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American Writers, Supplement IV by Leonard Unger, A. Walton Litz, Jay Parini, Molly Weigel

By Leonard Unger, A. Walton Litz, Jay Parini, Molly Weigel

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Each associate gets an Ellsworth-penned biography of Carter, who was slain by a Latin American assassin; Carter's French furniture lines the reception area; a John Singer Sargent portrait of him hangs in a spot no one entering the firm can miss; bronze tablets with his sayings adorn the watercoolers; a glass-topped case with his decorations from foreign governments stands in the library; and his bloodstained vest gilds the main conference room. "You cooly manufactured a religion and a creed to hold your office together," Ellsworth's grandson charges.

Davidson and E. M. Broner. New York: Ungar, 1980. Pp. 291-303. Braxton, Joanne M. Black Women Writing Autobiography: A Tradition Within a Tradition. Philadelphia: Temple University Press, 1989. Burgher, Mary. " In Sturdy Black Bridges. Edited by Roseann P. Bell, Bettye J. Parker, and Beverly Guy-Sheftall. Garden City: Doubleday, 1979. Pp. 107-122. Buss, Helen M. " A B: Auto-Biography Studies, 6, no. 1:95-108 (1991). Butterfield, Stephen. Black Autobiography in America. Amherst: University of Massachusetts Press, 1974.

There is no theorizing or abstraction about Auchincloss' literary criticism, for he writes for no other and no better purpose than to induce his reader to read whatever writer he has under consideration. Just as reading A Writer's Capital is helpful to understanding the wellsprings of Auchincloss' subject matter, so too are the literary essays for providing a valuable gloss on his literary technique. His literary criticism unmistakably acknowledges the novel as Auchincloss' principal concern.

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