ELLIOT PAUL (1891-1958)

by Arnold Goldman

Elliot Paul wrote novels, stories, journalism, documentaries, detective
stories, memoirs, screenplays, film criticism, and a history of jazz -
and he co-edited transition the most famous 1920s expatriate literary journal

books, plays
with analyses of Paul's major works by Arnold Goldman
introductions, chapters in books and periodical publications screenplays et al

go to the Elliot Paul homepage

go to a chronology of the life of Elliot Paul

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books, plays
underlined titles contain links to Arnold Goldman's analysis of that work

Indelible  A Story of Life, Love and Music in Five Movements

Boston and New York: Houghton Mifflin Company, 1922
London: Jarrolds, 1924

Impromptu  A Novel in Four Movements New York: Alfred A. Knopf, 1923
The World’s a Stage unpublished play, 1923/24. Typescript in Berg Collection, New York Public Library.
Over There unpublished play for Mr Punch's Workshop, Boston, 1923-25?, 1929-1930? 1937? Typescript in Boston Public Library.
Imperturbe  A Novel of Peace Without Victory New York: Alfred A. Knopf, 1924
Low Run Tide and Lava Rock New York: Liveright, 1929
The Amazon New York: Liveright, 1930
The Governor of Massachusetts New York: Liveright, 1930
Cleveland: World Publishing Company (Tower Books Edition), 1942
The Life and Death of a Spanish Town New York: Random House, 1937
London: Peter Davies, 1937
New York: The Modern Library, 1942
Westport, Conn.: Greenwood Press, November 1971
Concert Pitch New York: Random House, 1938
Rule Brittania [sic] unpublished novel, possibly by Louis Atlas, 1938/1939. Typescript in Berg Collection, New York Public Library
The Stars and Stripes Forever New York: Random House, 1939
AMS Press
The Mysterious Mickey Finn Or, Murder at the Café du Dôme [HE]
published as
The Mysterious Mickey Finn An International Mystery
New York: Modern Age Books, 1939
New York: Avon Books, 1942

Harmondsworth: Penguin Books, 1953,
New York: Collier Books, 1962, and New York: Dover Books, 1984

Hugger Mugger in the Louvre [HE] New York: Random House, 1940
London: Nicholson & Watson, 1949
New York: Dover Books, 1986
(as Brett Rutledge) The Death of Lord Haw Haw New York: Random House, 1940
London: T. Werner Laurie, 1941
(as Brett Rutledge) The Menace of the Arctic An Account of the Discovery of the Nazi Plan and Preparations for the Conquest of North America from the Polar Regions (Ausdehnunsplan Nr. J-4) Involving Immediate Seizure of Alaska and Greenland Unpublished novel, 1940. Incomplete typescript in Berg Collection, New York Public Library
Mayhem in B-Flat [HE] New York: Random House, 1940
World, 1943
Bantam, 1950
London: Transworld Publishers [Corgi Books], 1951
New York: Collier Books, 1962
New York: Dover Books, 1988
Fracas in the Foothills: A Homer Evans Western Murder Mystery and Open Space Adventure [HE] New York: Random House, 1940
(with Luis Quintanilla)  Intoxication Made Easy New York: Modern Age, 1941
The Last Time I Saw Paris

published as
A Narrow Street

New York: Random House, 1942; Editions for the Armed Services [#927], 1942; New York: Sun Dial Press, 1943 New York: Bantam Books, 1945

London: Cresset, 1942; Harmondsworth: Penguin, 1947;
London: Harrap, 1986

(with Luis Quintanilla)  With a Hays Nonny Nonny New York: Random House, 1942
I'll Hate Myself in the Morning [HE] and Summer in December New York: Random House, 1945
(without Summer in December) Bond Charteris, 1945
London: Nicholson & Watson, 1949
Linden on the Saugus Branch [IGA] New York: Random House, 1947
London: Cresset Press, 1948
Paris (photography by Fritz Henle) Chicago, New York: Ziff Davis Publishing Company, 1947
A Ghost Town on the Yellowstone [IGA] New York: Random House, 1948
London: Cresset Press, 1949
My Old Kentucky Home [IGA] New York: Random House, 1949
London: Cresset Press, 1950
Springtime in Paris New York: Random House, 1950
London: Cresset Press, 1951
Murder on the Left Bank [HE] New York: Random House, 1951
London: Transworld Publishers [Corgi Books], 1952
The Black Gardenia: A Hollywood Murder Mystery [HE] New York: Random House, 1952
Waylaid in Boston [HE] New York: Random House, 1953
Understanding the French London: F. Muller, 1954
New York: Random House, 1955 (revised)
Desperate Scenery [IGA] New York: Random House, 1954
London: Cresset, 1955
The Black and the Red [HE] New York: Random House, 1956
Film Flam London: F. Muller, 1956
That Crazy Music: The Story of North American Jazz

published as
That Crazy American Music
London: F. Muller, 1957

Indianapolis and New York: Bobbs-Merrill, 1957 and Port Washington, N.Y.: Kennikat Press, 1970

HE = A Homer Evans Murder Mystery
IGA = Items on the Grand Account

introductions, chapters in books, periodical publications
The Nerves of the Army  A History of the 317th Field Signal Battalion
, Part I, "Organization and Training in the United States," Chapter I, in The Battalion Review (Boston), Vol. 2, No. 1 (February 1920); Chapter II, in Vol 2, No. 2 (October 1920); Vol. 3 No. 1 (February 1921); Vol. 3, No. 2 (October 1921). Incomplete.
Parody of T.S. Eliot, The Waste Land. Unpublished. Typescript in Berg Collection, New York Public Library.
"A Neglected Masterpiece," Paris Tribune, 21 February 1926, in Hugh Ford, ed., The Left Bank Revisited: Selections from the Paris Tribune 1917-1934 (University Park and London: The Pennsylvania State University Press, 1972), 261-62. On E.E. Cummings, The Enormous Room.
"From a Litterateur's Notebook," Paris Tribune, 29 August 1926, in Ford, 20-22; also 31 January 1926, in Ford, 242-43; 2 January 1927, in Ford, 263-65.
"Literary and Artistic Paris Cheers Rendition of Antheil's Symphony," Paris Tribune, 17 October 1926, in Ford, 221-22.
Introduction to Virgil Geddes, The Frog (Paris: Black Manikin Press, 1926).
Introduction to Virgil Geddes, Forty Poems (Paris: Editions des meilleurs livres, 1926).
Introduction to La Rive Gauche, 15 woodcuts and drawings by Howard Simon (Paris: published at the Abbaye by J.
McMullin, 1926).
"Zukunftsmusic," transition, No. 1 (April 1927), 147-50. On Antheil.
translation of Pierre Drieu La Rochelle, The Young European, Ch. 1, transition, No. 2 (May 1927), 9-18.
"The Concert," transition, No. 2 (May 1927), 90-93. F.
"The New Nihilism," transition, No. 2 (May 1927), 164-68. Review of Drieu La Rochelle.
"Gertrude Stein" (Paris Tribune, 19 June 1927), in Ford, 265-67.
"The Open Shop," transition, No. 4 (July 1927), 74-77. F/NF.
"A Master of Plastic Relations," transition, No. 4 (July 1927), 163-65. On Juan Gris.
"A Rondo," transition, No. 5 (August 1927), 61-5. F.
"Hands off the Dike," transition, No. 5 (August 1927), 155-58.
"Simultaneity in Modern Russia," transition, No. 5 (August 1927), 159-61. On Vladimir Lidin.
"Enharmonics," transition, No. 6 (September 1927), 40-46. F.
"No. 4 Commercial Street," transition, No. 7 (October 1927), 85-87. F.
"Honeysuckle Coloured Pyjamas,"transition, No. 7 (October 1927), 166-70. On Kenneth MacPherson's "Prol-reflection."
"License Three Hundred or the rounder's conversion to light magic," transition No. 9 (December 1927), 29-40. F/NF.
Paul, Robert Sage, and Eugene Jolas, "First Aid to the Enemy," transition, No. 9 (December 1927), 161-76. Against Wyndham Lewis.
"Mr. Joyce's Treatment of Plot," transition, No. 9 (December 1927), 197-203. Reprinted in Samuel Beckett and others, Our Exagmination Round his Factification for Incamination of Work in Progress (Paris: Shakespeare & Co., 1929; reprinted London: Faber & Faber, 1936 and Norfolk: New Directions Books, 1939).
"States of Sea," transition, No. 10 (January 1928), 30-42. F.
EP and Robert Sage, "Artistic Improvements of the Cinema," transition, No. 10 (January 1928), 127-34. NF.
"The Schonberg Legend," transition, No. 10 (January 1928), 142-44. Against Schonberg.
"The Ninety and Nine: A Scenario," transition, No. 11 (February 1928), 51-58. F.
EP and Eugene Jolas, "A Review," transition, No. 12 (March 1928), 139-47. Paul ceased to be co-editor with this issue.
"A Minority Report" (Paris Tribune, 18 March 1928), in Ford, 267-68.
"The Work of Pablo Picasso," transition, No. 13 (Summer 1928), 139-41.
"The Life and Death of Isaac Momblo," transition, No. 14 (Fall 1928), 89-96. F.
"Stuart Davis, American Painter," transition, No. 14 (Fall 1928), 146-48.
"Matter over Mind or Every Man His Own Boswell," transition, No. 15 (February 1929), 175-83. On Cicely Huddleston.
"Farthest North, a Study of James Joyce," Bookman 75 (May 1932), 156-63.
"Refugees on Six Warships." Unpublished. Typescript in Berg Collection, New York Public Library.
"Hemingway and the Critics," Saturday Review of Literature, XVII (6 November 1937), 3-4; reprinted in John K.M. McCaffrey, ed., Ernest Hemingway, The Man and His Work (World Publishing Company, 1950), 109-13 (and New York: Avon Book Division, n.d.,) 94-98, and Robert O. Stephens, ed., Ernest Hemingway: The Critical Reception (Burt Franklin & Co., Inc., 1977), 184-85.
"Everybody’s Ten Cent Story." Unpublished review of Gertrude Stein, Everybody’s Autobiography. Typescript in Berg Collection.
"Constancia de la Mora, Chief of the Foreign Press Bureau," in Jo Davidson, An Exhibition of Sculpture (New York, 1938); reprinted as Spanish Portraits, Texts by Ernest Hemingway, Vincent Sheean, Lawrence A. Farnsworth, Herbert L. Matthews, Edgar Ansel Mowrer, Dorothy Parker, John Gunther, Leland Stowe, Elliot Paul, Waldo Frank, Jay Allen (New York: Georgian Press, n.d.).
Foreword to Ruiz Vilplana, Antonio, ...[sic] Burgos Justice; a year's experience of Nationalist Spain (New York: Knopf, 1938).
with Jay Allen and Luis Quintanilla, All the Brave (New York: Modern Age, [April] 1939).
"Luis Quintanilla," Associated American Artists, Inc.
"'Whodunit,'" Atlantic Monthly 168 (July 1941), 36-40. (See Film Flam, Chapter 10). Reprinted in Abraham S. Burack, Writing Detective and Mystery Fiction, 164-72.
"Joys Important to Remember," Wings (May 1942), 5-10). Literary Guild monthly magazine. About The Last Time I Saw Paris.
"Russia, a Realistic Attitude Toward a Good Neighbor," California Arts and Architecture 59:22 (May 1942).
"Art and Camouflage," Vogue 100 (15 July 1942), 37, 78.
Introduction to Elisabeth Finley Thomas, ed. and trans., The Paris We Remember (New York and London: D. Appleton-Century Company, 1942), vii-viii.
Introduction to Jean Vigoureaux, Paris: 28 Drawings (Los Angeles: The Plantain Press, 1942).
"For Whom, Indeed," Atlantic Monthly, 172 (December 1943), 109, 111-12. (See Film Flam, Chapter 12).
"'Is Happiness Photogenic?,'" Atlantic Monthly, 173 (June 1944), 104, 107, 109.
"Looking Over the Oscars," Atlantic Monthly, 174 (August 1944), 103, 105, 107.
"Concerning Miracles," Atlantic Monthly, 174 (December 1944), 110, 113, 115.
"'Musical and Low,'" Atlantic Monthly,176 (July 1945), 109, 111-12. (Same title as Film Flam, Chapter 14.)
"Of Film Propaganda," Atlantic Monthly, 176 (September 1945), 123, 127-28.
"Gertrude, Alas, Alas," Esquire, 26 (July 1946), 62, 189-93.
"Paris Revisited," Cosmopolitan, 128 (April 1950), 52-53, 164-69; 128 (May 1950), 62-64, 179-185. Excerpted from Springtime in Paris.
"The Latin Quarter on Saturday Night," Atlantic Monthly, 185 (June 1950), 61-63.
"Our Bright Confusion," Medford Mercury, 11 August 1050 - 21 June 1951 [in Malden Press, 3 August 1950], and Cranston Herald, 7 September 1950 - 6 September 1951. Columns sometimes identical, sometimes different or adapted.
[review of Hemingway, Across the River and Into the Trees,] Providence Journal, 10 September 1950, Sec. 6, 8. Reprinted in Robert O. Stephens, ed., Ernest Hemingway: The Critical Reception (Burt Franklin & Co., Inc., 1977), 300.
"Of Shrimps and Potatoes," The Freeman, Vol. 1 No. 3 (30 October 1950), 76-78.
Introduction to Wolfe Kaufman, Call Me Nate (New York: Exposition Press, 1951).
"Three Ages of Ageless Paris," New York Times Magazine, 22 July 1951, 14, 17.
"Back Home Again," Cranston Herald, 29 August, 5 and 12 September, 24 October 1957; possibly other dates.
screenplays et al
"Boogie Woogie in Boston," four drafts dated between 9/6/41 and 9/13/41; "Folk Songs of Ibiza," two drafts dated 9/8/41 and 10/10/41; "The Music Lesson," three drafts (or two drafts and a copy) dated 9/8/41 and 11/25/41; and "A Question of Approach", three drafts dated between 9/10/41 and 9/15/41: radio scripts (unproduced) for the Orson Welles Almanac, Orson Welles Collection, Radio 1938-1947, OWA (LE) Box 7 folder 29 and Box 8 folders 2,4, and 9, Lilly Library, Indiana University.
A Woman's Face, screenplay by by Paul and Donald Ogden Stewart, Metro-Goldwyn-Mayer, 1941. Director George Cukor. Producer Victor Saville. Joan Crawford, Melvyn Douglas, Conrad Veidt.
Our Russian Front, narrative written by Paul, narrator Walter Huston, February 1942. [As The Battle of Russia, narrator Walter Huston, director Anatole Litvak, producer Frank Capra, Paul is not credited.]
Singing in the Wilderness, treatment and screenplay, 1943, unproduced; Department of Special Collections, University of California, Los Angeles.
Guest in the House, adaptation by Paul, screenplay by Kitti Frings. Hunt Stromberg, released through United Artists. 1944. Producer Hunt Stromberg. Director John Brahm. Anne Baxter, Ralph Bellamy.
Long Live Everybody, story outline and "original screen play," 1944, unproduced; Department of Special Collections, UCLA.
It's A Pleasure, screenplay by Paul and Lynn Starling, International/RKO, 1945. Director William A. Seiter.
Rhapsody in Blue, screenplay by Paul and Howard Koch, Warner Brothers, 1945. Director Irving Rapper. Producer Jesse L. Lasky. Robert Alda, Joan Leslie, Charles Coburn, Oscar Levant, Paul Whiteman, Al Jolson.
London Town, by Paul and Sigfried Herzig, Rank [UK], 1946; released in USA as My Heart Goes Crazy, United Artists, 1953. Director Wesley Ruggles.
New Orleans, by Paul and Dick Irving Hyland, United Artists, 1947. Director Arthur Lubin. Producer Jules Levey.
Le Diable au Corps, sub-titled by Paul, December 1948.

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