By Peter Guralnick, June Juanico
She was once an excellent woman from Biloxi, Mississippi; he used to be a rockabilly singer at the verge of stardom. They fell in love in the summertime of 1956, and located a undying second of innocence and easy excitement. during this acclaimed, intimate portrait of the yank legend, Juanico provides us the Elvis she knew and loved—the Memphis boy with aw-shucks attraction, impeccable manners, and a simple and impossible to resist sensuality. Their lives merged speedy and fully: Elvis's mom, Gladys, felt June used to be her son's final wish opposed to the excesses of existence at the street and the corruption of repute. yet Elvis was once on a teach that nobody might cease. Self-possessed, June selected her personal direction; she left Elvis, decided by no means to seem again. yet during this thoroughly disarming, attention-grabbing memoir, she does glance again, and proves she has remembered every thing, each dialog, each tale, and each caress. Elvis: within the Twilight of reminiscence supplies us an intimate and unforgettable portrait of the fellow who will be King.
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Extra resources for Elvis: In the Twilight of Memory
To illustrate the dangers of that practice I turn, in the second half of this essay, to an episode which most accounts have misrepresented: the performance of a play at the Globe Theatre on 7 February 1601, the eve of the earl of Essex’s rising. Like many other events that have been related to Shakespeare’s life, it shows how far the evidence has to be strained before even the most basic steps towards the writing of Shakespearian biography can be taken. On the afternoon of Saturday 7 February a group of apparently eleven or so followers of the earl of Essex, having dined at ‘one Gunter’s house over against Temple gate’, crossed the Thames to watch a play performed by the Lord Chamberlain’s men (the company to which Shakespeare belonged) at the Globe.
47 The atmosphere of subversion has been thickened by the critical habit of conﬂating the Globe performance with the performances to which Queen Elizabeth referred in her conversation with the antiquary William Lambarde in August 1601. 49 If his plays were customarily performed in open streets and houses, our understanding of the conditions of Shakespearian performance is in need of some amendment. 50 Even if they were of Shakespeare’s play, Stephen Orgel’s claim that they ‘transformed . . Richard II into a very dangerous piece of civic pageantry’51 is without foundation.
130. 6 On Marston see, however, Roslyn Knutson, ‘Histrio-Mastix: Not by John Marston’, Studies in Philology 98 (2001), 359–77. 7 Shakespeare and the Poets’ War, p. 38. 8 The battle lines are summarised in the Introduction to Shakespeare Left and Right, ed. Ivo Kamps (London: Routledge, 1991). , Johnson on Shakespeare, 2 vols (New Haven and London: Yale University Press, 1968), I, p. 71. 10 Shakespeare and the Poets’ War, pp. 68 and 224. 11 Puzzling Shakespeare: Local Reading and its Discontents (Berkeley: University of California Press, 1988), pp.
Elvis: In the Twilight of Memory by Peter Guralnick, June Juanico