Famous Fans of GWTW

As it turns out, being a fan of GWTW puts you in some pretty exclusive company. From stars of the silver screen to athletes to world leaders, the list of famous GWTW fans is a long one--not to mention a rather eclectic one. In honor of these celebrity Windies, we've created a new page, Famous Fans of GWTW, which you can find on the side bar.

The link to the new page is also below. Be sure to check it out and let us what you think. Also, if you're aware of any famous Windies who we've neglected to add, don't hesitate to let us know--and we'll get them added to the list.  

http://gwtwscrapbook.blogspot.com/p/famous-fans-of-gone-with-wind.html

"As God is my witness..." - A Quote for Hard Times

Erin Blakemore, author of The Heroine's Bookshelf, is hosting a Margaret Mitchell Month over at her blog. We chimed in with the post linked below, check it out and be sure to take a peek at all the other entries too; they're great reading material! 

Thanks to Erin for organizing this great event!

http://theheroinesbookshelf.com/2011/06/23/mmm-please-welcome-gone-with-the-wind-scrapbook/

Gone with the Wind: First Lady Approved

So here's a tidbit my co-blogger iso, great admirer of well-dressed women of all times, dug out and that we thought you might enjoy. Windies, you're in classy company! It turns out Jackie Kennedy Onassis was a Gone with the Wind fan too. Here's the excerpt from her biography:

"Thayer's biography tells of the books Jackie read when she was young. She read Gone with the Wind three times. There were ways in which some of the operatic characters from the book resembled people in Jackie's own family. Jackie's mother, Janet, divorced Jackie's father, Jack Bouvier, in 1940, when Jackie was eleven years old. The man who got his nickname, 'Black Jack,' from his permanent suntan spent the rest of his life in a succession of New York apartments, sometimes looked after by girlfriends, sometimes not, spending beyond his means and trading on the stock exchange. Janet remarried in 1942. Her new husband, Hugh Auchincloss, was a rich man, the heir to Standard Oil money, which he used to found a stock brokerage in Washington, D.C. He maintained a big house called Merrywood in Virginia and another, Hammersmith Farm, in Newport for the summer. He had a son from a previous marriage, just two years older than Jackie, who was known in the family as Yusha.

"Yusha Auchincloss remembered that Jackie also loved the movies, and Gone with the Wind was one of her favorites. 'Rhett Butler reminded her of her father, Scarlett O'Hara of her mother,' he said. The grand southern house of the movie, Tara, reminded her of Merrywood and Hammersmith rolled together. Jackie's stepbrother also though that Jackie 'had a lot of Scarlett's qualities, the same ones her mother had, good and not so good.' Jackie grew up patterning herself on one of the most famous temperamental divas of the 1930s and '40s, both the character in the book and Vivien's depiction of her on the screen. Scarlett O'Hara could be shrewd and selfish as well as self-sacrificing, and it's difficult to tell which of those features drew Jackie to read about her again and again. Jackie might also have seen that her own family dramas sometimes paled before the melodrama on the page, and in that sense the saga of Scarlett and Rhett was a comfort" 

-- from Reading Jackie: Her Autobiography in Books by William Kuhn

An Interview with Ellen Brown and John Wiley, Authors of Margaret Mitchell's Gone with the Wind

Editors' Note: Here is the promised interview with Ellen Brown and John Wiley, authors of Margaret Mitchell's Gone with the Wind: A Bestseller's Odyssey from Atlanta to Hollywood. Ellen is freelancer writer and owner of an antiquarian bookselling business. John is the publisher and editor of the Scarlett Letter, a quarterly newsletter for GWTW fans. A longtime GWTW collector, he also holds one of the largest collections of GWTW memorabilia in the private hands. It was a great pleasure for us to talk with Ellen and John about their book, Margaret Mitchell, and the making of GWTW, and we think you'll find their insights very interesting as well. Enjoy! 

1. To kick things off, how did you first become fans of Gone with the Wind? And what continues to fascinate you about Gone with the Wind today?

John: I first saw the movie at age 10, then I read the book and loved it even more. I began collecting memorabilia (especially that related to the book) and eventually began The Scarlett Letter, my quarterly GWTW newsletter. I remain fascinated by how popular the book and movie have been around the world for 75 years. The story of Scarlett and Rhett is a universal one.

Ellen: I first saw the film version when it aired on television in 1976. I was six years old and fell in love with the visual beauty of the movie.

I didn’t read the book until I met John. I was skeptical the book was worth reading, but he convinced me to give it a try. Once I started, I couldn’t put it down. I was amazed by how incredibly rich it is. I liked it even better than the movie and have no hesitation calling it literature.

2. Tell us a little about your book. What was your inspiration for starting this project?

John: Our book is a biography of Margaret Mitchell's novel, not of Miss Mitchell herself. As such, it tells the story surrounding Gone with the Wind up to the present day. We were inspired to tell the life story of Gone with the Wind when we realized that while parts of the story had been told, the complete history of the book had never been recounted in detail.

Ellen: I wrote a magazine article about John several years ago. During our interviews, he kept mentioning these wonderful stories about Margaret Mitchell’s experiences writing and managing GWTW. When I asked him where I could read about this part of her life, he told me nobody had ever written much about the history of the book or Mitchell’s efforts to manage the literary rights. We decided to team up and tell that story.
 
3. We're a team of co-bloggers, so we're naturally inclined to ask this next question. What was the process of co-authoring a book like? How did you to decide what you wanted to cover, and who would research and write what?

John: I had done a great deal of research over the years just out of my interest in Gone with the Wind. After Ellen and I did a week or two of new research, we decided how to split up the writing. After working up drafts, we exchanged chapters and made comments on each other's work. We then traded again and repeated the process. Eventually, we sat down in person (although we talked and e-mailed dozens of times a day!) and went over almost the entire manuscript line by line, so it was a real joint effort. Several people have commented that the book reads “seamlessly,” and we are proud of that!

Ellen: John has spent the last several decades researching Gone with the Wind, so I had some serious catching up to do. I spent several months reviewing the Macmillan and Mitchell papers to get up to speed.

In terms of writing, John has a full time job so of necessity the bulk of the initial drafting fell to me. However, he was a constant presence and we regularly exchanged drafts. We spent many days around my kitchen table reading the draft chapters aloud word by word to make sure we had the voice right. 

4. What do think the most significant challenge was that Margaret Mitchell faced in terms of managing her GWTW empire?

John: At first, I think it was dealing with the overwhelming publicity and the feeling that many in the public had that they almost “owned” her. Later, the copyright issues (piracies and protection) became her biggest challenge.

Ellen: I would say managing the overseas publishers. She spoke no foreign languages and yet had to fight a constant round of attacks in countries all over the world. She rolled her sleeves up and figured it out. In the long run, these challenges became her greatest successes.

5. What role to you think Margaret Mitchell and her legal battles played in influencing later reforms to U.S. copyright laws?

John: Margaret Mitchell's unending battles brought to the forefront the difficulties faced by U.S. authors who were not protected by international copyright law. When Congress became aware of all the issues she dealt with (her brother, Stephens Mitchell, testified before a Congressional panel) helped push the United States to join the Berne Convention.

Ellen: Mitchell’s experiences paved the way for American authors to have successful careers overseas. Congress saw what she went through and fixed an unworkable legal system. Although she didn’t live to see it happen, she was very proud of the work she had done to publicize the inadequacies of US copyright law.

6. One of the most interesting revelations in your book how strained the relationship was between the Marshes and Macmillan at various points in time. Overall, what's your assessment of how Macmillan handled its duties as GWTW publisher? Do you think they treated the Marshes fairly?

John: While Macmillan (usually Harold Latham) seemed to have misled Margaret Mitchell on several occasions (the movie rights, the British rights, etc.), overall, I think the company did a great job in promoting Gone with the Wind. Alec Blanton, the Macmillan advertising executive, was a master of promotion. In the end, Macmillan was probably the best possible publisher for Miss Mitchell.

Ellen: It is hard to speak in terms of Macmillan as an entity since there were so many people involved. Overall, I think the firm did well by the Marshes – especially, of course, Lois Cole – but the couple had very valid grounds for complaint against certain actions taken by George Brett and Harold Latham. I don’t imagine though that she would have been treated any better by another publisher.

7. Your book offers so many new insights to the history of GWTW. What were you personally most surprised to learn from your research?

John: I was most struck by the sheer volume of work involved in protecting the foreign copyright. And when you realize that she and John Marsh (and Margaret Baugh) did this all from their small apartment in Atlanta (not the large international city it is today) and while the entire world was at war, it is simply amazing what they accomplished.

Ellen: I was surprised and amazed by Mitchell’s business smarts. I had had the impression from some other sources that she put herself in the hands of the men in her life and retired to a dark room with a compress over her eyes. To the contrary, she was smart as a whip and an extremely hard worker.

8. If Margaret Mitchell was alive today, what do you think her assessment would be of how the Stephens Mitchell Trusts have managed the business of GWTW?

John: She would be extremely pleased. I think the fact that her will was broadly written was intentional on her part. She made her wishes known to her husband and brother, but she knew better than to tie the hands of her executors by forbidding certain actions in her will. Had she still been alive in 1975 when her brother first began exploring an authorized sequel, I think she would have reluctantly agreed it was the right move to make. At that time, the copyright was going to expire in a few years, and she would have taken whatever steps necessary to protect her story.

Ellen: Terrific question. She would undoubtedly be proud of how her estate managed to renegotiate the movie contract and has protected the copyright all over the world. I think she might have a little bit of heartburn over the authorized sequels, but she was a practical woman and would have understood the estate’s reasons for pursuing the sequels.

9. This year heralds the 75th anniversary of Gone with the Wind. How would you describe GWTW's impact on pop culture today?

John: Gone with the Wind is woven into the very fabric of American pop culture. Writers and everyday people make constant references to characters and lines from the story – and these references are immediately recognizable by people the world over. The novel and film, taken together, remain the most popular entertainment phenomenon of the 20th century.

Ellen: A recent newspaper article claimed that Gone with the Wind was fading in popularity and had not found an audience among today’s young people. I could not disagree more! If Twitter and Facebook are any indication, young people today enjoy Gone with the Wind and are as engaged with the characters as those of us with a few years under our belt. I don’t see the fascination fading any time soon.

10. What do you think the future holds for GWTW? Will we see another authorized sequel? How much longer do you expect GWTW to retain its copyright protection?

John: Currently, the copyright on the novel expires in 2031. That could change if Congress extends the copyright again. Either way, the GWTW Literary Rights office will continue to exert some control over the characters because of the copyright on the two authorized sequels (Scarlett and Rhett Butler's People)

Will there be another sequel? That's certainly possible, but I tend to think not. As for the future of Gone with the Wind, I think people all over the world will continue to read the novel and watch the film as long as we face hardships in life ... and as long as there is a “tomorrow” and a new beginning to look forward to!

Ellen: The copyright expires in 2031, but I would not be surprised to see it extended again. As for another sequel, hmm, I predict that the estate will not authorize one any time soon.

Margaret Mitchell's Gone with the Wind: A Bestseller's Odyssey from Atlanta to Hollywood

Editors' Note: As we first mentioned several months ago, there's a wonderful new book out about Gone with the Wind. Today we're thrilled to bring you our review of Margaret Mitchell's Gone with the Wind: A Bestseller's Odyssey from Atlanta to Hollywood. Later this week we'll also have an interview with authors Ellen Brown and John Wiley, who will join us on the blog to discuss their book. Thank you to Ellen and John for their generosity and kindness in sharing their book with us!

 

The market for Gone with the Wind books is a rather crowded one. You can find (and have probably read) plenty of biographies about Margaret Mitchell, accounts about the movie's production and a handful of books on GWTW memorabilia. But, until now, there hasn't been a complete account of the history of Gone with the Wind, the novel. And that's exactly what Ellen Brown and John Wiley give us in their fascinating new book, Margaret Mitchell's Gone with the Wind: A Bestseller's Odyssey from Atlanta to Hollywood. 

In A Bestseller's Odyssey, Brown and Wiley examine the publishing phenomenon of Gone with the Wind, from the novel's earliest days to its whirlwind success in the 1930s and 1940s to its enduring popularity in the modern era. Immaculately researched and addictively readable, A Bestseller's Odyssey offers tremendous insights--many of them reported for the very first time--about the unique twists and turns of GWTW's publishing history. In vivid, captivating detail, the book illustrates Margaret Mitchell's personal, well, odyssey of managing her famous novel, a journey with enough plot twists and colorful characters to rival Gone with the Wind itself.

Brown and Wiley's skillful narration gives the reader no less than a front row seat to see GWTW history unfold. You experience the surreal and overwhelming GWTW-mania that ensued upon the novel's publication, completely ending forever the quiet life of Margaret Mitchell and husband John Marsh. You get the inside scoop on the sometimes tense standoffs between the main actors in creating the GWTW phenomenon--Macmillan Publishing, David O. Selznick and the Marshes. You see Margaret Mitchell battle to protect her novel's copyright from thieves and opportunists across multiple continents. You explore the inner workings of the Mitchell Stephens Trusts and why they ultimately decided to authorize official sequels.

As longtime Gone with the Wind fans, we were completely enthralled by A Bestseller's Odyssey. We cannot recommend it highly enough to anyone who has even a remote interest in GWTW. This is a truly definitive account of GWTW the novel, a fascinating read for both casual and fervent fans alike. And for us passionate Windies, the book not only provides a great look at GWTW's publishing history but is chock-full of tantalizing new morsels of information that offer to change the way we look at MM and GWTW.

Have we peaked your interest? Here's just a small list of some of the awesome things you'll discover in A Bestseller's Odyssey: 

• What MM really thought happened to Rhett and Scarlett after the conclusion to GWTW
• Captain Rhett K. Butler's middle name, according to MM
• MM's thoughts on whether Melanie ever suspected anything between Ashley and Scarlett
• The plot line to an obscure (and hilarious) continuation of GWTW published by an American magazine in the 1940s
• Full plot line summaries for the three aborted GWTW sequels by Anne Edwards, Emma Tennant, and Pat Conroy

Sounds good to you? Well, then go out and buy the book today! And be sure to stay tuned for our Q&A later this week with authors Ellen Brown and John Wiley.

Doppelganger Dresses, Part 22: Maybelle Merriwether's Green Bazaar Dress (Book Version)

"Maybelle Merriwether went toward the next booth on the arm of the Zouave, in an apple-green tarlatan so wide that it reduced her waist to nothingness. It was showered and flounced with cream-colored Chantilly lace that had come from Charleston on the last blockader, and Maybelle was flaunting it as saucily as if she and not the famous Captain Butler had run the blockade.

"How sweet I'd look in that dress," thought Scarlett, a savage envy in her heart.  "Her waist is as big as a cow's.  That green is just my color and it would make my eyes look--  Why will blondes try to wear that color?  Her skin looks as green as an old cheese.  And to think I'll never wear that color again, not even when I do get out of mourning.  No, not even if I do manage to get married again.  Then I'll have to wear tacky old grays and tans and lilacs."

For a brief moment she considered the unfairness of it all.  How short was the time for fun, for pretty clothes, for dancing, for coquetting!  Only a few, too few years!"

--Gone with the Wind, Chapter IX

Today the Doppelganger Dresses series brings you the apple-green dress that Maybelle Merriwether wears to the Atlanta Bazaar--and that Scarlett O'Hara yearns to be wearing  in her place. Tellingly, MM's depiction of this dress, along with the fashion plate we uncovered, recalls Scarlett's own apple-green ballgown, the one she never dons for Twelve Oaks ball due to the outbreak of war. Against this background, Maybelle's dress serves as a great visual cue for MM to demonstrate the impact of Scarlett's changed life and her deep frustration. For Scarlett knew, from experience, that a dress such as Maybelle's would set off her figure quite charmingly. And Maybelle's belledom, in dress very much like one she wore in her own belle days, only serves to rubs salt in the wound. 

Well, enough analysis. The dress is waiting for you after the jump. As always, be sure to check it out and let us know what you think! 

Honeymoon Adventures, Part 2: The Churches of New Orleans

"He took her to plays and annoyed her by whispering that God probably didn’t approve of such amusements, and to churches and, sotto voce, retailed funny obscenities and then reproved her for laughing." 

--Gone with the Wind, Chapter XLVIII

Yesterday we explored the theatres of New Orleans that Rhett and Scarlett could have frequented on their honeymoon, and today we turn our attention to our second installment of their honeymoon adventures with a look at the churches of New Orleans.  So without further ado, let's get started on examining the Butlers' more spiritually-minded pursuits.  

St. Louis Cathedral, New Orleans

St. Louis Cathedral.  We would be remiss if we did not start our discussion with the most famous place of worship in the New Orleans: the St. Louis Cathedral, which presides in stately grandeur over Jackson Square in the heart of the French Quarter. Named for King Louis IX of France, St. Louis Cathedral bears the distinction of being not only the oldest church in the fair city of New Orleans, but also the oldest continuously operating cathedral in the United States. Originally established in 1718 as a modest wood building, the church was upgraded to a larger, brick structure in 1727, only to be destroyed in the Great New Orleans Fire of 1788. The cornerstone for the new church was laid in 1789 and by the time of the church's completion in 1794, it had already been named a cathedral the year before. 

Later renovations were made in 1849-50 to bring the St. Louis Cathedral its "modern" state, which is how Rhett and Scarlett would have encountered on their honeymoon. The Illustrated Visitors' Guide to New Orleans (1879) describes the legendary church thusly: "the exterior of the Cathedral is of majestic appearance, while the the interior is at once grand, solemn, rich and artistic." Had she attended church there, perhaps Scarlett would have enjoyed her lofty surroundings, as well as felt a connection between the Cathedral's French origins and her own Robillard ancestry. Of course, this wasn't the only church in New Orleans in which Rhett could have brought his new wife, nor the only one that had a connection to Miss O'Hara's background. Which brings us to...

St. Patrick Church, New Orleans

St. Patrick Church. If ever there was a church to catch the fascination of Scarlett O'Hara (a questionable prospect to be sure), St. Patrick Church in New Orleans holds a strong claim to that crown. For as you'll see, the Church recalls Scarlett's own heritage in some truly lovely ways and one would venture that Rhett would score points with his bride if he took her there. In the first decades of the 19th century, Irish immigrants attended church services at St. Louis Cathedral--but its masses conducted solely in French did little to inspire these new arrivals from the Emerald Isle.

So with Gerald O'Hara-like pluck, they set out to establish their own church, one that would be grand enough to rival even the imposing St. Louis Cathedral. The cornerstone for the church, naturally named after the patron saint of Ireland, was laid in 1838 and by 1840 the church was complete. Modelled after the Exeter Cathedral, St. Patrick's elaborate Gothic architecture fulfilled the dreams of its Irish builders and the church soon become nationally renowned for its beauty. In 1850, it even served as the pro-cathedral for New Orleans while St. Louis went under renovation.

Noted for its "grave and quiet grandeur" per the Illustrated Visitors' Guide to New Orleans, St. Patrick's interior features three soaring murals behind the main altar: the Transfiguration of Christ in the main panel, with the Christ Walking on Water on the right--and St. Patrick baptizing the Princesses of Ireland in the halls of Tara. Of this, we think Scarlett would wholehearted approve. Perhaps a longer honeymoon would have even made a church-goer out of her, if  she only went to St. Patrick's Church to gaze at the royal princesses of Tara.

Christ Church, New Orleans

Christ Church. Thus far we have operated under the assumption that Rhett Butler only took his Catholic (in name, at least) wife to Catholic churches. But perhaps Mr. Butler had other ideas and used their honeymoon excursions to better acquaint Scarlett with the Protestant faith (Ellen Robillard spins in her grave as we speak!). If this was the case, an excellent option for our couple would have been Christ Church, the oldest Protestant Church in New Orleans and Episcopalian in its denomination. (GWTW of course hints that Rhett is Episcopalian). Christ Church was founded in 1803 by an intrepid band of 53 Protestants who endeavored to create the first non-Catholic place of worship in New Orleans. In order to decide on the church's denomination, they held a vote--and the Episcopalians won in a landslide, garnering 45 total votes. The church grew rapidly and by 1846 a new Gothic structure was built to better accomodate its growing faith community. Recognized for its buttresses and central tower, the Christ Church was described by Jewell's Illustrated Crescent City as "one of the most elegant church structures in New Orleans," thereby making it an ideal venue for our always image-conscious twosome.

So ends our look at the churches of New Orleans. We hope that you've enjoyed our exploration of the theatres and churches of New Orleans, and that it's given you a little more insight to the places that Rhett and Scarlett could have actually seen on their honeymoon.

Honeymoon Adventures, Part 1: The Theatres of New Orleans

"He took her to plays and annoyed her by whispering that God probably didn’t approve of such amusements, and to churches and, sotto voce, retailed funny obscenities and then reproved her for laughing." 

--Gone with the Wind, Chapter XLVIII

Rhett Butler is a consummate romantic. After all, what young bride doesn't want to spend her honeymoon going to plays and churches? Of course, I kid only slightly, as the aforementioned passage never fails to make me gleeful and starry-eyed, creating as it does such a charming glimpse into Rhett and Scarlett's time together on their honeymoon. So using this passage as our inspiration, we will be taking a look at where in New Orleans the Butlers actually could have bickered and flirted their way through enjoyed their Shakespearean dramas and worship services. Up first today will be a post on the theatres of New Orleans, to be followed by the churches of New Orleans.

Perhaps no surprise given its flair for the dramatic and the different, New Orleans featured a robust circle of theatres, which started to come of age from the 1830s onwards. Many survived the ravages of the Civil War to continue to serve as cultural landmarks for the city. Today, we'll examine five of the main theatres of New Orleans in the post-war period, all of which are displayed in the illustration below: the Academy of Music, the St. Charles Theatre, the National Theatre, the Opera House, and the Varieties Theatre. Much of my information for this post comes courtesy of three wonderful old books: the Illustrated Visitors' Guide to New Orleans (1879); Jewell's Crescent City Illustrated (1873); and Standard History of New Orleans, Louisiana (1900).  Alright, introductions aside, let's enter stage left and begin Act I...

Illustrated print of the "Theatres of New Orleans" from the book The Great South, published in 1875.

The Academy of Music Opened originally in 1853, the Academy of Music operated for only a one year as an actual music academy before it changed its tune and re-emerged as a theatre in 1854. From there, the now-misnamed theatre quickly endeared its way into the hearts of New Orleanians and visitors alike, becoming one of the most popular spots within the city for entertainment. Indeed, the Illustrated Guide to New Orleans (1879) describes the Academy in most glowing terms: "Its name is never mentioned by our citizens except with a smile and expections [sic] of pleasure, and especially is this so with ladies and children, to whom the 'Academy Matinees' are always enjoyable events."  

The Academy also held a unique spot in Civil War history: it was here that actor and lyricist Harry McCarthy first introduced "Bonnie Blue Flag" to New Orleans audiences during September 1861. Soon after, New Orleans printers republished the song in zeal, helping to spread use of the tune as an anthem for the Confederacy. Perhaps it was after hearing an encore performance of the tune at the Academy of Music that Scarlett was encouraged to belt out the song on her infamous ride through the streets of New Orleans in an open carriage?

St. Charles Theatre  Built in 1835 for a staggering $350,000, the St. Charles Theatre would have suited Scarlett's opulent taste perfectly and could have therefore served as an optimal play-viewing spot for the new Mr. and Mrs. Rhett Butler. Boasting one of the largest stages in the United States and seating for more than 4,700 guests, the St. Charles Theatre was as lavish as it was enormous, furnished with a 12 foot high chandelier, gilded columns flanking the stage, and stage boxes adorned in yellow, blue, and crimson silk. It was regarded as one of the best theatres in the country and featured a wide range of performances, from traditional drama and comedy selections to opera and to variety acts where jugglers, singers, and comics took to the stage. As one of the nation's premier theatres, the St. Charles played host to many of the most famous actors of the period, along with a truly infamous one. John Wilkes Booth performed in the St. Charles Theatre's opening production of Richard III on March 14, 1864, along with several other plays before he departed the city on March 26.

National Theatre  While the glitz and glamor of the St. Charles Theatre would have no doubt appealed to our young bride, I fear the same cannot be said about the National Theatre. For you see, the National Theatre was also known during the period as the German National Theatre--and featured quite a number of German plays. With this knowledge at hand, we can only speculate about whether Rhett, in one of his less tender moments, escorted Scarlett to the National, simply to annoy her and poke fun at her lack of cultural depth.

The Opera House  Established in 1859, the Opera House (also known as the Old French Opera) was, quite simply, the social mecca of New Orleans--the de rigueur place to see and be seen within the Crescent City. So surely the Butlers, flush with money, dressed to the nines, eager to thumb their nose at polite society, would have made their appearances at the Opera House on their honeymoon. Like its elegant cousin the St. Charles, the Opera House maintained a reputation for sophisticated glamor. The Illustrated Guide to New Orleans does not spare its praise in declaring it to be"one of the finest buildings of the sort in the United States... supplied with all the care and conveniences required in a first class Temple of the Muses." While opera naturally served as its main attraction, the Opera House also featured an eclectic mixture of entertainment, including plays, receptions, concerts, debuts and Carnival balls--so Rhett and Scarlett would have found many opportunities by which to entertain themselves in its posh confines. 

Varieties Theatre Last but certainly not least, our look at the theatres of New Orleans ends with the Varieties Theatre, described as "a gem of a theatre" by The Illustrated Guide to New Orleans. Built in 1849, the original theatre, known as The Gaiety, was destroyed by fire in 1854 and reopened the following year under its new name. In a similar vein to the Academy of Music, the Varieties Theatre also helped to popularize a well-known Southern tune. "Dixie Land" was first performed in New Orleans at the Varieties Theatre in the late 1850s, where it was greeted by enthusiastic applause and soon spread in popularity. Throughout the mid-Victorian period, the Varieties enjoyed a reputation as a well-respected theatre house, drawing major actors from around the nation and serving as "favorite place of amusement" within New Orleans. 

Thus, our dizzying look at the many and varied theatres of New Orleans now draws to a close. But before we draw the curtain and take our final bow, we invite you to check out the slideshow below, which showcases all of the theatres mentioned in our post. The images are drawn from Jewell's Crescent City Illustrated, a souvenir book of New Orleans published in 1873. 

Doppelganger Dresses, Part 18: Scarlett's Prewar Wardrobe (Book Version)

"The rose organdie with long pink sash was becoming, but she had worn it last summer when Melanie visited Twelve Oaks and she'd be sure to remember it.  And might be catty enough to mention it. The black bombazine, with its puffed sleeves and princess lace collar, set off her white skin superbly, but it did make her look a trifle elderly.  Scarlett peered anxiously in the mirror at her sixteen-year-old face as if expecting to see wrinkles and sagging chin muscles.  It would never do to appear sedate and elderly before Melanie's sweet youthfulness.  The lavender barred muslin was beautiful with those wide insets of lace and net about the hem, but it had never suited her type.  It would suit Carreen's delicate profile and wishy-washy expression perfectly, but Scarlett felt that it made her look like a schoolgirl.  It would never do to appear schoolgirlish beside Melanie's poised self. The green plaid taffeta, frothing with flounces and each flounce edged in green velvet ribbon, was most becoming, in fact her favorite dress, for it darkened her eyes to emerald.  But there was unmistakably a grease spot on the front of the basque.  Of course, her brooch could be pinned over the spot, but perhaps Melanie had sharp eyes."

--Gone with the Wind, Chapter V

We're starting off the year with a small army of dresses for you in our latest edition of Doppelganger Dresses! Today we bring you four dresses which, as you've surely guessed by now, come from the quote above about Scarlett's prewar wardrobe. And just think--if our heroine had changed her mind about what to wear to the fateful Twelve Oaks barbecue, perhaps we'd all be talking about her famous rose organdie dress or green plaid taffeta dress instead of her green sprigged muslin dress.

But while these dresses just narrowly missed their date with destiny, they are just as historically accurate as some of the more famous frocks mentioned in Gone with the Wind. After the jump, you'll find period fashion plates for all four dresses described by MM. 

Check them out and let us know what you think. Do you have a favorite out of the four? Which one could you most see Scarlett wearing? 

Doppelganger Dresses, Part 14: Bonnie's Blue Velvet Riding Habit

We have a beautiful, if tragic, costume from Gone with the Wind to feature as this week's Doppelganger Dresses entry: Bonnie Blue Butler's blue velvet riding habit. 

The matching fashion plate is waiting for you after the jump. Does it look like Bonnie's riding habit to you? Let us know what you think in the comments!

Of Scarlett and Other Heroines : An Interview with Author Erin Blakemore

Editor's Note: Here's the promised interview with author Erin Blakemore, whose first book, The Heroine’s Bookshelf: Life Lessons, from Jane Austen to Laura Ingalls Wilder just came out earlier this week. It was a great pleasure for us to get to chat with Erin about Scarlett, Margaret Mitchell and Gone with the Wind in general and we think you'll find her insights  very interesting as well. Enjoy!

1. Erin, tell us a little about your book. What was your inspiration for starting this project and how did you go about selecting your material, deciding which heroines would feature in the book and which ones would have to be left out?

I've always wanted to write a book about books, but this book in particular started with a conversation with my agent about (of all things) how the Ingalls family might react to the publishing crisis of late 2008. I put together a proposal and outline and once the project sold to Harper, I finalized the character list with my editor after a long process of painful elimination.

2. Your book explores twelve very different female figures from classic literature. Of this group, who is your favorite heroine and why?

Wow...this question is almost impossible to answer. I must say I have an increased sense of appreciation for Jo March after learning more about Louisa May Alcott's struggles as a daughter, writer, and woman.

3. What do you hope readers will take away from your book?

I like to think there's plenty in the book for both the hardcore book addict and the dabbling reader. Overall, I want to impart my passion for these books, characters, and authors, and encourage people to read and reread when times get tough.

4. Gone with the Wind is a story about a crisis, published in a time of economic crisis. You briefly mention the current economic situation in your preface. Is Scarlett O’Hara’s example as inspiring today as it was for readers in the ‘30s?

Honestly, I think Gone With the Wind and Scarlett's story are examples of how bad things can truly get. If you're not down to shoving your wallet in your nephew's diaper as Yankees charge up the steps of your ancestral home, you may not have hit rock bottom quite yet. Like Scarlett, most of us will make do with what we're dealt, even when it seems we can't go on. I'd say that's great solace for uncertain economic times.

5. In the book, you mention that you first read Gone with the Wind in sixth grade. What were you initial impressions of the novel and how has your relationship with Gone with Wind changed as you’ve become an adult?

Surprisingly, upon many, many rereadings the book has not grown any less compelling (though my own impressions of romance and love have changed a lot since my first reading). Now I see the relationships in the book quite differently. As a child who had a contentious relationship with many of the women and girls in my life, it was easy to dismiss the book's treatment of the relationship between Melanie and Scarlett. As I've grown up, I've come to recognize the true mastery and sensitivity of those passages. What a monumental study of female relationships and the true meaning of love-hate.

6. One of the aims of your book is to show how an author’s life and personality are reflected in the their writing. When it comes to Margaret Mitchell, you say Gone with the Wind was an episode in her “lifelong struggle to make sense of a tradition-bound world that expected her to content herself with her family name and her deft grasp of Southern customs.” Do you see Gone with the Wind as her way of criticizing that society or rather justifying it and making peace with it?

Great question. Mitchell herself acknowledged that she was born and bred to tell a Southern story, but I think she did so on her own terms. I see Gone with the Wind as her attempt to reconcile her rebellion with her birthright, just like Scarlett must reconcile her heritage as a planter's daughter with her fundamental discomfort around "good Southern women." The result is so much juicier and more complex than a one-sided treatment could ever be.

7. A puzzling aspect given how close Margaret Mitchell was to Scarlett in some aspects is that she considered Melanie to be the novel’s true heroine. Scarlett definitely overshadows her in Gone with the Wind, but is Melanie on a par with some of the other heroines you discuss in your book?

Though I can't help but think that Mitchell's Melanie remarks were her way of deflecting conversation about how what Scarlett did or didn't reflect on her own character, I have grown to appreciate Melanie much more with the years. Remember when Frank Kennedy muses that a "he had caught a tropic bird, all flame and jewel color, when a wren would have served him just as well. In fact, much better."? Melanie is the wren, the unassuming one, the steadfast woman and a definite heroine in her own right. But her flaws are never deep (or exposed) enough to string me along like Scarlett's. One knows that Melanie will always opt for good over bad, but one waits for Scarlett to choose.

8. You describe Scarlett as “literature's most lovable bitch." What do you think makes her an admirable character despite her shortcomings?

Scarlett is a fighter, a wounded warrior, and that ability to charge into battle on behalf of herself and her loved ones despite the most devastating circumstances is something to love and admire. Like every Gone with the Wind fan I long to know what Scarlett the older woman would do...would she grow into that impulse to fight or keep wounding herself with it? Would she change, or go on in perpetual denial? I guess we'll never know.

9. Would you say Scarlett O’Hara is a feminist icon?

Though she kicks ass and takes names, Scarlett is far too obsessed with the opinions of men to qualify as a feminist icon for me. But the part of the book in which she realizes she could run Frank Kennedy's store better than Frank Kennedy himself is among my favorite feminist passages in literature.

10. The heroines in your book all have different personalities and stand for different values. Which of these women do you think Scarlett O’Hara would have gotten along with, if any?

Not many, given that it would mean sharing the spotlight! I could see a grudging truce with women like Lizzie Bennet, Celie, and Jo March. Jane Eyre would cancel her out entirely, while I can see Claudine fitting in nicely in a New Orleans scene complete with enormous crawfish and two dashing husbands.

11. At one point during the proposal scene, Rhett Butler asks Scarlett “Did you ever in your novel reading come across the old situation of the disinterested wife falling in love with her own husband?” Of course, Scarlett never willingly opened a book, but if she did, do you think she could have learned something from other literary heroines? If you could choose one heroine (from any time frame) whose story could have changed Scarlett O’Hara’s life, who would it be?

Ah, but if she'd read books, would she really have learned from them? I would gladly introduce Scarlett to Katie Nolan of A Tree Grows in Brooklyn, whose own gritty temperament and can-do attitude would have earned Scarlett's grudging respect and taught her a thing or two about holding your own.

12. One of the features of your book is a little section called “Literary Sisters” where you highlight other literary characters that are close to the heroine in the respective chapter. One of Scarlett’s literary sisters is Lily Bart from Edith Wharton’s House of Mirth, another 19th century belle that fights to maintain her social and economic status. It’s a very interesting topic of compare and contrast. What would you say are some characteristics Scarlett has and Lily doesn’t?

I'd say that Scarlett is willing to let everything go, while Lily clings to the trappings of the society she's always known. While Scarlett soon learns to rely on physical labor and grit, Lily grasps the chains that bind her to her own time (the corset strings, shall we say?) more strongly. Also, amusingly, Lily is a discreet woman despite her indiscretions, while Scarlett's inability to hold her tongue or keep her peace long gives Gone with the Wind a constant feeling of motion and peril.

13. Continuing from the previous question, you also list Maud Bailey and Christabel LaMotte from the novel Possession as Scarlett O’Hara’s literary sisters. This is a subtler choice, given the difference in time frame and intellectual background between Byatt’s heroines and Scarlett. What were the main similarities that made you choose them?

Like Scarlett, Maud and Christabel both represent vitality, sexuality, and promise. The chase for Possession, with all the word's layers and meanings, seems to parallel the many futile chases in Gone with the Wind...Scarlett's unfulfilled passion for Ashley, Rhett's desire and abhorrence of Scarlett, a society's chase for relevance and survival after the worst has happened. Finally, both books (and all three characters) are far more dense and complex than they seem at first glance!

14. You talk both about Scarlett’s qualities and her amazing struggle to survive, but also about the price she has to pay for her way of dealing with things. What do you think is the most important lesson we have to learn from her? Is her story ultimately an inspiration or a warning?

To me, Scarlett is a story of a gamble gone wrong, a woman who risks everything and then loses everything for her pains. Ultimately, she's an antiheroine and a bad example of what happens when you dump everything out with the bathwater...but one that we love to read and rediscover. As Grandma Fontaine says, "...There’s something unnatural about a woman who isn’t afraid…always save something to fear—even as you save something to love." We can take that message to heart or, like Scarlett, choose to meet that obtuse advice with a deaf ear and a frightened heart like Scarlett's. Either way, life within the struggle promises to be a hell of a ride. 

 

Liked what you read? You can order Erin's book here. 

The Heroine's Bookshelf: Life Lessons, from Jane Austen to Laura Ingalls Wilder

Editors' Note: A while back, we received a lovely email from Erin Blakemore, who had some very kind words for the blog. But that's not the cool part. This is: you see, not only is Erin is a longtime Gone with the Wind fan, she is also a first-time author! Her first book, The Heroine’s Bookshelf: Life Lessons, from Jane Austen to Laura Ingalls Wilder, debuts in bookstores today.

Erin was kind enough to send us a review copy of her book, which explores classic literary heroines and includes a chapter on our much-loved Scarlett O'Hara. So today we're delighted to offer you a look at The Heroine's Bookshelf.  Also, be sure to stay tuned later this week for an interview  with Erin about her book, literary heroines and, of course, GWTW and Scarlett. Thank you to Erin for her generosity and kindness in sharing her book with us. Congratulations to you!

--iso and Bugsie

It starts with a heroine—a larger-than-life, unforgettable heroine. Boil down the many divergent reasons why all of us are fans of Gone with the Wind and you’ll find that the reality is actually quite simple: the story of Scarlett O’Hara moved us at some intrinsic level, so much so that we return to her story again and again, trying to unlock what made her tick, sharing in her triumphs, mourning in her epic defeats. Scarlett’s journey is both her own and ours. 

And it is this very kind of intersection—the literary journey of the heroine and the emotional journey of reader—that Erin Blakemore explores in her insightful new book, The Heroine’s Bookshelf: Life Lessons, from Jane Austen to Laura Ingalls Wilder. The Heroine’s Bookshelf takes twelve classic heroines down from the bookshelf to explore the enduring values modern women can learn from their literary sisters. You’ll find many familiar and well-loved characters within its pages: Jane Eyre, Elizabeth Bennet, Jo March, and Anne Shirley, among others (including Scarlett O’Hara for us Windies).

The Heroine’s Bookshelf examines each heroine in light of her defining characteristic (ex: Anne Shirley embodies ‘Happiness,’ while Scarlett O’Hara naturally represents ‘Fight’). Blakemore offers reflections, at turns both poignant and funny, about how women can thoughtfully apply these timeless values in a modern world that can be infinitely harried and complex, one that all too often does not allow for moments of introspection. Each chapter also ends with two fun tidbits, “Read This Book” (life situations especially suited to the heroine’s novel) and “Literary Sisters” (a list of literary characters similar to the heroine).

But The Heroine’s Bookshelf doesn’t just discuss these remarkable heroines’ stories in a vacuum. For behind every literary heroine stands another powerful and even more important woman—the author of each book. Blakemore weaves in insights about how each author’s life informed the literary world she chose to create, from great personal joys, in some cases, to devastating life blows, in others. Taken together, the vignettes of both authors and literary heroines come together to offer a meditation about the nature of writing, the enduring meaning of literature and the power of the human spirit. 

Ultimately, there are many adjectives to describe The Heroine’s Bookshelf. “Clever,” “touching” and “insightful” are but some. But if we had to pick just one it would be “timely.” In today’s world, fraught with economic turmoil and flooded with problems large and small, who couldn’t use a little inspiration from some of the bravest, coolest women in literature? We here at How You Do Run On obviously can’t turn that down. We really enjoyed this charming book and we know you will too.

So be sure to check The Heroine's Bookshelf and reacquaint yourselves all over again with the tremendous heroines you know and love. You won't be disappointed.  In fact, it might just make you square your shoulders, gather up your strength and declare "Tomorrow is another day..."

The Making of a Masterpiece: An Interview with GWTW Author Sally Tippett Rains

Editors' Note: Today it is our honor and pleasure to feature a guest post from  our long time reader and commenter Rita from St. Lou. Rita is here to give you more details about Gateway to the Wind, the Gone with the Wind conference that will take place in St. Louis in November, and she has a special surprise for us: an interview with Sally Tippett Rains, author of a book about Gone with the Wind and host of Gateway to the Wind. Enjoy and please let us  know what you think about the event (will you be able to attend?) and the points Rita and Sally discussed in the interview. 

St. Louisan Sally Tippett Rains author of THE MAKING OF A MASTERPIECE (The True Story of Margaret Mitchell's Classic Novel, Gone With The Wind) will host a 3-day conference, Nov. 5--Nov.7 2010, to celebrate Margaret Mitchell's birthday and the 70th Anniversary of the St. Louis premiere of GWTW.

This series of spectacular events features a discussion session with several of the surviving cast members of the movie, and a presentation by Herb Bridges, famed GWTW collector and author of GONE WITH THE WIND: THE THREE DAY PREMIERE IN ATLANTA. Mr. Bridges will be speaking about his book at the Conference.

Additional scheduled events include a GWTW memorabilia exhibit featuring the collection of Novella Perrin, PhD. and the "Fiddle-Dee-Dee Follies," a musical production saluting GWTW.  A separate but related event, "Gateway to the Wind Charity Ball" will be held for the benefit of Rainbows for Kids, a 501(c)(3) charitable organization aiding children with cancer and their families.

Just for you my fellow Windies, I bring you a GWTW Scrapbook exclusive interview with Sally. Enjoy!

Rita from St. Lou

 

What inspired you to write your book, The Making of a Masterpiece? 

There was an article I saw online that said Scarlett O'Hara and Rhett Butler could have been based after these two real people. I love doing research so I started digging into it and pretty soon I was writing a book.  My research showed that while author Margaret Mitchell probably did not base her characters after these two people, she may have based the "star-crossed" lovers storyline on them. The research was interesting never the less and I included it in my book.

In the three years that it took to research and write the book, what was the most challenging aspect of the project?

As far as challenging, there was nothing difficult in writing the book. I thoroughly enjoyed every minute and did not want to stop to turn the book in. I met the most interesting people. They were all so nice and helpful. I wish I could have interviewed Olivia de Havilland, I tried very hard to get an interview with her but she lives in Paris and many times I thought I got her but something would happen. I was able to talk to six actors who were in the movie, though.

You've met some members of Margaret Mitchell's family, did anybody surprise you with a unique story about her?

Margaret Mitchell had no children so there really are not a lot of relatives still around. The most interesting thing about interviewing members of her family was that after a long process of working with one of her cousins, she abruptly asked me not to use what she had told me. She had actually given me some interesting information, but this woman was old and had some illness going on in her family and I wanted to just respect her so I dropped that part of the book.

How does Mitchell's family feel about being associated with the book and the movie?

In my research I found some ground-breaking evidence that they were happy to be associated with the movie, but unhappy with Margaret because they felt she should have said the book was based on their family. I was able to view a family scrapbook which I have a copy of. This will be available for viewing at the Gateway To The Wind event being held in St. Louis November 5-7.

Your event "Gateway to the Wind", which will be held in St. Louis on the 70th anniversary of the the St. Louis premiere of the movie, brings together GWTW actors from the movie, collectors, experts and "Windies."  What do you hope to accomplish by bringing this group of people together that hasn't already been done?

Most of the Gone with the Wind events have centered just around the movie. This event brings in the element of the real-life history in Margaret Mitchell's family which caused her to write the book.

Herb Bridges is scheduled to speak about the Atlanta premiere of GWTW.  He's been respected for years as the foremost authority of the movie.  What can you tell us about him?

Herb Bridges is a real Southern gentleman. As a young boy he worked at the Loews Theatre in Atlanta where Gone with the Wind premiered. He had a great interest in the movie and began collecting memorabilia. He met some of Margaret Mitchell's relatives including her brother and made quite a career out of lecturing and writing about Gone with the Wind.

Dr. Novella Perrin will also be speaking, and will exhibit her extensive collection of GWTW memorablia.  What are you looking forward to seeing most at the exhibit?

I am excited to see Aunt Pittypat's parasol. Aunt Pitty was an interesting character added possibly for comedic purposes, but also because she had an Aunt Pittypat herself. The character was loosely based on the elderly aunts in her family who raised various members of the family on their plantation, Rural Home.

I'm really looking forward to the memorabilia exhibit. It had been scheduled for a museum but at the last minute the museum pulled out and we were lucky enough to find someone willing to step in and put on the exhibit. I'd like to thank you, Rita for doing that. You, along with the students you teach at ITT Technical Institute will be transforming a meeting room into a beautiful exhibition room. I've been able to meet the students and they seem so talented and enthusiastic so I can't wait to see what they do with the exhibit.

Which actors from the movie are scheduled to attend the Conference?

Actors from the movie include the three "Beaus," the actors who portrayed Beau Wilkes at various ages: Mickey Kuhn, Patrick Curtis, and Greg Giese. The other guests are all going to be so interesting to Gone With The Wind fans. We have the sons of Marcella Rabwin who was GWTW producer David Selznick's executive assistant; the niece of Susan Myrick, who was Mitchell's friend and she worked as a consultant in Hollywood on Gone With The Wind, and a man whose ancestral property butts up next to the Fitzgerald property which was Mitchell's relatives'.  There are a few other surprises who will be announced as we go.

You're also hosting the "Gateway to the Wind Charity Ball" for the benefit of your non-profit organization, Rainbows for Kids.  Tell us about the that.

In 1999 my little six year old niece was diagnosed with cancer. She, as all children are, was one of the lights of our lives. We wanted to help others like her so my family put on a party at Cardinal Glennon Hospital where Annie was being treated. She helped us with the refreshments and passing out the toys. After she passed away we continued putting on fun parties and events and here we are eleven years later. None of us gets paid, we spend all the money we get on the projects for the kids. This past summer we had a "baseball team" and kids of all ages and skill levels were able to play on this team which included their siblings also. Siblings tend to get left out so we always include them. Each year we put on one big fundraiser so I thought, "how about doing a ball!"  We will have some great silent auction items--some are Gone With The Wind items, but others are autographed sports items and just general items. The one thing that goes fast each year will be the "Magnolia Mania."  For $20 a person buys a flower and there is a prize with it that is worth $25. We usually sell out with that the first 15 minutes.

What do you think, does Scarlett get Rhett back in the end?

Yes, I think she does. He is very hurt at the end but throughout the book his goal was to get her and once he did, he actually fell in love with her I felt. I disagree with Margaret Mitchell trying to make us believe that Scarlett actually did love him at the end and she just realized it. To me she was just playing her Scarlett games. She seemed to be trying to get Ashley even in his most grieving hour and when she realized she was never going to get him she decided maybe Rhett wasn't so bad. In Mitchell's real-life Fitzgerald family, her grandmother Annie was the one that people point to as having the most qualities similar to Scarlett's. One thing which came out in my research was that Annie's husband John got fed up with her and moved out. He moved into the old Markham house down the street and remained there, so that may be the real-life incident that triggered Mitchell to have Rhett finally and dramatically leave.

Doppelganger Dresses, Part 5: Scarlett's Green Ballgown (Book Edition)

"On the bed lay the apple-green, watered-silk ball dress with its festoons of ecru lace, neatly packed in a large cardboard box.  It was ready to be carried to Twelve Oaks to be donned before the dancing began, but Scarlett shrugged at the sight of it.  If her plans were successful, she would not wear that dress tonight."

--Gone with the Wind, Chapter V

For me, one of the best things about working on this blog is that I have gained much richer appreciation of Margaret Mitchell and her staggering abilities as a researcher. Because the more research I do myself (with all kinds of easy, modern shortcuts available to me), the more amazed I am by MM's impeccable fidelity to historical details, not matter how small or how large. 

This week's selection for Doppelganger Dresses is an excellent example of this. The quoted passage is just a little scrap of detail thrown into the narrative about Scarlett's preparation for the fateful Twelve Oaks barbeque. But even this small mention matches up with the historical record, as we've found a very lovely evening dress of the period that resembles Scarlett's own ball gown.

After the jump, you will find the fashion plate in question. It is taken from the January 1861 edition of Godey's Lady's Book, so just a little over three months prior to the barbeque. Check it out and let us know what you think. Do you feel that it matches up with the description in GWTW?