George Brassaï (pseudonym of Gyula Halász) (9 September 1899 – 8 July 1984) was a Hungarian photographer, sculptor, and filmmaker who rose to international fame in France in the 20th century. He was one of the numerous Hungarian artists who flourished in Paris beginning between the World Wars. In the early 21st century, the discovery of more than 200 letters and hundreds of drawings and other items from the period 1940-1984 has provided scholars with material for understanding his later life and career.

Early life and education[link]

Gyula (Jules) Halász (the Western order of his name) was born in Brassó, Transsylvania, Kingdom of Hungary (since 1920 Braşov, Romania), to an Armenian mother and a Hungarian father. He grew up speaking Hungarian.^[2] When he was three, his family lived in Paris for a year, while his father, a professor of French literature, taught at the Sorbonne.

As a young man, Gyula Halász studied painting and sculpture at the Hungarian Academy of Fine Arts (Magyar Képzomuvészeti Egyetem) in Budapest. He joined a cavalry regiment of the Austro-Hungarian army, where he served until the end of the First World War.

Career[link]

In 1920, Halász went to Berlin, where he worked as a journalist for the Hungarian papers Keleti and Napkelet.^[3] He started studies at the Berlin-Charlottenburg Academy of Fine Arts (Hochschule für Bildende Künste), now Universität der Künste Berlin. There he became friends with several older Hungarian artists and writers, including the painters Lajos Tihanyi and Bertalan Pór, and the writer György Bölöni, each of whom later moved to Paris and became part of the Hungarian circle.^[4]

In 1924, Halasz moved to Paris to live, where he would live the rest of his life. To learn the French language, he began teaching himself by reading the works of Marcel Proust. Living among the gathering of young artists in the Montparnasse quarter, he took a job as a journalist. He soon became friends with the American writer Henry Miller, and the French writers. Léon-Paul Fargue and Jacques Prévert. In the late 1920s, he lived in the same hotel as Tihanyi.^[4]

Halász's job and his love of the city, whose streets he often wandered late at night, led to photography. He first used it to supplement some of his articles for more money, but rapidly explored the city through this medium, in which he was tutored by his fellow Hungarian André Kertész. He later wrote that he used photography "in order to capture the beauty of streets and gardens in the rain and fog, and to capture Paris by night."^[5] Using the name of his birthplace, Gyula Halász went by the pseudonym "Brassaï," which means "from Brasso."

Brassaï captured the essence of the city in his photographs, published as his first collection in 1933 book entitled Paris de nuit (Paris by Night). His book gained great success, resulting in being called "the eye of Paris" in an essay by his friend Henry Miller. In addition to photos of the seedier side of Paris, Brassai portrayed scenes from the life of the city's high society, its intellectuals, its ballet, and the grand operas. He had been befriended by a French family who gave him access to the upper classes. Brassai photographed many of his artist friends, including Salvador Dalí, Pablo Picasso, Henri Matisse, Alberto Giacometti, and several of the prominent writers of his time, such as Jean Genet and Henri Michaux.

Young Hungarian artists continued to arrive in Paris through the 1930s and the Hungarian circle absorbed most of them. Kertèsz emigrated to New York in 1936. Brassai befriended many of the new arrivals, including Ervin Marton, a nephew of Tihanyi, whom he had been friends with since 1920. Marton developed his own reputation in street photography in the 1940s and 1950s. Brassaï continued to earn a living with commercial work, also taking photographs for the United States magazine Harper's Bazaar.^[5] He was a founding member of the Rapho agency, created in Paris by Charles Rado in 1933.

Brassai's photographs brought him international fame. In 1948 he had a one-man show in the United States at the Museum of Modern Art (MOMA) in New York City, which traveled to the George Eastman House in Rochester, New York; and the Art Institute of Chicago, Illinois.^[6] MOMA exhibited more of Brassai's works in 1953, 1956, and 1968.^[7] He was presented at the Rencontres d'Arles festival (France) in 1970 (screening at the Théâtre Antique, "Brassaï" by Jean-Marie Drot), in 1972 (screening "Brassaï si, Vominino" by René Burri), and in 1974 (as guest of honour).

Marriage[link]

In 1948 Brassai married Gilberte Boyer, a French woman. She worked with him in supporting his photography. In 1949 he became a naturalized French citizen after years of being stateless.^[8]

Books[link]

• Brassai, Henry Miller: The Paris Years, Arcade Publishing, 1975
• Brassai, Letters to My Parents, Chicago, IL: University of Chicago Press, 1997
• Brassai, Conversations with Picasso, Chicago, IL: University of Chicago Press, 1999

Notes[link]

Further reading[link]

• Tucker, Anne Wilkes, with Richard Howard and Avis Berman. Brassaï: The Eye of Paris. Houston, TX: Houston Museum of Fine Arts, 1997. ISBN 0-8109-6380-9
• Marja Warehime, Brassaï: Images of Culture and the Surrealist Observer. LSU Press, 1998. ISBN 0-8071-2276-9

External links[link]

• Brassaï at the Art Institute of Chicago
• "Brassaï" at Masters of Photography

Phillip Wilcher (born 16 March 1958) is an Australian pianist and composer, also known as the "fifth Wiggle", since he was one of the founding members of the Wiggles, Australia's richest entertainers, who left the group after the group's debut album in 1991.

Early life[link]

Phillip Wilcher was born in Camperdown, New South Wales. He started playing the piano at age 8, and at 14 became the youngest published composer in Australia.^[1] At age 14 he wrote a song, "Summer Dance", which was performed on the Wiggles debut album as "Archie's Theme". According to his webpage, while the rest of the Wiggles were still students, Wilcher financed and wrote the majority of the Wiggles' debut album.^[2] Wilcher received two Australian Record Industry Awards from his contributions to the album. A Gold Award presented in April 1994 and a Platinum Award in October 1995.^[3]

The Wiggles[link]

In 1991, Wilcher worked with the early childhood music program at Macquarie University. Anthony Field, a childhood development student, approached him about a music group Field was contemplating. Wilcher had previously worked as Assistant Editor for the Classical/Educational Division of the music publishing house J. Albert & Sons Pty Ltd and also for the ABC. Wilcher joined Greg Page, Jeff Fatt, Murray Cook, and Field from its earliest days through the production of the CD The Wiggles. Wilcher claims to have "contributed the most musically to the debut album."^[1]

"Get Ready to Wiggle" and "Dorothy the Dinosaur" were the only music videos that featured him and were only seen on ABC For Kids Video Hits and ABC For Kids Video Hits 2.

In 1992, Wilcher travelled to the United States. When he returned he was informed that the group did not need him, and that a second album had been taped while he was overseas. Wilcher says he has no idea as to why he was kicked out of the group. The Wiggles, however, dispute this account. Dianna O'Neill, the group's spokeswoman, states that Wilcher wrote a letter of resignation. "There is no story. There was no fight, no fallout. [Wilcher] was just not so much into children's music, he was more into classical music."^[1]

Over the years, Wilcher's involvement with the group has been essentially deleted. The debut CD has been re-recorded, renamed Wiggle Time and re-released with all of Wilcher's contributions canceled.^[1] Wilcher indicates that he was too "reclusive" to be a Wiggle.^[1]

Post-Wiggles[link]

Since leaving The Wiggles, Wilcher has led a successful career as a classical musician in Sydney, Australia. Wilcher has released several CDs. Pianist Jeanell Carrigan has recorded three CDs of Wilcher's music.^[1] He declares that he is "utterly satisfied by [his] creativity and that [he] could never be a Wiggle, not for any amount of money."^[3] He says that, because of his training, he is a more "serious" musician than the other members of The Wiggles.^[3]

In 2005, Wilcher announced that he was selling off the last of his Wiggles' memorabilia--which included handwritten lyrics by Greg Page and Anthony Field.^[3]

References[link]

External links[link]

Official website

Henry Miller
Miller in 1940
Born	Henry Valentine Miller (1891-12-26)December 26, 1891 Yorkville, Manhattan, New York City
Died	June 7, 1980(1980-06-07) (aged 88) Pacific Palisades, California, United States
Occupation	Writer, painter
Genres	Erotic literature, surrealism, novel
Spouse(s)	Beatrice Sylvas Wickens (1917–28) June Miller (1928–34) Janina Martha Lepska (1944–52) Eve McClure (1953–60) Hiroko Tokuda (1967–77)

Henry Valentine Miller (December 26, 1891 – June 7, 1980) was an American writer and painter. He was known for breaking with existing literary forms and developing a new sort of "novel" that is a mixture of novel, autobiography, social criticism, philosophical reflection, surrealist free association, and mysticism, one that is distinctly always about and expressive of the real-life Henry Miller and yet is also fictional.^[1] His most characteristic works of this kind are Tropic of Cancer (1934), Black Spring (1936), and Tropic of Capricorn (1939). He also wrote travel memoirs and essays of literary criticism and analysis.

Biography[link]

Miller was born to tailor Heinrich Miller and Louise Marie Neiting, in the Yorkville section of Manhattan, New York City, of German parents.^[2] As a child he lived at 662 Driggs Avenue in Williamsburg, Brooklyn, known in that time (and referred to frequently in his works) as the Fourteenth Ward. As a young man, he was active with the Socialist Party (his "quondam idol" was the Black Socialist Hubert Harrison).^{[citation needed]} He briefly—for only one semester—attended the City College of New York. Although he was an exceptional student,^{[citation needed]} he was willing neither to be anchored nor to submit to the traditional college system of education.

His first wife was Beatrice Sylvas Wickens, whom he married in 1917. During 1928/29, Miller spent several months in Paris with his second wife, June Edith Smith (June Miller). In 1930 he moved to Paris unaccompanied, and he continued to live there until the outbreak of World War II.^[3] Although Miller had little or no money the first year in Paris, things began to change with the meeting of Anaïs Nin who, with Hugh Guiler, would go on to pay his entire way through the 1930s including the rent for the beautiful and modern apartment at 18, villa Seurat. Anaïs Nin became his lover and financed the first printing of Tropic of Cancer in 1934 with money from Otto Rank.^[4]

In late 1931, Miller was employed by the Chicago Tribune (Paris edition) as a proofreader, thanks to his friend Alfred Perlès who worked there. Miller took this opportunity to submit some of his own articles under Perlès name, since only the editorial staff were permitted to publish in the paper in 1934. This period in Paris was highly creative for Miller, and during this time he also established a significant and influential network of authors circulating around the Villa Seurat.^[5] One author who became a lifelong friend was the young British author Lawrence Durrell. Miller's correspondence with Durrell was later published in two books.^[6][7] During the Paris period he was also influenced by the French Surrealists.

His works contain detailed accounts of sexual experiences. His first published book, Tropic of Cancer (1934), was banned in the United States on the grounds of obscenity.^[8] He continued to write novels that were banned; along with Tropic of Cancer, his Black Spring (1936) and Tropic of Capricorn (1939) were smuggled into his native country, building Miller an underground reputation.

In 1939 Durrell, who lived in Corfu, invited Miller out to Greece. Miller described the visit in The Colossus of Maroussi (1941), which he considered his best book.^[9] One of the first acknowledgments of Henry Miller as a major modern writer was by George Orwell in his 1940 essay "Inside the Whale", where he wrote:

In 1940, Miller returned to the United States, settling at Anderson Canyon in Big Sur, California. ^[11] He continued to produce vividly written works that challenged contemporary American cultural values and moral attitudes. He was widely critical of consumerism in America, as reflected in Sunday After The War (1944) and The Air-Conditioned Nightmare (1945). He spent the last years of his life at his home at 444 Ocampo Drive, Pacific Palisades, Los Angeles, California.

While Miller was establishing his base in Big Sur, the Tropics books, still banned in the USA, were being published in France by the Obelisk Press and later the Olympia Press. There they were acquiring a slow and steady notoriety among both Europeans and the various enclaves of American cultural exiles. As a result, the books were frequently smuggled into the States, where they would prove to be a major influence on the new Beat generation of American writers (most notably Jack Kerouac) some of whom would adopt stylistic and thematic principles found in Miller's oeuvre.

The publication of Miller's Tropic of Cancer in the United States in 1961 by Grove Press led to a series of obscenity trials that tested American laws on pornography. The U.S. Supreme Court, in Grove Press, Inc., v. Gerstein, citing Jacobellis v. Ohio (which was decided the same day in 1964), overruled the state court findings of obscenity and declared the book a work of literature; it was one of the notable events in what has come to be known as the sexual revolution. Elmer Gertz, the lawyer who successfully argued the initial case for the novel's publication in Illinois, became a lifelong friend of Miller's; a volume of their correspondence has been published.^[12]

In 1968, Miller signed the “Writers and Editors War Tax Protest” pledge, vowing to refuse tax payments in protest against the Vietnam War.^[13]

In addition to his literary abilities, Miller produced numerous watercolor paintings and wrote books on this field. He was a close friend of the French painter Grégoire Michonze. He was also an amateur pianist.

After his move to Pacific Palisades, he held innumerable dinner parties for the artistic and literary figures of the time. His cook and caretaker was a young artist's model named Twinka Thiebaud who later wrote a 1981 book of his evening chats.^[14] Thiebaud's memories of Miller's table talk were published in a rewritten and retitled book in 2011.^[15]

During the last four years of his life, Miller held an ongoing correspondence of over 1500 letters with Brenda Venus, a young and vivacious Playboy playmate, actress and dancer. A book about their correspondence was published in 1986.^[16] An article detailing their affair ran in a special edition of Playboy in 1996.^[17] The article called her Miller's "twilight muse" during the bedridden final years of his life.

Before his death, Miller filmed with Warren Beatty for his film Reds. He spoke of his remembrances of John Reed and Louise Bryant as part of a series of "witnesses." The film was released eighteen months after Miller's death.

Miller died of circulatory complications in Pacific Palisades in 1980 at the age of 88. After his death, he was cremated and his ashes scattered off Big Sur.

Legacy[link]

Miller is considered a "literary innovator" in whose works "actual and imagined experiences became indistinguishable from each other."^[18] His books did much to free the discussion of sexual subjects in American writing from both legal and social restrictions.

Miller's papers can be found in the following library special collections:

• Southern Illinois University Carbondale, which has correspondence and other archival collections.^[19]
• Syracuse University, which holds a portion of the correspondence between the Grove Press and Henry Miller.^[20]
• Charles E. Young Research Library of the University of California, Los Angeles Library.^[21]
• Harry Ransom Center at the University of Texas at Austin, which has materials about Miller from his first wife and their daughter.^[22]
• University of Victoria, which holds a significant collection of Miller's manuscripts and correspondence, including the corrected typescripts for Max and Quiet Days in Clichy, as well as Miller's lengthy correspondence with Alfred Perlès.^[23]
• University of Virginia.^[24]
• Beinecke Rare Book and Manuscript Library, Yale University Library.^[25]

It is estimated that Miller painted 2000 watercolors during his life, and that 50 or more major collections of Miller’s paintings exist.^[26] The Harry Ransom Center at the University of Texas at Austin holds a selection of Miller's watercolors,^[27] as did the Henry Miller Museum of Art in Ōmachi City in Nagano, Japan, before closing in 2001.^[28] Miller's daughter Valentine placed some of her father's art for sale in 2005.^[29]

Miller's friend Emil White founded the nonprofit Henry Miller Memorial Library in Big Sur in 1981.^[30] This houses a collection of his works and celebrates his literary, artistic and cultural legacy by providing a public gallery as well as performance and workshop spaces for artists, musicians, students, and writers.^[30]

Selected works[link]

• Moloch or, This Gentile World, written in 1927, published posthumously by the Estate of Henry Miller. New York: Grove Press, 1992. ISBN 0-8021-3372-X
• Crazy Cock, written 1928–1930, published posthumously by the Estate of Henry Miller. New York: Grove Weidenfeld, 1991. ISBN 0-8021-1412-1
• Tropic of Cancer, Paris: Obelisk Press, 1934.
  • New York: Grove Press, 1961. ISBN 0-8021-3178-6
• What Are You Going to Do about Alf? An Open Letter to All and Sundry, Paris: Printed at author's expense, 1935.
  • London: Turret, 1971. ISBN 0-85469-022-0
• Aller Retour New York, Paris: Obelisk Press, 1935.
  • New York: New Directions, 1991. ISBN 0-8112-1193-2
• Black Spring, Paris: Obelisk Press, 1936.
  • New York: Grove Press, 1963. ISBN 0-8021-3182-4
• Max and the White Phagocytes, Paris: Obelisk Press, 1938.
• Tropic of Capricorn, Paris: Obelisk Press, 1939.
  • New York: Grove Press, 1961. ISBN 0-8021-5182-5
• Hamlet Volume I with Michael Fraenkel, New York: Carrefour, 1939.
• Hamlet Volume II with Michael Fraenkel, New York: Carrefour, 1941.
  • Above two volumes republished, minus two letters, as Henry Miller's Hamlet Letters, Santa Barbara, CA: Capra Press, 1988. ISBN 0-88496-269-5
• The Cosmological Eye, Norfolk, CT: New Directions, 1939. ISBN 0-8112-0110-4
• The World of Sex, Chicago: Ben Abramson, Argus Book Shop, 1940.
  • Richmond, England: Oneworld Classics, 2007. ISBN 978-1-84749-035-3
• Under the Roofs of Paris, written as Opus Pistorum in 1941, published posthumously by the Estate of Henry Miller. New York: Grove Press, 1983. ISBN 0-8021-3183-2
• The Colossus of Maroussi, San Francisco: Colt Press, 1941.
  • New York: New Directions, 1958. ISBN 0-8112-0109-0
• The Wisdom of the Heart, Norfolk, CT: New Directions, 1941.
  • New York: New Directions, 1960. ISBN 0-8112-0116-3
• Sunday after the War, Norfolk, CT: New Directions, 1944.
• Semblance of a Devoted Past, Berkeley, CA: Bern Porter, 1944.
• The Plight of the Creative Artist in the United States of America, Houlton, ME: Bern Porter, 1944.
• Echolalia, Berkeley, CA: Bern Porter, 1945.
• Henry Miller Miscellanea, San Mateo, CA: Bern Porter, 1945.
• Why Abstract?, with Hilaire Hiler and William Saroyan, New York: New Directions, 1945.
  • New York: Haskell House, 1974. ISBN 0-8383-1837-1
• The Air-Conditioned Nightmare, New York: New Directions, 1945.
  • New York: New Directions, 1970. ISBN 0-8112-0106-6
• Maurizius Forever, San Francisco: Colt Press, 1946.
• Remember to Remember, New York: New Directions, 1947. (Volume 2 of The Air-Conditioned Nightmare.)
  • London: Grey Walls Press, 1952.
• Into the Night Life, privately published 1947 with Bezalel Schatz
• The Smile at the Foot of the Ladder, New York: Duell, Sloan and Pearce, 1948.
  • Kansas City, MO: Hallmark Editions, 1971. ISBN 0-87529-173-2
• Sexus (Book One of The Rosy Crucifixion), Paris: Obelisk Press, 1949.
• New York: Grove Press, 1987. ISBN 0-394-62371-1
• The Waters Reglitterized: The Subject of Water Color in Some of Its More Liquid Phases, San Jose, CA: John Kidis, 1950.
  • Santa Barbara, CA: Capra Press, 1973. ISBN 0-912264-71-3
• The Books in My Life, Norfolk, CT: New Directions, 1952.
  • New York: New Directions, 1969. ISBN 0-8112-0108-2
• Plexus (Book Two of The Rosy Crucifixion), Paris: Olympia Press, 1953.
  • New York: Grove Press, 1963. ISBN 0-8021-5179-5
• Quiet Days in Clichy With Photographs by Brassaï, Paris: Olympia Press, 1956.
  • New York: Grove Press, 1987. ISBN 0-8021-3016-X
  • Richmond, England: Oneworld Classics, 2007. ISBN 978-1-84749-036-0
• Henry Miller Recalls and Reflects: An Extraordinary American Writer Speaks Out (2 LP records, RLP 7002/3), New York: Riverside Records, 1956.
• The Time of the Assassins: A Study of Rimbaud, New York: New Directions, 1956.
  • New York: New Directions, 1962. ISBN 0-8112-0115-5
• A Devil in Paradise, New York: New American Library, 1956.
  • New York: New Directions, 1993. ISBN 0-8112-1244-0
• Big Sur and the Oranges of Hieronymus Bosch, New York: New Directions, 1957. ISBN 0-8112-0107-4
• The Red Notebook, Highlands, NC: Jonathan Williams, 1958.
• Reunion in Barcelona: a Letter to Alfred Perlès, from Aller Retour New York, Northwood, England: Scorpion Press, 1959.
• Nexus (Book Three of The Rosy Crucifixion), Paris: Obelisk Press, 1960.
  • New York: Grove Press, 1965. ISBN 0-8021-5178-7
• To Paint Is to Love Again, Alhambra, CA: Cambria Books, 1960.
  • New York: Grossman Publishers, 1968.
• Watercolors, Drawings, and His Essay "The Angel Is My Watermark," New York: Abrams, 1962.
• Stand Still Like the Hummingbird, New York: New Directions, 1962. ISBN 0-8112-0322-0
• Just Wild about Harry, New York: New Directions, 1963.
  • New York: New Directions, 1979. ISBN 0-8112-0724-2
• Greece (with drawings by Anne Poor), New York: Viking Press, 1964.
• Henry Miller on Writing, New York: New Directions, 1964. ISBN 0-8112-0112-0
• Insomnia or the Devil at Large, Albuquerque: Loujon Press, 1970.
  • Garden City, NY: Doubleday, 1974.
• First Impressions of Greece, Santa Barbara, CA: Capra Press, 1973. ISBN 0-912264-59-4
• Reflections on The Maurizius Case: A Humble Appraisal of a Great Book, Santa Barbara, CA: Capra Press, 1974. ISBN 0-912264-73-X
• Henry Miller's Book of Friends: A Tribute to Friends of Long Ago, Santa Barbara, CA: Capra Press, 1976. ISBN 0-88496-050-1
• Sextet, Santa Barbara, CA: Capra Press, 1977. ISBN 0-88496-119-2
  • New York: New Directions, 2010. ISBN 978-0-8112-1800-9
• My Bike and Other Friends, Santa Barbara, CA: Capra Press, 1978. ISBN 0-88496-075-7
• Joey: a Loving Portrait of Alfred Perlès Together With Some Bizarre Episodes Relating to the Opposite Sex, Santa Barbara, CA: Capra Press, 1979. ISBN 0-88496-136-2

Films[link]

Miller as himself[link]

Miller appeared as himself in several films,^[31] including:

• He was the subject of four documentary films by Robert Snyder; The Henry Miller Odyssey (90 minutes), Henry Miller: Reflections On Writing (47 minutes), and Henry Miller Reads and Muses (60 minutes). In addition, there is a film by Snyder that was completed after Snyder's death in 2004 about Miller's watercolor paintings, Henry Miller: To Paint Is To Love Again (60 mimutes). All four films are in Miller's own words.
• He was a "witness" (interviewee) in Warren Beatty's 1981 film Reds.^[32]
• He was featured in the 1996 documentary Henry Miller Is Not Dead that featured music by Laurie Anderson.^[33]

Actors portraying Miller[link]

Several actors played Miller on film, such as:

• Rip Torn played Miller in the 1970 film adaptation of Tropic of Cancer.
• In the 1970 Jens Jørgen Thorsen adaptation of Quiet Days in Clichy, the Miller-based character of 'Joey' was played by Paul Valjean.
• Fred Ward played Miller in the 1990 movie Henry & June.
• Claude Chabrol's 1990 adaptation of Quiet Days in Clichy saw Andrew McCarthy play the Miller role.

References[link]

Further reading[link]

• Durrell, Lawrence, editor. The Henry Miller Reader, New York: New Directions Publishing, 1959. ISBN 0-8112-0111-2
• Widmer, Kingsley. Henry Miller, New York: Twayne, 1963.
  • Revised edition, Boston: Twayne, 1990. ISBN 0-8057-7607-9
• Wickes, George, and Harry Thornton Moore. Henry Miller and the Critics, Carbondale: Southern Illinois University Press, 1963.
• Wickes, George. Henry Miller, Minneapolis: University of Minnesota Press, 1966.
• Gordon, William A. The Mind and Art of Henry Miller, Baton Rouge: Louisiana State University Press, 1967.
• Mailer, Norman. Genius and Lust: a Journey Through the Major Writings of Henry Miller, New York: Grove Press, 1976. ISBN 0-8021-0127-5
• Martin, Jay. Always Merry and Bright: the Life of Henry Miller: an Unauthorized Biography, Santa Barbara, CA: Capra Press, 1978. ISBN 0-88496-082-X
• Young, Noel, editor. The Paintings of Henry Miller: Paint as You Like and Die Happy, Santa Barbara, CA: Capra Press, 1982. ISBN 0-87701-280-6
• Winslow, Kathryn. Henry Miller: Full of Life, Los Angeles: J. P. Tarcher, 1986. ISBN 0-87477-404-7
• Brown, J. D. Henry Miller, New York: Ungar, 1986. ISBN 0-8044-2077-7
• Stuhlmann, Gunther, editor. A Literate Passion: Letters of Anaïs Nin and Henry Miller, 1932–1953. San Diego: Harcourt Brace Jovanovich, 1987. ISBN 0-15-152729-6
• Dearborn, Mary V. The Happiest Man Alive: A Biography of Henry Miller, New York: Simon & Schuster, 1991. ISBN 0-671-67704-7
• Jong, Erica. The Devil at Large: Erica Jong on Henry Miller, New York: Turtle Bay Books, 1993. ISBN 0-394-58498-8
• Fitzpatrick, Elayne Wareing. Doing It With the Cosmos: Henry Miller's Big Sur Struggle for Love Beyond Sex, Philadelphia: Xlibris, 2001. ISBN 1-4010-1048-2
• Brassaï. Henry Miller, Happy Rock, Chicago: University of Chicago Press, 2002. ISBN 0-226-07139-1
• Masuga, Katy. Henry Miller and How He Got That Way, Edinburgh: Edinburgh University Press, 2011. ISBN 978-0-7486-4118-5
• Masuga, Katy. The Secret Violence of Henry Miller, Rochester, NY: Camden House Publishing, 2011. ISBN 978-1-57113-484-4

External links[link]

Wikiquote has a collection of quotations related to: Henry Miller

• Henry Miller Online by Dr. Hugo Heyrman, a tribute
• Ibarguen, Raoul R. Narrative Detours: Henry Miller and the Rise of New Critical Modernism, excerpts from a 1989 Ph.D. thesis
• Nexus: The International Henry Miller Journal
• Rexroth, Kenneth. "The Reality of Henry Miller" and "Henry Miller: The Iconoclast as Everyman’s Friend" (1955–1962 essays)
• Schiller, Tom, director. Henry Miller Asleep & Awake (1975), a 34-minute video
• Smithsonian Folkways. An Interview with Henry Miller (1964), with link to transcript (in "liner notes")
• Miller documentaries by Robert Snyder at Masters & Masterworks
• UbuWeb Sound: Henry Miller (1891–1980), with links to MP3 files of "An Interview with Henry Miller" (1964), "Life As I See It" (1956/1961), and "Henry Miller Recalls and Reflects" (1957)
• Works by or about Henry Miller in libraries (WorldCat catalog)
• Young, Richard, director. Dinner with Henry Miller (1979), a 30-minute video