Parker, Dorothy 1893–1967
Parker was an American poet, short story writer, critic and journalist. She began her career as a drama critic first for Vanity Fair and later for the New Yorker. The wit and sardonic humor characteristic of all her work is evident in these early pieces, revealing Parker's cynical yet lively critical sense. A member of the famed Algonquin Round Table, Parker was extremely popular at the height of her career, but has fared less well with contemporary critics who find her rather narrow in scope. She collaborated with her husband, actor Alan Campbell, on a number of film scenarios and wrote the play Close Harmony with Elmer Rice. (See also Contemporary Authors, Vols. 19-20; obituary, Vols. 25-28, rev. ed.; Contemporary Authors Permanent Series, Vol. 2.)
Mrs. Parker's published work does not bulk large. But most of it has been pure gold and the five winnowed volumes on her shelf—three of poetry, two of prose—are so potent a distillation of nectar and wormwood, of ambrosia and deadly nightshade, as might suggest to the rest of us that we all write far too much. Even though I am one who does not profess to be privy to the intentions of posterity, I do suspect that another generation will not share the confusion into which Mrs. Parker's poetry throws so many of her contemporaries, who, seeing that much of it is witty, dismiss it patronizingly as "light" verse, and do not see that some of it is thrilling poetry of a piercing and rueful beauty. (p. 144)
[She] is so odd a blend of Little Nell and Lady Macbeth. (p. 149)
It will be noted, I am afraid, that Mrs. Parker specializes in what is known as the dirty crack…. [In] her writing—at least in her prose pieces—her most effective vein is the vein of dispraise. Her best word portraits are dervish dances of sheer hate, equivalent in the satisfaction they give her to the waxen images which people in olden days fashioned of their enemies in order, with exquisite pleasure, to stick pins into them. Indeed, disparagement to Mrs. Parker is so habitual that she has no technique for praise, and when she feels admiration, can find no words for it. (p. 150)
Alexander Woollcott, "Our Mrs. Parker," in his While Rome Burns (copyright © 1934 by Alexander Woollcott; copyright renewed 1962 by Joseph P. Hennessey; reprinted by permission of Viking Penguin Inc.), Viking Penguin, 1934, pp. 142-52.
Of the writers of the 1920's and 1930's who produced stories on the order of those of Ring Lardner, only [Dorothy Parker] came close to matching his telling irony and satire and his ear for recording common speech. Narrower in range than Lardner, she excelled in witty and humorous monologue and dialogue rather than in storytelling, as attested to by most of the pieces in her two collections of sketches and stories, Laments for the Living (1930) and After Such Pleasures (1933). Undoubtedly her finest story is "Big Blonde," a trenchant portrait of a shallow woman devoid of any inner resources who becomes an alcoholic. (p. 284)
Arthur Voss, "Social Protest and Other Themes in the Short Story, 1930 to 1940," in his The American Short Story: A Critical Survey (copyright 1973 by the University of Oklahoma Press), University of Oklahoma Press, 1973, pp. 262-87.∗
Readers coming to Mrs. Parker for the first time may find it as hard to understand the high place she held in the literary world of forty or fifty years ago as to understand the critical disregard into which she subsequently fell. The first precaution for such readers is to bear in mind the fact that the so-called world that gave her her reputation was really only a province, and, like all provinces, it considered itself much bigger and more important than it was…. The small literary set that centered on New York in the twenties and thirties and that hailed Mrs. Parker as one of its leading lights was made up largely of second- and third-raters. Mrs. Parker perceived this in her middle years and passed judgment on her old colleagues…. She pointed...
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