Augusta Jane Evans Critical response what was the response to Augusta Evans? Critics have praised the intellectual competence of her female characters, but as her heroes eventually succumb to traditional values, Wilson has been described as an antifeminist. what was her most important female character? Edna Earl, became the namesake of Eudora Welty's heroine what book was Edna Earl in? St. Elmo what other books did she write? Altars of Sacrifice, what else did the critics have to say about her? Critics have praised the intellectual competence of her female characters, but as her heroes eventually succumb to traditional values, Wilson has been described as an antifeminist.
who did the critics write for?
who did the critics praising the intellectual competence of Augusta Jane Evans' female characters write for?
Augusta Evans Wilson was not a professional writer and her style was severely criticized as "pedantic." She wrote in the domestic, sentimental style of the Victorian Age. Critics have praised the intellectual competence of her female characters, but as her heroes eventually succumb to traditional values, Wilson has been described as an antifeminist. Of St. Elmo one critic maintained, "the trouble with the heroine of St. Elmo was that she swallowed an unabridged dictionary." Wilson was the first American woman author to earn over $100,000. This would be a record unsurpassed until Edith Wharton.  Macaria, or Altars of Sacrifice, published in 1864, was popular with Southerners and Northerners alike. Melissa Homestead writes that the transportation of the novel to New York was deliberate, done in installments and nearly simultaneous with the novel's preparation for publication in the South. Thus, while previous critics, scholars and biographers have all treated Macaria's appearance in the North as unauthorized, the truth is much more meaningful. Some scholars say that by dispensing with the romantic notion that the novel appeared in a "bootleg" edition, Homestead debunks the hard and fast distinction between Northern and Southern readerships as an invention of historians and critics rather than an accurate reflection of reading practices of the period. However, a great number of discrepancies exist between the version published in the North and the version published in the South, which remove huge portions of the text which romanticize the Southern heroes that are portrayed.  Her novel St. Elmo was her most famous and it was frequently adapted for both the stage and screen. It inspired the naming of towns, hotels, steamboats, and a cigar brand. The book's heroine, Edna Earl, became the namesake of Eudora Welty's heroine (Edna Earle Ponder) in The Ponder Heart published in 1954. The novel also inspired a parody of itself called St. Twel'mo, or the Cuneiform Cyclopedist of Chattanooga (1867) by Charles Henry Webb. CANNOTANSWER
CANNOTANSWER
Edith Oliver (August 9, 1913 – February 23, 1998) was an American theater and film critic who contributed to The New Yorker magazine from 1947 to 1993. Before that, she wrote several radio quiz shows, including Take It or Leave It: the $64 Question, which she also produced. She is best known for her coverage of, and support for, Off-Broadway theater. In 1996 she was presented with the Lucille Lortel award for “Lifetime Dedication to Off-Broadway” by the Off-Broadway League.

Oliver was a staunch supporter of emerging playwrights. She spent 20 summers (1975–1995) advising playwrights on their works-in-process in her role as a dramaturge at the National Playwrights Conference at the Eugene O'Neill Theater Center in Waterford, Connecticut. The Conference’s founder, George White, described her this way, "She was packaged like the quintessential elderly lady that a Boy Scout would help across the street, except that she drank martinis, smoked cigarettes and could, on occasion, have a mouth like a sailor. She could be tough and would brook no banality, but she truly loved playwrights and loved the theater."

Early life and career 
Edith Oliver (née Goldsmith) was born in New York City in 1913, to Sam Goldsmith (a wool broker) and his wife Maude Goldsmith. She described her family (which included a younger brother, Robert) as “stage struck.” She attended Smith College but did not graduate. She studied acting privately with the famous English actress Mrs. Patrick Campbell and worked as an apprentice at the Stockbridge Playhouse in Stockbridge, MA. She was a fan of the novelist, poet and playwright Oliver Goldsmith, and began using the name Edith Oliver, first as a nom de plume at Smith and then as a stage name in her early 20s. She went by Oliver for the rest of her life.

An aspiring stage actress, she landed small parts in radio plays that included Gangbusters, Crime Doctor and the Philip Morris Playhouse. In 1937 she began writing questions for the radio quiz show “True or False?”. In 1940 she began writing for “Take It or Leave It: The $64 Question,” for CBS radio and then NBC. She later became the producer of the program.

Theater critic at the New Yorker magazine
Oliver began working part-time for The New Yorker magazine in 1947, as a nonfiction reader and editor in the book review department, while continuing one day a week as a casting director for the Biow [advertising] Agency. During the 1950s, she wrote short pieces and book reviews for the magazine that ran without a by-line, as was customary. In 1961 she officially joined the staff. She reviewed movies for five years, and then theater for 32 years—mostly off-Broadway, but sometimes Broadway as well—while continuing to run the magazine’s book department. Unlike many other New Yorker writers, she did not write profiles, publish anthologies of her reviews, or write other books.

Known for her “toughness and her love of theater” Oliver came to be “among the most influential voices covering off Broadway theater.” She was “an astute and open minded reviewer who was the first to recognize and champion such playwrights as David Mamet, Christopher Durang, and Wendy Wasserstein.”  Playwright Thornton Wilder wrote to her, “Your immense usefulness did not proceed from your ‘championing’ the new theater, beating the drum, ‘torch-bearing’, but simply from your writing so well, -- quietly, firmly, faithfully reporting what you saw. There is no persuasion equal to that fidelity.”

Playwright Edward Albee said of her: “She was tough, she was honest, and she didn't write her reviews before she saw the play. She had an agenda—all critics have an agenda—but hers was really quite simple, I think. If you were any good at all as a playwright, if you were honest, if you were tough, and you realized that a play had to be more than decorative, and have something to say, not matter how badly you said it, she was on your side.... Woe onto you if you consciously did less than she knew you were capable of.”

She tried to be kind to actors: “I have the greatest sympathy for actors and their problems,” she once told an interviewer. “They don’t need me to add to their burden.”

A time of change and growth in American theater 
In the 1960s and ‘70s theatrical experimentation was burgeoning. Oliver was an astute witness and commentator. According to Lloyd Richards, former Artistic Director of the O’Neill Playwrights Conference: “Off Broadway and Off Off Broadway were finding out what they were by doing what they did. And Edith Oliver was there helping to define them, through caring, through being there when few others came, by writing about them and revealing themselves to themselves. Her words helped to shape the Off Broadway Movement."
 
By covering theatrical companies like the Negro Ensemble Company, Café La Mama and the New Federal Theater, she provided them with visibility and support they would not have had otherwise. “Off Broadway was the love of my life,” she said. “I was young enough to be all over town, four or five nights a week. The thrill was Harlem in the 60’s... “

Awards, honors and memorials 
 1994. The Eugene O’Neill Playwrights’ Conference announced the Edith Oliver Fellow award, to be presented annually to the Conference playwright who “in the spirit of Edith Oliver, best displays a caustic wit that deflates the ego but does not unduly damage the human spirit.”
 1996. Oliver received the Lucille Lortel award for “Lifetime Dedication to Off-Broadway” by the Off-Broadway League.
 1998. The Lucille Lortel Foundation established the “Edith Oliver Award for Sustained Excellence” which was presented to one individual each year through 2003: Eli Wallach, Jerry Orbach, Barry Grove, Lanford Wilson, Ruby Dee and Marian Seldes.
 1998. The Eugene O’Neill Playwrights’ Conference renamed their outdoor theater after her; it became known as “The Edith”
 The O'Neill Theater Center's National Critics Institute, directed by Dan Sullivan, awards a full scholarship to "a young critic, preferably female, whose copy reflects some of the shrewdness and kindness that marked every Edith Oliver review."

References

American film critics
Women film critics
American theater critics
Dramaturges
The New Yorker critics
American women critics Lisa Schwarzbaum (born July 5, 1952) is an American film critic. She joined Entertainment Weekly as a film critic in the 1990s and remained there until February 2013.

Career
She has been featured on CNN, co-hosted Siskel & Ebert at the Movies, and worked as a cultural, theater, and television reviewer.

Schwarzbaum is featured in For the Love of Movies: The Story of American Film Criticism describing the importance and impact of two women critics, Molly Haskell and Janet Maslin, and also recalling the effect on her as a child watching the Joseph Losey film The Boy with Green Hair. The film shows that Schwarzbaum played viola and started out writing about music.

Her career began in Boston, where she reviewed classical music for The Real Paper and wrote for The Boston Globe.  She has also written for the New York Daily News The New York Times Magazine, Vogue, and Redbook. She is a member of the National Society of Film Critics.

In her final column for Entertainment Weekly, she wrote,
I've spent 22 years at Entertainment Weekly, 19 of them as a critic—a glorious tenure that ends with this issue. ... I once received an effing cool email from Josh Brolin telling me, and I quote, "You can f---ing write!" and promising to be in my movie. Not that I have any plans whatsoever to write a screenplay ... (my plans include a book, an online project, speaking engagements about popular culture—oh, and a dog!)

Bibliography

Articles

References

External links
 

1952 births
Living people
American film critics
Time (magazine) people
Women film critics
American women journalists
Journalists from New York City
People from Queens, New York
20th-century American journalists
20th-century American women writers
21st-century American journalists
21st-century American women writers
American women critics Mark Boal (born January 23, 1973) is an American journalist, screenwriter, and film producer. Before he became a prominent figure of cinema, Boal worked as a journalist for such publications as Rolling Stone, The Village Voice, Salon, and Playboy. Boal's 2004 article "Death and Dishonor" was adapted for the film In the Valley of Elah, which Boal also co-wrote.

In 2009, he wrote and produced The Hurt Locker, for which he won both the Academy Award for Best Original Screenplay and the Academy Award for Best Picture. In 2012 he wrote and produced Zero Dark Thirty, teaming again with director Kathryn Bigelow, about the tracking and killing of Osama bin Laden. The film earned him Academy Award nominations for Best Original Screenplay and Best Picture and a Writers Guild of America Award for Best Original Screenplay. The pair collaborated a third time for 2017's Detroit.

Boal has won two Academy Awards (with another two nominations), a BAFTA Award, two Writers Guild of America Awards, and a Producers Guild of America Award, and also has four Golden Globe Award nominations.

Early life
Mark Boal was born on January 23, 1973, in New York City, the son of Lillian Firestone and William Stetson Boal, Jr., a producer of educational films. His half-brother is Christopher Stetson Boal, a playwright and screenwriter. His mother was born to a Jewish family and his father converted to Judaism. Boal attended Bronx High School of Science and was on the high school's Speech and Debate Team. He earned his undergraduate degree in Philosophy from Oberlin College in 1995.

Career
Boal has worked as a freelance journalist and screenwriter. He has contributed articles to such magazines as The Village Voice, Salon, Rolling Stone and Playboy.

Boal's 2004 article "Death and Dishonor", about the 2003 murder of veteran Richard T. Davis after his return to the United States, was published in Playboy magazine.  It inspired writer/director Paul Haggis, who adapted it for his fictional screenplay as the film In the Valley of Elah, which he also directed.  Boal and Haggis have writing credit for the story.

As a journalist, Boal was embedded with troops and bomb squads in 2004 during the Iraq War.  He wrote an article about one of the bomb experts, Sergeant Jeffrey S. Sarver, in an article entitled, "The Man in the Bomb Suit", published in September 2005 in Playboy magazine.

Boal went on to write an original screenplay, titled The Hurt Locker, about a fictional set of characters and events based on his interviews and observations in Iraq. He was also a producer for the 2009 film adaptation set in Iraq, about a U.S. Army Explosive Ordnance Disposal (EOD) bomb squad. The film was directed by Kathryn Bigelow, his business partner and co-producer.

In March 2010 (five days before the Academy Awards ceremony), Master Sergeant Jeffrey S. Sarver announced he was suing the producers of The Hurt Locker because Boal allegedly based the main character and "virtually all of the situations" in the film on events involving him.  Sarver also claimed to have coined the phrase "the hurt locker".

The producers' spokesperson has reiterated that the screenplay is fictional. Citations for the phrase, "the hurt locker", date back to 1966 during the years of the Vietnam War.  The phrase has been used among military members for decades. In the December 8, 2011 issue of The Hollywood Reporter, it was reported that Sarver's lawsuit was thrown out by the court, and a federal judge ordered him to pay more than $180,000 in attorney fees.

In March 2011, Boal published an article in Rolling Stone about the Maywand District murders titled: The Kill Team: How U.S. Soldiers in Afghanistan Murdered Innocent Civilians.

Boal wrote the film Zero Dark Thirty, which was released in December 2012. The film opened to much critical acclaim. Some commentators criticized its implication that torture revealed evidence that strongly contributed to the capture of bin Laden. Others, who deemed the production design inaccurate and oversimplified, criticized the film for its depiction of Pakistan, and found the Arabic-speaking locals in the film (Pakistan's national language is Urdu) to be problematic.

Boal was nominated for the Academy Award for Best Original Screenplay and the film was nominated for the Academy Award for Best Picture. He lost to Quentin Tarantino who was nominated for Django Unchained. Boal was nominated for Writing in a Drama by the National Academy of Video Game Trade Reviewers for his work on Call of Duty: Advanced Warfare.

In 2021, it was announced that Boal was in negotiations with Netflix to write a film based on the GameStop short squeeze of January 2021.

Filmography

Film

Video Games

Awards
The Hurt Locker (2009) - Academy Award for Best Writing (Original Screenplay)
The Hurt Locker (2009) - Academy Award for Best Picture
The Hurt Locker (2009) - BAFTA Award for Best Original Screenplay
The Hurt Locker (2009) - Writers Guild of America Award for Best Original Screenplay
The Hurt Locker (2009) - Chicago Film Critics Association Award for Best Original Screenplay
The Hurt Locker (2009) - Nantucket International Film Festival - "The Showtime Tony Cox Award" for Screenwriting
The Hurt Locker (2009) - Nominated - Satellite Award for Best Original Screenplay
The Hurt Locker (2009) - Nominated - Golden Globe Award for Best Screenplay
Zero Dark Thirty (2012) - Top 10 Film-American Film Institute Awards
Zero Dark Thirty (2012) - Alliance of Women Film Journalists Award for Best Screenplay, Original
Zero Dark Thirty (2012) - Alliance of Women Film Journalists Award for Best Picture
Zero Dark Thirty (2012) - Austin Film Critics Association for Best Film
Zero Dark Thirty (2012) - Boston Society of Film Critics Award for Best Film
Zero Dark Thirty (2012) - Chicago Film Critics Association Award for Best Picture
Zero Dark Thirty (2012) - Chicago Film Critics Association Award for Best Original Screenplay
Zero Dark Thirty (2012) - Dallas-Fort Worth Film Critics Association Award for Best Screenplay
Zero Dark Thirty (2012) - 2nd place-Las Vegas Film Critics Society Award for Best Film
Zero Dark Thirty (2012) - National Board of Review Award for Best Film
Zero Dark Thirty (2012) - 3rd place-National Society of Film Critics Award for Best Film
Zero Dark Thirty (2012) - New York Film Critics Circle Award for Best Film
Zero Dark Thirty (2012) - New York Film Critics Online Award for Best Picture
Zero Dark Thirty (2012) - New York Film Critics OnlineAward for Best Screenplay
Zero Dark Thirty (2012) - 2nd place-Oklahoma Film Critics Circle Award for Best Film
Zero Dark Thirty (2012) - San Francisco Film Critics Circle Award for Best Screenplay
Zero Dark Thirty (2012) - Satellite Award for Best Original Screenplay
Zero Dark Thirty (2012) - Runner-up Southeastern Film Critics Association Award for Best Original Screenplay
Zero Dark Thirty (2012) - Runner-up Southeastern Film Critics Association Award for Best Film
Zero Dark Thirty (2012) - Runner-up Southeastern Film Critics Association Award for Best Original Screenplay
Zero Dark Thirty (2012) - St. Louis Gateway Film Critics Association Award for Best Screenplay
Zero Dark Thirty (2012) - Runner-up Toronto Film Critics Association Award for Best Film
Zero Dark Thirty (2012) - Runner-up Toronto Film Critics Association Award for Best Screenplay
Zero Dark Thirty (2012) - Vancouver Film Critics Circle Award for Best Film
Zero Dark Thirty (2012) - Vancouver Film Critics Circle Award for Best Screenplay
Zero Dark Thirty (2012) - Washington D.C. Area Film Critics Association Award for Best Film
Zero Dark Thirty (2012) - Writers Guild of America Award for Best Original Screenplay
Zero Dark Thirty (2012) - Nominated — AACTA International Award for Best Film
Zero Dark Thirty (2012) - Nominated — AACTA International Award for Best Screenplay
Zero Dark Thirty (2012) - Nominated — Academy Award for Best Writing (Original Screenplay)
Zero Dark Thirty (2012) - Nominated — Academy Award for Best Picture
Zero Dark Thirty (2012) - Nominated — BAFTA Award for Best Original Screenplay
Zero Dark Thirty (2012) - Nominated — BAFTA Award for Best Film
Zero Dark Thirty (2012) - Nominated — Broadcast Film Critics Association Award for Best Picture
Zero Dark Thirty (2012) - Nominated — Broadcast Film Critics Association Award for Best Original Screenplay
Zero Dark Thirty (2012) - Nominated — Golden Globe Award for Best Screenplay
Zero Dark Thirty (2012) - Nominated — Golden Globe Award for Best Motion Picture – Drama
Zero Dark Thirty (2012) - Nominated — Houston Film Critics Society Award for Best Screenplay
Zero Dark Thirty (2012) - Nominated — Houston Film Critics Society Award for Best Picture
Zero Dark Thirty (2012) - Nominated — London Film Critics' Circle for Screenwriter of the Year
Zero Dark Thirty (2012) - Nominated — Online Film Critics Society Award for Best Original Screenplay
Zero Dark Thirty (2012) - Nominated — Online Film Critics Society Award for Best Picture
Zero Dark Thirty (2012) - Nominated — Producers Guild of America Award for Best Theatrical Motion Picture
Zero Dark Thirty (2012) - Nominated — Satellite Award for Best Film
Zero Dark Thirty (2012) - Nominated — St. Louis Gateway Film Critics Association Award for Best Picture

References

External links

1973 births
American male screenwriters
Best Original Screenplay Academy Award winners
The Bronx High School of Science alumni
Producers who won the Best Picture Academy Award
Living people
Oberlin College alumni
Best Original Screenplay BAFTA Award winners
Filmmakers who won the Best Film BAFTA Award
Writers Guild of America Award winners
Writers from New York City
American investigative journalists
American male non-fiction writers
Screenwriters from New York (state)