Thomas Wolfe

Wolfe remained in Europe after Aline Bernstein returned to America in spring 1926, first to finish the "Outline" and then to begin work on the novel itself.

Both Aline Bernstein and Scribner editor <IR> MAXWELL PERKINS </IR> were instrumental in disciplining Wolfe's prodigious narrative flow and getting his first novel, <IR> LOOK HOMEWARD </IR> , <IR> ANGEL </IR> , published in 1929.

Wolfe was still in a relationship with Aline Bernstein and was about to resign from his teaching position at NYU to devote himself to writing a second novel.

For him, Aline Bernstein is a vivid reminder that Broadway--like Hollywood--exemplifies Jewish power in the New World.

If Wolfe "veered off" from the classroom building on that walk down to the English Department at Washington Square, it was probably to his apartment in a house on 15th Street where Aline Bernstein shared space with him for her scene and costume design work.

Reprints Wolfe's letter to Aline Bernstein (describing his drunken brawl in Munich).

Aline Bernstein and Thomas Wolfe play major roles in John P.

This reviewer can suggest only three changes she would have liked to see: using the complete names of Wolfe and Raynolds in the title; a personal preference that Aline Bernstein not be referred to as Wolfe's "mistress"; and, as already mentioned, including Raynolds's review of Look Homeward, Angel in an appendix.

But even in his long and passionate association with Aline Bernstein there was certain denial of it--and yet there must have been a consciousness of her influence through the very power of her love.

The ledgers Aline Bernstein purchased for Wolfe in the Lake District in 1926 make a fleeting appearance, when the Coulsons' daughter one day asks Eugene if he isn't tired of writing in them (646-47).

Laure de Berny was for Balzac as a young man a combination of what Clara Paul and Aline Bernstein were for Wolfe in his adolescence and young manhood.

This small, artfully produced hardback features a German translation of "Oktoberfest" by noted translator Irma Wehrli, a German rendering of an excerpt from Wolfe's October 1928 letter to Aline Bernstein, and an afterword by editor Horst Maria Lauinger.

Excerpt from Wolfe's 4 October 1928 letter to Aline Bernstein (see The Letters of Thomas Wolfe, 142-48).

Both Elizabeth Glenn and Aline Bernstein were born in 1880.

Even more troubling than the sociopolitical meditations in his private notebooks, Brinkmeyer points out, are Wolfe's public outbursts of racism, such as that observed by Aline Bernstein in an account of his response to the publication of her 1938 novel, The Journey Down, her fictional treatment of their love affair.