splash  This page presents an annotated bibliography of writings by Louise Brooks. Listed here are all known published articles, essays, and statements. Also included are some of the published letters by the actress.

Entries are given in chronological order. Books and unpublished articles are noted near the end of the page. Some entries are linked to the material noted: some of these links reside on the Louise Brooks Society, while others reside elsewhere on the web.

An * indicates that a copy of this citation is held in the archives of the LBS. This annotated bibliography has been compiled by Thomas Gladysz, and was last updated in October 2015.

PUBLISHED ARTICLES, ESSAYS and LETTERS

Mankiewicz, Herman. “No, No Nanette Full of Vigorous Fun.” New York Times, September 17, 1925. (United States) *
— according to the Barry Paris biography (pages 92-93), Brooks ghost authored this stage review for Mankiewicz, who was drunk; New York City newspaper.

“Funny Screen Experiences.” Berkeley Daily Gazette, July 16, 1926. (United States) *
— attributed to Brooks: a syndicated (United Press) article – part of a series; Berkeley, California newspaper.

“Ein Wenig Louise Brooks.” in Film Photos Wie Noch Nie, Giessen: Kindt & Bucher Verlag, 1929. *
— attributed to Brooks autobiographical sketch (“A Trifle by Louise Brooks”) originally translated into German by Lothar Wolff; this book was reprinted (Cologne: Walther Konig, 1979).

“Conseils.” Ciné-Miroir, March 7, 1930. (France) *
— attributed to Brooks: half-page article (“Advice by Louise Brooks”); a Portuguese version of this piece appeared as “Os Conselhos de Louise Brooks” in Cinefilo, April 5, 1930.

“Mr. Pabst.” Image, September 7, 1956. (United States) *
— publication of the George Eastman House, Rochester, N.Y.; a brief excerpt from this essay is included in Voices of Film Experience: 1894 to the Present, edited by Jay Leyda (New York: Macmillan, 1977); later reprinted in its entirety in “Image” on the Art and Evolution of the Film, edited by Marshall Deutelbaum (New York: Dover Publications, 1979).

“Gish and Garbo: the executive war on stars.” Sight and Sound, Winter 1958-1959. (England) *
— illustrated, five-plus page article; also printed as an extract from “Women in Films” in Cinema (March, 1959); as “Garbo & Gish – Victims of a New System” in the New York Post (June 17, 1982); published in Lulu in Hollywood (New York: Alfred A. Knopf, 1982); in Japanese translation in Ruizu Burukkusu to “Ruru” (Toyko: Chuo Koronsha, 1984); and excerpted in Portuguese in Homenagem a Louise Brooks (Lisbon: Cinemateca Portuguesa, 1986).

“The Influence of Movie Stars on the Freedom of Women.” April 12. 1963.
— feminist-themed speech delivered to the Catholic Women’s Clubs of Rochester.

“ZaSu Pitts.” Objectif, August 1963. (Canada) *
— short article published in French; Montreal publication.

“Filmography – Positive and Negative.” Objectif, February 1964. (Canada) *
— annotated filmography with text in French; Montreal publication – reprinted in Positif, November, 1985. (France)

“Louise Brooks par elle-même, ou quand s’ouvre la boite de Pandore”. Objectif, February – March, 1964, and April – May 1964. (Canada)
— illustrated article with text in French – Montreal publication; excerpts from the first section of this two part article were also published as “Working with Pabst” in Louise Brooks l’europeenne (Paris: Cine Classics, 1999).

“Als ich mit Pabst arbeitete” [“My Work with Mr. Pabst”]. in Der Regisseur: G. W. Pabst, edited by Rudolph S. Joseph. Munich: Munchener Photo und Filmmuseum, 1964.
— German publication issued in December, 1964.

“Pabst and Lulu.” Sight and Sound, Summer 1965. (England) *
— reprinted in Pandora’s Box, Classic Film Scripts (New York: Simon and Schuster, 1971), Women and the Cinema: A Critical Anthology (New York: Dutton, 1977), Lulu in Hollywood (New York: Alfred A. Knopf, 1982), Sight and Sound: a fiftieth anniversary selection (Faber & Faber, 1982) and Roger Ebert’s Book of Film (New York: Norton, 1997). French translation published in Louise Brooks: Portrait d’une anti-star (Paris: Editions Phébus, 1977) and Japanese translation in Ruizu Burukkusu to “Ruru” (Toyko: Chuo Koronsha, 1984); also published in German translation in Geboren unter jedem Himmel: Erinnerungen berühmter Schauspieler (Berlin: Henschelverlag, 1986), edited by Renate Seydel; in Portuguese translation in Homenagem a Louise Brooks (Lisbon: Cinemateca Portuguesa, 1986); translated by Silva Tomanic and published as “Pabst i Lulu” in 15 dana: ilustrirani casopis za umjetnost i kulturu (Croatia?, 1990); five page illustrated article reprinted as “Pabst es Lulu” in Film Vilag no. 4, 1991 (Hungary).

“Checklist 27 – Louise Brooks.” Monthly Film Bulletin, July 1965. (England) *
— list of films with a brief note by Brooks regarding the films she did not appear in – “What happened was that William Wellman had offered me a part in Public Enemy that I turned down to go to New York. But the advance publicity had gone out with my name in the cast (the part Wellman then gave to Jean Harlow), so when people see an extra girl walk through a scene with a black bob and bangs, they say ‘There is Brooks.’ How I am listed as having been in Steel Highway or Hollywood Boulevard must be some like mix-up with Wellman and Florey. But I appeared in neither film.” – publication of the British Film Institute.

“Marlene.” Positif, May 1966. (France) *
— short piece about Marlene Dietrich; published in Marlene Dietrich: Dokumente, Essays, Filme (München : C. Hanser, 1977) by Werner Sudendorf and as “Die Verwandlung in ein Glamourgirl” in Film und Fernsehen (December, 1980),* an East German publication; also published in Italian in Filmcritica (July, 1984)* and excerpted in Portuguese in Homenagem a Louise Brooks (Lisbon: Cinemateca Portuguesa, 1986).

“Letter to Andrew Sarris.” English Cahiers du Cinema, no. 3, 1966.
— letter to the film historian.

“Charlie Chaplin Remembered.” Film Culture, Spring 1966. (United States) *
— two page article in response to a letter from Kevin Brownlow about Chaplin.

“Buster Keaton.” in Double Exposure, edited by Roddy McDowall. New York: Delacorte Press, 1966. *
— a short appreciative essay on the comedian.

“Humphrey and Bogey.” Sight and Sound, Winter 1966 – 1967. (England) *
— six page article with numerous illustrations; French translation in Positif (February 1967). English version published as “The movie face of the twenties: Louise Brooks writes about Humphrey and Bogart” in Vogue (May, 1982) and as “The Transformation of Bogey” in the New York Post (June 14, 1982) and “Bogey – ‘My Gun is Bigger than Yours’ ” (June 15, 1982). Published in Lulu in Hollywood (New York: Alfred A. Knopf, 1982); in Bedside Hollywood: Great scenes from movie memoirs (Nimbus Books, 1985); and excerpted in Portuguese in Homenagem a Louise Brooks (Lisbon: Cinemateca Portuguesa, 1986).

“The White Hell of Pitz Palu.” Toronto Film Society, March 25, 1968. (Canada) *
— one page piece in film program, with supplementary context and notes.

“On Location with Billy Wellman.” London Magazine, May 1968. (England) *
— 14 page article with illustrations; French translation in Positif, March 1968 (France). English version also published in Film Culture (Spring, 1972) and Focus on Film (Winter, 1972); brief excerpt included in Voices of Film Experience: 1894 to the Present, edited by Jay Leyda (New York: Macmillan, 1977); reprinted in its entirety in Lulu in Hollywood (New York: Alfred A. Knopf, 1982).

Biographical questionnaire. L’Alsace, July 17, 1969. (France)
— questionnaire sent to Patrice Hovald.

“The Other Face of W. C. Fields.” Sight and Sound, Spring 1971. (England) *
— five page article with illustrations, printed as “The Lonely, Boozy Agony of Funnyman W.C. Fields” in the New York Post (June 16, 1982) and in The Little Balkans Review, Fall, 1982 (United States); French translation by Jeannine Ciment as “l’autre visage de w.c. fields” in Positif, March 1971 (France). English version reprinted in Lulu in Hollywood (New York: Alfred A. Knopf, 1982); in Three Films of W. C. Fields (London: Faber & Faber, 1990); and excerpted in Portuguese in Homenagem a Louise Brooks (Lisbon: Cinemateca Portuguesa, 1986).

“Actors and the Pabst Spirit,” Focus on Film. February 1972. (England) *
— two page article with illustrations.

“Marion Davies’ Niece,” Film Culture. October 1974. (United States) *
— long article with illustrations; reprinted as “At San Simeon with Hearst & His Marion” in the New York Post (June 18, 1982); published in Lulu in Hollywood (New York: Alfred A. Knopf, 1982).

“Stardom and Evelyn Brent.” Toronto Film Society – Silent Series, January 13, 1975. (Canada) *
— one page piece in film program, with supplementary notes by Fraser MacDonald.

“Duke by Divine Right.” in John Wayne, by Allen Eyles (Cranbury, New Jersey: A. S. Barnes, 1976).
— Brooks’ essays serves as the introduction; also published in a French edition of the book John Wayne (Henri Veyrier, 1979).

“An Answer to an Admirer.” in Louise Brooks: Portrait d’une anti-star, edited by Roland Jaccard (Paris: Editions Phébus, 1977). *
— letter from Louise Brooks to cartoonist Guido Crepax, dated January 7, 1976.

“Une certaine idée de la liberté.” [“A certain idea of freedom”]. in Louise Brooks: Portrait d’une anti-star, edited by Roland Jaccard (Paris: Editions Phébus, 1977). *
— passages from this article were later used in “Kansas to New York” in Lulu in Hollywood (New York: Alfred A. Knopf, 1982).

“Pourquoi je n’ecrirai jamais mes memoires.” Positif, December, 1977 / January, 1978. (France) *
— the piece is dated July 11, 1977 and was translated into French by Jeannine Ciment; also published in English as “Why I Will Never Write My Memoirs,” Focus on Film, March 1978 (England) and Film Culture (1979); published in Italian in Filmcritica (July, 1984) and in Portuguese in Homenagem a Louise Brooks (Lisbon: Cinemateca Portuguesa, 1986); later reprinted in the expanded edition of Lulu in Hollywood (Minneapolis: University of Minnesota Press, 2000).

“The Other Side of the Camera.” in Louise Brooks: Portrait d’une anti-star, edited by Roland Jaccard. (Paris: Editions Phébus, 1977). *
— essay

“Kansas to New York.” in Lulu in Hollywood (New York: Alfred A. Knopf, 1982). *
— passages from this autobiographical essay were drawn from the unpublished 1957 essay, “Gloria Swanson,” and “Une certaine idée de la liberté,” [“A certain idea of freedom”], in Louise Brooks: Portrait d’une anti-star, edited by Roland Jaccard (Paris: Editions Phébus, 1977); also published in German translation in Geboren unter jedem Himmel: Erinnerungen berühmter Schauspieler (Berlin: Henschelverlag, 1986), edited by Renate Seydel.

“Books that gave me pleasure.” New York Times Book Review, December 5, 1982. (United States) *
— authors discuss favorite books; Brooks is quoted: “I have been reading Proust all my life, and I’m still reading him.” – New York City newspaper.

“Aus dem Briefwechsel zwischen Louise Brooks und Guido Crepax.” in Geheimnisvolle Tiefe G.W. Pabst. Vienna: Austrian Film Archive, 1998. *
— contains three letters to the Italian cartoonist, dated January 7, March 29 and May 5, 1976.

Mollica, Vincenzo. “Louise Brooks e il fumetto.” Filmcritica, July, 1984. (Italy) *
— exchange of letters between Brooks and Guido Crepax in Brooks supplement “Almanacco Louise Brooks” – Montepulciano magazine.

BOOKS by LOUISE BROOKS

The Fundamentals of Good Ballroom Dancing. Wichita, Kansas: privately published, 1940.
— thirty-six page instruction booklet.

Lulu in Hollywood. New York: Alfred A.Knopf, 1982.
— contains “On Location with Billy Wellman,” “Marion Davies’ Niece,” “Humphrey and Bogey,” “The Other Face of W. C. Fields,” “Gish and Garbo,” “Pabst and Lulu,” and “Kansas to New York.” This edition also includes an introduction by William Shawn, and an afterword by Lotte H. Eisner (“A Witness Speaks”).

Lulu in Hollywood. Minneapolis: University of Minnesota Press, 2000.
— contains “On Location with Billy Wellman,” “Marion Davies’ Niece,” “Humphrey and Bogey,” “The Other Face of W. C. Fields,” “Gish and Garbo,” “Pabst and Lulu,” “Kansas to New York” and “Why I Will Never Write My Memoirs.” This edition includes an introduction by Kenneth Tynan (“The Girl in the Black Helmet”) and an afterword by Lotte H. Eisner (“A Witness Speaks”).

UNPUBLISHED WRITINGS

The following four unpublished manuscripts are listed in the “Chronological Bibliography of Articles by Louise Brooks” in Barry Paris’ 1989 biography of the actress. In 2010, the George Eastman Museum unsealed 29 notebooks which contained approximately 2000 pages of handwritten material.

“Amateur Night in Greenwich Village,” unpublished manuscript, extant section of the autobiographical novel, Naked on My Goat, ca. 1955.
—- excerpts published in Louise Brooks, by Barry Paris (New York: Knopf, 1989).

“Who Is the Exotic Black Orchid?,” unpublished manuscript, extant section of the autobiographical novel, Naked on My Goat, ca. 1955.
—- excerpts published in Louise Brooks, by Barry Paris (New York: Knopf, 1989).

“Gloria Swanson,” unpublished manuscript, January 1957.
— passages from this unpublished article were later used in “Kansas to New York” in Lulu in Hollywood (New York: Alfred A. Knopf, 1982).

“Joan Crawford,” unpublished manuscript, February 1957.
— unpublished essay intended for a never published book titled Women in Film.

LETTERS

Also so-far unpublished are many hundreds of letters Brooks wrote to family, friends and film historians around the world. They include, most importantly and prolifically, film historians in the United States, England and elsewhere. Barry Paris has stated that Kevin Brownlow has some 300 letters from Brooks. Other letters to Pauline Kael, Herman Weinberg, Peter Cowie, Tom Dardis, Rolland Jaccard and others have been quoted or referenced in various works. (Paris also noted that approximately 150 letters exist between Brooks and her brother Ted.) A handful of Brooks’ unpublished letters have come up for sale, and have been reproduced online. So far, one collection of letters has been published:

Wahl, Jan. Dear Stinkpot: Letters from Louise Brooks. BearManor Media, 2009
— this 231 page book contains dozens of letters dating from 1958 through 1978, some in holograph.