Gay Talese on Marriage Gay Talese | Big Think

Gay Talese on Marriage

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A chronicler of the lives of others now chronicles his own.

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Gay Talese:

Gay Talese is an American journalist and a nonfiction writer. He wrote for The New York Times in the 1960s after working for its copy and obituary sections. In the 1950s, he was one of the first writers to add minute details, use literary flairs, and begin articles in medias res.

His groundbreaking article "Frank Sinatra Has a Cold" was named the "best story Esquire ever published," and he was credited by Tom Wolfe with the creation of an inventive form of nonfiction writing called "The New Journalism."

He has written many non-fiction books, beginning with 1964’s The Bridge: The Building of the Verrazano-Narrows Bridge. His 2006 autobiography A Writer’s Life focuses on his trials and failures as a writer, such as having a profile piece rejected by The New Yorker, which ironically reviewed the book positively and said it had a “distinctly moving” quality.

Gay Talese was named the winner of a George Polk Award for career achievement. The awards, presented by Long Island University, are considered among the top prizes in U.S. journalism. His latest book is High Notes: Selected Writings of Gay Talese.

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TRANSCRIPT:

Question: Why did you write a book about your marriage?

Gay Talese: Well, sometimes we are writing about what we think are the one story we haven’t told that we think we should. When I finished my last book, which was A Writer’s Life, I had written about something of what we’re talking about, about how a writer works and sometimes doesn’t work. And before that book, I wrote, as I mentioned, Unto the Sons, which is about where I come from, describing my mother’s store and all that we’ve discussed. And after these two books were published by Knopf, I have another book I owe them, well then what is my other story? Well, my story that I have not written about and must also tell you I am committed to nonfiction. I don’t want to write a novel. That to me- I’m not saying it’s easy, but I have always believed that you can tell stories using real names, real situations and make them stories, readable stories, dramatic maybe without being exaggerated, scenic without using invention. I thought what’s my one story? Well, my one story it seemed to me is a 50-year history of a single relationship that takes place in one building which is the building that I have lived in with my wife since we got married in 1959 or before that, ’58. We got married in ’59, but we lived there in ’58. So it’s 50 years as I speak to you now. And during that 50-year period, always in New York City where the house is, we’ve had a history of two people, children being born, problems, as any relationship over a long period has many problems, reconciliations, different people entering and exiting in your lives, friendships, acquaintanceships, business partnerships, in my wife’s case, always a writer- I mean she’s always been an editor and I’ve always been a writer. And it’s a story of living in a big city in a single house. I kept records. You know, you can- I haven’t said this on your show, but you would imagine I’m a person that keeps records ‘cause I’m a chronicler. And I also didn’t say this, but I save letters and I date them and I file them. And from 19- well, since I met my wife, Nan, which was initially in 1957, I’ve always kept files of every letter, every note, every hardware bill from buying a hammer in 1950-- I probably saved the receipt-- and travel slips and all that material which at least puts dates and triggers your mind if you look at stuff. I’ve saved and I’m having it- I’ve gone over it again, so this 50 years, I have a record of every month of the 50 years. And now I’m finding storylines. What you do in the kind of work I do is first you gather material, you collect material. The next thing you have to do is organize it. And a lot of people collect material, but when it comes to what do you do with it, I mean it’s a whole warehouse of material. All this stuff is in storage. Then you have to get it out and do a kind of choreography. You have to kind of do a montage.

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