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Palimpsest: A Memoir Paperback – September 1, 1996
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- Print length480 pages
- LanguageEnglish
- PublisherPenguin Books
- Publication dateSeptember 1, 1996
- Reading age18 years and up
- Dimensions5.5 x 1.25 x 8.75 inches
- ISBN-109780140260892
- ISBN-13978-0140260892
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Editorial Reviews
From Publishers Weekly
Copyright 1996 Reed Business Information, Inc.
About the Author
Product details
- ASIN : 0140260897
- Publisher : Penguin Books; First Edition (September 1, 1996)
- Language : English
- Paperback : 480 pages
- ISBN-10 : 9780140260892
- ISBN-13 : 978-0140260892
- Reading age : 18 years and up
- Item Weight : 13.6 ounces
- Dimensions : 5.5 x 1.25 x 8.75 inches
- Best Sellers Rank: #1,714,224 in Books (See Top 100 in Books)
- #2,751 in LGBTQ+ Demographic Studies
- #13,577 in Actor & Entertainer Biographies
- #49,051 in Memoirs (Books)
- Customer Reviews:
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About the author

Gore Vidal has received the National Book Award, written numerous novels, short stories, plays and essays. He has been a political activist and as Democratic candidate for Congress from upstate New York, he received the most votes of any Democrat in a half-century.
Photo by David Shankbone (Photographer's blog post about the photo and event) [CC BY 3.0 (http://creativecommons.org/licenses/by/3.0)], via Wikimedia Commons.
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If you're interested in the big view of what happened in 20th century America, Gore Vidal had a singular perspective that spanned more worlds than perhaps any other individual in the century. Palimpsest is him at his witty, vindictive, elegant, catty, erudite, expansive, generous, self-involved finest. His first-hand perspective on the Kennedy Bros (JFK, RFK), growing up with Jackie O; his complicated friendships with titans of 20th century American art (Bernstein, Nureyev, Kerouac, Tennessee Williams), his vast spite and emnity for others (Capote, Anais Nin), his central involvement in the golden age of American cinema, and his place in the grand experiment of American democracy (first openly gay congressional candidate).
And if you don't care about all that, but you want to read a funny, scathing, bitchy (can i say that in an amazon review??) book full of one-line zingers that make you want to chuckle and guffaw and let out a DAYYUM GIRL YOU GOT SCHOOLED, then that's a good enough reason to read this.
There's an interesting tension between shielding your soul from people while at the same time longing for them to know every single thing about you -- what do you mean, your "fax machine has become a time machine." What are you talking about?? You don't need to make excuses to talk about your high school sweetheart; we were *hoping* you would.
Anyway, the events of this book were not very exciting to me, but Vidal's explanation of himself is really something. He does things most memoirists can't. It's very good.
A very interesting combination of factors came together to help make Gore the success he was since there are people similar to him teaching at every university who are unknowns. Not least among them, which he appears to give short shrift to, is that he was able to get on television when it was a new medium and many more famous at the time people disliked or were suspicious of it. His charmed circle of connections that he was born into was also a major factor. In addition like many other famous gay writers and entertainers (and let's face it that was a lot of what he was; an entertainer) he seemed to have a knack of knowing what the more intelligent chattering class public would want. His exceptional handsomness is not inconsequential to his success either. Maybe I'm just envious.
Top reviews from other countries
Vidal’s rambling gossipy memoir, while not exactly compulsive reading is rarely dull. The title prefigures the author’s method, which is one of statement, often followed by correction or withdrawal. This is appropriate since many of the anecdotes about the rich and famous are based on hearsay, the slander and lies that we all love and to and the impossibility of knowing the truth. Above all Vidal enjoys a good story, one that exposes human folly and hypocrisy, especially if his victim is a public figure, like, say, John F Kennedy or his brother Bobby, neither of whom emerge from this narrative with much credit. Vidal is always the cynical observer of the literary or political scene, forever wielding the satirist’s knife. Seemingly careless of what others think of him, Vidal begins by dissecting his close family and ends by taking a swipe at almost any man of reputation, including diverse eminences like Churchill, EM Forster and ‘little’ Martin Amis. And that’s just the British ones. The Americans, such as Eisenhower, Frank Capra or Truman Capote are exposed as shysters, hypocrites or weasels. Vidal is not out to make friends.
Yet surprisingly he does. Tennessee Williams, Eleanor Roosevelt, Jackie Kennedy, all at times exposed to Gore’s moral scrutiny, and none of whom is let off lightly, are typically seen affectionately and treated with a degree of perhaps grudging respect. Old friends visit him in Paris or Italy, for obviously even as a self-proclaimed recluse he remained, with his acerbic nature, a witty conversationalist and basically an honest man, and one who will give no quarter. What Vidal has, and, it seems from this memoir, what most others lack is a sense of self-respect. Although he achieved a modicum of both, he is not desperate for money or fame.
The topic of money, how acquired, coveted and used obsesses Vidal. Thus, he tells us that his half-sister Jackie ‘loved money even more than publicity and her life was dedicated to acquiring it through marriage, just as her mother had done before her and my mother before her mother.’ Recalling a conversation he’d had with Jack Kennedy about the ‘golden ambience’ of childhood in pre-war Merrywood, ‘I said that much of the atmosphere – ambience – had to do with the fact that each of us had a mother who had married Hugh Dudley Auchincloss, Jr., for his money. Jack seemed startled at my bluntness and muttered something about “security,” but Jackie agreed.’ And finally, the explanation for his underlying sense of injustice: ‘Jackie, Lee and I, were brought up in a wealthy manner and yet were penniless, unlike the first gentleman’s [Auchincloss’s] children. Of necessity, Jackie married twice for money, with splendid results. Lee married twice, far less splendidly. I went to work.’
For which the reader should be grateful, for Vidal became not merely a political columnist, but an actor, playwright, scriptwriter and novelist. He is also a social pariah whom the establishment loved to hate, pillorying him for his so-called communism and his homosexuality, the second of which he flaunted with aplomb. While not everyone will agree with him that the novel is dead and society doomed, for his advocacy of freedom of speech, non-interference in private life and as an antagonist of America’s reckless military campaigns, for these alone Gore Vidal deserves our thanks.




