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Congdon, Charles Taber (1821-1891). Journalist, poet and avid abolitionist who was regarded as Horace Greeley's right hand man aBiblio.com

AUTOGRAPH LETTER SIGNED by the abolitionist journalist CHARLES TABER CONGDON regarding his articles including one regarding disunion.

1860rif. 100131Oct. 1860. Oct. 1860. Very good. - Over 115 words penned on 8 inch high by 4-7/8 inch wide creamy white paper with an embossed mark at top left. The abolitionist journalist C.T. Congdon writes that "I send the IIe Act in Disunion - the Ist went forward this morning. Together both pretty much exhaust the subject". He goes on to bemoan the delay "you might have it sooner if government would give this little abolition town another daily mail." He asks the recipient to please send him the "Knickerbocker for November. I have a little trifle in it - 'Will you dine with me'." Closing with the wishes "Buena notte!" Congdon signs himself with an abbreviated signature which one can only guess is "ChTC" and concludes with a postcript about the illegibility of another reporter's handwriting. The letter is mounted with glue from the verso onto a 8-1/4 inch high by 5-1/4 inch wide yellow paper. It is identified in an unknown hand on the verso: "C. T. Congdon / Oct 1860". Very good. The journalist poet and abolitionist Charles Taber Congdon 1821-1891 started his career by cleaning floors and delivering newspapers for the New Bedford Courrier. He went on to work as a reporter for the Daily Register and an editor at Daily Bulletin and the Daily Mercury before Horace Greeley personally invited him to come work at the New York Tribune in 1857. He came to be known as "Greeley's right hand man" and was listed by Louis Star as one of the Tribune reporters who "lived to destroy slavery root and branch". While working at the Tribune Congdon also published articles in "Vanity Fair" the "North American Review" and the "Knickerbocker Magazine". Congdon published recollections as well as poetry including "The Warning of War" in 1862. RARE. [Oct. 1860].

Blue Mountain Books & Manuscripts, Ltd. · Stati Uniti375,00 USD≈ 335,03 €

Patricia Highsmith Talented Mr Ripley Film; LGBTQ+ Media & Popular CultureBiblio.com

LGBTQ Film History Patricia Highsmith's Tom Ripley in René Clément's Plein Soleil 1960

1960rif. 199601960. Highsmith Patricia. The Talented Mr. Ripley brought to the screen for the first time in René Clément's Plein Soleil Purple Noon 1960 with Alain Delon as Tom Ripley Maurice Ronet as Philippe Greenleaf and Marie Laforêt as Marge. Adapted from Highsmith's 1955 novel the film follows Ripley from New York to Italy where an assignment to persuade the wealthy Greenleaf to return home develops into impersonation and murder. Delon's performance became one of the defining early roles of his career while the film preserved the novel's preoccupation with envy imitation desire and unstable personal identity. Critics have repeatedly addressed the queer implications of Ripley's fixation on Greenleaf; Roger Ebert described a "buried level of homoerotic attraction" while later criticism has noted that Clément reduced some of the novel's more explicit homosexual implications while retaining ambiguity in Ripley's attachment to Philippe. Archive of eight pieces comprising four original black-and-white silver gelatin publicity photographs and four Japanese chirashi or theatrical advertising flyers associated with Plein Soleil and its Japanese exhibition. Measurements range from 5 x 7 inches to 8 x 10 inches. Three photographs carry the film title and actors' names in the lower white margins; another has a German-language article concerning the film printed on the verso. The photographs show Delon in his first major screen role as Ripley and belong to the promotional circulation surrounding a French-Italian production whose English-language title became Purple Noon. The accompanying Japanese flyers extend that history of circulation beyond the film's European production and English-language reception documenting its marketing to Japanese theater audiences. Clément's adaptation altered Highsmith's novel substantially including its ending and the handling of Ripley's sexuality. Highsmith's novel contains stronger homosexual suggestion while the film redirects some of Ripley's attention toward Marge without eliminating the charged relationship between Tom and Philippe; this difference has made Plein Soleil part of critical discussions of queer subtext censorship and adaptation in postwar cinema. Highsmith had already published The Price of Salt in 1952 later retitled Carol making sexuality and same-sex desire central to her broader literary history even though Ripley himself resists fixed categorization. All eight pieces are in very good condition. The combination of original publicity photographs and Japanese theatrical ephemera records both the first cinematic construction of Highsmith's Ripley and the international promotion of a film whose treatment of male desire has remained central to its critical reception. unknown