Joseph Mitchell (writer) - Knowledge (XXG)

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reporting into art". William Zinsser states that Mitchell serves as the "primary textbook" for "nonfiction writers of any generation". Critics credit Mitchell's strength as a writer to his "skills as an interviewer, photographic representation of his characters and their speech, deadpan humor, and graceful, unadorned prose style". Critics also note that it is Mitchell's "respect and compassion for his subjects" that allows him to explore uncomfortable themes like "mortality, change, and the past". Throughout Mitchell's career, he has been praised for his "ear for dialogue and eye for detail, genuine interest in the lives of his subjects, rhythmic, simple prose". For many critics, Mitchell serves as the model writer for "generations of nonfiction writers" In the latter part of Mitchell's career, critics began to note that the tone of his writing had become "increasingly nostalgic" but that he retained his "earthly sense of humor and obvious delight in making new discoveries about New York". One notable literary critic, Noel Perrin, notes that "Mitchell described the life and even the very soul of New York as perhaps no one else ever has". Other critics question Mitchell's legacy as a journalist because of his tendency to "cross a line" between fiction and nonfiction, often "shaping the facts" of his stories to offer "the core 'truth' of the story" rather than "its interior factuality". One critic asks, "knowing fabricated and embellished, how should we view his legacy?"

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explore the cemeteries. Mitchell walks the reader through a number of cemeteries he enjoys walking in on days like that day, which include places such as “Woodrow Methodist Church on Woodrow Road in the Woodrow community, or to the cemetery of St. Luke’s Episcopal Church on the Arthur Kill Road in the Rossville community, or to one on the Arthur Kill Road on the outskirts of Rossville” before leading the reader to The South Shore, a more rural part of Staten Island, where trees tend to dominate, and a place where some of the oldest graveyards can be found, (Mitchell). Mitchell continues his exploration of several graveyards, stopping at gravestones, studying them, reading the names off them, and moving vines and dirt from certain ones he ponders upon. Mitchell begins to grow weary, preparing to leave the graveyard off of Rossville until he notices a wildflower that catches his attention, drawn to the grave of a Rachel Dissoway, which is when Mitchell is noticed by the rector of the graveyard, Mr. Brock.

764:"Up in the Old Hotel" isn't just the story of Louie, or Sloppy Louie's, but about the closed-off elevator shaft that not even Louie has ever traveled up into. This comes about over breakfast, when Louie tells Mitchell he may need to add extra tables to the second floor of his place to make up for the growing lunch crowds coming in. When Mitchell points out he has four empty floors above them, Louie explains that only the first two floors have stairs to access them, and the rest of the building is closed off. Out of pure curiosity, Mitchell agrees to be the man who will go up to the unused four floors with Louie for the first time, when the opportunity arises. The elevator shaft, the equipment, nor the space above have not been used or even really touched since it was closed off, making it a particularly risky endeavor for both of the men, and upon realizing it is safe to use, they travel up to the old hotel that hasn't been seen by anyone in decades. 761:

price range. It was never the flashiest or nicest building, but it was near the market and was successful in housing a small restaurant. Louie is constantly experimenting with his dishes, making his shop the place to stop and try a new kind of fish, or other seafood. Growing up in a small Italian fishing village himself, he does not shy away from different flavors and possibilities with his fish. He's a humble and gentlemanly man who adds an air of propriety and humility to everything he does; he works the same as any of his employees to keep his restaurant running, doing the same jobs, and always keeps a white cloth folded over his arm for the sake of class, even when he's only running the register. He maintains relationships with his regular customers, like Mitchell, and fosters business relationships with the fishermen that bring their catches to the dock for sale at the Fulton Market.

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days, she moved to Brooklyn, where she met and married his father, although after his father served a sentence, the family moved to Sandy Ground, hoping to get work by harvesting oysters. After his father's death, Mr. Hunter's mother married a man from Sandy Ground, who Mr. Hunter did not much care for, but goes into the history of his step family nonetheless. Mr. Hunter then goes on to discuss how he too became a drunk, and several jobs he had such as a bricklayer and a business owner, before marrying his first wife. Mr. Hunter reveals that he was married twice, and lost both his wives. He also reveals that he had a son who died.

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gravestone, so the two men can better observe it. Following this, the two men stop at a number of different graves, with Mr. Hunter narrating short life stories of each individual they tend to stop at. The routine of stopping, narrating, and continuing comes to a cease upon the two men reaching Mr. Hunter's plot, where he will actually not be buried due to a mishap, which Mr. Hunter explains clearly and emotionally, admitting it outraged him. Taking two steps further, Mr. Hunter shows Mitchell where he will be buried in all actuality, stating, “'Ah, well, (…), it won’t make any difference'” ending the article, (Mitchell).

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various things, such as the wildflower pokeweed. The older women of Sandy Ground, including Mr. Hunter's mother, believed that its roots had healing properties, even though others generally regard them as poisonous. Following this, there's commentary about what kind of wood Mr. Hunter's house is built of, and talk about how much he despises flies while the two men are sitting on the porch (as well as a discussion about the history of Sandy Ground, which started due to the wanting of oysters). Following the incident with the flies, Mr. Hunter and Mitchell begin their trip to the graveyard.

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affinity for remembering small facts and giving attention to the overlooked members of society. Mazie P. Gordon is tough and blunt. Detective Kain of the Oak Street Police Station declares that Mazie “has the roughest tongue and the softest heart in the Third Precinct. In Mitchell's profile, her life is confined to the ticket booth of the movie theater where she socializes with “bums” that come and go from the surrounding flophouses. Direct conversations detail her interactions with her community.

853:“Dragger Captain” was met with much critical acclaim. So much so, that the rights were acquired by Warner Brothers and it was rumored that they were going to “develop it for Gary Cooper”. Thompson was promised 10% of any proceeds by Mitchell. Ultimately though, nothing came of the rumors with Mitchell calling it “studio commissary gossip” and stating that “the only truth in it is that a writer has been assigned to try and work out a script on dragger finishing, using the Profile as background”. 481:(in summer, a straw one) and a tan raincoat; an hour and a half later, he reversed the process, again closing the door. Not much typing was heard from within, and people who called on Joe reported that his desktop was empty of everything but paper and pencils. When the end of the day came, he went home. Sometimes, in the evening elevator, I heard him emit a small sigh, but he never complained, never explained. 455:, "You pick someone so close that, in fact, you are writing about yourself. Joe Gould had to leave home because he didn't fit in, the same way I had to leave home because I didn't fit in. Talking to Joe Gould all those years he became me in a way, if you see what I mean." Even with Joe Gould as a way to explore his own reality, Mitchell began to attract characters with similar attributes. In a feature within 892:, captures the selfsame essence. His work often revolves around character study, in which he captures Joe Gould's profile. Gould struggles with writing and rewriting the first few chapters of his “Oral History” because of writer's block. Ironically, Mitchell, himself, is struggling with a degree of writer's block in which he was unable, later in life, to continue his previous writing output. 135: 974: 27: 812:

the revelation that certain pieces of Mitchell's articles were fabricated and the period of time of which the events took place shortened. Many critics, it appears, were distraught, including Michael Rosenwald, a writer for the Columbia Journalism Review. Following the publication of the book, Rosenwald wrote an article entitled, “‘I Wish This Guy Hadn’t Written This Book’”.

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drags. Throughout the article we gradually learn more about Ellery as a person and not just a dragger captain. Ellery's brother, Morris, died at sea trying to combat poor sailing conditions to try and make a living. Ellery has to then drag for his own brother's body, giving us an insight as to the reason why Ellery looks upon life “with a droll world-weariness”.

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ultimate Southern courtesy of accepting “people on their own terms”. Although he was a Brooklyn police reporter at first, by the time he moved to work in Harlem he began to connect with the “raffish side” of the NYC borough and it was here that his deep affection for NYC and its people started to blossom. Scholars claim that Mitchell's 1959 collection entitled

533: 68: 563:, at first covering crime and then doing interviews, profiles, and character sketches. In 1931, he took a break from journalism to work on a freighter that sailed to Leningrad and brought back pulp logs to New York City. He returned to journalism later that year and continued to write for New York newspapers until he was hired by 849:

one day a month he flies an “old Yale pennant”. The article closes with Frank, one of Ellery's two crew mates, telling an interesting folk tale. The story is about Old Chrissy, “an old rascal of a woman that was the head of a gang of Block Island wreckers”. The gig was that Chrissy and her crew would

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works out of Stonington port in Connecticut. Mitchell chooses Ellery Thompson as he is “the most skillful and the most respected of the captain in the Stonington fleet”. Mitchell and Captain Thompson soon find that they have compatible personalities, allowing Mitchell to accompany Ellery during his

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In this article, Rosenwald explores his own relationship with Mitchell, stating how the man influenced both himself and other generations of writers and how his favorite article by him is "Mr. Hunter's Grave", then goes into his disappointment about what was put in the Kunkel biography, stating, “For

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The two men discuss Mitchell's interest in wild flowers, particularly peppergrass, which leads to Mr. Brock telling Mitchell about a cemetery in a black community off of Bloomingdale Road. Mr. Brock gives Mitchell the contact of a Mr. G. Hunter, who is the chairman of trustees of the Methodist Church

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This article in particular begins with what one could consider a “typical Mitchell day” and allows for the reader to get closer to Mitchell, in a sense. One day, Mitchell wakes up, admittedly feeling stressed from his surroundings, packs a couple sandwiches, and decides to go down to Staten Island to

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Up on the first blocked floor, the two men find the remains of what was once a high-end hotel, finding bureaus with playing cards, hangers, mirrors, and the sign to the reading room. The environment itself is depressing to Mitchell, and he decids the leave immediately, so neither of the men bother to

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In his opening, Mitchell surveys the personality of the man he has this experience with, setting the mood for the entire piece. Louie is an Italian immigrant who worked for years in restaurants around the city until The Crash of 1929, when the property that is now his restaurant finally came into his

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In Joseph Mitchell's feature "Up in the Old Hotel'," Mitchell explores the Fulton Fish Market of New York, specifically Sloppy Louie's Restaurant. He features the owner of the space, and explores the character in full before adventuring up the old elevator shaft with Louie and exploring the abandoned

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to describe the gauzy effect in Mitchell's writings. He goes on to further describe Mitchell's temporal dimension as a "strange and twilight place where a density of historical fact and the feeling of whole eras fading from view are sharply juxtaposed with the senses of cinematic immediacy related in

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Critical reviews of Mitchell's works are almost overwhelmingly positive. Many critics have labeled Mitchell "the best reporter in the country" and marked him as the writer with whom "any writer with aspirations in literary journalism...has to reckon with," and the writer that "transform the craft of

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On Saturday morning, Mitchell arrives at Mr. Hunter's home, where he is greeted by Mr. Hunter, who at the time of his arrival is icing a cake. In the time while Mitchell is at Mr. Hunter's home, Mitchell learns a great deal about the history of Sandy Ground. While in the kitchen, the two men discuss

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at the age of 87. He was laid to rest in Floyd Memorial Cemetery in his hometown of Fairmont, North Carolina next to his wife. On his gravestone his daughters inscribed a quote from Shakespeare's seventy-third sonnet, one of his favorite lines in literature: "Bare ruined choirs, where late the sweet

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in 1925. As a journalism major, he was "a solid if not superior student," and he was successful in humanities courses such as history, language, music, and literature and explored classes in nearly every subject. Aside from his studies, he began writing for the campus literary magazine and newspaper

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The article, like many others acquired a level of scrutiny following the publication of a Mitchell biography written by Thomas Kunkel in 2015. Kunkel's biography brought to light several fascinating facts about Joseph Mitchell's life, however, some of the information opened a wormhole, specifically

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Joseph Mitchell suffered from depression all of his life. An unsteady relationship with his father and his lack of belonging in his two homes of North Carolina and New York left Mitchell isolated and listless for much of his life. He lived in an era of psychology that focused purely on anxiety, and

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After this revelation, the two men enter the cemetery. They discuss different roots, some of which Mitchell is familiar with, and one he is not, until they come across a grave that Mr. Hunter says is his Uncle's. Mr. Hunter, while Mitchell explores a little more, works on getting the vines off the

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On the way to the graveyard, Mitchell discusses more discussion regarding Mr. Hunter's family and himself, including the fact that Mr. Hunter wasn't born in the South, but his mother was; more so, his mother was a slave from Virginia, and her mother before her. After Mr. Hunter's mother's slavery

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While his battle with mental illness continued in the workplace, he was known by his family as a dependable and caring father and husband at home. Therese Jacobson and their children, Nora and Elizabeth, retained nothing but fond memories of their father, even though they knew he was struggling in

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magazine, Charles McGrath notes that "the critic Stanley Edgar Hyman first pointed out that the people Mitchell wrote about more and more resembled himself: loners, depressives, nostalgists, haunters of the waterfront, cherishers of arcane information. The characters in his pieces began to share a

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some critics called Mitchell an anthropologist in his description. Mazie becomes more than just a blonde and kind woman, and instead is shown to be complex and strong-willed. Mitchell's close observation of Mazie set a new standard for writers and reporters. Mitchell's curiosity without judgement

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Joseph Mitchell was born in North Carolina, yet throughout the majority of his writing career he centered his writing around New York City and its subjects. He brought a distinct and unique style of reporting to NYC that stemmed from his Southern upbringing. Mitchell was said to have brought the

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creates and canonizes Mazie, a woman who worked in the ticket booth of The Venice theater. Mitchell's meticulous reporting skills result in an account of Mazie complete with factual details, close observation, and direct quotations. Critics believe Mazie resembles Mitchell himself: they share an

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diverges from his previous works. Mitchell often speaks in first person while offering personal accounts and memories revolving around the plot. Furthermore, Gould's nonexistent “Oral History” is an attempt to capture the voices of the plebeian class, or the anti-heroes. Mitchell's entire work,

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Mitchell's adventurous personality as a child contradicted his father's staunch work ethic and traditional Southern values. From a young age, Mitchell was deeply touched by nature. He loved to climb trees, and it was one of the few activities that allowed an outlet for his young imagination to

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that allows him to portray NYC in his signature matte style. The subjects "are mainly old men, they are custodians of memory, their stories a link with the history of a city that has always been mercantile at heart." Additionally, Mitchell liked to visit the Edgewater Cemetery, which was the

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by Jami Attenberg. She encountered “Mazie” through Mitchell's collection of his magazine pieces, and used Mitchell's profile to fashion Mazie into a fictional character. Ultimately, Mazie archetypes Mitchell's distinct characteristics that intrigue readers. Much of this intrigue, for all of

820:, who Rosenwald is friends with. Upon reading the biography, and hearing about it himself, Rosenwald records that Talese said something along the lines of, “'To hear that one of the guys I grew up admiring did things I don’t think I’d want to be accused of doing, it’s troubling and sad'”. 936:, an indie computer game series revolving around paranormal themes. In the second game of the series, the player encounters Mitchell during the prolonged writer's block of his later years. In the third game of the series, the player encounters ghosts of both Mitchell and Joe Gould. 876:. Mitchell soon learns that the purportedly nine-million-word work of oral history does not exist. However, he finds that Gould is a popular and central figure within a number of New York circles. Extending Mitchell's abiding concerns with the anti-hero and the New York landscape, 850:

lure ships in “with false lights, & they killed the sailors & the passengers, so there wouldn't be any tales told”. On one occasion she unknowingly lures in her own son's ship. But, she chooses to “clout him on the head. ‘A son’s a son,’ she said, ‘but a wreck’s a wreck”.

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in the community, Sandy Ground, where Mitchell would like to go look for peppergrass. Mitchell, using the information given to him by Mr. Brock, contacts Mr. Hunter, and sets up a time to meet the man at his house that coming Saturday morning, for him to explore Sandy Ground.

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develop. He also tended to escape to the swamps surrounding his father's property as often as he could, as it allowed him to feel connected to the world around him. Mitchell stated, "the water mesmerized me; everything in it interested me, still or moving, dead or alive."

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is his best and most “elegiac account of New York”. It is here that Mitchell references not only the underdog characters of NYC, but also the underdog places - such as the Fulton Fish Market; a reoccurring place of study in this water based collection. For example,

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profiles, “Professor Sea Gull” (1942) and “Joe Gould’s Secret” (1964), concerning Joe Gould, an eccentric bohemian living in New York City. Following Gould's death, Mitchell embarks on a search for the massive book Gould had long claimed to be writing,

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me, learning these things was like a kid discovering his favorite baseball player whacked long home runs while juicing on steroids,” showing the betrayal he felt. Rosenwald's article includes the opinion of another well respected journalist,

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office, but instead, he would carry on walking, taking in NYC and its landscape. Indeed, much of Mitchell's work was conceived due to his enchanted meandering of NYC where he “walked the city incessantly . . . little escaped his notice”

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description of Mazie P. Gordon reveals she was known as “Miss Mazie” to the men she interacted with around the Venice Theatre. She is blonde, kind, and has exaggerated hair and makeup. Two years later, when Mitchell profiled Mazie in

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doctors regarded depression as a severe side effect of existing anxiety. However, symptoms of this condition did not clearly manifest in his life until late in his career. Many of Mitchell's coworkers, as well as his biographer,

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Although he struggled to publish, he did write hundreds of pages of manuscripts for several pieces, including his own memoir, which Thomas Kunkel used extensively in writing Mitchell's biography. After he died, his colleague

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Each morning, he stepped out of the elevator with a preoccupied air, nodded wordlessly if you were just coming down the hall, and closed himself in his office. He emerged at lunchtime, always wearing his natty brown

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Mitchell was open to taking on the challenge of profiling the female central character of Mazie. The writing process was challenging until his central character would give him “the revealing remark.” The 1938

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But Ellery is also a kind and thoughtful man. For example, unlike other draggers, he keeps the best lobster he catches for himself and his crew. When the oceanographers from Yale University sail with him on the

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on September 22, 1956. To this day, the piece remains one of Mitchell's biggest journalistic successes, with an array of positive reviews. "Mr. Hunter's Grave" was republished in one of Mitchell's collections,

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Seen throughout Joseph Mitchell's oeuvre is his distinct focus on the underdog characters, or the laymen of NYC, and the focus on unexpected characters. For example, Mazie is a central focus for a

2807: 378:. His work primarily consists of character studies, where he used detailed portraits of people and events to highlight the commonplace of the world, especially in and around New York City. 403:, and he tried to instill these values into his children. As his eldest son, Averette hoped that Mitchell would someday take over the family business and continue the family's legacy. 729:

is “the story of an old salt in the fleet out of Stonington, Connecticut, that supplies the Fulton Fish Market with flounder”. But it is once again Mitchell's character selection in

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In 1995, Mitchell was diagnosed with lung cancer after he began experiencing back pain. The cancer eventually spread and metastasized in his brain. On May 24, 1996, Mitchell died at

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From 1964 until his death in 1996, Mitchell would go to work at his office on a daily basis, but he never published anything further, other than the "Author's Note" introducing

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On February 27, 1932, he married Therese Jacobsen, a reporter and photographer. They remained married until her death in 1980, and had two daughters, Nora and Elizabeth.

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as a sports reporter. Because he had no aptitude for mathematics, he was unable to successfully finish his degree. He left college and moved to New York City in 1929.

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tells a compelling story where the central character is not even human. Mitchell's focus on these unlikely characters gives his nonfiction a very distinct character.

2634:"Mitchell, Joseph (1908-1996), An Introduction to." Contemporary Literary Criticism, edited by Deborah A. Stanley, vol. 98, Gale, 1997. Literature Criticism Online, 619: 536: 961:, mentions Mitchell directly saying, “I saw Joe Mitchell's ghost on a downtown 'A' train. He just rides on forever now that the Fulton Fish Market's shut down." 707:

the present tense." Mitchell's distinctive voice can be seen in many, if not all, of his works. The most notable example of "Mitchell time" is seen in the story

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Mitchell's underdog characters, comes from the access he provides into the lives of the people that the readers of the New Yorker wouldn't normally meet.

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selected Mitchell's story "Execution" for inclusion in its two-century retrospective of American True Crime. The February 11, 2013, edition of

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Mitchell came to New York City in 1929, at the age of 21, with the ambition of becoming a political reporter. He worked for such newspapers as

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This feature by Mitchell really clings to his notions of the passage of time, and the coming change in New York, and the rest of the world.

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includes a previously unpublished portion of Mitchell's unfinished autobiography entitled "Street Life: Becoming Part of the City."

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in two parts. In this profile Mitchell talks to and follows 47-year-old Ellery Thompson who is captain of a dragger boat named

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also captures the essence of Gould's non-existent oral history by preserving the life and voice of Joe Gould.

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Joseph Mitchell (left) outside Sloppy Louie's restaurant with Louis Morino, subject of "Up in the Old Hotel"

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article bearing her name. “Mazie” first appears in the print edition of the December 21, 1940, issue of

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Rosenwald, Michael. “'I Wish This Guy Hadn't Written This Book'.” Columbia Journalism Review, 2015.

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http://link.galegroup.com/apps/doc/HEPGSR729985091/LCO?u=tel_a_belmont&sid=LCO&xid=cb2ea833

2356: 1564: 369: 2470: 1303: 2010: 1734: 1384: 923:, was released. It focuses on the relationship between Mitchell (played by Tucci) and Joe Gould ( 708: 611: 564: 442: 2555: 2519: 2269: 2109: 1870: 1643: 1634: 1403: 1357: 2602: 2559: 2523: 2490: 2422: 2332: 2322: 2273: 2235: 2205: 2155: 2112: 2075: 1987: 1966: 1933: 1908: 1878: 1846: 1796: 1145: 1121: 1097: 1075: 1043: 1017: 601: 593: 396: 2221: 1753: 1705: 1573: 1518: 1814: 1805: 1184: 1174: 920: 452: 441:, tell of the toll the subjects of his works had on him, specifically his greatest subject, 1628: 1430: 1366: 711:

where the narrative tells of the overlapping of many eras occurring in one small location.

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Gould's writing is digressive and self-referential; however, Mitchell's writing in

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For more information on Mitchell's biography and daily life, see Thomas Kunkel's

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Mitchell was born on July 27, 1908, on his maternal grandfather's farm near

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collects the best of his early journalistic writing, which he omitted from

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Norman Sins, "Joseph Mitchell and The New Yorker Nonfiction Writers",

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external links, and converting useful links where appropriate into

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in 1938. He remained with the magazine until his death in 1996.

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similar voice; they all sounded a little like Mitchell."

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Rats on the Waterfront (Thirty-Two Rats From Casablanca)

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Man in Profile : Joseph Mitchell of The New Yorker

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may not follow Knowledge (XXG)'s policies or guidelines

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Members of the American Academy of Arts and Letters

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Man in Profile: Joseph Mitchell of The New Yorker (

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Funeral Parlors! 620:New York City Landmarks Preservation Commission 596:street character and self-proclaimed historian 415:Mitchell left home and attended college at the 828:In January 1947 "Dragger Captain" appeared in 1952:New York, New York, Marriage Index, 1866-1937 678:inspired writers to continue Mazie's legacy. 8: 2773:Deaths from brain cancer in New York (state) 1205:Reporter at Large They Got Married in Elkton 2778:Deaths from lung cancer in New York (state) 2656:. Columbia Journalism Review, 54(2), 38–41. 2201:"On the crime beat with St. Clair McKelway" 867:(1965), Mitchell expanded upon two earlier 417:University of North Carolina at Chapel Hill 308:University of North Carolina at Chapel Hill 55:Learn how and when to remove these messages 2654:‘I wish this guy hadn’t written this book’ 2466: 2464: 1932:. New York: Random House. pp. 40–42. 248: 2758:20th-century American non-fiction writers 1864: 1862: 1465:Santa Claus Smith of Riga, Latvia, Europe 1295:Downfall of Fascism in Black Ankle County 626:by eating 84 cherrystone clams. In 2008, 237:Learn how and when to remove this message 219:Learn how and when to remove this message 117:Learn how and when to remove this message 2421:(1st ed.). New York: Random House. 2601:. New York: Random House. p. 166. 2489:. New York: Random House. p. 164. 1830: 1197:Harold D. Winney & Joseph Mitchell 947:, in the last episode of the HBO drama 348: 1932; died 1980) 2296:Mitchell, Joseph (December 14, 1940). 2220:Mitchell, Joseph (February 11, 2013). 2199:Weingarten, Marc (February 14, 2010). 1907:. New York: Random House. p. 14. 1845:. New York: Random House. p. 18. 1529:Mr. Colborne's Profanity-Exterminators 1521:With Eugene Kinkead & Harold Ross 1376:Uncle Dockery and the Independent Bull 1005:Collections from prior newspaper works 779:"Mr. Hunter's Grave" was published by 522: 2648: 2646: 2644: 2630: 2628: 2626: 2624: 2622: 2620: 2618: 2541: 2539: 2480: 2478: 2383: 2381: 2379: 2377: 2291: 2289: 2264:Up In The Old Hotel and Other Stories 2255: 2253: 2251: 2249: 2182:"Why Joseph Mitchell Stopped Writing" 1137:Up In The Old Hotel and Other Stories 580:collects the best of his writing for 7: 2788:People from Fairmont, North Carolina 2580:"DRAGGER CAPTAIN: PROFESSORS ABROAD" 2554:. New York: Vintage Books. pp. 2518:. New York: Vintage Books. pp. 2268:. New York: Vintage Books. pp. 2108:. New York: Vintage Books. pp. 1836: 1834: 496:Columbia-Presbyterian Medical Center 157:adding citations to reliable sources 2066:McGrath, Charles (April 20, 2015). 1259:Mrs. Bright and Shining Star Chibby 1232:Mr. Grover A. Whalen and the Midway 757:and sectioned-off old hotel space. 600:'s extravagantly disguised case of 2753:20th-century American male writers 1986:. New York: Random House. p. 328. 1653:Dragger Captain: Professors Abroad 1440:Sunday Night Was a Dangerous Night 14: 2748:20th-century American journalists 2719:Manuscripts and Archives Division 1965:. New York: Random House. p. 59. 1223:Reporter at Large. Bar and Grill. 614:, was one of the founders of the 36:This article has multiple issues. 2004:Severo, Richard (May 25, 1996). 1322:All You Can Hold For Five Bucks. 972: 955:'s song "Down Here Below", from 531: 133: 66: 25: 1869:Remnick, David (June 3, 1996). 1611:Thirty-Two Rats from Casablanca 345: 144:needs additional citations for 44:or discuss these issues on the 16:American journalist (1908–1996) 2783:New York Herald Tribune people 2146:Bailey, Blake (May 19, 2015). 1: 2402:Northwestern University Press 2389:Journeys with Joseph Mitchell 915:, a feature film directed by 768:go to the floor above them. 399:steeped in the values of the 168:"Joseph Mitchell" writer 2803:The New Yorker staff writers 2180:Lazarus, Ben (May 1, 2015). 1592:The Mayor of the Fish Market 939:Mitchell is referenced by a 445:. Mitchell once remarked to 2676:McSorley's wonderful saloon 2674:Omnibus edition comprising 1492:Evening with a Gifted Child 1034:McSorley's Wonderful Saloon 874:An Oral History of Our Time 774: 616:South Street Seaport Museum 2824: 2793:People with mood disorders 1395:The Hospital Was All Right 958:Washington Square Serenade 2768:Burials in North Carolina 2763:American male journalists 2546:Mitchell, Joseph (1993). 2510:Mitchell, Joseph (1993). 2260:Mitchell, Joseph (1993). 2100:Mitchell, Joseph (1993). 1672:The Mohawks in High Steel 1058:Collections of work from 930:Mitchell is portrayed in 530: 2684:The bottom of the harbor 1688:The Bottom of the Harbor 1090:The Bottom of the Harbor 731:The Bottom of the Harbor 722:The Bottom of the Harbor 393:Fairmont, North Carolina 275:Fairmont, North Carolina 2723:New York Public Library 2597:Kunkel, Thomas (2015). 2485:Kunkel, Thomas (2015). 2417:Kunkel, Thomas (2015). 1982:Kunkel, Thomas (2015). 1961:Kunkel, Thomas (2015). 1928:Kunkel, Thomas (2015). 1903:Kunkel, Thomas (2015). 1841:Kunkel, Thomas (2015). 1662:Incidental Intelligence 1456:I Blame it All on Mamma 1413:Goodbye, Shirley Temple 1016:. Vintage Books. 1938. 584:, and his earlier book 560:New York World-Telegram 554:New York Herald Tribune 2714:Joseph Mitchell papers 2652:ROSENWALD, M. (2015). 1763:Joe Gould's Secret - I 1286:Obituary of a Gin Mill 1268:I Couldn't Dope it Out 856: 628:The Library of America 483: 366:Joseph Quincy Mitchell 262:Joseph Quincy Mitchell 2798:The New Yorker people 2068:"The People You Meet" 2047:"The People You Meet" 1538:But There is No Sound 1501:Second-Hand Hot Spots 1474:The Old House at Home 1422:Mr. Barbee's Terrapin 1387:With Russell Maloney 752:"Up in the Old Hotel" 474: 2387:Zinsser, W. (1997). 1777:(September 18, 1964) 1768:(September 11, 1964) 1748:The Talk of the Town 1740:(September 14, 1956) 1729:The Talk of the Town 1716:The Beautiful Flower 1666:The Talk of the Town 1605:The Talk of the Town 1543:(September 12, 1941) 1523:The Talk of the Town 1506:(September 13, 1940) 1389:The Talk of the Town 1370:The Talk of the Town 1343:The Talk of the Town 1334:The Talk of the Town 1316:The Talk of the Town 1199:The Talk of the Town 986:adding missing items 933:The Blackwell Series 927:) during the 1940s. 775:"Mr. Hunter's Grave" 661:Up in the Old Hotel, 465:Up in the Old Hotel. 153:improve this article 87:improve this article 2550:Up In The Old Hotel 2514:Up In The Old Hotel 2104:Up In The Old Hotel 1811:(November 24, 2014) 1750:(November 14, 1958) 1746:With John McCarten 1693:(December 29, 1950) 1677:(September 9, 1949) 1675:A Reporter at Large 1649:(December 27, 1946) 1638:A Reporter at Large 1625:(November 17, 1944) 1623:A Reporter at Large 1614:A Reporter at Large 1607:(February 25, 1944) 1597:(December 24, 1943) 1583:A Spism and a Spasm 1556:King of the Gypsies 1541:A Reporter at Large 1515:(December 14, 1940) 1495:A Reporter at Large 1468:A Reporter at Large 1445:(November 24, 1939) 1425:A Reporter at Large 1418:(September 8, 1939) 1407:A Reporter at Large 1361:A Reporter at Large 1352:A Reporter at Large 1349:The Catholic Street 1325:A Reporter at Large 1318:(February 10, 1939) 1307:A Reporter at Large 1291:(December 30, 1938) 1289:A Reporter at Large 1282:(December 16, 1938) 1280:A Reporter at Large 1253:A Reporter at Large 1241:The Kind Old Blonde 1235:A Reporter at Large 1228:(November 13, 1936) 1226:A Reporter at Large 1219:(February 23, 1934) 1208:A Reporter at Large 786:Up In The Old Hotel 590:Up in the Old Hotel 578:Up in the Old Hotel 370:creative nonfiction 291:New York City, U.S. 99:footnote references 2688:Joe Gould's secret 2586:. January 4, 1947. 2357:"Mitchell, Joseph" 2152:The New York Times 2011:The New York Times 1820:(February 9, 2015) 1806:Days in the Branch 1802:(February 3, 2013) 1772:Joe Gould's Secret 1735:Mr. Hunter's Grave 1727:With Brendan Gill 1708:With Brendan Gill 1664:With Brendan Gill 1570:(December 4, 1942) 1565:Professor Sea Gull 1552:(October 24, 1941) 1525:(January 24, 1941) 1436:(October 27, 1939) 1427:(October 20, 1939) 1309:(February 3, 1939) 1304:The Little Brutes! 1273:(December 2, 1938) 1264:(October 28, 1938) 1210:(November 3, 1933) 1181:(January 16, 1931) 1113:Joe Gould's Secret 984:; you can help by 912:Joe Gould's Secret 905:In popular culture 896:Critical reception 890:Joe Gould’s Secret 885:Joe Gould’s Secret 878:Joe Gould's Secret 865:Joe Gould's Secret 858:Joe Gould's Secret 736:Mr. Hunter’s Grave 709:Mr. Hunter's Grave 612:Gypsy Lore Society 607:Joe Gould's Secret 565:St. Clair McKelway 2608:978-0-375-50890-5 2496:978-0-375-50890-5 2443:"Joseph Mitchell" 2206:Los Angeles Times 2055:. April 20, 2015. 2036:, August 27, 1992 1992:978-0-375-50890-5 1971:978-0-375-50890-5 1939:978-0-375-50890-5 1914:978-0-375-50890-5 1871:"JOSEPH MITCHELL" 1852:978-0-375-50890-5 1668:(August 15, 1947) 1658:(January 3, 1947) 1635:Mr. Flood's Party 1497:(August 23, 1940) 1461:(January 5, 1940) 1385:Windsor's Friends 1300:(January 6, 1939) 1255:(August 19, 1938) 1250:Reporter at Large 1191:(August 12, 1932) 1002: 1001: 824:"Dragger Captain" 594:Greenwich Village 543: 542: 363: 362: 325:Character studies 247: 246: 239: 229: 228: 221: 203: 127: 126: 119: 59: 2815: 2691: 2672: 2666: 2663: 2657: 2650: 2639: 2632: 2613: 2612: 2594: 2588: 2587: 2576: 2570: 2569: 2553: 2543: 2534: 2533: 2517: 2507: 2501: 2500: 2482: 2473: 2468: 2459: 2453: 2452: 2439: 2433: 2432: 2414: 2405: 2398: 2392: 2385: 2372: 2371: 2369: 2367: 2353: 2340: 2339: 2317:Kunkel, Thomas, 2314: 2308: 2307: 2293: 2284: 2283: 2267: 2257: 2244: 2243: 2217: 2211: 2210: 2196: 2190: 2189: 2186:The New Republic 2177: 2171: 2170: 2168: 2166: 2143: 2137: 2129: 2123: 2122: 2107: 2097: 2091: 2090: 2088: 2086: 2063: 2057: 2056: 2043: 2037: 2029: 2023: 2022: 2020: 2018: 2001: 1995: 1980: 1974: 1959: 1953: 1950: 1944: 1943: 1925: 1919: 1918: 1900: 1894: 1893: 1891: 1889: 1866: 1857: 1856: 1838: 1818:Personal History 1815:A Place of Pasts 1809:Personal History 1800:Personal History 1759:(March 27, 1959) 1731:(April 20, 1956) 1644:Dragger Captain. 1616:(April 21, 1944) 1579:(April 23, 1943) 1561:(August 7, 1942) 1534:(April 25, 1941) 1479:(April 14, 1940) 1470:(March 22, 1940) 1372:(April 28, 1939) 1363:(April 28, 1939) 1358:Houdini's Picnic 1354:(April 21, 1939) 1345:(April 21, 1939) 1336:(April 14, 1939) 1187:With E.B. White 1177:With E.B. White 1155: 1131: 1107: 1085: 1053: 1037: 1027: 1013:My ears are bent 997: 994: 976: 975: 969: 921:Howard A. Rodman 698:Time and passing 586:My Ears Are Bent 535: 534: 523: 453:David Streitfeld 372:he published in 349: 347: 335:Therese Jacobsen 288: 270: 268: 249: 242: 235: 224: 217: 213: 210: 204: 202: 161: 137: 129: 122: 115: 111: 108: 102: 70: 69: 62: 51: 29: 28: 21: 2823: 2822: 2818: 2817: 2816: 2814: 2813: 2812: 2728: 2727: 2704:Joseph Mitchell 2700: 2695: 2694: 2673: 2669: 2664: 2660: 2651: 2642: 2633: 2616: 2609: 2596: 2595: 2591: 2578: 2577: 2573: 2566: 2545: 2544: 2537: 2530: 2509: 2508: 2504: 2497: 2484: 2483: 2476: 2469: 2462: 2456: 2441: 2440: 2436: 2429: 2416: 2415: 2408: 2399: 2395: 2386: 2375: 2365: 2363: 2361:Williams-Mystic 2355: 2354: 2343: 2329: 2316: 2315: 2311: 2295: 2294: 2287: 2280: 2259: 2258: 2247: 2219: 2218: 2214: 2198: 2197: 2193: 2179: 2178: 2174: 2164: 2162: 2145: 2144: 2140: 2136:, June 10, 1996 2130: 2126: 2119: 2099: 2098: 2094: 2084: 2082: 2065: 2064: 2060: 2045: 2044: 2040: 2030: 2026: 2016: 2014: 2003: 2002: 1998: 1981: 1977: 1960: 1956: 1951: 1947: 1940: 1927: 1926: 1922: 1915: 1902: 1901: 1897: 1887: 1885: 1868: 1867: 1860: 1853: 1840: 1839: 1832: 1827: 1784: 1702:(June 20, 1952) 1684: 1640:(July 27, 1945) 1631:(March 2, 1945) 1588:(July 16, 1943) 1488:(July 26, 1940) 1452: 1409:(July 21, 1939) 1404:A Mess of Clams 1327:(April 7, 1939) 1277:Christmas Story 1237:(June 25, 1937) 1171: 1166: 1161:All works from 1152: 1134: 1128: 1110: 1104: 1088: 1082: 1066: 1063: 1050: 1030: 1024: 1010: 1007: 998: 992: 989: 973: 967: 919:and written by 907: 898: 861: 826: 777: 754: 749: 727:Dragger Captain 717: 715:Landscape study 700: 675:The New Yorker, 647: 645:Character study 642: 604:, published as 532: 521: 509: 507:Further reading 492: 448:Washington Post 434: 426: 413: 389: 384: 351: 343: 339: 336: 290: 286: 272: 266: 264: 263: 254: 253:Joseph Mitchell 243: 232: 231: 230: 225: 214: 208: 205: 162: 160: 150: 138: 123: 112: 106: 103: 84: 75:This article's 71: 67: 30: 26: 17: 12: 11: 5: 2821: 2819: 2811: 2810: 2805: 2800: 2795: 2790: 2785: 2780: 2775: 2770: 2765: 2760: 2755: 2750: 2745: 2740: 2730: 2729: 2726: 2725: 2710: 2699: 2698:External links 2696: 2693: 2692: 2667: 2658: 2640: 2614: 2607: 2589: 2584:The New Yorker 2571: 2564: 2535: 2528: 2502: 2495: 2474: 2460: 2454: 2448:The New Yorker 2434: 2427: 2406: 2393: 2373: 2341: 2327: 2309: 2303:The New Yorker 2285: 2278: 2245: 2227:The New Yorker 2212: 2191: 2172: 2138: 2133:The New Yorker 2124: 2117: 2092: 2072:The New Yorker 2058: 2052:The New Yorker 2038: 2024: 1996: 1975: 1954: 1945: 1938: 1920: 1913: 1895: 1875:The New Yorker 1858: 1851: 1829: 1828: 1826: 1823: 1822: 1821: 1812: 1803: 1794: 1793:(May 28, 2000) 1783: 1780: 1779: 1778: 1769: 1760: 1751: 1741: 1732: 1722: 1721:(May 27, 1955) 1713: 1703: 1694: 1683: 1680: 1679: 1678: 1669: 1659: 1650: 1641: 1632: 1626: 1617: 1608: 1603:With F. Whitz 1598: 1589: 1580: 1571: 1562: 1553: 1544: 1535: 1526: 1516: 1507: 1498: 1489: 1480: 1471: 1462: 1451: 1448: 1447: 1446: 1437: 1428: 1419: 1410: 1401: 1400:(May 19, 1939) 1392: 1391:(May 19, 1939) 1382: 1373: 1364: 1355: 1346: 1337: 1328: 1319: 1310: 1301: 1292: 1283: 1274: 1265: 1256: 1247: 1246:(May 27, 1938) 1238: 1229: 1220: 1211: 1202: 1201:(June 9, 1933) 1192: 1182: 1170: 1167: 1165: 1163:The New Yorker 1159: 1158: 1157: 1151:978-0679412632 1150: 1142:Pantheon Books 1132: 1127:978-0679601845 1126: 1118:Modern Library 1108: 1103:978-0375714863 1102: 1094:Pantheon Books 1086: 1081:978-1596921146 1080: 1062: 1060:The New Yorker 1056: 1055: 1054: 1049:978-0375421020 1048: 1040:Pantheon Books 1028: 1023:978-0375726309 1022: 1006: 1003: 1000: 999: 979: 977: 966: 963: 906: 903: 897: 894: 860: 855: 830:The New Yorker 825: 822: 781:The New Yorker 776: 773: 753: 750: 748: 747:Selected works 745: 716: 713: 699: 696: 670:World Telegram 657:The New Yorker 646: 643: 641: 640:Central themes 638: 633:The New Yorker 602:writer's block 582:The New Yorker 570:The New Yorker 541: 540: 528: 527: 526:External image 520: 517: 508: 505: 491: 488: 457:The New Yorker 433: 430: 425: 422: 412: 409: 401:Baptist church 388: 385: 383: 380: 375:The New Yorker 361: 360: 357: 353: 352: 341: 337: 334: 333: 331: 327: 326: 323: 319: 318: 315: 311: 310: 305: 301: 300: 297: 293: 292: 289:(aged 87) 283: 279: 278: 260: 256: 255: 252: 245: 244: 227: 226: 209:September 2020 141: 139: 132: 125: 124: 79:external links 74: 72: 65: 60: 34: 33: 31: 24: 15: 13: 10: 9: 6: 4: 3: 2: 2820: 2809: 2806: 2804: 2801: 2799: 2796: 2794: 2791: 2789: 2786: 2784: 2781: 2779: 2776: 2774: 2771: 2769: 2766: 2764: 2761: 2759: 2756: 2754: 2751: 2749: 2746: 2744: 2741: 2739: 2736: 2735: 2733: 2724: 2720: 2716: 2715: 2711: 2709: 2705: 2702: 2701: 2697: 2689: 2685: 2681: 2680:Old Mr. Flood 2677: 2671: 2668: 2662: 2659: 2655: 2649: 2647: 2645: 2641: 2637: 2631: 2629: 2627: 2625: 2623: 2621: 2619: 2615: 2610: 2604: 2600: 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