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Who2 Biography:

James Thurber

, Writer / Cartoonist
James Thurber
Source

  • Born: 8 December 1894
  • Birthplace: Columbus, Ohio
  • Died: 2 November 1961 (complications from a stroke)
  • Best Known As: Author of The Secret Life of Walter Mitty

James Thurber's witty short stories and lumpy cartoons were a popular mainstay of The New Yorker magazine in the 1930s and 1940s. A Midwestern boy with an urbane twist, Thurber mixed comical reminiscences of his Ohio childhood with wry observations on modern times and the battle of the sexes. (His best-known story is The Secret Life of Walter Mitty, the tale of a henpecked husband who escapes into heroic daydreams.) Thurber's funny, loopy, absurdist cartoons featured men, women, dogs and other strange animals. He was by turns hilarious and melancholy, and his darker nature seemed to come out in stories and cartoons about husbands and wives: the wives often domineering and sarcastic, the husbands harried or bitterly triumphant. Like Mark Twain, Thurber became increasingly morose in his last decade, although he continued to write until his death. His books include the spoof Is Sex Necessary? (1929, with E.B. White), the fanciful "autobiography" My Life and Hard Times (1933), the New Yorker memoir The Years With Ross (1959), and the short story collections The Middle-Aged Man on the Flying Trapeze (1935) and The Thurber Carnival (1933). He also wrote the 1950 children's book The Thirteen Clocks. With Elliot Nugent he wrote the play The Male Animal (published 1940).

Thurber's nickname was "Jamie"... He lost sight in one eye in while playing bows-and-arrows with his brothers in 1901; his other eye slowly failed, and by the 1950s he had become legally blind... Thurber died after collapsing from a blood clot on the brain; some sources list it as a brain tumor... Thurber was married to Althea Adams from 1922-35; they had one child, Rosemary, born in 1931. His second marriage, to Helen Wismer, lasted from 1935 until his death in 1961... The Thurber Carnival also has become a popular stage play.

 
 
Biography: James Grove Thurber

James Grove Thurber (1894-1961) was an American writer and artist. One of the most popular humorists of his time, Thurber celebrated in stories and in cartoons the comic frustrations of eccentric and statureless people.

Born in Columbus, Ohio, James Thurber attended Ohio State University - though he never took a degree - and worked for some years in Ohio as a journalist. He moved to New York in 1926. In 1927 he met writer E. B. White and was taken onto the staff of the New Yorker magazine. In collaboration with White he produced his first book, Is Sex Necessary? (1929). By 1931 his first cartoons began appearing in the New Yorker seals, sea lions, strange tigers, harried men, determined women, and, most of all, dogs. Thurber's dogs became something like a national comic institution, and they dotted the pages of a whole series of books. His book The Seal in the Bedroom appeared in 1932, followed in 1933 by My Life and Hard Times. He published The Middle-aged Man on the Flying Trapeze in 1935, and by 1937, when he published Let Your Mind Alone!, he had become so successful that he left his position on the New Yorker staff to free-lance and to travel abroad.

The Last Flower appeared in 1939; that year Thurber collaborated with White on a play, The Male Animal. The play was a hit when it opened in 1940. But this was also the year that Thurber was forced to undergo a series of eye operations for cataract and trachoma. His eyesight grew steadily worse until, in 1951, it was so weak that he did his last drawing. He spent the last decade of his life in blindness.

The last 20 years of Thurber's life were filled with material and professional success in spite of his handicap. He published at least 14 more books, including The Thurber Carnival (1945), Thurber Country (1953), and the extremely popular account of the life of the New Yorker editer Harold Ross, The Years with Ross (1959). A number of his stories were made into movies, including "The Secret Life of Walter Mitty" (1947).

Thurber's comic world was peopled by his curious animals, who watched in resignation as predatory women ran to ground apparently spineless men. But beneath their docile exteriors, Thurber's men dreamed of wild escape and epic adventure and, so, in their way won out in the battle of the sexes.

Further Reading

Robert E. Morsberger, James Thurber (1964), is useful for biographical facts, and Richard C. Tobias discusses Thurber's literary significance in The Art of James Thurber (1969). See also Edwin T. Bowden, James Thurber: A Bibliography (1968). For background see Walter Blair, Horse Sense in American Humor (1942), and Malcolm Cowley, The Literary Situation (1954).

 
Britannica Concise Encyclopedia: James Grover Thurber

(born Dec. 8, 1894, Columbus, Ohio, U.S. — died Nov. 2, 1961, New York, N.Y.) U.S. writer and cartoonist. He attended Ohio State University before moving to New York City in 1926. He was on The New Yorker staff from 1927 to 1933 and thereafter remained a leading contributor. His drawings illustrated his first book, Is Sex Necessary? (1929; with E.B. White), and his cartoons became some of the most popular and recognizable in America. In 1940 his failing eyesight forced him to curtail his drawing; by 1952 he had to give it up altogether as his blindness became nearly total. His writings include My Life and Hard Times (1933), Fables for Our Time (1940), and the children's book The 13 Clocks (1950). He is noted for his vision of the befuddled urban man who, like the hero of his short story "The Secret Life of Walter Mitty" (1939; film, 1946), escapes into fantasy.

For more information on James Grover Thurber, visit Britannica.com.

 
Fairy Tale Companion: James Thurber

Thurber, James (1894–1961), American writer and illustrator, moved to New York from Ohio in 1933 and became one of the great writers of humour for the New Yorker. Known for his irony and wit, Thurber produced the satirical ‘The Girl and the Wolf’, one of the most remarkable versions of ‘Little Red Riding Hood’, in his unique collection Fables for our Time (1940). Here the girl shoots the wolf with a revolver, and the story ends with a moral: ‘Little girls are not so easy to fool nowadays as they used to be.’ Although most of Thurber's ironic fables and sketches were intended for adults, he also wrote four charming fairy‐tale books for young readers: Many Moons (1943), The Great Quillow (1944), The White Deer (1945), and The Thirteen Clocks (1950). Of these books, Many Moons, in which a fragile princess uses great inner resources to overcome the forces of a castle that threatens to envelop her, is regarded as his best work. Thurber's gloomy view of humankind, however, is more dominant in his other fairy‐tale work, where his satire tends to subvert the traditional happy ending of his narratives.

Bibliography

  • Holmes, Charles, ‘James Thurber and the Art of Fantasy’, Yale Review, 55 (1965).
  • Long, Robert, James Thurber (1988).
  • Maharg, Ruth, ‘The Modern Fable: James Thurber's Social Criticisms’, Children's Literature Association Quarterly, 9 (1984).
  • Morsberger, Robert, James Thurber (1964).

— Jack Zipes

 
Columbia Encyclopedia: Thurber, James,
1894–1961, American humorist, b. Columbus, Ohio, studied at Ohio State Univ. After working on various newspapers he served on the staff of The New Yorker from 1927 to 1933 and was later a principal contributor to the magazine, considerably influencing its tone through his various drawings, stories, and anecdotes of his misadventures. Beneath the vague outlines of Thurber's cartoons and the wistful and ironic improbabilities of his writings—often dealing with incidents and characters from his Midwestern childhood or with the vexed relationship between the sexes—there is a deep psychological insight that sets him apart from most 20th-century humorists.

With E. B. White he wrote and illustrated Is Sex Necessary? (1929), a satire of books on popular psychoanalysis. The Male Animal (1940), a play he wrote with Elliott Nugent, satirizes collegiate life. Collections of his drawings and writings include The Owl in the Attic (1931), The Seal in the Bedroom (1932), My Life and Hard Times (1933), Fables for Our Time (1940), The Thurber Carnival (1945), Thurber Country (1953), Thurber's Dogs (1955), The Wonderful O (1957), and Credos and Curios (1962). Among his other works are The Thirteen Clocks (1950), a children's book, and The Years with Ross (1959), a memoir of his days with The New Yorker. Thurber's later career was hampered by his growing blindness.

Bibliography

See H. Thurber and E. Weeks, ed., Selected Letters of James Thurber (1981) and H. Kinney and R. A. Thurber, ed., The Thurber Letters (2003); biographies by C. S. Holmes (1972), B. Bernstein (1975, repr. 1985), R. E. Long (1988), N. A. Grauer (1994), and H. Kinney (1995).

 
Works: Works by James Thurber
(1894-1961)

1929Is Sex Necessary? or, Why You Feel the Way You Do. Both New Yorker writers' first publication is this spoof on popular pseudo-scientific guides and studies of sex delivered in a series of mock lectures, such as "The Nature of the American Male: A Study of Pedestalism" and "What Children Should Tell Their Parents."
1931The Owl in the Attic and Other Perplexities. The first in nearly annual collections of Thurber's humorous sketches, drawings, and reflections, taken mainly from The New Yorker. Subsequent volumes are The Seal in the Bedroom and Other Predicaments (1932), My Life and Hard Times (1933), and The Middle-Aged Man on the Flying Trapeze (1935).
1933My Life and Hard Times. Ernest Hemingway praises Thurber's witty recollections of the trials and tribulations in his life as "far superior to the autobiography of Henry Adams."
1935The Middle-Aged Man on the Flying Trapeze. A collection of humorous sketches previously printed in The New Yorker, including "If Grant Had Been Drinking at Appomattox" and "How to See a Bad Play."
1937Let Your Mind Alone! and Other More or Less Inspirational Pieces. The humorist takes satirical aim at inspirational books, popular psychology, intellectual critics, and the art of autobiography in this collection, most of which had previously appeared in The New Yorker.
1939The Last Flower. Inspired by the Spanish Civil War and the Nazi and Soviet invasion of Poland, Thurber presents a parable of the folly of war in which the only survivors of World War XII are a man, a woman, and a flower. From these three love emerges, leading to family, tribe, civilization, and inevitably, another war.
1940The Male Animal. In this comic satire about a Midwestern college dominated by football frenzy, a mild-mannered English professor is castigated for being a Red when he seems to defend the Italian anarchists Sacco and Vanzetti. Nugent was an actor, director, and producer whose other works are Kempy (1922) and Of Cheat and Charmer (1962).
1940Fables of Our Time, and Famous Poems Illustrated. Thurber provides a collection of witty fables in the manner of Aesop, such as "The Fairly Intelligent Fly" and "The Rabbits Who Caused All the Trouble." Further Fables for Our Time would appear in 1956.
1942My World--and Welcome to It. Essays, stories, and drawings that originally had appeared in The New Yorker. The book includes Thurber's most famous story, "The Secret Life of Walter Mitty."
1945The Thurber Carnival. Thurber's collection of previously published and new work includes two of his best stories--"The Catbird Seat" and "The Cane in the Corridor." It is the first of Thurber's books to attract a mass audience, selling 375,000 copies through the Book-of-the-Month Club alone.
1948The Beast in Me and Other Animals. These short pieces and drawings represent Thurber's reporting days, working on The New Yorker's "Talk of the Town" column.

 
Quotes By: James Thurber

Quotes:

"Early to rise and early to bed makes a male healthy and wealthy and dead."

"But what is all this fear of and opposition to Oblivion? What is the matter with the soft Darkness, the Dreamless Sleep?"

"Human Dignity has gleamed only now and then and here and there, in lonely splendor, throughout the ages, a hope of the better men, never an achievement of the majority."

"Discussion in America means dissent."

"My drawings have been described as pre-internationalist, meaning that they were finished before the ideas for them had occurred to me. I shall not argue the point."

"A drawing is always dragged down to the level of its caption."

See more famous quotes by James Thurber

 
Wikipedia: James Thurber
James Thurber

Born: December 8 1894(1894--)
Columbus, Ohio
Died: November 2 1961 (aged 66)
Occupation: humorist
Nationality: American
Writing period: 1929 to 1961
Genres: short stories, cartoons, essays
Subjects: humor, language

James Grover Thurber (December 8, 1894–November 2, 1961) was a U.S. humorist and cartoonist. Thurber was best known for his contributions (both cartoons and short stories) to The New Yorker magazine.

Biography

Thurber was born in Columbus, Ohio to Charles L. Thurber and Mary Agnes (Mame) Fisher Thurber. Both of his parents greatly influenced his work. His father, a sporadically employed clerk and minor politician who dreamed of being a lawyer or an actor, is said to have been the inspiration for the small, timid protagonist typical of many of his stories. Thurber describes his mother as a "born comedienne" and "one of the finest comic talents I think I have ever known." She was a practical joker, on one occasion pretending to be crippled and attending a faith healer revival, only to jump up and proclaim herself healed.

Thurber had two brothers, William and Robert. Once, while playing a game of William Tell, his brother William shot James in the eye with an arrow. Because of the lack of medical technology, Thurber lost his eye. This injury would later cause him to be almost entirely blind. During his childhood he was unable to participate in sports and activities because of his injury, and instead developed a creative imagination, which he shared in his writings.

From 1913 to 1918, Thurber attended The Ohio State University, where he was a member of the Phi Kappa Psi Fraternity. He never graduated from the University because his poor eyesight prevented him from taking a mandatory ROTC course. In 1995 he was posthumously awarded a degree.[1]

From 1918 to 1920, at the close of World War I, Thurber worked as a code clerk for the Department of State, first in Washington, D.C. and then at the American Embassy in Paris, France. After this Thurber returned to Columbus, where he began his writing career as a reporter for the Columbus Dispatch from 1921 to 1924. During part of this time, he reviewed current books, films, and plays in a weekly column called "Credos and Curios," a title that later would be given to a posthumous collection of his work. Thurber also returned to Paris in this period, where he wrote for the Chicago Tribune and other newspapers.

In 1925, he moved to Greenwich Village in New York City, getting a job as a reporter for the New York Evening Post. He joined the staff of The New Yorker in 1927 as an editor with the help of his friend and fellow New Yorker contributor, E.B. White. His career as a cartoonist began in 1930 when White found some of Thurber's drawings in a trash can and submitted them for publication. Thurber would contribute both his writings and his drawings to The New Yorker until the 1950s.

Thurber was married twice. In 1922, Thurber married Althea Adams. The marriage was troubled and ended in divorce in May, 1935. Adams gave Thurber his only child, his daughter Rosemary. Thurber remarried in June, 1935 to Helen Wismer. His second marriage lasted until he died in 1961, at the age of 66, due to complications from pneumonia, which followed upon a stroke suffered at his home. His last words, aside from the repeated word "God," were "God bless... God damn," according to Helen Thurber.[2]

Career

Thurber worked hard in the 1920s, both in the U.S. and in France, to establish himself as a professional writer. However, unique among major American literary figures, he became equally well known for his simple, surrealistic drawings and cartoons. Both his skills were helped along by the support of, and collaboration with, fellow New Yorker staff member E. B. White. White insisted that Thurber's sketches could stand on their own as artistic expressions — and Thurber would go on to draw six covers and numerous classic illustrations for the New Yorker.

While able to sketch out his cartoons in the usual fashion in the 1920s and 1930s, his failing eyesight later required him to draw them on very large sheets of paper using a thick black crayon (also, on black paper using white chalk, from which they were photographed and the colors reversed for publication). Regardless of method, his cartoons became as notable as his writings; they possessed an eerie, wobbly feel that seems to mirror Thurber's idiosyncratic view on life. He once wrote that people said it looked like he drew them under water. (Dorothy Parker, contemporary and friend of Thurber, referred to his cartoons as having the "semblance of unbaked cookies."). The last drawing Thurber was able to complete was a self-portrait in yellow crayon on black paper, which appeared on the cover of the July 9, 1951, edition of Time Magazine.[3] The same drawing also appeared on the dust jacket of The Thurber Album (1952).

Many of his short stories are humorous fictional memoirs from his life, but he also wrote darker material. "The Dog Who Bit People" and "The Night the Bed Fell" are his most well known short stories; they can be found in My Life and Hard Times, the creative mix of autobiography and fiction which was his 'break-out' book. Also notable, and often anthologized, are "The Secret Life of Walter Mitty," "The Catbird Seat," "A Couple of Hamburgers," "The Greatest Man in the World" and "If Grant Had Been Drinking at Appomattox," which can be found in The Thurber Carnival. The Middle Aged Man on the Flying Trapeze has several short stories with a tense undercurrent of marital discord. The book was published the year of his divorce and remarriage. His story "You Could Look It Up," about a midget being brought in to take a walk in a baseball game, is said to have been an inspiration for Bill Veeck's stunt with Eddie Gaedel with the St. Louis Browns in 1951. Veeck claimed an older provenance for the stunt, but was certainly aware of the Thurber story.[4]

In addition to his other fiction, Thurber wrote over seventy-five fables, most of which were collected in Fables for Our Time & Famous Poems Illustrated (1940) and Further Fables for Our Time (1956). These usually conformed to the fable genre to the extent that they were short, featured anthropomorphic animals as main characters, and ended with a moral as a tagline. An exception to this format was his most famous fable, "The Unicorn in the Garden," which featured an all-human cast except for the unicorn, which didn't speak. Thurber's fables were satirical in nature, and the morals served as punchlines rather than advice to the reader. His stories also included several book-length fairy tales, such as The White Deer (1945) and The Wonderful O (1957). The latter was one of several of Thurber's works illustrated by Marc Simont.

Thurber's prose for The New Yorker and other venues also included numerous humorous essays. A favorite subject, especially toward the end of his life, was the English language. Pieces on this subject included "The Spreading 'You Know'," which decried the overuse of that pair of words in conversation, "The New Vocabularianism," "What Do You Mean It Was Brillig?" and many others. Thurber's short pieces, whether stories, essays or something in between, were referred to as "casuals" by Thurber and the staff of The New Yorker.[5] Thurber wrote a biographical memoir about The New Yorker's founder and publisher, Harold Ross, titled The Years with Ross (1958).

Thurber teamed with college schoolmate (and actor/director) Elliot Nugent to write a major Broadway hit comic drama of the late 1930s, The Male Animal, which was made into a film in 1942, starring Henry Fonda, Olivia de Havilland, and Jack Carson. In 1947 Danny Kaye played the title character in The Secret Life of Walter Mitty, a film that had little to do with the original short story and which Thurber hated. In 1951 animation studio United Productions of America announced a forthcoming feature to be faithfully compiled from Thurber's work, titled Men, Women and Dogs.[6] However, the only part of the ambitious production that was eventually released was the UPA cartoon The Unicorn in the Garden (1953).[7]

Near the end of his life, in 1960, Thurber finally was able to fulfill his long-standing desire to be on the professional stage by playing himself in 88 performances of the revue A Thurber Carnival, based on a selection of Thurber's stories and cartoon captions. Thurber appeared in the sketch "File and Forget," dictating fictional correspondence to his publisher.[8] Thurber won a special Tony Award for the adapted script of the Carnival.

A network television show based on Thurber's writings and life entitled My World and Welcome to It was broadcast from 1969 to 1970, starring William Windom as the Thurber figure. Windom went on to perform Thurber's work in his one-man stage performances. The animation of Thurber's cartoons on this show led to the 1972 Jack Lemmon film The War Between Men and Women, which concludes with a fine animated rendering of Thurber's classic anti-war work "The Last Flower."

An annual award, the Thurber Prize, begun in 1997, honors outstanding examples of American humor.

Thurber's brain

The neuroscientist V.S. Ramachandran discusses the effect of damaged vision on Thurber's imagination in Phantoms in the Brain (cowritten with Sandra Blakeslee, 1998, ISBN 0-688-17217-2). He proposes that Thurber had Charles Bonnet syndrome, a mental condition which causes certain victims of eyesight damage to see highly vivid hallucinations. In his essay "The Admiral on the Wheel," Thurber reported seeing hallucinations, including a gay old lady with a grey parasol walking right through the side of a truck, and bridges rising lazily into the air, like balloons.

Proffered diagnoses from neurosurgeons aside, Thurber may have himself supplied the reasons for such sights in the essay itself. He opens it with: When the colored maid stepped on my glasses the other morning,... After describing these and other sights while en route to New Jersey, he then states: I suppose you have to have just the right proportion of sight to encounter such phenomena:... With three-fifths vision or better, I suppose ... the very gay old lady, a garbage man with a garbage can on his back, ... the floating bridges smoke from tugs, hanging in the air. ... The kingdom of the partly blind is a little like Oz, a little like Wonderland, a little like Poictesme. Anything you can think of, and a lot you never would think of, can happen there.

Quotations

  • "Why do you have to be a nonconformist like everybody else?"
  • "If I have any beliefs about immortality, it is that certain dogs I have known will go to heaven, and very, very few persons."
  • "Humor is emotional chaos remembered in tranquility."
  • "It is better to know some of the questions than all of the answers."
  • "You can fool too many of the people too much of the time."
  • "One martini is all right. Two are too many, and three are not enough."
  • "There is no safety in numbers, or in anything else."
  • "You might as well fall flat on your face as lean too far backward"
  • "Somebody has said that woman's place is in the wrong. That's fine. What the wrong needs is a woman's presence and a woman's touch. She is far better equipped than men to set it right." Thurber went on to clarify his conception of women by saying, "If I have sometimes seemed to make fun of Woman, I assure you it has only been for the purpose of egging her on."
  • "Let us not look back in anger, nor forward in fear, but around in awareness."
  • "All men should strive to learn before they die what they are running from, and to, and why."

Books

  • Is Sex Necessary? or, Why You Feel The Way You Do (spoof of sexual psychology manuals, with E. B. White), 1929, 75th anniv. edition (2004) with foreword by John Updike, ISBN 0-06-073314-4
  • The Owl in the Attic and Other Perplexities, 1931
  • The Seal in the Bedroom and Other Predicaments, 1932
  • My Life and Hard Times, 1933 ISBN 0-06-093308-9
  • The Middle-Aged Man on the Flying Trapeze, 1935
  • Let Your Mind Alone! and Other More Or Less Inspirational Pieces, 1937
  • The Last Flower, 1939
  • The Male Animal (stage play), 1939 (with Elliot Nugent)
  • Fables for Our Time and Famous Poems Illustrated, 1940 ISBN 0-06-090999-4
  • My World--and Welcome To It, 1942 ISBN 0-15-662344-7
  • Many Moons, (children) 1943
  • Men, Women, and Dogs, 1943
  • The Great Quillow, (children) 1944
  • The Thurber Carnival (anthology), 1945, ISBN 0-06-093287-2
  • The White Deer, (children) 1945
  • The Beast in Me and Other Animals, 1948 ISBN 0-15-610850-X
  • The 13 Clocks, (children) 1950
  • The Thurber Album, 1952
  • Thurber Country, 1953
  • Thurber's Dogs, 1955
  • Further Fables For Our Time, 1956
  • The Wonderful O, (children) 1957
  • Alarms and Diversions (anthology), 1957
  • The Years With Ross, 1959 ISBN 0-06-095971-1
  • A Thurber Carnival (stage play), 1960
  • Lanterns and Lances, 1961

Posthumous Collections:

  • Credos and Curios, 1962
  • Thurber & Company, 1966 (ed. Helen W. Thurber)
  • Selected Letters of James Thurber, 1981 (ed. Helen W. Thurber & Edward Weeks)
  • Collecting Himself: James Thurber on Writing and Writers, Humor and Himself, 1989 (ed. Michael J. Rosen)
  • Thurber On Crime, 1991 (ed. Robert Lopresti)
  • People Have More Fun Than Anybody: A Centennial Celebration of Drawings and Writings by James Thurber, 1994 (ed. Michael J. Rosen)
  • James Thurber: Writings and Drawings, 1996, (ed. Garrison Keillor), Library of America, ISBN 978-1-88301122-2
  • The Dog Department: James Thurber on Hounds, Scotties, and Talking Poodles, 2001 (ed. Michael J. Rosen)
  • The Thurber Letters, 2002 (ed. Harrison Kinney, with Rosemary A. Thurber)

Biographies of Thurber

  • Burton Bernstein Thurber (1975); William Morrow & Co (May, 1996) ISBN 0-688-14772-0
  • Thomas Fensch The Man Who Was Walter Mitty: The Life and Work of James Thurber (2001) ISBN 0-930-75113-2
  • Neil A. Grauer Remember Laughter: A Life of James Thurber (1994); University of Nebraska Press; Reprint edition (August, 1995) ISBN 0-8032-7056-9
  • Harrison Kinney James Thurber: His Life and Times (1995); Henry Holt & Co ISBN 0-8050-3966-X

Literature review

  • The Clocks Of Columbus: The Literary Career of James Thurber by Charles S. Holmes (1972). Atheneum ISBN 0689705743; Secker & Warburg, May 1973, ISBN 0-436-20080-5

External links

Wikiquote has a collection of quotations related to:

References

  1. ^ Thurber House. James Thurber: His Life & Times. Retrieved on 2007-10-14.
  2. ^ Bernstein, Burton (1975). Thurber. New York: Dodd, Mead & Company, pg 501. ISBN 0-396-07027-2. 
  3. ^ Time Magazine Cover: James Thurber - July 9, 1951. Time Archive: 1923 to the Present. Time Inc. (1951-07-09). Retrieved on 2007-01-31.
  4. ^ Veeck, Bill; Ed Linn (1962). "A Can of Beer, a Slice of Cake—and Thou, Eddie Gaedel," from Veeck — As In Wreck: The Autobiography of Bill Veeck. Chicago: The University of Chicago Press, pp 11-23. ISBN 0-226-85218-0. 
  5. ^ The Business of Being Funny. The New York Times. Time Inc. (1989-11-05). Retrieved on 2007-08-17.
  6. ^ Priceless Gift of Laughter. Time Archive: 1923 to the Present. Time Inc. (1951-07-09). Retrieved on 2007-01-31.
  7. ^ The Unicorn In The Garden. The Big Cartoon Database. Retrieved on 2007-01-31.
  8. ^ Bernstein, Burton (1975). Thurber. New York: Dodd, Mead & Company, pg 477. ISBN 0-396-07027-2. 
  • [1] Authors' Calendar
  • [2] Thurber house


Persondata
NAME Thurber, James Grover
ALTERNATIVE NAMES
SHORT DESCRIPTION American humorist
DATE OF BIRTH December 8 1894(1894--)
PLACE OF BIRTH Columbus, Ohio
DATE OF DEATH November 2 1961
PLACE OF DEATH New York City

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From Today's Highlights
March 29, 2005

I used to wake up at 4 A.M. and start sneezing, sometimes for five hours. I tried to find out what sort of allergy I had but finally came to the conclusion that it must be an allergy to consciousness.
- James Thurber

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