1. Eighty Yard Run Irwin Shaw Pdf Reader
2. Irwin Shaw Night Work Movie

The Eighty-Yard Run 1941: 10: 149k AIGS001 The Greek General 1938: 8: 134k AIGS003 The Kiss At Croton Falls 1956: 6: 137k AIGS004 Medal From Jerusalem 1946: 12: 158k AIGS006 Negro Fighter's First Battle 1943: 3: 122k AIGS007 Part In a Play 1945: 11: 154k AIGS002. Christian Darling, a well-respected high school athlete and handsome man, had an interesting - rather ironic - change in his life from the beginning of the story to the end. In The Eighty-Yard Run, a story by Irwin Shaw, the focus is on Mr. Christian Darling and his high school sweethea. Dive deep into Irwin Shaw's The Eighty-Yard Run with extended analysis, commentary, and discussion. You'll get access to all of the The Eighty-Yard Run content, as well as access to more than. Ajene Nicholson 5/3/18 Dr.Balint ENGL 1102 In the online analysis Eighty-yard Run by Irwin Shaw, creates the argument that conflict makes one outgrows another. The character Christian Darling outgrows his wife Lousie who were once college sweethearts until they got married. Xii, 756 p.; 24 cm The eighty-yard run - Borough of cemeteries - Main currents of American thought - Second mortgage - Sailor off the Bremen - Strawberry ice cream soda - Welcome to the city - The girls in their summer dresses - Search through the streets of the city - The monument - I stand by Dempsey - God on Friday night - Return to Kansas City - Triumph of justice - No jury.

As such, Irwin Shaw’s name became synonymous with other ‘popular’ mega-selling writers of that time- like John Jakes, Jeffrey Archer, and Jackie Susann, as a schlock writer of soap operatic potboilers. In this way, his literary career followed almost the same career trajectory as that of John O’Hara- a once respected ‘social realist’ writer who became a lauded literary icon who then ‘sold out’, and had the audacity to garner popular success along with his critical success, which evaporated in proportion to his ability to live affluently until he died on his Davos, Switzerland estate. How dare a writer be rewarded financially for his artistic excellence! These were the days, of course, before the gravy trains of National Endowments for the Arts grants, and their requisites that ‘good’ artists remain untainted by popular and financial success, and merely leech off the taxpayer with PC screeds, ridiculously mind-numbing work that scorns the reader, or puerile art merely intended to shock.

Eighty Yard Run Irwin Shaw Pdf Reader

The earliest tales, especially, with only the omission of a few definitive words that reference their era, could have been written yesterday, and are almost as minimalist as they are realist. And there is little fat in Shaw’s tales- they are lean with the rat-a-tat-tat staccato of their sentence’s construction, and their poetry comes not from a strained contrivance of clichés, but the juxtaposition (often jarring) of the most common of things, phrases, and moments. Even though most of the stories, especially the early ones, are set in a New York City milieu, and reflect the accents and slang thereof, Shaw powerfully captures the realistic dialogue of the masses like few other writers ever have- perhaps, of published short story writers I’ve read, only Russia’s Anton Chekhov comes close, and even he tended to lean a bit more on allegory rather than the offhanded poesy that comes in real spoken dialogue, and can best be pared down by the good ear of a good writer. Not even Eugene O’Neill, at his best, could capture the American idiom as well, and perhaps only Clifford Odets did- and it’s worth noting Shaw started out as a playwright

In just doing a little background research on Shaw it was heartening to see that his staggeringly great run of tales was actually recognized (a rarity these days) with a much deserved O. Henry Award, for Walking Wounded (1944), a tale about a British soldier, named Peter, who, after a couple of years at the front, cannot remember his wife’s appearance, cannot find his commanding officer, and without leave orders cannot go home. An intriguing premise, and that good tale isn’t even in the Top 25 best tales in this volume. Among the other great tales that riddle this book are The Eighty Yard Run- Shaw wrote quite a few excellent sports tales, Borough Of Cemeteries, Sailor Off The Bremen, The Girls In Their Summer Dresses, Second Mortgage, and many others. Even just looking at many of their titles grabs a reader’s interest right away: I Stand By Dempsey, God On Friday Night, No Jury Would Convict, Stop Pushing, Rocky, Night, Birth And Opinion, The Indian In Depth Of Night, Goldilocks At Graveside, The Climate Of Insomnia, The Sunny Banks Of The River Lethe, Whispers In Bedlam, and Where All Things Fair And Wise Descend, along with some of the aforementioned titles. Has any published writer ever written tales with more provocative yet poetic titles? And the substance of the tales do the titles justice.
The lean prose and great dialogue never brocade into sententious didacticism, and are distillations of the sorts of moments we all recall. There is no drippy nor dippy sentimentality, but tons of raw emotion. Some of the tales are harrowing, and wear a reader out, but in the good emotional way, not the eye-blearying way that much of the ponderous prose of the Victorian era did. Yes, as a working class immigrant Jew, himself, Shaw’s early tales have a preponderance of these characters, but Shaw is not as prone to mythologizing the dull minutia of Jewish life as Isaac Bashevis Singer was. Instead, he is after the American pug, the American mook, the American man in his purest 20th Century form - be it deranged cabbies, lowlife criminals, professional athletes, unrepentant skirtchasers, or effete elitists. His tales are perhaps the most character driven tales published in the last century. Almost ever story has at least one memorable character, and usually more than one. Plot is never primary, although he is very adept at molding it to the natural consequences of his characters’ circumstances, outlooks, and actions, especially in dealing realistically with the ethical consequences of his characters’ actions. Part of this stems from the fact that Shaw came of age as a writer during the nadir of the 20th Century- the Great Depression and World War Two, where paranoia, struggle, and a need for vigilance seemed neverending, due to the vagaries that define real life.
In ‘March On, March On Down The Field’, the tale follows a pro football team with a miserly owner, who cuts his players’ pay when they do not sell out games, and even tries to save money by not giving them helmets. Still, he expects them to play hard. In Small Saturday a man meets the girl who will become his wife only after both of them have missed out on a chance to meet others, and a bevy of other minor incidents that have shaped their future. Act Of Faith deals with Anti-Semitism and power during World War Two. In Second Mortgage a poor Brooklyn family cannot pay their own bills and are literally penniless. Yet, they get weekly visits from an elderly widow who holds the second mortgage on the property. She sits for hours in their living room, almost trying to will them to have money to give to her. The rest of the tale follows the family’s turn from sympathy toward her to dread to not even bothering to answer their doorbell when she rings. The Man Who Married A French Wife follows a couple on a trip to France, just after the Algerian rebellion, and the husband's jealousy over his thinking his wife is involved with a man he sees on the street. God Was Here But He Left Early follows a woman in Paris who tries to have a one night stand, but instead, picks up a spanking fetishist. Another story that is remarkable is The Indian In Depth Of Night, wherein a man encounters an odd character in Central Park, who claims to be an Indian, who veers between wanting to mug him and act like a child. In Noises In The City a man’s love and appreciation for his pregnant wife is reborn after he meets another man whose wife was murdered. I Stand By Dempsey follows sports fans arguing over who is the better fighter, ex-Heavyweight Champion Jack Dempsey, or then-current champion Joe Louis. The conversation is so real that one needs no descriptions of place nor person, it could just stand alone and have its dialogue be read as a radio play. Tip On A Dead Jockey follows an American in Paris who meets a stranger at the races, who gives him tips on horses, then offers him a chance to score big doing something illegal. Whispers In Bedlam follows the fluke lucky street of a mediocre pro football player who is losing his hearing, has an operation to fix it, and becomes a great player, only to have his hearing hurt again, and slide back down to anonymity as an insurance salesman. Along the way this tour de force deals with infidelity, impotence, the Vietnam War, and gambling addiction. The Inhabitants Of Venus follows a Jew who sees a German at a ski resort and believes it’s the man who left him to die as a child. He ponders vengeance until he sees the circumstances of the German.
The Climate Of Insomnia is a terrific portrait of a mind crumbling due to lack of sleep. The Sunny Banks Of The River Lethe goes even further, detailing in its first half the exactitude of a character with an incredible memory, only to, in its latter half, detail the effects of senility, decades before Alzheimer’s Disease became a concern, or even got its name. The tale is especially effective, as it ends with the character wholly forgetting his life, starting with his wife:
He awoke early, conscious that it was a sunny day outside. He lay in bed feeling warm and healthy. There was a noise from the next bed, and he looked across the little space. There was a woman in the next bed. She was middle-aged and wearing curlers and she was snoring and Hugh was certain he had never seen her before in his life. He got out of bed silently, dressed quickly, and went out into the sunny day.
Without thinking about it, he walked to the subway station. He watched the people hurrying toward the trains and he knew that he probably should join them. He had the feeling that somewhere in the city to the south, in some tall building on a narrow street, his arrival was expected. But he knew that no matter how hard he tried he would never be able to find the building. Buildings these days, it occurred to him suddenly, were too much like other buildings.
He walked briskly away from the subway station in the direction of the river. The river was shining in the sun and there was ice along the banks. A boy of about twelve, in a plaid mackinaw and a wool hat, was sitting on a bench and regarding the river. there were some schoolbooks, tied with a leather strap, on the frozen ground at his feet.
Hugh sat down next to the boy. ‘Good morning,’ he said pleasantly.
‘Good morning,’ said the boy.
‘What’re you doing?’ Hugh asked.
‘I’m counting the boats,’ the boy said. ‘Yesterday I counted thirty-two boats. Not counting ferries. I don’t count ferries.’
Hugh nodded. He put his hands in his pockets and looked down over the river. By five o’clock that afternoon he and the boy had counted forty-three boats, not including ferries. He couldn’t remember having had a nicer day.
Now, imagine such a scene, of a character with Alzheimer’s, being published today, in a PC drenched ‘disease of the month’ tale. How many clichés, how many sentimental images, how many bathetic platitudes would occupy the same space that this crisp, lean set of words does? Look how such a seemingly inert sentence like, ‘He couldn’t remember having had a nicer day,’ rises far above its naked statement merely by its placement at the end of this series of events. That’s the sort of ‘magic’ only a great writer can impart to a reader.
Stop Pushing, Rocky, follows a good, solid palooka fighter named Joey who has agreed to carry a bum named Rocky for ten rounds, in order to satisfy mobsters who bet on him (as well as betting against himself), then nearly blowing it when the tomato can really thinks he can win and starts whaling on him. The not too bright boxer faces the dilemma of choosing between his life and his pride in accepting a beating from the bum even though he knows he’ll win, but look bad in doing so - with even the referee suspecting a fix. It is simply one of the greatest boxing stories ever penned, and after making it through a round where he nearly accidentally KO’d Rocky, three rounds shy of the mobsters’ demands, he has to explain to his trainer how he had to restrain himself from hurting the lesser boxer: ‘I didn’t hit him hard,’ Joey protested. ‘It was strictly a medium punch. He got a chin like a movie star. Like Myrna Loy. He shouldn’t oughta be in this business. He should wait on customers in a store. In a dairy. Butter and eggs.’ Nothing poetic, nothing clichéd, just pure realism emanates from Shaw’s pen. In one of his most justifiably famed tales, The Girls In Their Summer Dresses, Michael and Frances Loomis seem the typical married couple that has no future, and should never have gotten together in the first place. They constantly bicker over his, to her, annoying habit of ogling every pretty girl he sees. Look at this excerpt of dialogue, and look how realistic and eternal it is, then think of how many times you or someone you know have either had this conversation, or heard others in the midst of having it, at a restaurant, a party, or a family gathering: ‘Sure,’ he said. He took his eyes off the hatless girl with the dark hair, cut dancer-style, like a helmet, who was walking past him with the self-conscious strength and grace dancers have. She was walking without a coat and she looked very solid and strong and her belly was flat, like a boy’s, under her skirt, and her hips swung boldly because she was a dancer and also because she knew Michael was looking at her. She smiled a little to herself as she went past and Michael noticed all these things before he looked back at his wife. ‘Sure,’ he said, ‘we’re going to watch the Giants and we’re going to eat steak and we’re going to see a French picture. How do you like that?’
‘That’s it,’ Frances said flatly. ‘That’s the program for the day. Or maybe you’d just rather walk up and down Fifth Avenue.’
‘You always look at other women,’ Frances said. ‘At every damn woman in the city of New York.’
‘Oh, come now,’ Michael said, pretending to joke. ‘Only pretty ones. And, after all, how many pretty women are there in New York? Seventeen?’
‘More. At least you seem to think so. Wherever you go.’
‘Not the truth. Occasionally, maybe, I look at a woman as she passes. In the street. I admit, perhaps in the street I look at a woman once in a while....’
‘Everywhere,’ Frances said. ‘Every damned place we go. Restaurants, subways, theaters, lectures, concerts.’
‘Now, darling,’ Michael said. ‘I look at everything. God gave me eyes and I look at women and men and subway excavations and moving pictures and the little flowers of the field. I casually inspect the universe.’
‘You ought to see the look in your eye,’ Frances said, ‘as you casually inspect the universe on Fifth Avenue.’
‘I’m a happily married man.’ Michael pressed her elbow tenderly, knowing what he was doing. ‘Example for the whole twentieth century, Mr. and Mrs. Mike Loomis.’
‘You mean it?’
‘Frances, baby....’
‘Are you really happily married?’
‘Sure,’ Michael said, feeling the whole Sunday morning sinking like lead inside him. ‘Now what the hell is the sense in talking like that?’
‘I would like to know.’ Frances walked faster now, looking straight ahead, her face showing nothing, which was the way she always managed it when she was arguing or feeling bad.
‘I’m wonderfully happily married,’ Michael said patiently. ‘I am the envy of all men between the ages of fifteen and sixty in the state of New York.’ They continue to bicker, as the tale proceeds, and glumly head toward a bar, where they reach a détente, of sorts. Yet, the ending is not the expected that a lesser writer would give you. There is no sudden making up between them, nor is their unsettled bitterness.
Another of Shaw’s famed and great tales is Sailor Off The Bremen, which deals with working class tensions right before the Second World War, where a group of Communist-sympathizing longshoreman set up the steward of a German ship for a beating, in retaliation for getting beaten up by goons when they protested at a German Nazi vessel’s being berthed. The tale is filled with brutality, but as relevant today, as ever. Just switch the beaten German with a Moslem attacked after 9/11, or during this latest war, and the tale rings as modern as it does clarion. So does the eternal apathy of the ‘authorities’ as the end of this tale sums up:
Much later, in the hospital, Preminger stood over the bed in which Lueger lay, unconscious, in splints and bandages.
‘Yes,’ he said to the detective and the doctor. ‘That’s our man. Lueger. A steward. The papers on him are correct.’
‘Who do you think done it?’ the detective asked in a routine voice. ‘Did he have any enemies?’
‘Not that I know of,’ Preminger said. ‘He was a very popular boy. Especially with the ladies.’
The detective started out of the ward. ‘Well,’ he said, ‘he won’t be a very popular boy when he gets out of here.’
Preminger shook his head. ‘You must be very careful in a strange city,’ he said to the intern, and went back to the ship.
Preminger knows full well why the beating occurred and who did it, and the detective either knows he knows and does not care, or does not care to push the matter, having more important things to do. The admonition by Preminger that ends the tale is very chilling in its matter of factness.
Yet, this sort of excellence is so frequent in Shaw’s tales that a reader, too used to the garbage that has been published the last few decades in major magazines and by major presses, might almost take its almost routine excellence for granted. But, just reread the selections quoted above, and I challenge any reader to find passages of comparable length and overall quality- poetry, concision, realism, colloquialism- in any of the works of PC Elitist writers like Maya Angelou, Jhumpa Lahiri, Yann Martel, or Mary Gaitskill, or Post-Modern dreck like Rick Moody, David Foster Wallace, Donald Barthelme, or Dave Eggers. In short, there is more in the mere page or so of quotations than in the combined career works of all the above named writers. That Irwin Shaw is not recalled and more importantly hailed as a great writer, if only for these masterpieces of short fiction, while the dregs named above are well known, is a crime against literature, and yes, Irwin Shaw wrote literature- high literature- in these great short stories.

The stories are so well-wrought with the trimness of necessity, and possess a grit and realism that Ernest Hemingway could never equal, even in the best of his hit and miss tales- and are just as poetic, if not more, and certainly more consistently poetic, with the poetry of concision in the construction, not the mere phrasing. Again, look how inherently straightforward sentences like, ‘He couldn’t remember having had a nicer day,’, ‘Michael watched her walk, thinking, what a pretty girl, what nice legs,’, and ‘You must be very careful in a strange city,’ seem, yet how become poetic they become by their mere placement. Shaw does this over and over again in these tales, which is a feat that writers like John O’Hara, or J.D. Salinger, his contemporaries, at their best, could never do with any consistency. Yes, some of his later tales are too long, but never ungodly in length, and they never become as airy as the lesser tales of many far more lauded writers in the Pantheon do. I urge and reader who wants to be entertained or enlightened, and also learn a good deal of what America in the last century was like, to seek out the short stories of Irwin Shaw. There’s no better place to start than with Five Decades to get the whole century.
© Dan Schneider, www.Cosmoetica.com Feb 1st
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Irwin Shaw (February 27, 1913 – May 16, 1984) was an American playwright, screenwriter, novelist, and short-story author whose written works have sold more than 14 million copies. He is best known for two of his novels: The Young Lions (1948), about the fate of three soldiers during World War II, which was made into a film of the same name starring Marlon Brando and Montgomery Clift, and Rich Man, Poor Man (1970), about the fate of two brothers and a sister in the post-World War II decades^[1] which in 1976 was made into a popular miniseries starring Peter Strauss, Nick Nolte, and Susan Blakely.

Personal life[edit]

Shaw was born Irwin Gilbert Shamforoff in the South Bronx, New York City, to Jewishimmigrants from Russia.^[2] His parents were Rose and Will. His younger brother, David Shaw, became a noted Hollywood producer and writer.^[3] Shortly after Irwin's birth, the Shamforoffs moved to Brooklyn. Irwin changed his surname upon entering college. He spent most of his youth in Brooklyn, where he graduated from Brooklyn College with a Bachelor of Arts degree in 1934.

He began screenwriting in 1935 at age 21. In 1939 he married actress and producer Marian Edwards daughter of silent film actor Snitz Edwards.^[4] The couple divorced in 1967, remarrying two years before Irwin's death in 1982.

During World War II, he was approached by William Wyler to join his film unit. Unable to be commissioned as an officer due to his age and 1-A draft status,^[5] Shaw decided to enter the Regular Army. Later, the Army, noting his background, sent him to George Stevens' film unit.^[6] He was one of four writers attached to Stevens' command, in which he became a warrant officer. After the war, he returned to his career as a writer.

Shaw died in Davos, Switzerland on May 16, 1984, at age 71, after undergoing treatment for prostate cancer.^[7]

Career[edit]

Drama[edit]

In the 1930s, Shaw wrote scripts for several radio shows, including Dick Tracy, The Gumps and Studio One. He recaptured this period of his life in his short story 'Main Currents of American Thought,' about a hack radio writer grinding out one script after another while calculating the number of words equal to the rent money:

Furniture, and a hundred and thirty-seven dollars. His mother had always wanted a good dining-room table. She didn't have a maid, she said, so he ought to get her a dining room table. How many words for a dining-room table?

Shaw's first play, Bury the Dead (1936) was an expressionist drama about a group of soldiers killed in a battle who refuse to be buried. His play Quiet City, directed by Elia Kazan and with incidental music by Aaron Copland, closed after two Sunday performances.

During the 1940s, Shaw wrote for a number of films, including The Talk of the Town (a comedy about civil liberties), The Commandos Strike at Dawn (based on a C.S. Forester story about commandos in occupied Norway) and Easy Living (about a football player unable to enter the game due to a medical condition). Shaw married Marian Edwards (daughter of well-known screen actor Snitz Edwards). They had one son, Adam Shaw, born in 1950, himself a writer of magazine articles and non-fiction.

Shaw summered at the Pine Brook Country Club, located in the countryside of Nichols, Connecticut, which became the 1936 summer home of the Group Theatre (New York), whose roster included Elia Kazan, Harold Clurman, Harry Morgan, John Garfield, Frances Farmer, Will Geer, Clifford Odets and Lee J. Cobb.^[8][9]

Irwin Shaw Night Work Movie

Novels and Miniseries[edit]

The Young Lions, Shaw's first novel, was published in 1948. Based on his experiences in Europe during the war, the novel was very successful and was adapted into a 1958 film. Shaw was not happy with the film, feeling it soft-pedaled some of the serious issues from his book, but it did well at the box office.

Shaw's second novel, The Troubled Air, chronicling the rise of McCarthyism, was published in 1951. He was among those who signed a petition asking the U.S. Supreme Court to review the John Howard Lawson and Dalton Trumbo convictions for contempt of Congress, resulting from hearings by the House Committee on Un-American Activities. Accused of being a communist by the Red Channels publication, Shaw was placed on the Hollywood blacklist by the movie studio bosses. In 1951 he left the United States and went to Europe, where he lived for 25 years, mostly in Paris and Switzerland. He later claimed that the blacklist 'only glancingly bruised' his career. During the 1950s he wrote several more screenplays, including Desire Under the Elms (based on Eugene O'Neill's play) and Fire Down Below (about a tramp boat in the Caribbean).

While living in Europe, Shaw wrote more bestselling books, notably Lucy Crown (1956), Two Weeks in Another Town (1960), Rich Man, Poor Man (1970) (for which he would later write a less successful sequel entitled Beggarman, Thief) and Evening in Byzantium^[10] (made into a 1978 TV movie).

Rich Man, Poor Man was adapted into a highly successful ABC television miniseries with six 2-hour episodes shown for February 1 to March 15, 1976. The series ranked third in the seasonal Nielsens and garnered twenty-three Emmy nominations. A further adaptation, which Shaw had very little to do with, Rich Man, Poor Man--Book II was aired from September 21, 1976, to March 8, 1977. This was not as successful as the first.^[11][12] There was a third sequel Beggar Man, Thief in 1978, which belated included the Jordache's sister Gretchen who had been a prominent character in the original book.^[1][13]

His novel The Top of the Hill was made into a TV movie about the Winter Olympics at Lake Placid in 1980, starring Wayne Rogers, Adrienne Barbeau, and Sonny Bono.^[14]

His last two novels were Bread Upon the Waters (1981) and Acceptable Losses (1982).

Short stories[edit]

Shaw was highly regarded as a short story author, contributing to Collier's, Esquire, The New Yorker, Playboy, The Saturday Evening Post, and other magazines; and 63 of his best stories were collected in Short Stories: Five Decades (Delacorte, 1978), reprinted in 2000 as a 784-page University of Chicago Press paperback. Among his noted short stories are: 'Sailor Off The Bremen', 'The Eighty-Yard Run', and 'Tip On A Dead Jockey'. Three of his stories ('The Girls in Their Summer Dresses', 'The Monument', 'The Man Who Married a French Wife') were dramatized for the PBS series Great Performances. Telecast on June 1, 1981. This production was released on DVD in 2002 by Kultur Video.

In 1950, Shaw wrote a book on Israel with photos by Robert Capa named Report on Israel.

Awards[edit]

During his lifetime Shaw won a number of awards, including two O. Henry Awards, a National Institute of Arts and Letters grant, and three Playboy Awards.

Works[edit]

Further reading[edit]

• Michael Shnayerson. Irwin Shaw, A Biography. G. P. Putnam's Sons: 1989. illustrated. ISBN0-399-13443-3
• Vince Keenan (2012-01-09). 'Book Review: Nightwork, by Irwin Shaw (1975)'. Blog.vincekeenan.com. Retrieved 2013-12-11.
• Irwin Shaw, 'The Girls in Their Summer Dresses.' The Girls in Their Summer Dresses--Irwin Shaw (1913-1984)

References[edit]

1. ^ ^abRich Man, Poor Man, Nostagia Central. 'A further sequel, Beggar Man, Thief (1978) introduced the Jordache’s previously unmentioned sister, Gretchen.'
2. ^'Transport Group to Present Revival of Shaw's 'Bury the Dead' Starting 10/31'. Broadwayworld.com. Retrieved 2013-12-11.
3. ^'Golden Era Scribe David Shaw Dies'. Emmys. August 20, 2007. Retrieved January 15, 2014.
4. ^'Marian Shaw, Theatrical Producer, 80'. NYTimes.com. December 31, 1996.
5. ^Miller, Gabriel William Wyler: The Life and Films of Hollywood's Most Celebrated Director University Press of Kentucky, 19 Jul. 2013
6. ^Harris, Mark Five Came Back: A Story of Hollywood and the Second World War Canongate Books, 20 Feb. 2014
7. ^'The Papers of Irwin Shaw'. BROOKLYN COLLEGE ARCHIVES AND SPECIAL COLLECTIONS. Archived from the original on 2015-10-22. Retrieved 2013-12-11.
8. ^'Pinewood Lake website retrieved on 2010-09-10'. Archived from the original on 2011-07-27. Retrieved 2010-09-12.
9. ^Images of America, Trumbull Historical Society, 1997, p. 123
10. ^EVENING IN BYZANTIUM Kirkus Review.
11. ^RICH MAN, POOR MAN: U.S. Miniseries, Museum of Broadcast Communications.
12. ^Total Television: A Comprehensive Guide to Programming from 1948 to the Present, Alex McNeil, Penguin Books, 1984.
13. ^Rudolph, Tom and Gretchen, New York Times, W. G. Rogers, Oct. 4, 1970.
14. ^'Top of the Hill'. www.imdb.com.

External links[edit]

• George Plimpton; John Phillips (Winter 1953). 'Irwin Shaw, The Art of Fiction No. 4'. The Paris Review.
• Lucas Matthiessen; Willie Morris; John Marquand (Spring 1979). 'Irwin Shaw, The Art of Fiction No. 4 (Continued)'. The Paris Review.
• Irwin Shaw on IMDb Retrieved on 2008-02-07
• Irwin Shaw at the Internet Broadway Database