be found in the earlier chapters of ‘Fanny, Herself’—at least it is a good picture of Julia Ferber, the mother, a strong, devoted, capable woman who is a credit to her country.
"All around Edna Ferber is an atmosphere of work. She works hard and all the time. Her friends work hard, and all the time. So when she takes her typewriter in hand to tell of the world she knows, she describes a working world. It is a world deeply American. For whatever else we Americans are, we are workers. Here and there a man lives without work, a white rich man’s son or a black washerwoman’s son. We have no leisure classes. But the world of Edna Ferber’s people in its economic status is the real world of America. And she, a working woman, is typical of the modern American woman. If for any reason posterity is interested in this American world of the first three decades of the twentieth century, posterity will do well—indeed posterity probably can do no better than to tell the butler to bring Edna Ferber for a few moments and let her read ’The Gay Old Dog,’ and ’The Eldest.’”
Since Mr. White wrote the foregoing, Edna Ferber has made two big steps forward. In the volume, “Gigolo,” is to be found that masterpiece, “Old Man Minick,” to mention but one of a group of eight. The play from this story, written by her in collaboration with George S. Kaufman, has become an artistic and a financial success. The story, “Old Man Minick,” together with the play, “Minick,” have been published in a separate volume, so one can see how a short story can be turned into a successful play. It is interesting to compare the fictional use of an idea with the dramatic, especially when the work is done by the same hand.
Edna Ferber has always been interested in plays and play-writing. She has written three that I know of, and two have been highly successful. “$1,200 a Year,” written with Newmar Levy, deserved a greater success than it won. As a piece of literature it deserves more than one rereading.
