Picture **SIGNED 1997 FIRST MODERN LIBRARY EDITION WITH DUST JACKET IN FINE CONDITION**

Ross, Lillian

ISBN 10: 0679602542 / ISBN 13: 9780679602545

Published by The Modern Library, New York, 1997

About this Item

SIGNED 1997 FIRST MODERN LIBRARY EDITION WITH DUST JACKET IN FINE CONDITION Picture by Lillian Ross. SIGNED FIRST MODERN LIBRARY EDITION 1997, first printing with full number line on copyright page. FLAT SIGNED by Lillian Ross on the title page. The book is bound in grey cloth boards, ML binding style 17 with modern library running torchbearer end papers and a beautiful photographic dust jacket. Book is FINE - FLAT SIGNED on the title page by Lillian Ross, gilt bright and nice, no writing or marks, contents are clean and bright. GORGEOUS and FLAWLESS!! The dust jacket is FINE. Basically in new bookstore condition. $16.50 price on inside front flap. Now protected in an archival-quality dust jacket protector. VERY HARD TO FIND SIGNED FIRST MODERN LIBRARY EDITION IN FLAWLESS CONDITION! **I WILL BE LISTIING OVER 400 COLLECTIBLE, RARE, OR SIGNED MODERN LIBRARY EDITIONS OVER THE NEXT SEVERAL MONTHS FROM 30 YEARS OF ACTIVE COLLECTING AROUND THE WORLD - PLEASE VISIT MY SELLERS PAGE TO VIEW THEM ALL**. Seller Inventory # 000785

Bibliographic Details

Title: Picture **SIGNED 1997 FIRST MODERN LIBRARY ...

Publisher: The Modern Library, New York

Publication Date: 1997

Binding: Hardcover

Condition: Fine

Dust Jacket Condition: Fine

Signed: Signed by Author(s)

Edition: 1st Edition

About this title

Synopsis:

When New Yorker staff writer Lillian Ross heard that John Huston was planning to make a film of Stephen Crane's The Red Badge of Courage, she decided she would follow the movie's progress "in order to learn whatever I might learn about the American motion-picture industry." In the spring of 1950, Huston visited New York and called the young writer to say that progress was not smooth: "Come on over, kid, and I'll tell you all about the hassle."
"the funniest tragedy that I have ever read."
   William Shawn, then managing editor of The New Yorker, described Picture for the jacket of the first hardcover edition, writing: "On the surface, Miss Ross has written a precise, marvelously detailed account of how one motion-picture, The Red Badge of Courage, was made. Beyond that, exuberant, she has presented everything any sane person should want to know about how a big film studio functions. And beyond that, she has written what must be called, for lack of a more appropriate word, the definitive book on
the Hollywood community--its language, its manners, its preoccupations, its ideas. Last, she has
told a dramatic story about some extraordinary people, and, in a
triumph of interlineation, has
written a treatise on human nature."   Lillian Ross's marvelous description of John Huston's work and the film's subsequent fate at the hands of its studio bosses was first published as a serial in The New Yorker and was released in book form as Picture in 1952. It remains the best account of the inner workings of Hollywood. Picture received tremendous praise not only for the sheer quality of the writing but also for its technical innovation--the presentation of reporting as a novel. Picture received plaudits from the worlds of film and literature in equal measure. Charles Chaplin acclaimed it as "a brilliant and sagacious bit of reporting," and S. N. Behrman deemed it

From the Back Cover:

ker staff writer Lillian Ross heard that John Huston was planning to make a film of Stephen Crane's The Red Badge of Courage, she decided she would follow the movie's progress "in order to learn whatever I might learn about the American motion-picture industry." In the spring of 1950, Huston visited New York and called the young writer to say that progress was not smooth: "Come on over, kid, and I'll tell you all about the hassle."
"the funniest tragedy that I have ever read."
   William Shawn, then managing editor of The New Yorker, described Picture for the jacket of the first hardcover edition, writing: "On the surface, Miss Ross has written a precise, marvelously detailed account of how one motion-picture, The Red Badge of Courage, was made. Beyond that, exuberant, she has presented everything any sane person should want to know about how a big film studio functions. And beyond that, she has written what must be called, for lack of a more a