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Ursula Parrott (1900–1957)

Auteur de Ex-Wife

11+ oeuvres 128 utilisateurs 7 critiques

A propos de l'auteur

Comprend les noms: Katherine Ursula Parrott

Œuvres de Ursula Parrott

Ex-Wife (1929) 108 exemplaires
Strangers May Kiss (1930) 7 exemplaires
Dream Without Ending 3 exemplaires
Next Time We Live (1935) 3 exemplaires
Island of Fear 1 exemplaire
Storm at Dusk 1 exemplaire
One More Such Victory 1 exemplaire

Oeuvres associées

The Divorcée [1930 film] (1930) — Original novel — 6 exemplaires

Étiqueté

Partage des connaissances

Nom légal
Towle, Katherine Ursula
Date de naissance
1900-03-26
Date de décès
1957-07
Sexe
female
Nationalité
USA
Lieu de naissance
Boston, Massachusetts, USA
Lieu du décès
New York, New York, USA
Lieux de résidence
New York, New York, USA
Études
Radcliffe College
Professions
novelist
short story writer
Courte biographie
Ursula Parrott was the pen name of Katherine Ursula Towle, born in Boston, Massachusetts. She graduated from Radcliffe College and then moved to New York City, settling in Greenwich Village and working as a fashion writer for newspapers. In 1922, she married Lindesay Marc Parrott, a reporter for The New York Times. Two years later, they had a son. However, she kept his existence a secret from her husband, who did not want a child. In 1924 when Lindesay Parrott found out he was a father, he divorced Ursula. After that, she married three other men, and was also rumored to have had affairs with F. Scott Fitzgerald and Sinclair Lewis. Her novel Ex-Wife, published anonymously in 1929, caused an immediate sensation. It became a bestseller of the Jazz Age that explored the heady new freedom from Victorian sexual norms -- which, however, left men and women being treated unequally. It was adapted into a movie called The Divorcée by MGM in 1930, starring Norma Shearer, who won an Academy Award as Best Actress for her role. Parrott's second novel, Strangers May Kiss (1930), was again quickly adapted into successful Shearer picture. All throughout the 1930s, Parrott remained in high demand. She published pulp romances such as Love Goes Past (1931) and Next Time We Live (1935), as well as short stories for magazines like Ladies' Home Journal and Redbook. Eight of her novels were made into films. Parrott's writings earned her $100,000 a year. about $1.8 million in today's money. However, by the end of the decade, the culture was changing, and Ursula Parrott became less popular. The Motion Picture Production Code created in Hollywood forced her style of flamboyant, liberated heroines out of films. In 1942, Parrott made national headlines when she was charged with helping a soldier desert from the army in Miami Beach. The soldier in question was her lover, Mike Bryan, a jazz guitarist who had played with Benny Goodman's band. At her trial, Parrott claimed to actually be working as a government agent breaking up a narcotics ring. The jury believed this improbable story and acquitted her of all charges. She published her last story, "Let's Just Marry," in 1947. After 22 books and more than 50 stories to her name, Ursula Parrott sank into alcoholism and stopped writing. She died destitute in 1957 in the charity ward of a New York City hospital.

Membres

Critiques

[b:Ex-Wife|2142191|Ex-Wife|Ursula Parrott|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1299409219l/2142191._SY75_.jpg|2147681] by [a:Ursula Parrott|973825|Ursula Parrott|https://images.gr-assets.com/authors/1683529851p2/973825.jpg], published anonymously in 1929, was as good as promised when I heard about it on Backlisted's Patreon podcast and they recommended it as the feminine counterpart to Gatsby in describing the Jazz Age and what happens to young women who are caught between Victorian morality and the sexual revolution of the twenties. I responded with a raised glass to the blurb's description of the narrator as "wedged between Edith Wharton's constrained society girls and the squandered glamour of Jean Rhys's doomed wanderers."
The first person narrator, Pat, announces to her newest man, Noel:
"Don't have any illusions about me. I have slept with more men than I can remember." That was exaggeration, but I had to exaggerate, lest I should understate.
And he responds..."Whatever happened to you has made you poised and tolerant, and comprehending, and anyone who knows you should be grateful for whatever produced the result." But, in the all too familiar refrain, he's taken, and Pat continues the high life in search of a stable closure. And [a:Ursula Parrott|973825|Ursula Parrott|https://images.gr-assets.com/authors/1683529851p2/973825.jpg] sold 100,000 copies of the novel.
… (plus d'informations)
 
Signalé
featherbooks | 6 autres critiques | May 7, 2024 |
Funny how timeless divorce is. This is a lovely, wistful book that only occasionally reminds you it was written in the 1920s.
 
Signalé
gonzocc | 6 autres critiques | Mar 31, 2024 |
Extra-marital sex. Abortion. Substance abuse. Skepticism about the sexual revolution, and how it sure seems to just screw over women.

Is it the 1960s? The 1970s? No - it's 1925.

Definitely a fascinating look at sex and the (newly) single girl and the city back in your grandmother's day. It starts with our protagonist's husband's exit, and has a very nice twist of an ending, but the middle was too long and made me very impatient with Patricia's endless, mindless promiscuity. And I wish the heroine could have been given a bit more going for her besides her looks - that got very tiring to read about too. I was super sick of hearing about her "creamy" shoulders, and super sick of every man she met gushing over her beauty.

Good lines:

"New York's a jail to which, once committed, the sentence is for life; but it is such a well-furnished jail, one does not mind much."

"Great Lovers - men who've known a hundred women, and boast of it - they remind me of the man who wanted to be a musician and so took one lesson on each instrument in the orchestra... He couldn't play a tune on any of them in the end."
… (plus d'informations)
½
 
Signalé
Tytania | 6 autres critiques | Oct 19, 2023 |
Patricia is married to Peter and they live in New York City. She has a baby who dies, oddly with no further explanation. The odious Peter has an affair. Patricia forgives him. She has one and he treats her like trash. She becomes pregnant again and he throws her through a glass door. She won’t keep this baby either.

“I’m having an abortion this morning.” He had said. “Your show. Hope it’s not too bad.”

She gets advice. “In three years you won’t remember the colour of his eyes.”

Patricia dates other men, gets a new apartment, still wants Peter back, although at this point it’s difficult to say why. She eventually loses the need for him.

“I wished that I had never married him, never kissed him, never met him, never heard of him. Also, that I had a revolver and could shoot him.”

When she meets Noel, the second man she comes to love, he is married to a disfigured woman, Beatrice, who won’t divorce him. Patricia then helps Noel and Beatrice, him with his career, and her with her disfigured face, knowing that she will lose Noel forever. “God is an ironist.”

There’s a very good parting scene. She eventually marries a man who she likes but certainly doesn’t love.

A foreword and afterword put some context into this 1929 novel, the scandal it aroused, and the life of the author. A striking aspect of the novel is that Patricia is no 1920s housewife. She has a career in advertising and uses it to her advantage.
… (plus d'informations)
½
 
Signalé
Hagelstein | 6 autres critiques | Apr 18, 2023 |

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Statistiques

Œuvres
11
Aussi par
1
Membres
128
Popularité
#157,245
Évaluation
½ 3.6
Critiques
7
ISBN
4

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