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Houston Voice, No. 1002, January 7, 2000
File 019
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Houston Voice, No. 1002, January 7, 2000 - File 019. 2000-07-01. University of Houston Libraries. University of Houston Digital Library. Web. December 14, 2017. http://digital.lib.uh.edu/collection/montrose/item/5155/show/5144.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

(2000-07-01). Houston Voice, No. 1002, January 7, 2000 - File 019. Montrose Voice. University of Houston Libraries. Retrieved from http://digital.lib.uh.edu/collection/montrose/item/5155/show/5144

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

Houston Voice, No. 1002, January 7, 2000 - File 019, 2000-07-01, Montrose Voice, University of Houston Libraries, accessed December 14, 2017, http://digital.lib.uh.edu/collection/montrose/item/5155/show/5144.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

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Title Houston Voice, No. 1002, January 7, 2000
Contributor
  • Hennie, Matthew A.
Publisher Window Media
Date July 1, 2000
Language English
Subject
  • LGBTQ community
  • LGBTQ people
  • Gay liberation movement
Place
  • Houston, Texas
Genre
  • newspapers
Type
  • Text
Identifier OCLC: 31485329
Rights In Copyright: This item is protected by copyright. Copyright to this resource is held by the creator or current rights holder, and the resource is provided here for educational purposes. It may not be reproduced or distributed in any format without permission of the copyright owner. Users assume full responsibility for any infringement of copyright or related rights.
Note This item was digitized from materials loaned by the Gulf Coast Archive and Museum (GCAM).
Item Description
Title File 019
Transcript OUT ON THE BAYOU JANUARY 7, 2000 • HOUSTON VOICE an r^WWORIGINiAL. >• Continued from page 15 phobic of writers," says Barbara Greer, president of Naiad Press, who worked with the late author. Highsmith's fears produced a disturbing series of novels that were published to wide acclaim. But success apparently never healed the scars of her life. According to Russell Harrison, in a critical biographical study he wrote about Highsmith in 1997, the author was born Mary Patricia Plangman in Fort Worth, Texas, in 1921. Her parents had separated before she was bom, and Highsmith took the name of her stepfather, Stanley Highsmith. She suffered her parents' bitter quarrels, separations, and cruelties. Her mother once told her she tried to abort her by drinking turpentine. "She made my childhood a little hell," Highsmith said in an interview quoted by Harrison. "She never loved anyone, neither my father, my stepfather, nor me." Adult life brought Highsmith success as a writer, beginning with the publication of "Strangers on a Train" in 1950. "The Talented Mr. Ripley" appeared in 1955. Four sequels followed, including "Ripley Under Ground" and "Ripley's Game." Readers savored Ripley's impersonations, forgeries and murders. But tucked among Highsmith's thrillers was a curiosity. "After Strangers on a Train," Highsmith wrote "The Price of Salt," a novel about a woman who falls in love with a married woman. The two become a couple, and the married woman sacrifices custody of her child to remain with her partner. Highsmith describes the women's sexual relationship explicitly, their happiness contrasting sharply with the misery most of the author's other characters feel. But Highsmith did not sign her name to the book when it was published in 1955. Instead, she used the pseudonym Claire Morgan. "Harper and Brothers, who had published 'Strangers on a Train,' was embarrassed by the lesbian content, especially since Hitchcock's film version of 'Strangers' was a big success," Greer says. "They arranged for Coward McCann to publish 'The Price of Salt' under a pseudonym. [Highsmith] was scared shitless thatpeople would identify her as a 'lesbian writer.'" The book became a perennial favorite, eventually selling over a million copies. In 1984, Naiad reissued the book under Highsmith's real name. In an afterward in that edition, Highsmith explained that because "Strangers" had resulted in her being mislabeled as a suspense writer, she once feared "The Price of Salt" would lead to her being labeled a lesbian writer. Grier believes Highsmith had several relationships with women over the course of her life, spent mostly in Switzerland. In an interview Harrison borrows from, however, Highsmith acknowledged only one such relationship, describing it as "catastrophic." "She was a dear person, but she was shy, private, self-hating," Greer says of Highsmith. Others offer less tempered opinions. "She was the most odious human being I've ever met," says Otto Penzler, who edited and published several of Highsmith's works. "I never heard her speak warmly of anybody. She was full of hatred for men and women." Yet Penzler, like most critics, is unstinting in his praise of Highsmith's writing. "She's an absolute original," he says. "It's hard to find a mystery-suspense writer who's better. There's a sense of disquiet and unease about her books. I don't know anybody else who writes like that." In 1995, the year Highsmith died, film director Anthony Minghella began the first draft of a screenplay of "The Talented Mr. Ripley." Like other readers, Minghella admired Highsmith's work, yet sensed the darkness in her personality. "She had the most amazing conceptual mind," Minghella says. "She always started with a thrilling idea. I also think she was misanthropic. I think she had a dim view of the majority of her characters. They always feel like if you ordered the wrong martini you could be in great danger." Mingella's worldview is, he says, "quite the reverse." And that has influenced how he adapted the book for the big screen. "The film is a series of love stories," Matt Damon and Jude Law in 'The Talented Mr. Ripley/ a screen adaptation of Patricia Highsmith's 1955 book. Minghella says. "Ripley is looking for love wherever he can find it. He meets somebody who embraces him for all the things that Tom Ripley is, but at a point when he doesn't think he can be Tom Ripley any longer." Epithets like "sissy" and "queer" that were hurled at Ripley in the original novel are gone from Minghella's film version. When Ripley kills, he does so partly in self- defense, and Ripley's pathology is no longer connected to his sexuality. "I'm nervous of reducing the film to a story about a man in a closet," Minghella says. "Ripley's biggest fears are with rejection on ail terms—in terms of his class, his tastes, his own identify, with which he has such a mysterious relationship. Anything which makes him different troubles him. 1 think that is something that is absolutely universal." CONQUER AGING WITH MICRO-DERMABRASION A treSn approach for restoring the skin you are born with. Available NOW for men and women. SPECTACULAR RESULTS! • improve skin tone, clarity, elasticity effectively treats fine lines, wrinkles, sun damage, acne scarring and hyperpigmentation ASK ABOUT OUR TRANSDERMAL HAIR REMOVAL PROCESS #j/fcfe) 713-669-0466 TRANSDERMAL HAIR RESTORATION All natural transdermal skin and transdermal lace technology MILLENNIUM SPECIAL 1 System... $650 2 Systems...$1200 reg. $990 each Offer valid ONLY January 1 - February 1, 2000 We service and repair all types of HAIR SYSTEMS, WHILE YOU WAIT. FULL SERVICE, $30 3843 N. Braeswood 713-669-0466
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