Cobb: A Biography by Al Stump

By Al Stump

A brand new York occasions remarkable publication; Spitball Award for most sensible Baseball booklet of 1994; foundation for a huge Hollywood movie. Now in paperback, the biography that baseball enthusiasts all around the nation were speaking approximately. Al Stump redefined America's belief of 1 of its most famed activities heroes with this gripping examine a guy who walked the road among greatness and psychosis. in line with Stump's interviews with Ty Cobb whereas ghostwriting the Hall-of-Famer's 1961 autobiography, this award-winning new account of Cobb's existence and occasions finds either the darkness and the brilliance of the "Georgia Peach." "The strongest baseball biography i've got read."--Roger Kahn, writer of the men OF summer season

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He was handsome, temperamental and very much of an actor. Dave Eberhardt was [. ] just discharged from the navy––a pale husky joli laid with a crew cut. ” Christopher reciprocated more than sufficiently, and they would neck whenever they were alone together, sometimes for long spells. Since they always had to do this at the apartment which Don and Dave shared––because Christopher was still living at the Vedanta Center––they never went to bed together, however; Dave thought it was too risky. When they did finally make love, years later, at the AJC Ranch, I seem to remember that it wasn’t a success.

2 Bill was the younger of two brothers––the sons of an engineer. Their father had worked in the USSR and had had to leave with his family at a few hours’ notice––the Russians accused the American and British engineers of trying to sabotage a dam which they had been hired to construct. Later, they moved to Australia, where Bill and his brother became expert swimmers. S. Air Force. Bill was the ugly brother (so he said); homely and fat up to the age of fifteen. Then he made a “decision” to be beautiful.

So the Beesleys connived that John van Druten should undertake the same project. Van Druten’s adaptation, I Am a Camera, would eventually place Isherwood on the road to fame and relative fortune, despite wrangles when van Druten took the largest share of the royalties. When the time came to make clear to Lamkin and Field that van Druten’s version of Goodbye to Berlin was to receive Isherwood’s imprimatur, Lamkin accepted the new situation cheerfully and offered no recriminations, thereby abandoning his own script and ingratiating himself successfully with the little group behind van Druten’s version.

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