Patricia Highsmith, one of the great writers of 20th Century American fiction, had a life as darkly compelling as that of her favorite "hero-criminal," talented Tom Ripley. In this revolutionary biography, Joan Schenkar paints a riveting portrait, from Highsmith's birth in Texas to Hitchcock's filming of her first novel, Strangers On a Train, to her long, strange, self-exile in Europe. We see her as a secret writer for the comics, a brilliant creator of disturbing fictions, and erotic predator with dozens of women (and a few good men) on her love list. The Talented Miss Highsmith is the first literary biography with access to Highsmith's whole story: her closest friends, her oeuvre, her archives. It's a compulsive page-turner unlike any other, a book worthy of Highsmith herself.
The Talented Miss Highsmith
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Editorial Reviews
From Publishers Weekly
Author and playwright Schenkar (Truly Wilde) presents a compelling portrait of suspense novelist Patricia Highsmith (1921–1995), whose own life was often as twisted as that of her antihero Tom Ripley. Dispensing with the traditional chronological narrative, Schenkar divides her study into themed sections, which crisscross and mirror each other, embodying the themes of doubling and alter egos in Highsmith's work and life. From her early years in Texas through her time soaking up Manhattan's literary life in the '40s to her self-exile in Europe, Highsmith kept diaries in which she meticulously detailed everything from her myriad female lovers to plot ideas. Pessimistic, alcoholic and chronically unhappy, Highsmith created some of the most chilling tales of psychological suspense and betrayal, including The Talented Mr. Ripley and its sequels, and Strangers on a Train. Schenkar's research is impeccable, and she makes excellent use of the voluminous Highsmith archives in Switzerland and interviews with Highsmith's friends, ex-lovers and literary contemporaries. Perversion, Highsmith once said, interests me most and is my guiding darkness, and Schenkar illuminates how her demons played out on the page and in real life. 16 pages of b&w photos. (Dec.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Highsmith is best known for Strangers on a Train (1950) and her Ripley series, which begins with The Talented Mr. Ripley (1955). Schenkar’s fascinating biography portrays Highsmith as driven by obsessions, especially her love-hate relationship with her mother, and a yin-yang ambivalence that became a central main theme in her writings, which also evinced the fast-moving action she developed while writing comic books in her twenties. The Highsmith Country she created was filled with “the constant shifting of identities,” both inward and outward, “that created the consistency, the fierce peculiarity, the weird, graveled originality of her work.” The author of a pseudonymous landmark lesbian novel The Price of Salt (1951), Highsmith was a femme fatale whose same-sex affairs spanned the Atlantic Ocean, a series of sudden, wild passions, another signature theme in her fiction. The catalyst for Schenkar’s exhaustive, compelling work, which boasts copious end notes, maps, charts, diagrams, bibliography, and chronology, was the recent unearthing of 8,000 pages of Highsmith’s secret journals. The result is an essential scholarly, lesbian, and literary biography. --Whitney Scott
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165 of 174 people found the following review helpful
5.0 out of 5 stars
A paradox she'd like: The world's nastiest woman gets a brilliant biography
December 8, 2009
Format:Hardcover
She kept 300 snails as pets. She drank a quart of gin a day. She considered robbery worse than murder. She left the United States to live in Europe because of what she called "the Negro problem" --- by which she did not mean discrimination against Negroes, but the civil rights movement that had Negroes demanding their rights.
A houseguest once left her window open; she threw a dead rat inside. She took tips left on restaurant tables. She'd drive 60 miles to get a cheaper spaghetti dinner. She called Hitler's extermination policy a "semicaust", because only half the world's Jews died.
She thought that "life didn't make sense without a crime in it." Her idea of happiness was to write a murder. At 1:30 in the morning, standing in a lover's apartment, she didn't hesitate to call another woman. "I am a man and I love women," she wrote. She liked young blonds, very made up.
A mental health professional, observing her for only a few minutes, pegged her as a psychopath. Another writer described her as "a black cloud." Her own assessment: "If I were to relax and become human, I could not bear my life."
No wonder, then, that Joan Schenkar begins The Talented Miss Highsmith: The Secret Life and Serious Art of Patricia Highsmith like this: "She wasn't nice. She was rarely polite. And no one who knew her well would have called her a generous woman."
Why would you even think of reading more than 600 pages about such a monster?
Well, because Highsmith wrote a half dozen books --- among them Strangers on a Train, The Talented Mr. Ripley and a wonderfully sexy, though never graphic, lesbian novel called The Price of Salt --- that will be read as long as readers like fiction that equally thrills and chills.
Or you could just be a lover of biographies and sense that, in Highsmith, you will encounter a train wreck of a person like no one you've ever encountered --- and, as if you were a pedestrian looking up at a would-be jumper on a terrace, you won't be able to tear your eyes away.
Or, simply, you want to read a book that is original in form, authoritative in its evidence, and dazzling in its writing. And because I am now leaving description for praise, I should disclose: Joan Schenkar has been a close friend for 35 years. Her value to me is not that she is steady and loyal and easy to be with; it is exactly the opposite. Ms. Schenkar is steely and demanding; she sets the bar high and brooks no fools. I caffeinate before I see her, spellcheck before I hit SEND. In return I get tough-love criticism, dark humor, ideas I find nowhere else. She strikes me as the ideal biographer for Highsmith: brave, original and scary smart --- like Highsmith, but without the defects.
But I'm almost falling into a trap. Unless we are very young or lifelong fools, we do not look to artists --- or their biographers --- for our role models. Their work is enough. And Highsmith's work is a triumph of will and talent over circumstance and pathology --- or perhaps an astute mixture of all of that.
I'm going to skip over Highsmith's twisted relationship with her mother, her antipathy for her father and her early efforts to get somewhere as a writer to the core of her art and personality --- her obsession with love as an urgent, alpha emotion destined to end badly. Like murder.
Consider her first novel, "Strangers on a Train", which quickly became one of Alfred Hitchcock's better movies. You know the set-up: If each man commits a murder for the other, there will be no incriminating clues --- the anonymity will yield two perfect crimes. Thisis, says Schenkar, "the quintessential Highsmith situation: two men bound together psychologically by the stalker-like fixation of one upon the other, a fixation that always involved a disturbing, implicitly homoerotic fantasy."
In Highsmith, there's no real artistic development; this "double" plot is one she uses again and again. And it works just about every time, because who else writes --- approvingly --- of "the unequivocal triumph of evil over good"? Her villains aren't exactly villains to her. They're escape artists. That is, everything she wasn't.
Oh, but she tried. Through obsessive relationships --- she once seemed to have five lovers on the hook. Through alcohol. Through a push-pull relationship with her mother. And, most of all, through her writing, her one reliable way of feeling like herself.
Highsmith filled 38 notebooks and 18 diaries, 8,000 unpublished pages. With few exceptions --- she pretended she didn't spend seven years writing stories for comic books --- these are pivotal. As Schenkar notes, "She ratted herself out every chance she got." Schenkar should know. She read every notebook and diary and unearthed a staggering number of Highsmith's lovers. (You're thinking: It takes an obsessive to write a biography of an obsessive. Almost. I'd say: It takes a biographer who has equal parts empathy, imagination and artistry.)
It would be perverse, after all that research, to reduce Highsmith to a conventional biography. So Schenkar abandons chronology. Instead, she backtracks, skips ahead, loops around to trace themes and obsessions in Highsmith's life and work. The result is very much like an amusement park ride, with high-speed turns and dizzying descents. And that would not be perverse but correct: A writer like no other gets a biography like no other.
A houseguest once left her window open; she threw a dead rat inside. She took tips left on restaurant tables. She'd drive 60 miles to get a cheaper spaghetti dinner. She called Hitler's extermination policy a "semicaust", because only half the world's Jews died.
She thought that "life didn't make sense without a crime in it." Her idea of happiness was to write a murder. At 1:30 in the morning, standing in a lover's apartment, she didn't hesitate to call another woman. "I am a man and I love women," she wrote. She liked young blonds, very made up.
A mental health professional, observing her for only a few minutes, pegged her as a psychopath. Another writer described her as "a black cloud." Her own assessment: "If I were to relax and become human, I could not bear my life."
No wonder, then, that Joan Schenkar begins The Talented Miss Highsmith: The Secret Life and Serious Art of Patricia Highsmith like this: "She wasn't nice. She was rarely polite. And no one who knew her well would have called her a generous woman."
Why would you even think of reading more than 600 pages about such a monster?
Well, because Highsmith wrote a half dozen books --- among them Strangers on a Train, The Talented Mr. Ripley and a wonderfully sexy, though never graphic, lesbian novel called The Price of Salt --- that will be read as long as readers like fiction that equally thrills and chills.
Or you could just be a lover of biographies and sense that, in Highsmith, you will encounter a train wreck of a person like no one you've ever encountered --- and, as if you were a pedestrian looking up at a would-be jumper on a terrace, you won't be able to tear your eyes away.
Or, simply, you want to read a book that is original in form, authoritative in its evidence, and dazzling in its writing. And because I am now leaving description for praise, I should disclose: Joan Schenkar has been a close friend for 35 years. Her value to me is not that she is steady and loyal and easy to be with; it is exactly the opposite. Ms. Schenkar is steely and demanding; she sets the bar high and brooks no fools. I caffeinate before I see her, spellcheck before I hit SEND. In return I get tough-love criticism, dark humor, ideas I find nowhere else. She strikes me as the ideal biographer for Highsmith: brave, original and scary smart --- like Highsmith, but without the defects.
But I'm almost falling into a trap. Unless we are very young or lifelong fools, we do not look to artists --- or their biographers --- for our role models. Their work is enough. And Highsmith's work is a triumph of will and talent over circumstance and pathology --- or perhaps an astute mixture of all of that.
I'm going to skip over Highsmith's twisted relationship with her mother, her antipathy for her father and her early efforts to get somewhere as a writer to the core of her art and personality --- her obsession with love as an urgent, alpha emotion destined to end badly. Like murder.
Consider her first novel, "Strangers on a Train", which quickly became one of Alfred Hitchcock's better movies. You know the set-up: If each man commits a murder for the other, there will be no incriminating clues --- the anonymity will yield two perfect crimes. Thisis, says Schenkar, "the quintessential Highsmith situation: two men bound together psychologically by the stalker-like fixation of one upon the other, a fixation that always involved a disturbing, implicitly homoerotic fantasy."
In Highsmith, there's no real artistic development; this "double" plot is one she uses again and again. And it works just about every time, because who else writes --- approvingly --- of "the unequivocal triumph of evil over good"? Her villains aren't exactly villains to her. They're escape artists. That is, everything she wasn't.
Oh, but she tried. Through obsessive relationships --- she once seemed to have five lovers on the hook. Through alcohol. Through a push-pull relationship with her mother. And, most of all, through her writing, her one reliable way of feeling like herself.
Highsmith filled 38 notebooks and 18 diaries, 8,000 unpublished pages. With few exceptions --- she pretended she didn't spend seven years writing stories for comic books --- these are pivotal. As Schenkar notes, "She ratted herself out every chance she got." Schenkar should know. She read every notebook and diary and unearthed a staggering number of Highsmith's lovers. (You're thinking: It takes an obsessive to write a biography of an obsessive. Almost. I'd say: It takes a biographer who has equal parts empathy, imagination and artistry.)
It would be perverse, after all that research, to reduce Highsmith to a conventional biography. So Schenkar abandons chronology. Instead, she backtracks, skips ahead, loops around to trace themes and obsessions in Highsmith's life and work. The result is very much like an amusement park ride, with high-speed turns and dizzying descents. And that would not be perverse but correct: A writer like no other gets a biography like no other.
11 of 11 people found the following review helpful
Format:Kindle Edition|Amazon Verified Purchase
I give this book a single star simply for the research that apparently went into it. However, I cannot recommend the book to anyone. I have never trudged through such a difficult, poorly written book in my entire life. The organization leaves you constantly wondering how this book was ever published, with sentences thrown together like random words on a page. Really, there is no part of the book that leads the reader to the next page let alone the next paragraph. I forced myself to get to the end as quickly as possible because I am not one to give up on a book, although I can't count the number of times I felt like doing so with this book.
As far as a biography, I have also never been subjected so openly to an author's opinion of the person about whom she has written. Page after page it is clear how this author feels about Patricia Highsmith, which is unfortunate because the best biographies allow the reader to form their own opinions. And I was really amazed at the number of times the author denigrated Highsmith's writing, coming from someone who, as I've said, clearly needs a serious editor.
I am not usually one to write a negative review of a book, not being a writer myself, but this was so horrible I felt I had to warn others.
As far as a biography, I have also never been subjected so openly to an author's opinion of the person about whom she has written. Page after page it is clear how this author feels about Patricia Highsmith, which is unfortunate because the best biographies allow the reader to form their own opinions. And I was really amazed at the number of times the author denigrated Highsmith's writing, coming from someone who, as I've said, clearly needs a serious editor.
I am not usually one to write a negative review of a book, not being a writer myself, but this was so horrible I felt I had to warn others.
42 of 53 people found the following review helpful
By Mr Muckraker
Format:Hardcover|Amazon Verified Purchase
Complex and detailed and definitive. The previous review covered much of what I feel. Patricia Highsmith had much more recognition in Europe than the USA. Her NY publishers always pitching that no one liked Highsmith, no one identified with her books, there was no one to root for. That's why this country is so dreary. A land of second rate heros and do-gooders. I loved Highsmith's anti-heros. They were much more fun than the conventional boring stars of most American suspense novels. The villain is always more attractive in a Highsmith novel and she was the "queen" of this genre when it came to bad guys getting away with it. The bio is bedside reading for any of her admirers. As for being a nice person - Highsmith was an artist not a hotel manager! Buy the book today.
Most Recent Customer Reviews
5.0 out of 5 stars
How Clever of You, Joan
Joan Scheknar has not written a traditional biography with the usual format of "She was ... until she died." but more a biography of the literary creative process. Read more
Published 7 days ago by propertius
4.0 out of 5 stars
Highsmith, dirty laundry, kitchen sink and all
To those who admire her, Patricia Highsmith remains an enigma. A writer of psychological mystery and murder stories, she was herself an intriguing mystery to all but a few who knew... Read more
Published 1 month ago by Peter C. Harrer
2.0 out of 5 stars
Boring
Boring. This life style reminded me of the Fitzgerald era and the lifestyle depicted was just as shallow and frivolous.
Published 2 months ago by LaVonne
3.0 out of 5 stars
But.....Did Schenkar Like This Subject At All?
I like biographies, so I read a lot of them and usually I can tell whether the biographer like the subject or not within the first hundred pages. Not this book. Read more
Published 3 months ago by Betsy Pascucci
5.0 out of 5 stars
Illuminating the darkness
The diligent reader of this unusual biography comes to feel as if she knows Highsmith, but gets a little soiled in the process. Read more
Published 3 months ago by Sally York
5.0 out of 5 stars
fabulous
very intersting and fascinating book...this woman's life deserves to be read..
she was way ahead of her time. Very conflicted but also very intelligent.
she was way ahead of her time. Very conflicted but also very intelligent.
Published 7 months ago by Diane Bouvier
4.0 out of 5 stars
Connect your own dots
Many reviews here complain about the structure of this biography, but the author warns the reader up front that this will not be a linear, chronological biography. Read more
Published 8 months ago by Curtis
1.0 out of 5 stars
So poorly written, so disappointing
I concur: this book is a chore to read. Great way to put it. It's so disappointing because out of every page, there's maybe one or two interesting facts in a sea of chaos. Read more
Published 10 months ago by Magic Maite
3.0 out of 5 stars
A Somewhat Disjointed, But Fascinating Look at Patricia Highsmith
Patricia Highsmith was not a likable character, to be blunt. Racist, demanding, dishonest, hypocritical, an elitist--the list goes on. Read more
Published 10 months ago by Jonathan B
4.0 out of 5 stars
High-Functioning Highsmith
Many published reviews, including the one in "Kirkus Review," allude to a friend of Highsmith who characterized her as a "high-functioning Asperger's" sufferer. Read more
Published 15 months ago by Michelle Lamb Discher
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
