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• W432872504 abstract "Remembering Winston Churchill the Making of a Book Mel Livatino (bio) For eight years Paul Reid sat alone each day in the library of his North Carolina home surrounded by five desks shaped into a u. On these desks were all the sources—biographies, histories, speeches, memoirs, diaries, journals, letters, photocopies of newspapers and magazines—he needed to read over the next two to three weeks to write the next scene (usually ten to fifteen pages) in the third volume of his and William Manchester’s biography of Winston Churchill: The Last Lion: Defender of the Realm, 1940–1965. The exact pages to read were tagged and color-coded. The periphery of the room was lined with bookcases devoted to sources that would supply information for the other one hundred or so scenes he would have to write to produce the book. To a stranger the room looked like a mess, or as Reid has put it, like the mouth of someone with bad dentistry. Reid’s task was daunting. The third volume, dedicated to the last quarter century of Churchill’s life, included the years of World War II—a time jammed with the most momentous events and towering figures of the twentieth century. The war years would take up 90 percent of the volume, and the camera would have to rove many times over the globe and into dozens of lives, minds, strategy sessions, campaigns, and battles. Enormously complicating the task was the man at the center of these events, whom many journalists and historians have called the greatest man of the twentieth century, a man always on the move and so teeming with ideas that he typically worked until three in the morning and kept a staff of stenographers and typists permanently at the ready all hours of the day and night. How could he [End Page 294] get all the swirling currents and cross-currents of shifting locations, changing strategies, concurrent battles, and complex personalities into the book and not lose the reader? The task was so overwhelming that it had stopped the sole author of the first two volumes, William Manchester, dead in his tracks. For the first time in his life, Manchester, who had already published seventeen books, some of them massive and complicated, ran headlong into writer’s block. So he did the only thing he knew how to do: he quit the book to write another, A World Lit Only by Fire, about the closing of the Middle Ages and the shift to the Renaissance. Ten years on—the time it had taken him to write the first two volumes—all Manchester had to show for his efforts was two hundred pages of manuscript covering the Battle of France in May and June, 1940, and the beginning of the Battle of Britain, which started in July. He had concluded all his research years earlier: 5,000 pages of photocopies from myriad sources and excerpts from transcriptions of more than fifty interviews he had conducted with Churchill’s friends, family, and colleagues. But all this material was now inert. This was the state of affairs in 1998 when Manchester was struck by the first of two strokes that finally, and almost blessedly, relieved him from any more effort on the book. That same year Paul Reid came into Manchester’s life when he accompanied a group of Manchester’s fellow marines on a visit meant to lift the writer’s spirits. Reid was on assignment to write a feature story about the gathering for the Palm Beach Post. He and Manchester hit it off immediately. Both loved history, in particular World War ii, and both were genial men who loved conversation. Over the next five and a half years Reid returned many times to visit Manchester. In 2001 Little, Brown, in agreement with Manchester, contracted with Diane McWhorter to audition to become the new writer of volume three. She wrote on the Blitz and submitted her writing in March, 2002. Though it passed Little, Brown’s inspection, Manchester objected to her treatment of Londoners as victims—he saw them as heroes—and he also wasn’t yet ready to let go of his..." @default.
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• W432872504 date "2015-01-01" @default.
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• W432872504 title "Remembering Winston Churchill the Making of a Book" @default.
• W432872504 doi "https://doi.org/10.1353/sew.2015.0044" @default.
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