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10 Fascinating Facts About Gone With the Wind

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On this day in 1936, Margaret Mitchell's Gone with the Wind was published. In honor of its birthday, here are 10 things you might not have known about the Pulitzer Prize-winning novel.

1. SHE WROTE THE BOOK OUT OF BOREDOM.

It was boredom that caused 25-year-old Margaret Mitchell to write 63 of the most beloved chapters in literary history. Mitchell was a journalist for the Atlanta Journal Sunday Magazine when she took a leave to recover from “a series of injuries,” according to the Margaret Mitchell House, including a recurring ankle injury. When the ankle proved slow to heal this time, she decided to occupy herself by writing.

2. ALMOST NO ONE KNEW SHE WAS WRITING A BOOK.

Though Mitchell spent the next decade working on characters and plot development, almost no one knew she was writing a book. She went to extreme lengths to hide her work from friends and family, including hurriedly throwing a rug over pages scattered on her living room floor once when company showed up unexpectedly.

3. MITCHELL HAD NO INTENTION OF PUBLISHING THE BOOK.

Despite spending 10 years of her life working on the tome, Mitchell didn’t really have much intention of publishing it. When a “friend” heard that she was considering writing a book (though in fact, it had been written), she said something to the effect of, “Imagine, you writing a book!” Annoyed, Mitchell took her massive manuscript to a Macmillan editor the next day. She later regretted the act and sent the editor a telegram saying, “Have changed my mind. Send manuscript back.”

4. SCARLETT WAS ORIGINALLY PANSY.

You know her as Scarlett now, but for years, the heroine of Gone with the Wind was named Pansy. It probably would have stayed that way had the publisher not requested a name change. “We could call her ‘Garbage O’Hara’ for all I care,” Mitchell wrote to her friend and the book’s associate editor, “I just want to finish this damn thing.”

5. TARA WASN'T TARA.

Speaking of name changes, early drafts of Gone With the Wind referred to Tara as “Fountenoy Hall.” 

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6. DOC HOLLIDAY WAS MITCHELL'S COUSIN.

There was another Southern legend in Margaret Mitchell's family: Old West gunslinger (and dentist) Doc Holliday was Mitchell's cousin by marriage. Many people believe that Mitchell used her famous kin as the inspiration for Ashley Wilkes.

7. MITCHELL DOESN'T KNOW WHAT HAPPENED WITH SCARLETT AND RHETT.

Add Mitchell to the list of people who don’t know what ultimately happened with Scarlett and Rhett. She left the ending ambiguous with no “real” ending even in her own head. “For all I know, Rhett may have found someone else who was less—difficult,” she told Yank magazine in 1945.

8. Even if you haven’t read the book, you might have heard the last line: “Tomorrow is another day.”

That was also the tentative title. Mitchell also considered calling it Bugles Sang True or Not in Our Stars. The title she finally decided upon comes from a poem called Non Sum Qualis Eram Bonae sub Regno Cynarae by Ernest Dowson:

“I have forgot much, Cynara! gone with the wind,
Flung roses, roses riotously with the throng,
Dancing, to put thy pale, lost lilies out of mind"

9. THE NOVEL HAD ITS FAIR SHARE OF DETRACTORS.

Though Gone with the Wind is a classic now, not everyone was a fan of the epic novel when it was released—and that includes critics. Ralph Thompson, a book reviewer for The New York Times, was quite unimpressed. Among his criticisms:

“The historical background is the chief virtue of the book, and it is the story of the times rather than the unconvincing and somewhat absurd plot that gives Miss Mitchell's work whatever importance may be attached to it.”

“Miss Mitchell writes from no particular point of view.”

“I happen to feel that the book would have been infinitely better had it been edited down to, say, 500 pages—but there speaks the harassed daily reviewer as well as the would-be judicious critic. Very nearly every reader will agree, no doubt, that a more disciplined and less prodigal piece of work would have more nearly done justice to the subject-matter.”

At the end, Thompson rather begrudgingly admits that, “Any kind of first novel of over 1000 pages is an achievement and for the research that was involved, and for the writing Itself, the author of Gone With the Wind deserves due recognition.”

10. IT SET A RECORD WITH ITS MOVIE RIGHTS.

When movie mogul David O. Selznick purchased the movie rights for $50,000 in 1936, it was the most ever paid for rights to a book. Mitchell declined to be involved with the production of the movie, though she was said to have loved it—save for a few details (she found Tara to be too opulent, for example).

Though she spent a decade writing her masterpiece, Mitchell only enjoyed the ensuing fame for a little more than that (truth be told, she didn’t really “enjoy” the fame). Mitchell was hit by a speeding car as she was crossing Atlanta's Peachtree Street with her husband on their way to see a movie on the evening of August 11, 1949. She died from her injuries a few days later.

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10 Things You Might Not Know About J.D. Salinger
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For the past few decades, if any artist has been celebrated for a slim body of work and subsequently disappeared from public view, they’ve invited comparison to Jerome David (J.D.) Salinger. The author (1919-2010) published only one novel in his lifetime, 1951’s The Catcher in the Rye—but what a novel it was. A bildungsroman (coming of age) story about an aimless young man named Holden Caulfield on a mission to find himself after being expelled from a private school, The Catcher in the Rye ushered in a new era of philosophical literature, becoming a staple of classrooms across the country.

A new film about Salinger, Danny Strong's Rebel in the Rye, is once again stirring interest in the reclusive artist. If you’re a little light on Salinger trivia, check out some facts about his war experiences, his disappointing fling with Hollywood, and one curious choice of beverage.

1. HE WORKED ON THE CATCHER IN THE RYE WHILE FIGHTING IN WORLD WAR II.

Salinger was a restless student, attending New York University, Ursinus College, and Columbia University in succession. While taking night classes at the latter, he met Whit Burnett, a professor who also edited Story magazine. Sensing Salinger’s talent for language, Burnett encouraged him to pursue his fiction. When World War II broke out, Salinger was drafted into the Army. During his service from 1942 to 1944, he worked on chapters for what would later become The Catcher in the Rye, keeping pages on his person even when marching into battle.

2. HE HAD A NERVOUS BREAKDOWN.

Following his service, Salinger experienced what would later be labeled post-traumatic stress disorder: He was hospitalized after suffering a nervous breakdown in Nuremburg in 1945 after seeing some very bloody battles on D-Day and in Luxembourg. Writing to Ernest Hemingway, whom he had met while the latter was a war correspondent for Collier’s, he said his despondent state had been constant and he sought out help “before it got out of hand.”

3. HE REFUSED TO BE REWRITTEN.

Settling back in New York after the war, Salinger continued to write, contributing short stories to The New Yorker and other outlets before finishing The Catcher in the Rye. In literary circles, his name was already becoming known for insisting that editors not change a single word of his writing. When publisher Harcourt Brace agreed to publish The Catcher in the Rye, Salinger broke away from the deal after they insisted on rewrites. The untouched book was eventually released by Little, Brown and Company.

4. THE NEW YORKER DECLINED TO PRINT A CATCHER IN THE RYE EXCERPT.

A supply of Catcher in the Rye copies by author J.D. Salinger
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Despite having published stories in The New Yorker previously, Salinger was dismayed to discover that the magazine wasn’t very supportive of his novel debut. Getting an advance copy of the book in the hopes they would run an excerpt, editors said the book's characters were “unbelievable” and declined to run any of it.

5. HE DID GIVE ONE INTERVIEW ... TO A HIGH SCHOOL STUDENT.

Early on, it became apparent that Salinger wasn’t going to embrace whatever celebrity The Catcher in the Rye brought to his doorstep. He insisted that Little, Brown not run an author’s photo on the book’s dust jacket and turned down any opportunities to publicize it—with one exception. After moving to New Hampshire, Salinger agreed to give an interview to a local high school paper, The Claremont Daily Eagle. Salinger was later dismayed to find out an editor wound up putting it on the front page of the local paper. Annoyed and feeling betrayed, he put up a six-foot, six-inch tall fence around his property, further walling himself off from prying eyes.

6. HE DID WIND UP SELLING A MOVIE IDEA.

Although his most celebrated work has been kept offscreen, Salinger did have a brief courtship with Hollywood. In 1948, producer Darryl Zanuck purchased the rights to one of his short stories, “Uncle Wiggily in Connecticut.” Released as My Foolish Heart in 1949, it earned actress Susan Hayward an Oscar nomination (plus a second one for Best Original Song). Salinger reportedly hated it.

7. HE SUED HIS BIOGRAPHER.

Choosing a difficult subject to profile, author Ian Hamilton insisted on pursuing a biography of Salinger in the 1980s. Salinger was so peeved he sued Hamilton to prevent him from using excerpts of unpublished letters. A Supreme Court ruling gave him a victory, barring Hamilton from using the passages. Hamilton later wrote a book, 1988's In Search of J.D. Salinger, an account of his own legal dealings with Salinger.

8. HE PROBABLY DRANK HIS OWN PEE.

By Time Inc., illustration by Robert Vickrey. Time Magazine Archive - National Portrait Gallery Collection, Public Domain, Wikimedia Commons

Salinger’s reclusive habits made him easy prey for a litany of rumors, but some of his more intriguing habits were disclosed by his daughter, Margaret, in a memoir that described her father as speaking in tongues and occasionally sipping his own urine. That practice, called urophagia, is said to have health benefits, although no reputable studies have been able to demonstrate as much.

9. HE ALWAYS LOATHED THE IDEA OF A CATCHER IN THE RYE MOVIE.

With its persistent interior monologues, The Catcher in the Rye might be almost unfilmable—but that hasn’t stopped directors as revered as Billy Wilder and Steven Spielberg from trying. Throughout his life, Salinger famously rebuffed any attempt to purchase the rights to make a film from his book, but did leave open a small possibility that it could possibly happen after he died. “It pleasures me to no end, though,” he once wrote, “to know that I won’t have to see the results of the transaction.” (The Salinger estate has yet to disclose whether they would seek to prevent an adaptation.)

10. A CARTOONIST WON A RESIDENCY AT HIS HOUSE.

In late 2016, the Cornish Center for Cartoon Studies Residency Fellowship accepted applications for cartoonists who wished to live in a one-bedroom apartment above the garage of Salinger’s former residence in Cornish, New Hampshire. The fellowship was granted so the winner could have a place to focus and produce “exceptional work.” The CCS repeated the offer this year, with a guest due to move in on October 16. Harry Bliss, a cartoonist for The New Yorker, is the current owner of the property.

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How the Rise of Paperback Books Turned To Kill a Mockingbird Into a Literary Classic
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If you went to middle or high school in the U.S. in the last few decades, chances are you’ve read To Kill a Mockingbird, Harper Lee's now-classic novel (which was adapted into a now-classic film) about racial injustice in the South. Even if you grew up far-removed from Jim Crow laws, you probably still understand its significance; in 2006, British librarians voted it the one book every adult should read before they die. And yet the novel, while considered an instant success, wasn’t always destined for its immense fame, as we learned from the Vox video series Overrated. In fact, its status in the American literary canon has a lot to do with the format in which it was printed.

To Kill a Mockingbird came out in paperback at a time when literary houses were just starting to invest in the format. After its publication in 1960, To Kill a Mockingbird was reviewed favorably in The New York Times, but it wasn’t the bestselling novel that year. It was the evolution of paperbacks that helped put it into more hands.

Prior to the 1960s, paperbacks were often kind of trashy, and when literary novels were published in the format, they still featured what Vox calls “sexy covers,” like a softcover edition of The Great Gatsby that featured a shirtless Jay Gatsby on the cover. According to a 1961 article in The New York Times, back in the 1950s, paperbacks were described as “a showcase for the ‘three S’s—sex, sadism, and the smoking gun.’” But then, paperbacks came to schools.

The mass-market paperback for To Kill a Mockingbird came out in 1962. It was cheap, but had stellar credentials, which appealed to teachers. It was a popular, well-reviewed book that earned Lee the Pulitzer Prize. Suddenly, it was in virtually every school and, even half a century later, it still is.

Learn the whole story in the video below from Vox.

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