talked about, he kept returning, I suppose you could say that his work was a profoundly metaphysical inquiry into how we manage to live despite the knowledge that we are someday going to die. . . . If there is a consolation, it’s what he left behind: the children whom he so loved and, of course, his work. Reading the unfinished pieces in this volume . . . we hear his voice again and feel the happiness we felt when he sat on stage behind his wooden desk, took a sip from his water glass, transformed the raw material of his life into art, and the crowd applauded each brilliant, beautiful sentence.] —Francine Prose, from the Foreword Also available as an eBook
"The Art of Confession tells the history of this cultural shift and of the movement it created in American art: confessionalism. Like realism or romanticism, confessionalism began in one art form, but soon pervaded them all: poetry and comedy in the 1950s and '60s, performance art in the '70s, theater in the '80s, television in the '90s, and online video and social media in the 2000s. Everywhere confessionalism went, it stood against autobiography, the art of the closed book. Instead of just publishing, these artists performed--with, around, and against the text of their lives." --