By D. Schwarz
Damon Runyon's recognition and significance in shaping Amer-ican pop culture throughout the first 1/2 the 20 th century can not often be exaggerated. In full of life and exuberant chapters that come with a wide ranging view of recent York urban among the realm Wars-with an emphasis at the city's colourful nightlife-Schwarz examines nearly each side of Runyon's occupation, from sports-writer, day-by-day columnist, trial re-porter, and Hollywood determine to the writer of the nonetheless generally learn brief tales that have been the resource of the Broad-way hit men and Dolls. whereas studying Runyon's high-spirited paintings when it comes to historic contexts, pop culture, and of the altering functionality of the media, Schwarz argues that during his columns and tales Runyon used to be an quintessential determine in growing our public photographs of recent York urban tradition, inclu-ding our curiosity within the demimonde and underworld that explains partly the good fortune of The Godfather movies and the Sopranos. As a part of his dialogue of Runyon's paintings and artistry of Runyon's fiction, he skillfully examines the specific language of the Broadway tales often called 'Runyonese' and explains how 'Runyonese' has turn into an adjective describing flamboyant habit.
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Extra info for Broadway Boogie Woogie: Damon Runyon and the Making of New York City Culture
Because of the reach of his writing, he created America’s image of New York and especially Broadway, even more than Al Hirschfeld or the New Yorker or even the New York Times, which was not at the time a national newspaper. Of course there is the actual city and the one he constructed in his columns and fiction—and in the films he wrote and produced—but it is that fictional city most Americans came to know in the era before jet planes and inexpensive air travel. Runyon also exposed Americans to the dangerous, dark, demonic city where sharpsters prey on one another.
35 Although he had male companions galore and hunted with men (and even fished without enthusiasm), Runyon recused himself from intimacy. Edwin P. Hoyt describes a rather unpleasant figure: “He slighted people and sometimes made enemies quite unintentionally. ”36 In his final years he did develop a close friendship with Walter Winchell, who was pleased that Runyon’s fictional character Waldo Winchester was modeled on him. Winchell greatly admired WHO WAS DAMON RUNYON? | 25 Runyon’s immersion in his work: “He has the joy of accomplishment.
He loved not only to record the telling details of the pulsating life of the city that swirled around him, but also to penetrate the mysteries beneath what he saw and heard. He understood that what Joseph Rykwert observes of the modern city is even more true of New York: “[T]he modern city is a city of contradictions; . . it houses many ethnes, many cultures, and classes, many religions. . [I]t is too fragmentary, too full of contrast and strife: it must therefore have many faces, not one. .
Broadway Boogie Woogie: Damon Runyon and the Making of New York City Culture by D. Schwarz