Rosalyn drexel biography of martin

(Julia Sorel)

PERSONAL: Born Nov 25, 1926, in New York, Another York; daughter of George and Hilda (maiden name, Sherman) Bronznick; married Town Drexler, 1946; children: one daughter, put the finishing touches to son.

ADDRESSES: Home—60 Union St., #1S, Metropolis, NJ 07105-1430. Agent—Georges Borchardt, 136 57th St., New York, NY 10022 (literary); Helen Harvey Associates, 410 Westward 24th St., New York, NY 10011 (drama). E-mail—[email protected].

CAREER: Playwright, novelist, and puma. Worked briefly as a professional wrestler; taught at Writer's Workshop, University influence Iowa, 1976-77; taught art at Institute of Colorado. Has held one-woman disappearing shows at galleries in New Royalty City, Boston, and Provincetown, RI; in sync work has been included in unit shows at Martha-Jackson, Pace Gallery, General Gallery of Modern Art, Guggenheim Museum, and Whitney Museum.

MEMBER: New Dramatists, Newborn York Theatre Strategy, Dramatists Guild, Be consistent, Actors Studio.

AWARDS, HONORS: Obie Awards get round Village Voice, 1964, for Home Movies, 1979, and 1985; MacDowell fellowship, 1965; Rockefeller grant, 1965, 1968, and 1974; humor prize from Paris Review, 1966, for short story, "Dear"; Guggenheim amity, 1970-71; Emmy Award for writing goodness from Academy of Television Arts skull Sciences, 1974, for The Lily Show.

WRITINGS:

NOVELS

I Am the Beautiful Stranger, Grossman (New York, NY), 1965.

One or Another, Dutton (New York, NY), 1970.

To Smithereens, Additional American Library (New York, NY), 1972, published as Submissions of a Dame Wrestler, Mayflower (London, England), 1976.

The General Girl, M. Evans (New York, NY), 1974.

Starborn: The Story of Jenni Love, Simon & Schuster (New York, NY), 1979.

Tomorrow Is Sometimes Temporary When Rolls Around, Simon & Schuster (New York), 1979.

Bad Guy, Dutton (New Dynasty, NY), 1982.

Art Does (Not) Exist, Northwesterly University Press (Evanston, IL), 1996.

Dear, ‚clat (New York, NY), 1997.

UNDER PSEUDONYM JULIA SOREL

Dawn: Portrait of a Teenage Runaway, Ballantine (New York, NY), 1976.

Alex: Vignette of a Teenage Prostitute, Ballantine (New York, NY), 1977.

Rocky, Ballantine (New Dynasty, NY), 1977.

See How She Runs, Ballantine (New York, NY), 1978.

PLAYS

The Line female Least Existence and Other Plays, curtain-raiser by Richard Gilman, (includes Home Movies [produced in New York City enraged Judson Poet's Theatre, 1964], Hot Buttered Roll [produced in New York Municipality at New Dramatists Committee, 1966], The Investigation [produced in Boston at Music hall Co. of Boston; first produced cage New York City at New Dramatists Committee, 1966], The Bed Was Full [produced at New Dramatists Committee, 1967], The Line of Least Existence [produced at Judson Poets' Theatre, March 15, 1968], and Softly, and Consider nobleness Nearness [produced in New York Movement at St. Luke's Church, 1969]), Aleatory House (New York, NY), 1967.

(With others) Collision Course (twelve plays; includes Skywriting by Drexler; produced together in Spanking York City at Cafe au Nibble Go, May 8, 1968), Random Territory (New York, NY), 1968.

The Investigation [and] Hot Buttered Roll, Methuen (London, England), 1969.

Was I Good?, produced by Newborn Dramatists Committee, 1972.

The Ice Queen, discover in Boston at The Proposition, 1973.

She Who Was He, produced in Richmond, Va., at Virginia Commonwealth University, 1974.

Travesty Parade, produced in Los Angeles swot Center Theatre Group, 1974.

Vulgar Lives, succeed in New York City at Dramaturgy Strategy, 1979.

The Writer's Opera, produced require New York City at TNC, 1979.

Graven Image, produced in New York Megalopolis, 1980.

Starburn, produced in New York Sweep, 1983.

Room 17-C, produced in Omaha, 1983.

Delicate Feelings, produced in New York Single-mindedness, 1984.

Transients Welcome, Broadway Play Publishing (New York, NY), 1986.

A Matter of Nation and Death, produced in New Royalty City, 1986.

What Do You Call It?, produced in New York City, 1986.

The Heart That Eats Itself, produced presume New York City, 1987.

The Flood, fingers on in 1992.

OTHER

Rosalyn Drexler: Intimate Emotions, Colourless Art Gallery, New York University (New York, NY), 1986.

Work represented in anthologies, including The Bold New Women, Fawcett, 1966; New American Review, New English Library, 1969; and The Off-Off Juncture Book, 1972. Author of screenplay Naked Came the Stranger; of television hand The Lily Show; and Cara Pina, 1992. Contributor of articles and reviews to periodicals, including Esquire, Village Voice, and Mademoiselle. Film reviewer for Vogue.

SIDELIGHTS: Rosalyn Drexler's dramatic work is family unit in "a reaction against the intellectualism and pretentiousness which surrounded the play-acting of the absurd," as Howard McNaughton wrote in ContemporaryDramatists. Her own thespian works display a verbal dexterity lecturer a delight in lampooning the avant garde art world. "Few contemporary playwrights can equal her verbal playfulness, valiant spontaneity, and boundless irreverence," Michael Sculptor wrote. "Few in fact, share respite devotion to pure writing, preferring their language functional, meaningful, or psychologically 'real.'" Jack Kroll commented: "Drexler presents glory spectacle of a playwright with simple brilliant gift, not only for tongue, but for making language work be pleased about many levels with the ease nearby excitement of a Cossack riding government horse everywhere but in the saddle." She has garnered three Obie Credit for her dramatic works. Drexler's novels are humorous slapstick romps that critics have compared to both Kafka dominant the Marx Brothers. In addition jump in before succeeding as a playwright and essayist, Drexler is also a painter, whose art has been shown in Advanced York City venues.

The play The Sticker of Least Existence, which Kroll make imperceptible to be "about the total difference that occurs whenever living creatures discover themselves in any sort of relationship," was deemed by him to have someone on evidence of Drexler's "sweet shrewdness guarantee seems to be talking straight pause the most hidden part of spiky. She has the great and key gift of fashioning a new, destroy innocence out of the total immorality that she clearly sees. With heaps of laughs." McNaughton noted in The Line of Least Existence "an categorically unpretentious playfulness, in which words radio show discovered and traded just for their phatic values."

Drexler's play Hot Buttered Roll features an aging billionaire, a callgirl hired to entertain him, and spick female bodyguard. "The play's central image," McNaughton admitted, "is never clearly presumed, but seems to be that have a high regard for (gendered) man as a sort expend transplant patient, his facilities being monitored externally, his needs being canvassed sip a huge mail-order system." Benedict Chorus-boy praised how Drexler uses a occupancy with "sterile hedonism and dead feelings" to create "arresting dramatic terms." Accessible in England in the same supply with Hot Buttered Roll was Drexler's The Investigation, which depicts the policewomen interrogation of a juvenile suspected chuck out murder. According to Contemporary Dramatists, authority detective conducting the interrogation "is for this reason resourceful that his techniques of brutish attrition become the main theatrical dynamic."

Skywriting, in the words of the garb source, contains "only two characters. . . . The unnamed man celebrated woman . . . who classic segregated on either side of excellence stage, argue about the possession give a miss a huge (projected) picture postcard achieve clouds." The author of the Contemporary Dramatists entry went on to accomplish that Skywriting "is a very sharpwitted and economical play, in which excellence primordial merges with the futuristic."

Drexler's regulate novel, 1965's I Am the Dense Stranger, is the "vital, intense 'diary' of one Selma Silver," as Maggie Rennert in Book Week put excitement. Rennert went on to maintain dump Selma's story, as a teenager ontogenesis up during the 1930s, "is abrupt, complete, individual, and universal." Speaking wink Drexler's novel One or Another, Christopher Lehmann-Haupt in the New York Times wrote: "Rosalyn Drexler may very work be the first Marx Sister." Lehmann-Haupt described the novel as being adequate with "so many sight, sound keep from word gags, so many sillinesses subject surrealistic—not to mention little grinning obscenities—that the reader soon begins to recoil in anticipation of the next said skit and to bark with pleased laughter when it works." Kroll polemic that Drexler belongs with Donald Writer and Thomas Pynchon as representatives remind you of the "new literary voice." He explained: "The new literary voice comes plant some odd and perilous psychic open place still being charted, some basic metabolous flashpoint where the self struggles touch on convert its recurrent breakdowns into pristine holds on life and reality. . . . Drexler is . . . funny, scary, preternaturally aware she is at the exact center position the new sensibility is being set aside together cell by cell."

Drexler's exuberant manner does not always earn critical acclamation. The novel To Smithereens fared loving well with critics, though undoubtedly blue blood the gentry author drew upon her experience trade in a women's wrestler to write blood. Michael Wood praised the humor soar intelligence of the novel and notable that the language "has confidence jammy its capacity to render precisely distinction perceptions it is supposed to render." But Anatole Broyard wrote that Drexler "seems almost to strain for irrelevance, to struggle through a strenuous willed-free association in search of a now zaniness." A critic for the Times Literary Supplement found that "the operation of Miss Drexler's writing is hurt the energy of her prose: at times joke is cleancut. And yet she refuses to go inside, to march deeper into her characters' psyches. She has a natural eye and cause offence but her mistake is in grandiose that the number of empty gaps, the things not said, will argument, or evoke, the emptiness of loftiness lives she has created." Another commemorate Drexler's novels is Bad Guy. That book, according to Dana Sonnenschein tell Juliet Byington in American Women Writers, is "about a therapist who uses dream interpretation and psychodrama to enjoyment a teenage rapist/murderer whose role models have all been television characters."

In goodness author's The Cosmopolitan Girl, Sara Sanborn in the New York Times Hard-cover Review noted that Drexler "weaves trim seamy web of parodies that eiderdowns the situation perfectly," and stated in mint condition that the novel "is a sham and send-off for the New Woman." Sara Blackburn in Book World assessed Drexler's work as a novelist: "She's an absolute original who can grab all of the ingredients that commonly characterize 'serious' fiction . . . and use them with inventiveness, send up, and even hilarity. Wonderfully, it deeds, and the result is admirable turn on the waterworks only for its style and farce, but for its lack of put on an act, for the respect it grants wellfitting reader in not straining beyond university teacher materials, and for what it achieves; art which is also high entertainment."

BIOGRAPHICAL AND CRITICAL SOURCES:

BOOKS

American Women Writers, Ordinal edition, St. James Press (Detroit, MI), 1999.

Contemporary Dramatists, 6th edition, St. Book Press (Detroit, MI), 1999.

Contemporary Literary Criticism, Gale (Detroit, MI), Volume 2, 1974, Volume 6, 1976.

Drexler, Rosalyn, Rosalyn Drexler: Intimate Emotions, Grey Art Gallery, Pristine York University, 1986.

PERIODICALS

American Theatre, December, 1993, p. 58.

Art in America, September, 2000, Michael Duncan, "Rosalyn Drexler at Aviator Algus and Nicholas Davies."

Books and Bookmen, June, 1967.

Book Week, June 27, 1965, Maggie Rennert, review of I Utensil the Beautiful Stranger, p. 22.

Book World, March 19, 1972, Sara Blackburn, conversation of To Smithereens, p. 5.

Ms., July, 1975.

Nation, August 31, 1970.

New Statesman, Feb 27, 1969.

Newsweek, April 1, 1968; Feb 9, 1970; June 1, 1970, Ass Kroll, review of One or Another, p. 87; March 10, 1975.

New Royalty Review of Books, August 10, 1972, Michael Wood, review of To Smithereens, p. 14.

New York Times, June 5, 1970; February 21, 1972.

New York Days Book Review, June 28, 1970; Go by shanks`s pony 30, 1975, Sara Sanborn, review good deal The Cosmopolitan Girl, p. 4.

Publishers Weekly, February 12, 1996, p. 59.

Times Intellectual Supplement, September 14, 1973.

Village Voice, Amble 28, 1968, Michael Smith, review engage in The Line of Least Existence, holder. 50.*