lCark Gable was born in Cadiz, Ohio to William Henry "Will" Gable, an oil-well driller,[2][3] and Adeline (née Hershelman). He was named "William" after his father, while "Clark" was the maiden name of his maternal grandmother. In childhood he was almost always called "Clark"; some friends called him "Clarkie", "Billy", or "Gabe".[4] He was mistakenly listed as a female on his birth certificate.

When he was six months old, his ill mother had him baptized Catholic. She died when he was ten months old,[citation needed] possibly from a brain tumor. Following her death, Gable's father's family refused to raise him as a Catholic, provoking enmity with his mother's side of the family. The dispute was resolved when his father's family agreed to allow Gable to spend time with his uncle, Charles Hershelman, and his wife on their farm in Vernon, Pennsylvania.

In April 1903, Gable's father married Jennie Dunlap, whose family came from the small neighboring town of Hopedale. Gable was a tall, shy child with a loud voice. After his father purchased some land and built a house, the new family settled in. Jennie played the piano and gave her stepson lessons at home; later he took up brass instruments. She raised Gable to be well-dressed and well-groomed; he stood out from the other kids. Gable was very mechanically inclined and loved to strip down and repair cars with his father. At thirteen, he was the only boy in the men's town band. Even though his father insisted on Gable doing "manly" things, like hunting and hard physical work, Gable loved language. Among trusted company, he would recite Shakespeare, particularly the sonnets. Will Gable did agree to buy a seventy-two volume set of The World's Greatest Literature to improve his son's education, but claimed he never saw his son use it.[5]

In 1917, when Gable was in high school, his father had financial difficulties. Will decided to settle his debts and try his hand at farming and the family moved to Ravenna, just outside of Akron. Gable had trouble settling down in the area. Despite his father's insistence that he work the farm, Gable soon left to work in Akron's B.F. Goodrich tire factory.[citation needed]

At seventeen, Gable was inspired to be an actor after seeing the play The Bird of Paradise, but he was not able to make a real start until he turned 21 and inherited some money. By then, his stepmother Jennie had died and his father moved to Tulsa to go back to the oil business. He toured in stock companies as well as working the oil fields and as a horse manager. Gable found work with several second-class theater companies and thus made his way across the Midwest to Portland, Oregon, where he then took work as a necktie salesman in the Meier & Frank department store. While there, he met Laura Hope Crews, a stage and film actress, who encouraged him to return to the stage and into another theater company. Many years later, Crews would play "Aunt Pittypat" in Gable's most famous film, Gone With the Wind (1939).

His acting coach was a theater manager in Portland named Josephine Dillon, who was 17 years his senior. She paid to have his teeth repaired and his hair styled. She guided him in building up his chronically undernourished body, and taught him better body control and posture. She spent considerable time training his naturally high-pitched voice, which Gable slowly managed to lower, and to gain better resonance and tone. As his speech habits improved, Gable's facial expressions became more natural and convincing. After the long period of rigorous training, Dillon eventually considered him ready to attempt a film career.[6]

Career

Stage and silent films

In 1924, with Dillon's financial aid, the two went to Hollywood, where she became his manager—and first wife. He changed his stage name from W. C. Gable to Clark Gable.[7] He found work as an extra in such silent films as Erich von Stroheim's The Merry Widow (1925), The Plastic Age (1925), which starred Clara Bow, and Forbidden Paradise, plus a series of two-reel comedies called The Pacemakers. He also appeared as a bit player in a series of shorts. However, Gable was not offered any major roles and so he returned to the stage. He became lifelong friends with Lionel Barrymore, who in spite of his bawling Gable out for amateurish acting initially, urged Gable to pursue a career on stage.[8] During the 1927-28 theater season, Gable acted with the Laskin Brothers Stock Company in Houston, where he played many roles, gained considerable experience and became a local matinee idol. Gable then moved to New York and Dillon sought work for him on Broadway. He received good reviews in Machinal; "He's young, vigorous and brutally masculine", wrote the critic at the Morning Telegraph.[9] The start of the Great Depression and the beginning of talking pictures caused a cancellation of many plays in the 1929-30 season and acting work became harder to get.

Early successes

In 1930, after his impressive appearance as the seething and desperate character Killer Mears in the Los Angeles stage production of The Last Mile, Gable was offered a contract with MGM. His first role in a sound picture was as the unshaven villain in a low-budget William Boyd western called The Painted Desert (1931). He received a lot of fan mail as a result of his powerful voice and appearance; the studio took notice. (Robert Mitchum had an identical experience when he played an unshaven villain in a Boyd cowboy film a decade later).

In 1930, Gable and Josephine Dillon were divorced. A few days later, he married Texas socialite Maria Franklin Prentiss Lucas Langham, nicknamed "Ria". After moving to California, they were married again in 1931, possibly due to differences in state legal requirements.

With Jean Harlow in The Secret Six

"His ears are too big and he looks like an ape", said Warner Bros. executive Darryl F. Zanuck about Clark Gable after testing him for the lead in Warner's gangster drama Little Caesar (1931).[10] The same year, in Night Nurse, Gable played a villainous chauffeur who was gradually starving two adorable little girls to death, then knocked Barbara Stanwyck's character unconscious with his fist, a supporting role originally slated for James Cagney until the release of The Public Enemy abruptly made Cagney a leading man. After several failed screen tests for Barrymore and Zanuck, Gable was signed in 1930 by MGM's Irving Thalberg. He became a client of well-connected agent Minna Wallis, sister of producer Hal Wallis and very close friend of Norma Shearer. Gable's timing in arriving in Hollywood was excellent, as MGM was looking to expand its stable of male stars and he fit the bill. Gable first worked mainly in supporting roles, often as the villain. He made two pictures in 1931 with Wallace Beery, a minor role in The Secret Six, then with his part increasing in size to almost match Beery's in the naval aviation film Hell Divers. MGM's publicity manager Howard Strickland developed Gable's studio image, playing up his he-man experiences and his 'lumberjack in evening clothes' persona.[citation needed]

To bolster his rocketing popularity, MGM frequently paired him with well-established female stars. Joan Crawford asked for him as her co-star in Dance, Fools, Dance (1931). He built his fame and public visibility in such movies as A Free Soul (1931), in which he played a gangster who shoved the character played by Norma Shearer (Gable never played a supporting role again). The Hollywood Reporter wrote "A star in the making has been made, one that, to our reckoning, will outdraw every other star... Never have we seen audiences work themselves into such enthusiasm as when Clark Gable walks on the screen".[11] He followed that with Susan Lenox (Her Fall and Rise) (1931) with Greta Garbo, and Possessed (1931), in which he and Crawford (then married to Douglas Fairbanks, Jr.) steamed up the screen. Adela Rogers St. John later dubbed Gable and Crawford's real-life relationship as "the affair that nearly burned Hollywood down".[12] Louis B. Mayer threatened to terminate both their contracts, and for a while they kept apart. Gable shifted his attentions to Marion Davies. On the other hand, Gable and Garbo disliked each other. She thought he was a wooden actor while he considered her a snob.

Rising star

With Claudette Colbert in It Happened One Night (1934)

Gable was considered for the role of Tarzan but lost out to Johnny Weissmuller's better physique and superior swimming prowess. However Gable's unshaven lovemaking with braless Jean Harlow in Red Dust (1932) soon made him MGM's most important male star. After the hit Hold Your Man (1933), MGM recognized the goldmine of the Gable-Harlow pairing, putting them in two more films, China Seas (1935; with Gable and Harlow billed above Wallace Beery) and Wife vs. Secretary (1936). An enormously popular combination, on-screen and off-screen, Gable and Jean Harlow made six films together, the most notable being Red Dust (1932) and Saratoga (1937). Harlow died during production of Saratoga. Ninety percent completed, the remaining scenes were filmed with long shots or the use of doubles like Mary Dees; Gable would say that he felt as if he was "in the arms of a ghost".[13]

According to legend, Gable was lent to Columbia Pictures, then considered a second-rate operation, as punishment for refusing roles; however, this has been refuted by more recent biographies. MGM did not have a project ready for Gable and was paying him $2000 per week, under his contract, to do nothing. Studio head Louis B. Mayer lent him to Columbia for $2500 per week, making a $500 per week profit.[4]

Gable was not the first choice to play the lead role of Peter Warne in It Happened One Night (1934). Robert Montgomery was originally offered the role, but he felt that the script was poor.[14] Filming began in a tense atmosphere,[4] but both Gable and Frank Capra enjoyed making the movie, although Colbert reportedly did not. Gable and Colbert won the Academy Award for Best Actor and Best Actress for their performances in the film and the movie itself won the Academy Award for Best Picture. He returned to MGM a bigger star than ever.[15]

As Fletcher Christian in the trailer for Mutiny on the Bounty (1935)

The unpublished memoirs of animator Friz Freleng mention that this was one of his favorite films. It has been claimed that it helped inspire the cartoon character Bugs Bunny. Four things in the film may have coalesced to create Bugs: the personality of a minor character, Oscar Shapely and his penchant for referring to Gable's character as "Doc", an imaginary character named "Bugs Dooley" that Gable's character uses to frighten Shapely, and most of all, a scene in which Clark Gable eats carrots while talking quickly with his mouth full, as Bugs does.[16]

Gable also earned an Academy Award nomination when he portrayed Fletcher Christian in 1935's Mutiny on the Bounty.

Gone with the Wind

Despite his reluctance to play the role, Gable is best known for his performance in Gone with the Wind (1939), which earned him an Academy Award nomination for Best Actor. Carole Lombard may have been the first to suggest that he play Rhett Butler (and she play Scarlett) when she bought him a copy of the bestseller, which he refused to read.[17]

As Rhett Butler in the trailer for Gone with the Wind (1939)

Butler's last line in Gone with the Wind, "Frankly, my dear, I don't give a damn", is one of the most famous lines in movie industry history.[18]

William Clark Gable (February 1, 1901 – November 16, 1960), known as Clark Gable, was an American film actor most famous for his role as Rhett Butler in the 1939 Civil War epic film Gone with the Wind, in which he starred with Vivien Leigh. His performance earned him his third nomination for the Academy Award for Best Actor; he won for It Happened One Night (1934) and was also nominated for Mutiny on the Bounty (1935). Later movies included Run Silent, Run Deep, a submarine war film, and his final film, The Misfits (1961), which paired Gable with Marilyn Monroe, also in her last screen appearance. In 1999, the American Film Institute named Gable seventh among the greatest male stars of all time.[1] He was nick-named 'The King of Hollywood.'

Gable appeared opposite some of the most popular actresses of the time.


Joan Crawford, who was his favorite actress to work with,[2] was partnered with Gable in eight films,

Myrna Loy worked with him seven times, and he was paired with Jean Harlow in six productions.


He also starred with Lana Turner in four features, and with Norma Shearer and Ava Gardner in three each.

In the mid-1930s, Gable was often named the top male movie star, and second only to the top box-office draw of all, Shirley Temple.

Gone with the Wind is a 1939 American historical epic film adapted from Margaret Mitchell's Pulitzer-winning 1936 novel of the same name. It was produced by David O. Selznick and directed by Victor Fleming from a screenplay by Sidney Howard. Set in the 19th-century American South, the film stars Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland, and Hattie McDaniel, among others, and tells a story of the American Civil War and Reconstruction era from a white Southern point of view.

The film received ten Academy Awards (eight competitive, two honorary), a record that stood for 20 years[1] until Ben-Hur surpassed it in 1960.[2] In the American Film Institute's inaugural Top 100 Best American Films of All Time list of 1998, it was ranked fourth, and in 1989 was selected to be preserved by the National Film Registry.[3] The film was the longest American sound film made up to that time – 3 hours 44 minutes, plus a 15-minute intermission – and was among the first of the major films shot in color (Technicolor), winning the first Academy Award for Best Cinematography in the category for color films. It became the highest-grossing film of all-time shortly after its release, holding the position until 1966. After adjusting for inflation, it has still earned more than any other film in box office history.





The picture on my book case is from Micheal Welch my brother to me . Gone With The Wind my favorite book and movie . I brought Terri M undo to see it used only play at the shows every few years released . My grandmother Elvyn brought me to the show when I was 3 or 4 to see with her . I all way remember that .


Her favorite movie . That her favorite star Clark Gable ! Mine The BOOK ! And Capt-ins and Kings by Taylor Caldwell my favorite writer

Die in a plane crash raising money bonds for the US GOV Carole Lombert from Illinois

Marriage to Carole Lombard

With Carole Lombard after their honeymoon, 1939

Gable's marriage in 1939 to his third wife, actress Carole Lombard (1908–1942), was the happiest period of his personal life. He was involved in a bar fight around this time and lost. As an independent actress, her annual income exceeded his studio salary until Gone with the Wind brought them to rough parity.[29] From their marriage, she gained personal stability that she had lacked, and he thrived being around her with her youthful, charming, and frank personality. Lombard went hunting and fishing with Gable, and he became more sociable around her. Most of the time, she tolerated his philandering ways. He one or more times stated, "You can trust that little screwball with your life or your hopes or your weaknesses, and she wouldn't even know how to think about letting you down."[30] The Gables purchased a ranch at Encino, California, and once Gable had become accustomed to Lombard's often blunt way of expressing herself, they found that they had much in common, despite Gable being a conservative Republican and Lombard a liberal Democrat. Their efforts to have a baby were unsuccessful. Lombard got pregnant once in 1940, but she suffered a miscarriage.

On January 16, 1942, Lombard was a passenger on Trans-World Airlines Flight 3. She had just finished her 57th movie, To Be or Not to Be, and was on her way home from a successful war bond selling tour when the flight's DC-3 airliner crashed into a mountain near Las Vegas, Nevada, killing all aboard, including Lombard, her mother, and her MGM staff publicist Otto Winkler (who had been the best man at Gable's wedding to Lombard). Gable flew to the crash site, and he saw the forest fire that had been ignited by the burning airliner. Lombard was declared to be the first war-related American female casualty of World War II, and Gable received a personal condolence note from President Roosevelt. The Civil Aeronautics Board investigation into the crash concluded that "pilot error" was its cause.[31]

Gable returned to his and Lombard's empty house, and a month later, he returned to the studio to work with Lana Turner in the movie, Somewhere I'll Find You. Gable was devastated by the tragic death of his wife for many months afterwards, and he began to drink heavily, but carried out his performances professionally on the movie sets. Gable was seen to break down for the first time in public when Lombard's funeral request note was given to him. He resided for the rest of his life at the home in Encino which he and Lombard had purchased. He acted in twenty-seven more movies, and re-married two more times. "But he was never the same", said Esther Williams. "His heart sank a bit."[32]

[edit] World War II

Clark Gable with 8th AF B-17 in Britain, 1943
For details of Gable's combat missions, see RAF Polebrook

In 1942, following Lombard's death, Gable joined the U.S. Army Air Corps. Lombard had suggested that Gable enlist as part of the war effort, but MGM was reluctant to let him go, and he resisted the suggestion. Gable made a public statement after Lombard's death that prompted Commanding General of the Army Air Forces Henry H. Arnold to offer Gable a "special assignment" in aerial gunnery. Gable had earlier expressed an interest in officer candidate school (OCS), but he enlisted on August 12, 1942, with the intention of becoming an enlisted gunner on an air crew. MGM arranged for his studio friend, cinematographer Andrew McIntyre, to enlist with and accompany him through training.[33]

However, shortly after his enlistment, he and McIntyre were sent to Miami Beach, Florida, where they entered USAAF OCS Class 42-E on August 17, 1942. Both completed training on October 28, 1942, c

Tara Vivian Leigh Bio -Polar Disorder died very ill



Tara

Brian The Bar Priest
King OF Kings






( See Captain and Kings not nice to MM see Maryland , Navy

It was the Winner of 10 Academy Awards. (8 regular, 1 honorary, 1 technical).[49]

Award Result Winner
Best Picture Won Selznick International Pictures (David O. Selznick, Producer)
Best Director Won Victor Fleming
Best Actor Nominated Clark Gable
Winner was Robert Donat – Goodbye, Mr. Chips
Best Actress Won Vivien Leigh
Best Adapted Screenplay Won Sidney Howard
Awarded posthumously
Best Supporting Actress Won Hattie McDaniel
Received a miniature "Oscar" statuette on a plaque
Best Supporting Actress Nominated Olivia de Havilland
Winner was Hattie McDaniel
Best Cinematography, Color Won Ernest Haller and Ray Rennahan
This received the "Oscar" statuette
Best Film Editing Won Hal C. Kern and James E. Newcom
Received a miniature "Oscar" statuette on a plaque, replaced with a regular statuette in 1962
Best Art Direction Won Lyle Wheeler
Best Visual Effects Nominated Fred Albin (Sound), Jack Cosgrove (Photographic), and Arthur Johns (Sound)
Winners were Fred Sersen (Photographic) and E. H. Hansen (Sound) – The Rains Came
Best Music, Original Score Nominated Max Steiner
Winner was Herbert Stothart – The Wizard of Oz
Best Sound Recording Nominated Thomas T. Moulton (Samuel Goldwyn Studio Sound Department)
Winner was Bernard B. Brown (Universal Studio Sound Department) – When Tomorrow Comes
Award Recipient
Irving G. Thalberg Award David O. Selznick
For his career achievements as a producer.
Honorary Award William Cameron Menzies (Miniature "Oscar" statuette on a plaque)[50]
For outstanding achievement in the use of color for the enhancement of dramatic mood in the production of Gone with the Wind.
Technical Achievement Award Don Musgrave and Selznick International Pictures (Certificate)
For pioneering in the use of coordinated equipment in the production Gone with the Wind.


American Film Institute Lists


Thursday, October 11, 2012

Main characters

I made up Tara, just as I made up every character in the book. But nobody will believe me.
—Margaret Mitchell[73]
  • Katie Scarlett (O'Hara) Hamilton Kennedy Butler: The protagonist of the novel, Scarlett's forthright Irish blood is always at variance with the French teachings of style from her mother, Ellen O'Hara. Scarlett marries Charles Hamilton, Frank Kennedy, and Rhett Butler, all the time wishing she is married to Ashley Wilkes instead. She has three children, one from each husband: Wade Hampton Hamilton (son to Charles Hamilton), Ella Lorena Kennedy (daughter to Frank Kennedy) and Eugenie Victoria "Bonnie Blue" Butler (daughter to Rhett Butler). She miscarries a fourth child, the only one she wanted, during a quarrel with Rhett when she accidentally falls down the stairs.[23] Scarlett is secretly scornful of Melanie Wilkes,[7] wife to Ashley, who shows nothing but love and devotion towards Scarlett, and considers her a sister throughout her life because Scarlett married Melanie's brother Charles.[12] Scarlett is unaware of the extent of Rhett's love for her or that she might love him.[64]
  • Captain Rhett K. Butler: Scarlett's admirer and third husband, Rhett is often publicly shunned for his scandalous behavior[10] and sometimes accepted for his charm. Rhett declares he is not a marrying man and propositions Scarlett to be his mistress,[74] but marries her after the death of Frank Kennedy, explaining that he won't take a chance on losing her to someone else, since it is unlikely she will ever need money again after Frank's death.[19] At the end of the novel, Rhett confesses to Scarlett, "I loved you but I couldn't let you know it. You're so brutal to those who love you, Scarlett."[26]
  • Major George Ashley Wilkes: The gallant Ashley married his cousin, Melanie, because "Like must marry like or there'll be no happiness."[10] A man of honor, Ashley became a soldier in grey in the Confederate States Army though he says he would have freed his slaves after his father's death, if the war hadn't done it first.[24] Although many of his friends and relations were killed in the Civil War, Ashley survived to see its brutal aftermath. Ashley was "the Perfect Knight"[75] in the mind of Scarlett, even throughout her three marriages. "She loved him and wanted him and did not understand him."[76]
  • Melanie (Hamilton) Wilkes: Ashley's wife and cousin, Melanie is a genuinely humble, serene and gracious Southern woman.[55] As the story unfolds, Melanie becomes progressively physically weaker, first by childbirth, then "the hard work she had done at Tara,"[55] and she ultimately dies after a miscarriage.[77] As Rhett Butler said, "She never had any strength. She's never had anything but heart."[77]

[edit] Minor characters

  • Archie: An ex-convict and former Confederate soldier who is imprisoned for the murder of his adulterous wife, he is taken in by Melanie and then later became Scarlett's coach driver.[18]
  • Will Benteen: "South Georgia Cracker,"[78] Confederate soldier and patient listener to the troubles of all. Will lost part of his leg in the war and walks with the aid of a wooden stump. He is taken in by the O'Haras on his journey home from the war and after his recovery stays on to manage the farm at Tara.[78] Fond of Carreen O'Hara, he cannot pursue that relationship as she decides to enter a convent.[79] Not wanting to leave Tara, the land he has come to love, he later marries Suellen and has at least one child with her.[55]
  • Eugenie Victoria "Bonnie Blue" Butler: Scarlett and Rhett's beloved, pretty, strong-willed daughter, as Irish in looks and temper as Gerald O'Hara, with the same blue eyes.[20]
  • Calvert Children: Raiford, Cade and Cathleen: The O'Haras' County neighbors from another plantation. Cathleen Calvert was young Scarlett's friend.[80]
  • Dilcey: Pork's wife, a slave woman of mixed Indian and African descent.[81] Scarlett pushes her father into buying Dilcey and her daughter Prissy from John Wilkes, the latter as a favor to Dilcey that she never forgets.[76]
  • Fontaine Boys: Joe, Tony and Alex: are known for their hot tempers. Joe is killed at Gettysburg,[54] while Tony eventually murders Jonas Wilkerson in a barroom and flees to Texas, leaving Alex to tend to their plantation lands.[82]
  • Charles Hamilton: Melanie Wilkes' brother and Scarlett's first husband, Charles is a shy and loving boy.[10]
  • Aunt Pittypat Hamilton: Her real name is Sarah Jane Hamilton, but she acquired the nickname "Pittypat" in childhood because of the way she walked on her tiny feet. Aunt Pittypat is a spinster who lives in the red-brick house at the quiet end of Peachtree Street in Atlanta. The house is half-owned by Scarlett (after the death of Charles Hamilton). Pittypat's financial affairs are managed by her brother, Henry, whom she doesn't especially care for. Aunt Pittypat raised Melanie and Charles Hamilton after the death of their father, with considerable help from her slave, Uncle Peter.[83]
  • Wade Hampton Hamilton: Son of Scarlett and Charles, born in early 1862. He was named for his father's commanding officer, Wade Hampton III.
  • Ella Lorena Kennedy: Homely, simple daughter of Scarlett and Frank.[18]
  • Frank Kennedy: Suellen O'Hara's former fiancé and Scarlett's second husband, Frank is an unattractive older man. He originally asks for Suellen's hand in marriage, but Scarlett steals him for herself in order to have enough money to pay the taxes on Tara.[84] Frank is unable to comprehend Scarlett's fears and her desperate struggle for survival after the war. He is unwilling to be as ruthless in business as Scarlett would like him to be.[84] Unknown to Scarlett, Frank is secretly involved in the Ku Klux Klan. He is "shot through the head",[85] according to Rhett Butler, while attempting to defend Scarlett's honor after she is attacked.
  • Mammy: Scarlett's nurse from birth, Mammy is a slave who originally belonged to Scarlett's grandmother, and raised her mother, Ellen O'Hara.[76] Mammy is "head woman of the plantation".[80]
  • Dr. Meade: A doctor in Atlanta, he looks after injured soldiers during the siege, with assistance from Melanie and Scarlett.[86] His two sons are killed in the war; the older Darcy at Gettysburg,[54] and the younger Phil as a member of the Confederate Home Guard during the Battle of Atlanta.[86]
  • Mrs. Merriwether: is in Aunt Pittypat's social circle along with Mrs. Elsing and Mrs. Meade.[83] Post-war she sells homemade pies to survive, eventually opening her own bakery.[55]
  • Caroline Irene ("Carreen") O'Hara: Scarlett's youngest sister, who also became sickened by typhoid during the Battle of Atlanta.[74] She is infatuated with the rowdy red-headed Brent Tarleton, who is killed in the war after becoming engaged to her. Broken-hearted by Brent's death, Carreen never truly gets over it and years later joins a convent.[79]
  • Ellen (Robillard) O'Hara: Scarlett's gracious mother of French ancestry, Ellen married Gerald O'Hara, who was 28 years her senior, after her true love, Phillipe Robillard, was killed in a bar fight. Ellen ran all aspects of the household and nursed negro slaves as well as poor white trash.[87] She dies from typhoid in August 1864 after nursing Emmie Slattery.[7]
  • Gerald O'Hara: Scarlett's Irish father and an excellent horseman,[76] Gerald is sometimes seen leaping fences on his horse while intoxicated, which eventually leads to his death.[79] Gerald's mind becomes addled after the death of his wife, Ellen.[88]
  • Susan Elinor ("Suellen") O'Hara: Scarlett's middle sister, who became sickened by typhoid during the Battle of Atlanta.[74] After the war, Scarlett steals and marries her beau, Frank Kennedy.[17] Later, Suellen marries Will Benteen and has at least one child with him.[55]
  • O'Hara Boys: Three boys of Ellen and Gerald O'Hara who died in infancy and are buried 100 yards from the house at Tara under twisted cedars. The headstone of each boy is inscribed "Gerald O'Hara, Jr."[87]
  • Uncle Peter: an older man and slave. Uncle Peter is Aunt Pittypat's coach driver. He always keeps her smelling salts handy. Uncle Peter looked after Melanie and Charles Hamilton when they were young.[83]
  • Pork: Gerald O'Hara's valet and the first slave he owned. Pork was won in a game of poker (as was the plantation Tara, in a separate poker game).[87] When Gerald died, Scarlett gave his pocket watch to Pork. She wanted to have the watch engraved with the words, "To Pork from the O'Hara's—Well done good and faithful servant,"[55] but Pork declined the offer.
  • Prissy: A child slave girl, Dilcey's daughter.[81] Prissy is given to Scarlett as a handmaid when Scarlett goes to Atlanta to live with Aunt Pittypat.[12]
  • Eulalie and Pauline Robillard: The married sisters of Ellen O'Hara who live in Charleston.[12]
  • Philippe Robillard: The cousin of Ellen O'Hara and her first love. Philippe died in a bar fight in New Orleans around 1844.[76]
  • Pierre Robillard: The father of Ellen O'Hara. He was staunchly Presbyterian, even though his family was Roman Catholic. The thought of his daughter becoming a nun was even worse than that of her marrying Gerald O'Hara.[87]
  • Big Sam: A strong, husky, hardworking field slave who in post-war lawlessness comes to Scarlett's rescue from would-be merciless thieves.[89]
  • Emmie Slattery: The daughter of Tom Slattery, Emmie was poor white trash whose family lived on three meager acres along the swamp bottoms.[87] Emmie gave birth to an illegitimate child fathered by Jonas Wilkerson, a Yankee and the overseer at Tara.[81] The child died. Emmie later married Jonas, and after the war, flush with carpetbagger cash, they try to buy Tara, but Scarlett is insulted and refuses the offer.[90]
  • Beatrice Tarleton: was a busy woman, having on her hands not only a large cotton plantation, a hundred negroes and eight children, but the largest horse-breeding farm in Georgia. She was hot-tempered. No one was permitted to whip a horse or a slave, but she felt that a lick every now and then did her boys no harm.[11]
  • Tarleton Boys: Boyd, Tom, and the twins, Brent and Stuart: The red-headed Tarleton boys were in frequent scrapes, loved practical jokes and gossip, and "were worse than the plagues of Egypt,"[11] according to their mother. Mrs. Tarleton laid her riding crop on their backs if the occasion seem warranted, though Boyd, the oldest and the runt, never got hit much. The inseparable twins, Brent and Stuart, at 19 years old were six feet two inches tall.[11] All four boys were killed in the war, the twins just moments apart at the Battle of Gettysburg.[91] Boyd was buried in Virginia, but only God knew where.[54]
  • Tarleton Girls: Hetty, Camilla, 'Randa and Betsy: The stunning Tarleton girls have varying shades of red hair.[80]
  • Belle Watling: A prostitute[61] and brothel madam,[82] Belle is portrayed as a loyal Confederate.[61] Melanie declares she will acknowledge Belle when she passes her in the street, but Belle tells her not to.[85]
  • Jonas Wilkerson: The Yankee overseer of Tara before the Civil War.[81]
  • Beauregard Wilkes: Melanie and Ashley's son. Born in Atlanta when the siege begins, and then hastily transported to Tara after birth.[92]
  • Honey Wilkes: Sister of India and Ashley Wilkes, Honey is described as having the "odd lashless look of a rabbit."[10] Honey is so called because she indiscriminately addresses everyone, from her father to the field hands, by that endearment.[80]
  • India Wilkes: Sister of Honey and Ashley Wilkes. India is plain.[11]
  • John Wilkes: Owner of "Twelve Oaks" and patriarch of the Wilkes family, John Wilkes is educated, gracious and loving.[10] He is killed during the Battle of Atlanta.[74]

[edit] Themes

[edit] Survival

If Gone With the Wind has a theme it is that of survival. What makes some people come through catastrophes and others, apparently just as able, strong, and brave, go under? It happens in every upheaval. Some people survive; others don't. What qualities are in those who fight their way through triumphantly that are lacking in those that go under? I only know that survivors used to call that quality 'gumption.' So I wrote about people who had gumption and people who didn't.
Scarlett and Rhett are survivors because they adapt to the changes brought about by the war and Reconstruction.

[edit] Love and honor

Scarlett fails to understand what love is until the novel's end.

[edit] War and its scars

Gone with the Wind expresses the true horrors of war.

[edit] Color symbolism

Color Associated with... Symbolizes Symbolic meaning
Red Scarlett Fire
  • Elemental ("you are as elemental as fire and wind and wild things")[10]
Green Tara Land
  • Mother ("the land is like a mother"),[76]
  • Strength ("she's like the giant Antaeus who became stronger each time he touched Mother Earth")[24]

[edit] Reception

[edit] Reviews

The sales of Margaret Mitchell's novel in the summer of 1936, at the virtually unprecedented price of three dollars, reached about one million by the end of December.[28] The book was a best-seller by the time reviews began to appear in national magazines.[3]
Herschel Brickell, a critic for the New York Evening Post, lauded Mitchell for the way she, "tosses out the window all the thousands of technical tricks our novelists have been playing with for the past twenty years."[94]
Ralph Thompson, a book reviewer for The New York Times, was critical of the length of the novel, and wrote in June 1936:
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.[95]

[edit] Criticisms for racial issues

One criticism leveled at Gone with the Wind is for its portrayal of African Americans in the 19th century South.[96] For example, former field hands (during the early days of Reconstruction) are described behaving "as creatures of small intelligence might naturally be expected to do. Like monkeys or small children turned loose among treasured objects whose value is beyond their comprehension, they ran wild—either from perverse pleasure in destruction or simply because of their ignorance."[82]
It has also been argued that Mitchell downplayed the violent role of the Ku Klux Klan. Bestselling author Pat Conroy, in his preface to the novel, describes Mitchell's portrayal of the Ku Klux Klan as having "the same romanticized role it had in The Birth of a Nation and appears to be a benign combination of the Elks Club and a men's equestrian society."[97]
Regarding the historical inaccuracies of the novel, historian Richard N. Current points out:
No doubt it is indeed unfortunate that Gone with the Wind perpetuates many myths about Reconstruction, particularly with respect to blacks. Margaret Mitchell did not originate them and a young novelist can scarcely be faulted for not knowing what the majority of mature, professional historians did not know until many years later.[98]
In Gone with the Wind, Mitchell is blind to racial oppression and "the inseparability of race and gender" that defines the southern belle character of Scarlett.[99]

[edit] Awards and recognition

In 1937, Margaret Mitchell received the Pulitzer Prize for Fiction for Gone with the Wind and the second annual National Book Award from the American Booksellers Association.[100] It is the second favorite book by American readers, just behind the Bible, according to a 2008 Harris Poll.[101] The poll found the novel has its strongest following among women, those aged 44 or more, both Southerners and Midwesterners, both whites and Hispanics, and those who have not attended college. The novel is on the list of best-selling books. As of 2010, more than 30 million copies have been printed in the United States and abroad.[102] TIME magazine critics, Lev Grossman and Richard Lacayo, included the novel on their list of the 100 best English-Language novels from 1923 to the present (2005).[103][104]
On June 30, 1986, the 50th anniversary of the day Gone with the Wind went on sale, the U.S. Post Office issued a 1-cent stamp showing an image of Margaret Mitchell. The stamp was designed by Ronald Adair and was part of the U.S. Postal Service's Great Americans series.[105]
On September 10, 1998, the U.S. Post Office issued a 32-cents stamp as part of its Celebrate the Century series recalling various important events in the 20th century. The stamp, designed by Howard Paine, displays the book with its original dust jacket, a white Magnolia blossom, and a hilt placed against a background of green velvet.[105]
To commemorate the 75th anniversary (May 2011) of the publication of Gone with the Wind in 1936, Scribner published a paperback edition featuring the book's original jacket art.[106]

[edit] Adaptations

Gone with the Wind has been adapted several times for stage and screen. The novel is the basis of the Academy Award–winning 1939 film starring Clark Gable and Vivien Leigh. On the U.S. stage the book has been adapted into two musical versions, Scarlett and Gone with the Wind. The Japanese Takarazuka Revue produced a musical adaptation of the novel. There has also been a French musical adaptation by Gérard Presgurvic, Autant en Emporte le Vent.[107] A full length three act classical ballet version with a score arranged from the works of Antonín Dvořák and choreographed by Lilla Pártay was premiered in 2007 by the Hungarian National Ballet, and will be revived in their 2013 season.[108]

[edit] In modern culture

"The Curtain Dress", from the Carol Burnett Show worn in the Gone with the Wind (film) parody, "Went with the Wind" (1976). Burnett, as "Starlett", descends a long staircase wearing a green curtain complete with hanging rod. The outfit, designed by Bob Mackie, is now on display at the Smithsonian Institution.[109]
Gone with the Wind has appeared in many places and forms in modern culture. It is the book that S. E. Hinton's runaway teenage characters, "Ponyboy" and "Johnny", read while hiding from the law in the young adult novel about lost innocence, The Outsiders (1967).[110] MAD magazine created a movie satire, "Groan With the Wind" (1991), in which Ashley Wilkes was renamed "Ashtray".[111][112] A pictorial parody in which the the slaves are white and the protagonists are black appeared in a 1995 issue of Vanity Fair titled, "Scarlett 'n the Hood".[113] In a MADtv comedy sketch (2007),[114] "Slave Girl #8" introduces three alternate endings to the film. In one ending, Scarlett pursues Rhett wearing a jet pack.[115]

[edit] Legacy

One enduring legacy of Gone with the Wind is that people worldwide would think it was the "true story" of the Old South and how it was changed by the American Civil War and Reconstruction. The film adaptation of the novel "amplified this effect".[116] The plantation legend was "burned" into the mind of the public through Mitchell's vivid prose.[117]
Some readers of the novel have seen the movie first and read the text of the novel through the film. One difference between the film and the novel is the staircase scene in which Rhett carries Scarlett up the stairs. In the film, Scarlett weakly struggles and does not scream as Rhett starts up the stairs. In the novel, "he hurt her and she cried out, muffled, frightened".[22][72]
Earlier in the novel, in an intended rape at Shantytown (Chapter 44), Scarlett is attacked by a black man and saved by another black man, Big Sam.[65] In the film, she is attacked by a white man.
The Library of Congress began a multiyear "Celebration of the Book" in July 2012 with an exhibition on "Books That Shaped America", and an initial list of 88 books by American authors that have influenced American lives. Librarian of Congress, James H. Billington said:
This list is a starting point. It is not a register of the 'best' American books – although many of them fit that description. Rather, the list is intended to spark a national conversation on books written by Americans that have influenced our lives, whether they appear on this initial list or not.[118]
Gone with the Wind was included in the Library's list. Among books on the list considered to be the Great American Novel were: Moby-Dick, The Adventures of Huckleberry Finn, The Great Gatsby, The Grapes of Wrath, The Catcher in the Rye, Invisible Man and To Kill a Mockingbird.
Throughout the world, the novel is received for its cross-cultural, universal themes: war, love, death, racial conflict, class, gender and generation, which speak especially to women.[119] More than twenty-four editions of Gone with the Wind have been issued in China in the past few years.[102] Lost in translation, a Taiwanese newspaper claimed that Mitchell's first choice of a title for the book was, "Tote Your Heavy Bag".[120] Margaret Mitchell's personal collection of nearly seventy foreign language translations of her novel was given to the Atlanta Public Library after her death.[121]
On August 16, 2012, the Archdiocese of Atlanta announced that it had been bequeathed a fifty percent stake in the trademarks and literary rights to Gone with the Wind from the estate of Margaret Mitchell's deceased nephew, Joseph Mitchell. One of Mitchell's biographers, Darden Asbury Pyron, stated that Margaret Mitchell had "an intense relationship" with her mother, who was Roman Catholic. Margaret Mitchell herself had separated from the Catholic church.[122]

[edit] Sequels

Although Mitchell refused to write a sequel to Gone with the Wind, Mitchell's estate authorized Alexandra Ripley to write a sequel, which was titled Scarlett.[123] The book was subsequently adapted into a television mini-series in 1994.[124] A second sequel was authorized by Mitchell's estate titled Rhett Butler's People, by Donald McCaig.[125] The novel parallels Gone with the Wind from Rhett Butler's perspective.
The copyright holders of Gone with the Wind attempted to suppress publication of The Wind Done Gone by Alice Randall,[126] which retold the story from the perspective of the slaves. A federal appeals court denied the plaintiffs an injunction (Suntrust v. Houghton Mifflin) against publication on the basis that the book was parody and therefore protected by the First Amendment. The parties subsequently settled out of court and the book went on to become a New York Times Best Seller.
A book sequel unauthorized by the copyright holders, The Winds of Tara by Katherine Pinotti,[127] was blocked from publication in the United States. The novel was republished in Australia, avoiding U.S. copyright restrictions.
Numerous unauthorized sequels to Gone with the Wind have been published in Russia, mostly under the pseudonym Yuliya Hilpatrik, a cover for a consortium of writers. The New York Times states that most of these have a "Slavic" flavor.[128]

[edit] See also

[edit] References

  1. ^ a b "People on the Home Front: Margaret Mitchell", Sgt. H. N. Oliphant (October 19, 1945) Yank, p. 9. Retrieved May 12, 2011.
  2. ^ a b "The Making of Gone With the Wind", Gavin Lambert (February 1973) Atlantic Monthly. Retrieved May 14, 2011.
  3. ^ a b Joseph M. Flora, Lucinda H. MacKethan, Todd Taylor (2002), The Companion to Southern Literature: themes, genres, places, people, movements and motifs, Louisiana State University Press, p. 308. ISBN 0-8071-2692-6
  4. ^ Obituary: Miss Mitchell, 49, Dead of Injuries (August 17, 1949) New York Times. Retrieved May 14, 2011.
  5. ^ Jenny Bond and Chris Sheedy (2008), Who the Hell is Pansy O'Hara?: The Fascinating Stories Behind 50 of the World's Best-Loved Books, Penguin Books, p. 96. ISBN 978-0-14-311364-5
  6. ^ Ernest Dowson (1867-1900), Non Sum Qualis Eram Bonae sub Regno Cynarae. Retrieved March 31, 2012
  7. ^ a b c Part 3, Chapter 24
  8. ^ John Hollander, (1981) The Figure of Echo: a mode of allusion in Milton and after, University of California Press, p. 107. ISBN 978-0-520-05323-6
  9. ^ William Flesch, (2010) The Facts on File Companion to British Poetry, 19th Century, Infobase Publishing, p. 89. ISBN 978-0-8160-5896-9
  10. ^ a b c d e f g h i Part 1, chapter 6
  11. ^ a b c d e f Part 1, chapter 1
  12. ^ a b c d Part 1, chapter 7
  13. ^ a b Part 2, chapter 9
  14. ^ Part 3, chapter 17
  15. ^ a b Part 3, chapter 22
  16. ^ Part 3, chapter 26
  17. ^ a b Part 4, chapter 35
  18. ^ a b c Part 4, chapter 42
  19. ^ a b c d Part 4, chapter 47
  20. ^ a b c Part 5, chapter 50
  21. ^ Part 5, chapter 53
  22. ^ a b c d Part 5, chapter 54
  23. ^ a b Part 5, chapter 56
  24. ^ a b c Part 5, chapter 57
  25. ^ Part 5, chapter 59
  26. ^ a b Part 5, chapter 63
  27. ^ a b Kathryn Lee Seidel (1985), The Southern Belle in the American Novel, University Presses of Florida, p. 53. ISBN 0-8130-0811-5
  28. ^ a b "A Critic at Large: A Study in Scarlett" Claudia Roth Pierpont, (August 31, 1992) The New Yorker, p. 87. Retrieved May 15, 2011.
  29. ^ Junius P. Rodriguez (2007), Slavery in the United States: a social, political and historical encyclopedia. Santa Barbara: ABC-CLIO, Vol. 2: p. 372. ISBN 978-1-85109-549-0
  30. ^ Tim A. Ryan (2008), Calls and Responses: the American Novel of Slavery since Gone With the Wind, Louisiana State University Press, p. 69. ISBN 978-0-8071-3322-4.
  31. ^ James W. Elliott (1914), My Old Black Mammy, New York City: Published weekly by James W. Elliott, Inc. OCLC 823454
  32. ^ James Stirling (1857), Letters From the Slave States, London: John W. Parker and Son, West Strand, p. 287. OCLC 3177567
  33. ^ William Wells Brown (1847), Narrative of William W. Brown, Fugitive Slave, Boston: Published at the Anti-Slavery Office, No. 25 Cornhill, p. 15. OCLC 12705739
  34. ^ a b Part 4, chapter 38
  35. ^ Kimberly Wallace-Sanders (2008), Mammy: a century of race and Southern memory, University of Michigan Press, p. 130. ISBN 978-0-472-11614-0
  36. ^ "The Old Black Mammy", (January 1918) Confederate Veteran. Retrieved April 24, 2011.
  37. ^ "Love's Old, Sweet Song", J.L. Molloy and G. Clifton Bingham, 1884. Retrieved April 27, 2011.
  38. ^ Micki McElya (2007), Clinging to Mammy: the faithful slave in twentieth-century America, Harvard University Press, p. 3. ISBN 978-0-674-02433-5
  39. ^ Flora, J.M., et al., The Companion to Southern Literature: themes, genres, places, people, movements and motifs, pp. 140-144.
  40. ^ Carolyn Perry and Mary Louise Weaks (2002), The History of Southern Women's Literature, Louisiana State University Press, p. 261. ISBN 0-8071-2753-1
  41. ^ Seidel, K.L., The Southern Belle in the American Novel, p. 53-54
  42. ^ Richard Marius (1994), The Columbia Book of Civil War Poetry, New York: Columbia University Press, p. 180. ISBN 0-231-10002-7
  43. ^ Pierpont, C.R.," A Critic at Large: A Study in Scarlett", p. 92.
  44. ^ Seidel, K.L., The Southern Belle in the American Novel, p. 54.
  45. ^ Perry, C., et al., The History of Southern Women's Literature, pp. 259, 261.
  46. ^ Betina Entzminger (2002), The Belle Gone Bad: white Southern women writers and the dark seductress, Louisiana State University Press, p. 106. ISBN 0-8071-2785-X
  47. ^ Giselle Roberts (2003), The Confederate Belle, University of Missouri Press, p.87-88. ISBN 0-8262-1464-9
  48. ^ Laura F. Edwards (2000), Scarlett Doesn't Live Here Anymore: Southern women and the Civil War era, University of Illinois Press, p. 3. ISBN 0-252-02568-7
  49. ^ Ada W. Bacot and Jean V. Berlin (1994), A Confederate Nurse: the diary of Ada W. Bacot, 1860-1863, University of South Carolina Press, pp. ix-x, 1, 4. ISBN 1-57003-386-2
  50. ^ Kate Cumming and Richard Barksdale Harwell (1959), Kate: the journal of a Confederate nurse, Louisiana State University Press, p. xiii. ISBN 978-0-8071-2267-9
  51. ^ Cumming, K., et al., Kate: the journal of a Confederate nurse, p. 15.
  52. ^ "When this Cruel War is Over (Weeping, Sad and Lonely)", Charles C. Sawyer and Henry Tucker, published by J. C. Schreiner & Son, Savannah, Georgia, 1862. Stephen Collins Foster: Popular American Music Collection.
  53. ^ Part 2, chapter 15
  54. ^ a b c d Part 2, chapter 14
  55. ^ a b c d e f g Part 4, chapter 41
  56. ^ Daniel E. Sutherland (1988), The Confederate Carpetbaggers, Louisiana State University Press, p. 4. ISBN 0-8071-1393-X
  57. ^ John S. Farmer (1889), Farmer's Dictionary of Americanisms, Thomas Poulter & Sons, p. 473. OCLC 702331118
  58. ^ Leslie Dunkling (1990), A Dictionary of Epithets and Terms of Address, London; New York: Routledge, p. 216. ISBN 0-415-00761-5
  59. ^ Part 4, chapter 31
  60. ^ Part 4, chapters 37 & 46
  61. ^ a b c Part 2, chapter 13
  62. ^ a b c Numan V. Bartley (1988), The Evolution of Southern Culture, University of Georgia Press, p. 99. ISBN 0-8203-0993-1
  63. ^ Elizabeth Young, (1999) Disarming the Nation: women's writing and the American Civil War, University of Chicago Press, p. 259. ISBN 0-226-96087-0
  64. ^ a b c d Part 5, chapter 62
  65. ^ a b c Entzminger, B., The Belle Gone Bad: white Southern women writers and the dark seductress, p. 109.
  66. ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 238.
  67. ^ a b Bartley, N. V., The Evolution of Southern Culture, p. 100.
  68. ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 237.
  69. ^ Steven G. Kellman and Irving Malin (1999), Leslie Fiedler and the American Culture, Associated University Presses, Inc., p. 134. ISBN 0-87413-689-X
  70. ^ Word for Word.A Scholarly Debate; Rhett and Scarlett: Rough Sex Or Rape? Feminists Give a Damn Tom Kuntz (February 19, 1995) The New York Times. Retrieved June 17, 2012.
  71. ^ Deborah Lutz (2006), The Dangerous Lover: villains, byronism, and the nineteeth-century seduction narrative, The Ohio State University, p. 7-8. ISBN 978-0-8142-1034-5
  72. ^ a b Celia R. Daileader (2005), Racism, Misogyny, and the Othello Myth: inter-racial couples from Shakespeare to Spike Lee, Cambridge University Presses, p. 168-169. ISBN 978-0-521-84878-7
  73. ^ "The Strange Story Behind Gone with the Wind", Actor Cordell, Jr. (February 1961) Coronet, p. 106. Retrieved April 24, 2011.
  74. ^ a b c d Part 3, chapter 19
  75. ^ Part 2, chapter 11
  76. ^ a b c d e f Part 1, chapter 2
  77. ^ a b Part 5, chapter 61
  78. ^ a b Part 3, chapter 30
  79. ^ a b c Part 4, chapter 39
  80. ^ a b c d Part 1, chapter 5
  81. ^ a b c d Part 1, chapter 4
  82. ^ a b c Part 4, chapter 37
  83. ^ a b c Part 2, chapter 8
  84. ^ a b Part 4, chapter 36
  85. ^ a b Part 4, chapter 46
  86. ^ a b Part 3, chapter 21
  87. ^ a b c d e Part 1, chapter 3
  88. ^ Part 3, chapter 25
  89. ^ Part 4, chapter 44
  90. ^ Part 4, chapter 32
  91. ^ Part 3, chapter 29
  92. ^ Part 3, chapter 23
  93. ^ About the Author (1936)
  94. ^ Pierpont, C.R., A Critic at Large: A Study in Scarlett, p. 88.
  95. ^ "Books of the Times: Gone with the Wind by Margaret Mitchell", Ralph Thompson, (June 30, 1936) New York Times. Retrieved May 13, 2011.
  96. ^ James Loewen "Debunking History" transcript from May 12, 2000. Retrieved April 2, 2011.
  97. ^ Pat Conroy, Preface to Gone with the Wind, Pocket Books edition
  98. ^ Albert E. Castel (2010), Winning and Losing in the Civil War: essays and stories, University of South Carolina Press, p. 87. ISBN 978-1-57003-917-1
  99. ^ Patricia Yaeger (2000), Dirt and Desire: reconstructing southern women's writing, 1930–1990, University of Chicago Press, p. 102. ISBN 0-226-94490-5
  100. ^ 5 Honors Awarded on the Year's Books: ..., The New York Times, Feb 26, 1937, page 23. ProQuest Historical Newspapers The New York Times (1851-2007)
  101. ^ The Bible is America's Favorite Book Followed by Gone with the Wind, (April 8, 2008) Business Wire. Retrieved May 10, 2011.
  102. ^ a b Ellen F. Brown and John Wiley (2011), Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, Taylor Trade Publishing, p. 320. ISBN 978-1-58979-567-9
  103. ^ Full List-ALL TIME 100 Novels, Lev Grossman and Richard Lacayo, (October 16, 2005) TIME. Retrieved May 10, 2011.
  104. ^ TIME'S List of the 100 Best Novels, James Kelly, (October 16, 2005) TIME. Retrieved May 10, 2011
  105. ^ a b Gone With the Wind Stamps
  106. ^ Margaret Mitchell (1936) and Pat Conroy (2011), Gone with the Wind, 75th Anniversary Edition (paperback), May 2011, New York: Scribner. ISBN 978-1-4516-3562-1
  107. ^ Autant en emporte le vent (comédie musicale)
  108. ^ Jhttp://www.opera.hu/en/balett/Elfujta_a_szel/info
  109. ^ "Carol Burnett—We Just Can’t Resist Her!". May 14, 2009. http://blogs.smithsonianmag.com/aroundthemall/2009/05/carol-burnett-we-just-cant-resist-her/. Retrieved August 19, 2011. 
  110. ^ Marylou Morano Kjelle (2008), S. E. Hinton: Author of The Outsiders, Lake Book Mfg, p. 28. ISBN 978-0-7660-2720-6
  111. ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 252
  112. ^ "Groan With the Wind", Jack Davis and Stan Hart (January 1991), Mad #300.
  113. ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 281
  114. ^ MADtv (season 12)
  115. ^ Gone With the Wind (Alternate Endings). Retrieved September 19, 2012.
  116. ^ Joel Williamson (1993), William Faulkner and Southern History, Oxford University Press, p. 245. ISBN 0-19-507404-1
  117. ^ Flora, J.M., et al., The Companion to Southern Literature: themes, genres, places, people, movements and motifs, p. 143.
  118. ^ Books That Shaped America Retrieved July 5, 2012.
  119. ^ Perry, C., et al., The History of Southern Women's Literature, p. 266-267.
  120. ^ Gone With the Wind' still blowing them away 75 years on, Chris Melzer, (July 4, 2011) The China Post. Retrieved August 19, 2012.
  121. ^ Brown, E. F., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, p. 278.
  122. ^ "Margaret Mitchell's Nephew Leaves Estate to Atlanta Archdiocese", Shelia M. Poole, (August 16, 2012) The Atlanta Journal-Constitution. Retrieved August 17, 2012.
  123. ^ Alexandra Ripley (1994), Scarlett, Pan Books. ISBN 978-0-330-30752-9
  124. ^ IMDb Scarlett (TV mini-series 1994)
  125. ^ Donald McCaig (2007), Rhett Butler's People, Macmillan. ISBN 978-0-312-94578-7/
  126. ^ Alice Randall (2001), The Wind Done Gone, Houghton Mifflin Harcourt. ISBN 978-0-618-10450-5.
  127. ^ Katherine Pinotti (2008), The Winds of Tara, Fontaine Press. ISBN 978-0-9803623-5-0
  128. ^ "Frankly My Dear, Russians Do Give a Damn", Alessandra Stanley, (August 29, 1994) The New York Times. Retrieved June 10, 2011.

[edit] Further reading

[edit] External links

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