An Unfinished Woman: A Memoir

Winner of the National Book Award for best autobiography, An Unfinished Woman candidly chronicles the life of playwright Lillian Hellman, America's leading female dramatist. The majority of this memoir emphasizes Hellman's unique relationship with mystery writer, Dashiell Hammett. She also reflects on her housekeeper, Helen, who was a close friend, as well as her relationship with writer-humorist, Dorothy Parker. Hellman additionally tells us of her trials and tribulations with writers like Ernest Hemingway, F. Scott Fitzgerald, William Faulkner, Nathaniel West, and many others. Add to the mix her travels to Russia (twice) and her involvement in the Spanish Civil War --along with her `Hollywood' stories centered around Samuel Goldwyn and William Wyler -- and we get a delightful, lively, hard-nosed look back to an era when writers seemed to be the embodiment of intellectualism, style, and good sense. Throughout the memoir, Hellman comes across as having an iron-wit and a volatile temper. Her no-nonsense vitality and her passion for moral equity frequently conflicts with those around her. Hellman is most illuminating, though, when she allows us to see her vulnerability. Upon returning to Moscow after twenty-two years, she cries before she even gets off the plane. She writes, "I knew that I had taken a whole period of my life and thrown it somewhere, always intending to call for it again, but now that it came time to call, I couldn't remember where I had left it. Did other people do this, drop the past in a used car lot and leave for so long that one couldn't even remember the name of the road?" Possibly the best piece in the entire memoir is the chapter devoted to Dashiell Hammett, author of The Maltese Falcon and The Thin Man. Her on-again, off-again relationship with Hammett over thirty years reveals a fascinating homage to her "closest, most beloved friend." We are presented with the portrait of a man who was both complex and simple, and a relationship that was both tumultuous and inspiring. Several college text books carry this particular chapter as an example of prime autobiographical writing, and it's easy to see why. Hellman's trademark craftsmanship sculpts mishmash-memories into a compact, flowing character study of a remarkably interesting man. Although Hellman omits significant aspects of her life in An Unfinished Woman, her persecution during the McCarthy era can be found in Scoundrel Time, while details about her numerous plays can be found in Pentimento. Controversy still surrounds the accuracy of Lillian Hellman's memoirs (did she really fabricate autobiographical stories such as 'Julia'? -- included in Pentimento), yet the passages contained in an An Unfinished Woman are nevertheless dynamic and poignant. Hellman writes about issues that seem to obscure mere fact, and the "truth" she offers has a human commonality which goes beyond the boundaries of simple invention. It's important for those who fervently crit

Turns out much of what Lillian Hellman wrote in Pentimento was stolen from another person's life, but still, An Unfinished Woman, for which she won the National Book Award in 1969 (for autobiography) is quite a coup. Political activist, critic, and playwrite, Hellman cut a wide swath thru literary circles during her heyday in the 40s, 50s and 60s. This introspective collection of her journal entries and memories shines with her acerbic brilliance. Her circle of `friends' included just about all the famous people of her era: Fitzgerald, Hemingway, Dorothy Parker, Faulkner, and of course Dashiell Hammett, her lover, friend, and confidant. This is a personal account of a life lived as if there were no tomorrow, a nearly romantic rendering of the flavor of a special era in this country, and the documentation of feminine empowerment before the word had even been invented.

A life where no living is done is a life not worth living. Like O'Neil, Shaw, Williams and Isben, Lillian Hellman (1905-1984, scriptwriter, playwrite, social and political activist and critic) wrote some of the most enduring and thought-provoking drama for the theatre in the 20th century, and the above 'proverb' could very easily have been her epitaph. An Unfinished Woman (Winner of the 1969 National Book Award for biography/Autobiography), the first memoir in her autobiographical trilogy (the two others being Pentimento: A Book of Portraits and Scoundrel Time), showcases a woman who had a 'steel rod' for a spine, a woman of stark liberty who would not compromise her beliefs nor truckle in the presence of those political, military and literary higher-uppers (Hemmingway is a case-in-point) whom she encountered who expected a cowering reaction due to their 'clout.' But that was something she never offered, for as Lillian Hellman said of herself when asked the question, "What are you made of, Lily?" Her cool response was, "Pickling spice and nothing nice." This 'confession' of glued-together memories and eloquent journal entries shimmers with quiet, concentrated reflection and introspection. Each chapter gleams and flashes like a beacon, slowly proffering insights into not simply a remarkable life but a frozen portrait of a bygone era - a period of class, dignity, wisdom, self-learning, an endless stream of wonderful things that are presently no more. She hobnobbed with the best and brightest, luminaries like: F. Scott Fitzgerald, Ernest Hemmingway, William Faulkner, Dorothy Parker, John Hersey, Averell Harriman, and of course, above them all, her truelove and literary confidant, Dashiell Hammett. As a globe-trotting cultural attache' to Russia, France, Germany, and other European lands, she lived and saw intrigue with those of her like mind. She was on the front lines (or very close to them) during World War II. She witnessed bombed out villages and destroyed lives, all the emotional and physical calamities that the horrors of war can funnel forth, broadcasting them for all to hear and imbibe. She participated (with some trepidation) in the PEN (Poets, Playwrites, Essayists and Editors and Novelists) Center Conference, conversing with intellectuals on the pressing issues of the time, but her reluctance was most unequivocal, for intellectual chitchat can, and for her, did quickly evolve into a bombastic mess on hyperbolic, pretentious proportions. She saw B.S., and she saw truth, not hesitating in the least to speak her mind or to write about it. From her reminiscences of her New Orleans girlhood with her beloved caretaker Sophronia, to her shuffling to New York, to her failed marriage and her father's infidelity, Hellman's life only crescendos. With corrosive verve, 'salty' wit and profound insight, Lillian Hellman lets the past truly come alive. In the end, she showed one and all that she was an 'empowered' woman before many thought that could eve

Lillian Hellman is one of the most important American women writers and this, her memoir, is a literary feast--witty, poignant, brash, and cynical; but as Hellman once wrote, "Cynicism is an unpleasant way of saying the truth." I love her plays and I loved this book!--Diana Dell, compiler, Memorable Quotations: American Women Writers of the Past.

I bought this book after seeing a documentary on Lillian Hellman on PBS. PBS said that Lillian Hellman is the foremost female American playright and movie script writer. She was also sympathetic to or at least a devoted student of the communism of Marx and Engels. During the McArthy era she and her boyfriend, novelist Dashiell Hammett, were forced to testify before the Committee on Un-American Activities. But to focus on her communist sympathies would be a distraction from the rest of her remarkable life. Lillian does not. This memoir is a fascinating mix of travel essay, character portraits, and a biography of her unorthodox youth split between Louisianna and New York.The best written chapters are character portraits of her friends Dorothy Parker and Dashiel Hammett. It is here that you can understand her skills as a playright for she probes the actions of each person and seeks to explain why they behaved as they did. Let interesting a chapters where she just inserts portions of her diary in chronological order.As a Southernor I can understand the relation she had with Sophronia, the black woman who acted as her governess and parent's housekeeper. For in the South the lives of blacks and whites intertwine in a manner that non-Southerners would not understand. Sophronia untangled the problems in Lilians life long after she left the Hellman's employ. Parts of this memoir reads like Getrude Stein's "The Biography of Alice B. Toklas". There is much name dropping of Ernest Hemingway and F. Scott Fitzgerald. Like Hemingway, Lillian joined the fight against facism in Spain. But the Paris-based passages are not so memorable as those of Getrude Stein in part since these literary are art circles were not such a large part of Lillian's life. In fact she preferred the seclusion of her farm to life in the city.Far more noteworthy is Lillian's description of 6 months in the Soviet Union during World War II as a guest of the Soviet government. Lillian was envied by the regular press corps because she travelled to the front lines while they were restricted to their dreary hotel. After reading her memoirs, I doubt I will reads her plays. Since Lillian says hardly anything about them I haven't an idea what they are about. Rather I will continue to plow through the Great Books of the Western Canon--a lifelong pursuit for Lillian as well.