From Publishers Weekly
This compilation sets Beaton's mesmerizing accounts in a wholly accessible format, illuminating an era still close, yet awesomely different from today. Beaton (1904–1980) was blessed with a breathtaking range of artistic talents (photography, painting, design, etc.), and he rose through English society to become portraitist of royalty, designer of famous theater and film sets (
La Traviata;
My Fair Lady; etc.) and a true Renaissance personality. In this version of his diaries, Beaton, though in intermittently poor health, is vibrant: smart, witty, labile and still seeking approbation. He presents the changing era through the prism of art, film, music and society. He's charmed by the actor David Warner, surprised by the congeniality of Princess Grace of Monaco, wooed by the petulant and perturbing Greta Garbo (with whom he had a tortured affair), chilled by the cold intellect of Robert Oppenheimer, sniping about Rudolph Nureyev with George Balanchine, competitive with Truman Capote, and adoring of Audrey (and Katharine) Hepburn. This bitchy, gossipy
entre nous peep into the upper strata of artistic, intellectual and moneyed circles at one of recent history's most electric and tempestuous times is superb. Beaton sees all with an artist's acuity, a photographer's sharpness and the keen intuition of a writer with something vital to say. Prolific historian/biographer Vickers (
Vivien Leigh;
Loving Garbo; etc.) has spent 20 years researching Beaton, first in a biography (
Cecil Beaton), then in annotating Beaton's diaries. His extensive, often clever or acerbic annotations on Beaton's crowd complete an utterly delightful volume. 41 photos.
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Born in 1904 and living until 1980, Beaton was a famous British photographer, artist, writer, stage and screen designer, and high-society figure who epitomized style and didn't avoid naming it when he saw it or screaming when he didn't. The first volume of his published diaries,
The Unexpurgated Beaton [BKL O 15 03], covered the last two decades of his life. Moving back in time, we now get a chance to see what he had to say about the people occupying his life in the last half of the swinging sixties. Gossip is flung, but, as in the first volume, that's the fun of it. Beaton was humorous (in conversation with Chanel, "She did not really show much sign of judging whether I was present or not"), and he was also incisive about character (on Garbo, "One sees that those endless days and evenings doing nothing have resulted in negation"). Juiciness aside, the volumes will come to be considered an important social document of British life in the twentieth century.
Brad HooperCopyright © American Library Association. All rights reserved