The Manager Who Couldn’t Write
By Gary Sledge
What launched Amy Tan’s career was not a big break, but a kick in the butt.
Before the million-copy sales of The Joy Luck Club, The Kitchen God’s Wife and The Hundred Secret Senses, Amy Tan was a writer. A business writer. She and a partner ran a technical-writing business with lawyer-like “billable hours.”
Her role with clients was largely that of account management — but this daughter of immigrants wanted to do something more creative with words, English words.
So she made her pitch to her partner: “I want to do more writing.” He declared her strength was doing estimates, going after contractors and collecting bills. “It was horrible stuff.” The very stuff Tan hated and knew she wasn’t really good at. But her partner insisted that writing was her weakest skill.
“I thought, I can believe him and just keep doing this or make my demands.” So she argued and stood up for her rights.
He would not give in.
Shocked, Tan said, “I quit.”
And he said: “You can’t quit. You’re fired!” And added, “You’ll never make a dime writing.”
Tan set out to prove him wrong, taking on as many assignments as she could. Sometimes she worked 90 hours a week as a freelance technical writer. Being on her own was tough. But not letting others limit her or define her talents made it worthwhile. And on her own, she felt free to try fiction. And so The Joy Luck Club, featuring the bright, lonely daughter of Chinese immigrants, was born. And the manager who couldn’t write became one of America’s bestselling, best-loved authors.
“You’re Studying Dirt”
By Fran Lostys
Dr. Judah Folkman keeps a reproduction of a 1903 New York Times article in his archives. In it two physics professors explain why airplanes could not possibly fly. The article appeared just three months before the Wright brothers split the air at Kitty Hawk.
In the early 1970s, Folkman proposed an idea in cancer research that did not fit what scientists “knew” to be true: that tumors did not generate new blood vessels to “feed” themselves and grow. He was convinced that they did. But colleagues kept telling him, “You’re studying dirt,” meaning his project was futile science.
Folkman disregarded the catcalls of the research community. For two decades, he met with disinterest or hostility as he pursued his work in angiogenesis, the study of the growth of new blood vessels. At one research convention, half the audience walked out. “He’s only a surgeon,” he heard someone say.
But he always believed that his work might help stop the growth of tumors, and might help find ways to grow blood vessels where they were needed — like around clogged arteries in the heart.
Folkman and his colleagues discovered the first angiogenesis inhibitors in the 1980s. Today more than 100,000 cancer patients are benefiting from the research he pioneered. His work is now recognized as being on the forefront in the fight to cure cancer.
“There is a fine line between persistence and obstinacy,” Folkman says. “I have come to realise the key is to choose a problem that is worth persistent effort.”
The Kid Stays in the Picture
By Fran Lostys
He was no scholar, and his classmates teased him. Rather than read, the kid really preferred running around with a 8 mm camera, shooting homemade movies of wrecks of his Lionel train set (which he showed to friends for a small fee).
In his sophomore year of high school, he dropped out. But when his parents persuaded him to return, he was mistakenly placed in a learning-disabled class. He lasted one month. Only when the family moved to another town did he land in a more suitable high school, where he eventually graduated.
After being denied entrance into a traditional filmmaking school, Steven Spielberg enrolled in English at California State College at Long Beach. Then in 1965, he recalls, in one of those serendipitous moments, his life took a complete turn. Visiting Universal Studios, he met Chuck Silvers, an executive in the editorial department. Silvers liked the kid who made 8 mm films and invited him back sometime to visit.
He appeared the next day. Without a job or security clearance, Spielberg (dressed in a dark suit and tie, carrying his father’s briefcase with nothing inside but “a sandwich and candy bars”) strode confidently up to the guard at the gate of Universal and gave him a casual wave. The guard waved back. He was in.
“For the entire summer,” Spielberg remembers, “I dressed in my suit and hung out with the directors and writers [including Silvers, who knew the kid wasn’t a studio employee, but winked at the deception]. I even found an office that wasn’t being used, and became a squatter. I bought some plastic tiles and put my name in the building directory: Steven Spielberg, Room 23C.”
It paid off for everyone. Ten years later, the 28-year-old Spielberg directed Jaws, which took in $470 million, then the highest-grossing movie of all time. Dozens of films and awards have followed because Steven Spielberg knew what his teachers didn’t — talent is in the eyes of the filmmaker.
Too Short to Dance
By Nancy Coveney
Couldn’t she smile? If only she were taller. They loved her kicking, but … Like thousands of other young women, Twyla Tharp came to New York City with big dreams. The self-described Indiana farm girl enrolled at Barnard College to get a degree in art history. But her real passion, her real obsession, was dance.
To meet the college’s phys ed requirement, she studied dance with the legendary Martha Graham and Merce Cunningham. Soon she was fitting her schoolwork in between two or three dance classes a day. A dream was born. But dance is not exactly a surefire, lifelong profession.
When she graduated in the mid-1960s, she auditioned for commercials and tried out for roles — but she just didn’t seem to fit in anywhere. She lacked the technical skills to be a ballerina, and she discovered in a big audition that she was too short for the Rockettes. They “loved my kicking and 52 fouettés on pointe,” she wrote in her autobiography Push Comes to Shove, “but couldn’t I please smile?” And she also learned she was “too small in every direction to work as a Latin Quarter show girl, but I still tried.” And Tharp wondered, Will I ever be a dancer? Do I have any business dancing? The only way to find out, it seemed, was to form her own troupe and create her own style of dance.
For five long years, Tharp and her troupe practiced virtually every day in the basement of a Greenwich Village church. Sometimes the janitors had to “throw them out” on Sunday morning. They worked for little pay and almost no recognition. Constantly, Tharp asked herself, Do you want to do this, or don’t you?
Forty years later, after choreographing over 100 dances on Broadway and in movies like Hair and Ragtime, after winning the National Medal of the Arts in 2004, Tharp still asks herself that question. And the answer is — yes.