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ACKNOWLEDGMENTS

MY THANKS GO FIRST TO
those who made this book possible. Nick Davies at Canongate, who understood what I intended in a paragraph, and who has been a meticulous, inspired editor and ally. Jessica Woollard and the staff at the Marsh Agency, for their stalwart work and support. This project was supported using public funding by the National Lottery through Arts Council England and by the Authors' Foundation, who together funded the original trip to Echo Spring. The MacDowell Colony, for the best place to work imaginable. Mr. and Mrs. David F. Puttnam and Rose and Sigmund Strochlitz, for travel grants. The wonderful Claire Conrad and PJ Mark, and all at Janklow & Nesbit.

I've spent much of the past two years in libraries. I'd like to thank Anne Garner and the staff at the Berg Collection of New York Public Library, who performed feats of research magic and gave me a beautiful place to work in the city. I'm also very grateful to Melissa Waterworth-Batt and all at the Thomas J. Dodd Research Center at the University of Connecticut. Thanks too to Stephen Plotkin at
the John F. Kennedy Presidential Library, the staff at Butler Library at the University of Columbia, Fales Library at NYU, Sussex University Library, Brighton Library and the British Library. Andi Gustavson at the Harry Ransom Center also helped with electronic enquiries.

For interviews and logistical assistance, I'm grateful to the following: Dr. Petros Levounis, Director at the Addiction Institute. Kathy Kalaijin, SENY Public Information Chair at Alcoholics Anonymous. Professor Dai Stephens at the University of Sussex, who not only increased my understanding of the neurobiology of alcoholism but also went well beyond the call of duty in reading and commenting on an early draft. Blake Bailey, who alerted me to the whereabouts of Cheever's Bloody Papers. Ellen Johnson at the Tennessee Williams Literary Festival. Ellen Borakove at the Office of the Chief Medical Examiner in New York City.

My trio of angels at Canongate: Norah Perkins, managing editor; Annie Lee, copy editor; and Anna Frame, publicist par excellence. Thanks too to the new guard: Jenny Lord, Vicki Rutherford and Jaz Lacey-Campbell.

Particular thanks are due to three early readers: Helen Macdonald, without whose wise counsel and exceptional support this book wouldn't exist; James Purdon, a magnificent sounding board and editor, who introduced me to John Berryman besides; and Elizabeth Day, dear and brilliant in all ways. I'm also very grateful to my father (a demonically talented copy editor) for looking the manuscript over pre-publication.
Then there are the friends and colleagues who've discussed, encouraged, aided and housed me. In the UK: Jean Edelstein (who wangled my room at the Elysée), Lili Stevens, Clare Davies, Robert Macfarlane, Tony Gammidge, Anna Fewster, Jordan Savage, Sarah Wood, John Gallagher, Kristen Treen, Stuart Croll, Robin McKie, Bob Dickinson and Tom de Grunwald. In the USA: John Pittman (who provided me with a bed, hunted down all kinds of Hemingway ephemera, let me shoot his guns between writing sessions, and told me what
punk
means to a woodsman), Liz Tinsley (bestower of library cards), Dan Levenson and his airbed, Matt Wolf, David Adjmi, Liz Adams, Alex Halberstadt, Joseph Keckler, Francesca Segal (whose spreadsheet kept me sane), Alastair Reid and Michael Reid Hunter. I'm also grateful to my editors: Jonathan Derbyshire at the
New Statesman
and William Skidelsky at the
Observer.
Errors and infelicities are of course my own.

Finally, my deepest thanks and gratitude go to my family: Peter Laing, Kitty Laing and Denise Laing, whose story this is too.

PERMISSIONS ACKNOWLEDGMENTS

Every effort has been made to trace copyright holders and obtain their permission for the use of copyright material. The publisher apologises for any errors or omissions and would be grateful if notified of any corrections that should be incorporated in future reprints or editions of this book.

Grateful thanks to Kate Donahue and to The Henry W. and Albert Berg Collection of English and American Literature at the New York Public Library Astor, Lenox and Tilden Foundations for permission to use John Berryman's work.

‘Dream Song 36', ‘Dream Song 96', ‘Dream Song 143', ‘Dream Song 235', ‘Dream Song 310' and ‘Dream Song 311' taken from
The Dream Songs
by John Berryman. Reprinted by permission of Faber & Faber.

‘Eleven Addresses to the Lord,' ‘The Facts & Issues,' ‘Henry's Understanding,' and ‘Homage to Mistress Bradstreet' from
Collected Poems: 1937-1971
by John Berryman. Copyright © 1989 by Kate Donahue Berryman. Reprinted by permission of Faber & Faber, Farrar, Straus and Giroux, LLC.

‘Where Water Comes Together With Other Water', ‘Alcohol' and ‘Wenas Ridge' taken from
All of Us: The Collected Poems
by Raymond Carver, published by Harvill Press. Reprinted by kind permission of The Random House Group Ltd/The Wylie Agency, LLC.

‘Nobody Said Anything' taken from
Will You Please Be Quiet, Please
? by Raymond Carver, published by Vintage. Reprinted by kind permission of The Random House Group Ltd/The Wylie Agency, LLC.

Raymond Carver, ‘The Art of Fiction No. 76' originally printed in the
Paris Review.
Copyright © 1983, used by permission of The Wylie Agency, LLC.

‘Fires' by Raymond Carver. Copyright © 1983, 1984, used by permission of The Wylie Agency, LLC.

Grateful thanks to The Wylie Agency and The Henry W. and Albert Berg Collection of English and American Literature at the New York Public Library Astor, Lenox and Tilden Foundations for permission to use John Cheever's unpublished work.

‘Preface', ‘The Swimmer', ‘The Country Husband' and ‘The Day the Pig Fell Into the Well' taken from
The Stories of John Cheever,
published by Cape. Reprinted by kind permission of The Random House Group Ltd./The Wylie Agency, LLC

All previously unpublished material by Ernest Hemingway reprinted by kind permission of The Ernest Hemingway Foundation and Society.

Extracts from
Ernest Hemingway: Selected Letters 1917-1961
Reprinted with the permission of Scribner, a Division of Simon & Schuster, Inc. from
Ernest Hemingway: Selected Letters 1917-1961
by Ernest Hemingway, by Carlos Baker, editor. Copyright © 1981 by Carlos Baker and The Ernest Hemingway Foundation, Inc. All rights reserved.

Extracts from ‘The Doctor and the Doctor's Wife' by Ernest Hemingway. Reprinted with the permission of Scribner, a
Division of Simon and Schuster, Inc. from
The Short Stories of Ernest Hemingway
by Ernest Hemingway. Copyright © 1925 Charles Scribner's Sons; Copyright © 1953 by Ernest Hemingway. All rights reserved.

‘The Doctor and the Doctor's Wife' taken from
The Essential Hemingway
by Ernest Hemingway, published by Vintage Books. Reprinted by permission of The Random House Group Ltd.

Extracts from ‘Now I Lay Me' by Ernest Hemingway. Reprinted with the permission of Scribner, a Division of Simon and Schuster, Inc. from
The Short Stories of Ernest Hemingway
by Ernest Hemingway. Copyright © 1927 Charles Scribner's Sons; Copyright © 1955 by Ernest Hemingway. All rights reserved.

‘Now I Lay Me' taken from
Men Without Women
by Ernest Hemingway, published by Jonathan Cape. Reprinted by permission of The Random House Group Ltd.

Extracts from ‘Fathers and Sons' by Ernest Hemingway. Reprinted with the permission of Scribner, a Division of Simon and Schuster, Inc. from
The Short Stories of Ernest Hemingway
by Ernest Hemingway. Copyright © 1933 Charles Scribner's Sons; Copyright © 1961 by Mary Hemingway. All rights reserved.

‘Fathers and Sons' taken from
Winner Take Nothing
by Ernest Hemingway, published by Jonathan Cape. Reprinted by permission of The Random House Group Ltd.

Extracts from ‘Snows of Kilimanjaro' Reprinted with the permission of Scribner, a Division of Simon and Schuster, Inc. from
The Short Stories of Ernest Hemingway
by Ernest Hemingway. Copyright © 1936 by Ernest Hemingway, Copyright © 1964 by Mary Hemingway. All rights reserved.

‘The Snows of Kilimajaro' taken from
The First Forty Nine Stories
by Ernest Hemingway, published by Jonathan Cape. Reprinted by permission of The Random House Group Ltd.

‘A Streetcar Named Desire' by Tennessee Williams. Copyright © 1947, 1953 by the University of the South. Reprinted by permission of Georges Borchardt, Inc. for the Estate of Tennessee Williams/New Directions Publishing Corp. All rights reserved.

‘Clothes for a Summer Hotel: A Ghost Play' by Tennessee Williams © 1980, 1981 by the University of the South, published by New Directions. Reprinted by permission of New Directions Publishing Corp./Georges Borchardt, Inc. for the Estate of Tennessee Williams. All rights reserved.

‘Cat on a Hot Tin Roof' by Tennessee Williams. Copyright © 1954, 1955, 1982, 1983 by the University of the South. Reprinted by permission of Georges Borchardt, Inc. for the Estate of Tennessee Williams/New Directions Publishing Corp.

‘The Glass Menagerie' by Tennessee Williams, published by Penguin Books Ltd. © The University of the South 1945, renewed 1973. Reprinted by permission of Sheil Land Associates Ltd. working in conjunction with Georges Borchardt Inc.

Memoirs
by Tennessee Williams. Copyright © 1975 by the University of the South. Reprinted by permission of Georges Borchardt, Inc. for the Estate of Tennessee Williams/Penguin Books Ltd.

Notebooks
by Tennessee Williams. Copyright © 2006 by the University of the South. Reprinted by permission of Georges Borchardt, Inc. for the University of the South.

The Selected Letters of Tennessee Williams, Volume 1, 1920–1945
© 2000 by The University of the South and
The Selected Letters of Tennessee Williams, Volume 2, 1945–1957
© 2004 by The University of the South, published by New Directions. Reprinted by permission of New Directions Publishing Corp./Georges Borchardt, Inc. for the Estate of Tennessee Williams.