2 Ennerdale Drive: An Unauthorised Biography by Rosa Ainley

By Rosa Ainley

2 Ennerdale force is a memoir of a home and the kinfolk that lived there; a piece of textual content and picture encompassing structure, social and private background, city making plans, images and illustration, carving an area inside of and among new types of memoir, cultural reports and inventive non-fiction. the home in north London, equipped throughout the extraordinary interwar wave of suburban improvement, starts off an exploration of private and non-private lives, architectural and kinfolk narrative, charting territory among documented proof, own and cultural reminiscence, organization and emotional reaction. 2 Ennerdale force questions the veracity accorded to files produced throughout institutional, private and non-private kin contexts. Textual analyses of pictures when it comes to the home, the family members (and its enterprise: theatre) body every one bankruptcy, producing tales and responses to the authentic and the remembered. Visits to records and to different homes rfile the life and/or absence of such fabric. An epilogue locates the writer, a friend and someday narrator, within the body and gives, possibly, a last privileged look into the kin archive.

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She had a beef with Audrey Hepburn for taking Julie Andrews’s role of Eliza Doo­ little when the stage production of My Fair Lady trans­ ferred to the screen. Gloria Grahame, she said, was the true star of Oklahoma! Celeste Holm, she said, was the true star of High Society. She said that South Pacific, despite paying lip service to the idea of racial equal­ ity, did wrong by the actress playing Bloody Mary, who unlike her white costars died in relative poverty. My mother said that Lee Marvin had the right idea in Paint Your Wagon when he said you had a choice in life, to be a somebody or a nobody.

Like a lot of bad theatrical singers, Hill confuses slurring with pathos. I could have taken him off my playlist, but if you actually liked every song you had on iTunes, it would take all the suspense out of random play. When you have a music collection like mine on your iPod, you have to keep a steady finger on the vol­ ume control when you’re out in public. I recall a sticky moment when the engines of the train died suddenly just as Ethel Merman was reaching her crescendo in “Rose’s Turn”; she sings so loudly and with such way­ 20 I I I Emma Brockes ward vibrato that you worry she’s going to derail from the tune entirely and turn into a police siren.

Adi replied. “The king? ” I sighed. ” Enemies of the genre will call this poor realism, since the king had been right as rain and hopping about not five minutes before. Fans of the genre will call it symbolic compression—great truths can some­ times only be conveyed at epigrammatic level. One understands this as one understands a muscle memory, What Would Barbra Do? I I I 23 a recognition that this is how it was and had always been. On screen Deborah Kerr’s English reserve briefly gave way to wracking sobs.

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