Gore (Eugene Luther) Vidal (1925-) – Original name Eugene Luther Vidal – Detective novels under the pseudonym Edgar Box

Prolific American novelist, playwright, and essayist, one of the great stylists of contemporary American prose, who has been active in politics. Vidal made his debut as novelist with WILLIWAW at the age of 19, while still in US Army uniform.

“One understands of course why the role of the individual in history is instinctively played down by a would-be egalitarian society. We are, quite naturally, afraid of being victimized by reckless adventurers. To avoid this we have created a myth of the ineluctable mass (‘other-directedness’) which governs all. Science, we are told, is not a matter of individual inquiry but of collective effort. Even the surface storminess of our elections disguises a fundamental indifference to human personality; if not this man, then that one; it’s all the same, life will go on.” (from ‘Robert Graves and the Twelve Caesars’, in Rocking the Boat, 1963)

Gore Vidal grew accustomed at an early age to a life among political and social notables. He was born at the military academy in West Point, New York, where his father was an instructor. He was raised near Washington, DC, in the house of his grandfather, Thomas P. Gore, a populist Democrat senator from Oklahoma. Vidal learned about political life from him and when he was a teenager he adopted the first name of Gore. Vidal also spent time on the Virginia estate of his stepfather, Hugh. D. Auchincloss. After graduating from Philips Exeter Academy in New Hampshire, he served on an army supply ship in the Aleutian Islands, near Alaska. Much of his time in the Enlisted Reserve Corps he devoted to writing. Upon his discharge he worked for six months for the publishing firm of E.P. Dutton. From 1947 to 1949 Vidal lived in Antigua, Guatemala. His first novel, Williwaw, was based on his wartime experiences as first mate on Freight Ship 35 in the Alaskan Harbour Craft Detachment. The conventional seafaring story was written in the spirit Ernest Hemingway.

The novel was praised by the critics like the following books, although THE CITY AND THE PILLAR (1948) shocked the public with its homosexual main character. However, he became known as a serious writer at the age of 21, and the novel also ‘broke the mold’ of gay American fiction. The book was reissued in 1965 with a different ending. THE JUDGEMENT OF PARIS (1953) was about a young man travelling with jet-set and wondering how to satisfy his own part-cynical, part-romantic outlook. Several of his following novels did not gain critical approval and Vidal started to write plays for television, motion pictures and stage. Among his best-known works from the 1950s is VISIT TO A SMALL PLANET (prod. first for television in 1955).

In the 1960s Vidal returned to the literary scene by producing historical or contemporary novels, including JULIAN (1964), written in the form of a journal by the eponymous Roman emperor, WASHINGTON, D.C. (1967), a political thriller spanning the years 1937-52, BURR (1974), in which its title character rises above the other Founding Fathers, 1876 (1976), DULUTH (1983), and LINCOLN (1984), a carefully reconstructed account of the life of the US president. Vidal sees Lincoln as a tyrannical character who is “almost diabolically unknowable in his use of power”. CREATION (1981) was the memoir of an imaginary grandson of Zoroaster who travels the world in the service of Persian kings and plays with the ideas of Confucius, Gautama Buddha, Anaxagoras and other thinkers. In LIVE FROM GOLGOTHA (1992) Vidal portrayed events in the Bible as though they were reported on television. Among Vidal’s finest works are two novels which deal with power and sex. MYRA BRECKENRIDGE (1968) was a transsexual comedy parodying the cult of the Hollywood film star, dedicated to Christopher Isherwood. Its sequel, MYRON, appeared in 1974. Myra is a feminist and her alternate self, Myron, is her mirror image and bitter antagonist.

The hero of Washington, D.C., Peter Sandford, apperared again in THE GOLDEN AGE (2000), in which the reader meets a number of real, historical people, Eleanor Roosevelt, Joseph Alsop, Tennessee Williams, and the author himself. ‘”Vidal’s big sprawling novel about America’s transformation during and after World War II coats its ethical inquiries with plenty of narrative sweeteners: the sweep of history, celebrity walk-ons, conspiracy theories and reams of conversation, much of it witty, some lumbering. But the issue of power and who should hold it is never far form the surface. Sanford confronts the scheming and ambitious Congressman Clay Overbury, who also appeared in Washington, D.C., and asks, “Why must you be President?” To Overbury, the answer is obvious: “Some people are meant to be. Some are not. Obviously you’re not.”‘ (Curtis Ellis in Time, Nov. 6, 2000)

As the grandson of the politician, T.P. Gore Vidal has been active in liberal politics. In 1960 he ran unsuccessfully for the US Congress as a Democratic-Liberal candidate in New York. Between 1970 and 1972 he was co-chairman of the left-leaning People’s Party. In 1982 Vidal launched campaign in California for the US senate. He came second out of a field of nine, polling half a million votes.

“Whenever a friend succeeds, a little something in me dies.” In the 1960s and 1970s Vidal lived in Italy and appeared as himself in Fellini’s Roma (1972). Vidal’s house in Ravello, La Rondinaia, is perched 60 m above the Amalfi coast. During the Reagan years, Vidal published a collection of essays, ARMAGEDDON (1987), in which he explored his love-hate relationship with contemporary America. In 1994 Vidal co-starred with Tim Robbins in the film Bob Roberts. His collected essays, UNITED STATES (1993), won a National Book Award. It is a valuable introduction for those interested in American politics and literature. In PALIMPSEST (1995) Vidal wrote of his early life and friends, among them President Kennedy’s family.

“Yet the myth that JFK was a philosopher-king will continue as long as the Kennedys remain in politics. And much of the power they exert over the national imagination is a direct result of the ghastliness of what happened at Dallas. But the though the world’s grief and shock were genuine, they were not entirely for JFK himself. The death of a young leader necessarily strikes an atavistic chord. For thousands of years the man-god was sacrificed to ensure with blood the harvest, and there is always an element of ecstasy as well as awe in our collective guilt.” (Vidal in ‘The Holy Family’, from Collected Essays, 1974)

As an essayist Vidal has dealt with a wide range of subjects from literary to issues of national interest, and people he has known. Vidal’s family have provided him with a wealth of material, starting from his maternal grandfather, former senator Thomas Pryor Gore and his relation to Jackie Kennedy through one of his mother’s marriages. Vidal has also met and worked with prominent people, using freely these connections in his essays. Readers learn the habits of such persons as John F. Kennedy – ‘not much interested in giving pleasure to his partner – Henry James, Tennessee Williams, Ana ¯s Nin, and many others. He once Ronald Reagan as “a triumph of the embalmer’s art.” Often Vidal has been pointedly controversial, as when he supported legalization of illegal drugs – it would remove the Mafia from the drug market. “It is possible to stop most drug addiction in the United States within a very short time. Simply make all drugs available and sell them at cost. Label each drug with a precise description of what effect-good or bad-the drug will have on the taker.” (The New York Times, 1970; from The Last Empire, 2001) In Prague Vidal attacked in the spring of 2001 his home country’s bureaucracy, health care, and educational system and so fiercely that V ¡clav Klaus, Chairman of the Czech Parliament, considered it improper. In The Nation Vidal suggested that the white race of Europe, Russia, Canada, and the United States should form a defensive alliance against “more than one billion grimly efficient Asiatics” (see The Last Empire, 2001).

For further reading: Gore Vidal by Fred Kaplan (2000); Gore Vidal: A Critical Companion by Susan Baker (1997); Gore Vidal by Robert F. Kiernan (1982); Gore Vidal, or, A Vision from a Particular Position by Stephen Macaulay (1982); Views from a Window by R.J. Stanton (1980); The Apostate Angel by Bernard F. Dick (1974); Gore Vidal by R.L. White (1968) – Suomeksi julkaistu my ¶s kolme novellia kokoelmassa Naiset kirjastossa ja muita kertomuksia (1986). – Trivia: Vidal’s attack on sexual norms have brought him into conflict with such macho writers as Norman Mailer. – According to some sources (Ruumiinkulttuuri 2/1993: Pentti Kirstil ¤…) Vidal has always wanted to be the President of the United States. – James A. Michener on Vidal: “Gore Vidal, who wrote Williwaw at only nineteen, was another whose early book could well have been his last, but instead he wrote a series of books that varied in subject matter from the critical days of early Christianity to the dramatic eras of American history to outrageous sexual games. I envy him two novels on whose subjects I also did a great deal of work: Julian, which deals with the apostate who tried to turn back Christianity in ancient Antiochea, and 1876, which covers the amazing incident in American history that year when the Republican Rutherford B. Hayes stole the presidential election from the Democrat Samuel J.Tilden. Vidal knows how to make the most of his material, whatever the source, and I would have been proud to have written either these books I’ve cited.” (from The World is My Home, 1992) – Gore Vidal’s film scripts & detective novels: Tennessee Willams: Suddenly Last Summer (1958) –  „kki ¤ viime kes ¤n ¤ – film 1959, dir. by Joseph L. Mankiewicz, script Gore Vidal – Is Paris Burning? – film 1965, dir. by Ren © Cl ©ment, written by Francis Ford Coppola and Gore Vidal, based on international bestseller Paris, br »le-t-il? by Larry Collins and Dominique Lapierre – In the 1950s Vidal published three detective novels under the name of Edgar Box, which didn’t gain any kind of s It Hot (1954)

Selected bibliography:

Williwaw, 1946 In a Yellow Wood, 1947 City and the Pillar, 1948 The Season of Comfort, 1949 Dark Green, Bright Red, 1950 A Search for the King, 1950 The Judgement of Paris, 1953 Messiah, 1955 Visit to a Small Planet, 1955 The Catered Affair, 1956 (film script) The Left-Handed Gun (teleplay basis only) I Accuse!, 1958 (film script) – based on Dreyfus affair, SEE:  ‰mile Zola A Thirsty Evil, 1958 The Scapegoat, 1959 (film script – based on novel by Daphne du Maurier) Suddenly Last Summer, 1959 (film script) The Best Man,1960 (play) Rocking the Boat, 1962 On the March to the Sea, 1962 (play) Romulus, 1963 (play) Rocking the Boat, 1963 Julian, 1964 Is Paris Burning? 1966 (film script) Washington D.C., 1967 Sex, Death, and Money, 1968 Myra Breckinridge, 1968 – suom. Myra Reflections upon a Sinking Ship, 1969 The Last of the Mobile Hotshots, 1969 (also: Blood Kin, film script, dir. by Sidney Lumet, based on Tennessee Williams ´s play)

Myra Breckinridge, 1970 (novel basis only) Two Sisters, 1970 Homage to Daniel Shays, 1972 An Evening with Richard Nixon, 1972 Burr, 1974 Collected Essays, 1974 Great American Families, 1975 (with others) Matters of Fact and Fiction, 1977 Caligula, 1977 (film script) Kalki, 1978 Sex is Politcs and Vice Versa, 1979 Creation, 1980 The Second American Revolution, 1982 Duluth, 1983 Pink Triangle and Yellow Star, 1982 Lincoln, 1984 Empire, 1987 At Home, 1988 Armageddon? 1987 Hollywood, 1989 A View from the Diners Club, 1991 Screening History, 1992 Live from Golgatha, 1992 Screening History, 1993 United States: Essays 1952-1992, 1993 Palimpsest, 1995 The Smithsonian Institution, 1998 Gore Vidal Sexually Speaking, 1999 (ed. by Donald Weise) The Essential Gore Vidal, 1999 (ed. by Fred Kaplan) The Golden Age, 2000 The Last Empire, 2001