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A few months ago, I was visiting a couple of friends of mine, outside in their backyard because, you know, COVID. One of them, a professional baker, said “I have to show you this book” and rushed inside, returning with a coffee-table-book-sized tome. From the fraction of the cover I could see while he carried the book over, I knew exactly what it was.
Although it took a while Hollywood eventually discovered two of England’s most enduring authors and adapted their work into some extraordinary movies and television films.
Star, legend, icon, EGOT (Emmy, Grammy, Oscar and Tony winner) – these are words often used to describe the radiant Audrey Hepburn. Born in Belgium in 1929, Hepburn lived her early life in the Netherlands, barely survived World War II and afterward moved to London to train as a ballerina.
At this point most readers don’t think of history as “the exact factual record of what definitely happened in the past.” Though there are as many different ways to phrase the idea as there are people expressing it (“History is written by the victors,” for example), I think it’s generally agreed upon that what we call “history” is a group project filled with agendas, biases, contexts, compromises, and broad agreements, that strives to help the present and the future through a better understanding of the past. But what does that idea look like in practice?
Known primarily as a playwright, Lillian Hellman (1905 – 1984) also wrote memoirs – An Unfinished Woman (1969), Pentimento: A Book of Portraits (1973) and Scoundrel Time (1976). And a novel – Maybe: A Story (1980).