The Way We Were screenwriter Arthur Laurents drew on memories of classmate Eva Moskovitz, who became the successful author Eve Merriam.
and an oil crisis. The film harkens back to earlier decades and to what feminist leader Vivian Gornick calls the “romance of American communism,” as well as the blacklist that romance produced.
Laurents also drew on memories of classmate Eva Moskovitz, who became the successful author Eve Merriam. Given that the 50th anniversary of and a high point in the women’s liberation movement, it is worth considering what it means that in 1973, a successful female author could be recast in an iconic and beloved film as a woman willing to give up her ambitions to get the hunky guy.fails to remember is as significant as the history and personal lives it recreated.
Laurents said Katie was partly based on himself and, in fact, he recalls being devastated after a creative writing teacher suggested that he could benefit from a remedial writing class. What does it mean that Laurents displaced his own experience of being discouraged in his literary aspirations onto a woman?
“Outsiders longing to be allowed in recognize one another easily,” Laurents said. “Eve and I were smart, but not campus smart. Our peers knew when to wear saddle shoes, we didn’t; they knew what to do in the backseat of a roadster, we didn’t.”Laurents includes a photograph captioned “Eve Merriam in front of the girls’ dormitory at Cornell in 1934, our freshman year. The inevitable book is waiting patiently at her feet.
Winner of the Yale Younger Poets Prize in 1946, Merriam published books of poetry for adults and children; wrote radio and television scripts; penned lyrics for the Shirelles, the Freedom Singers and Etta James; and published social commentary and poems in forums ranging from the New Masses to the New York Times to the Ladies Home Journal. In 1956 Merriam published a “pamphlet in poetry” that was used in Southern Freedom Schools.
Eve Merriam is significant not because Arthur Laurents used her as a model for Katie Morosky in his iconic film,Still, the way in which that film reflects upon the significance of what we remember and what we forget, the way it adapts “public history … with tender particularity to … personal lives,” and the way it displaces a gay man’s anxieties onto a female character, even as it erases the real history of a woman who inspired that character, seems enormously relevant, not just as a relic of...
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