Streeter, Edward: Father of the Bride
(researched by Claudia Hickey)

Assignment 1: Bibliographical Description

1 First edition publication information (publisher, place, date, etc.)

Edward Streeter. Father of the Bride. New York: Simon and Schuster, Inc., 1948, 1949. Copyright 1948, 1949 by Edward Streeter and Gluyas Williams. Parallel first edition: NONE NOTE * The first edition, third printing is the book in Special Collections. The first edition, first printing is found in the STACKS. This is not made clear on VIRGO. The only difference are the words Third Printing on the copyright page compared to nothing written for the first edition, first printing. National Union Catalog. Pre-1956 Imprints. Vol. 573, pg. 217. Books in Print. Vol. 4., New Providence, NJ: Reed Reference Pub., 1994-95. Books in Print. New York: R.R. Bowker Co., 1948-49. OCLC Worldcat

2 First edition published in cloth, paper, or both? If both, simultaneous or staggered?

The first edition, first printing (1st ed., 1st pr.) is published in buckram: Boarded cloth stiffened by glue. The first edition, third printing (1st ed., 3rd pr.) is identical, but possesses a dust jacket. For this reason, it is in Special Collections, whereas the 1st ed., 1st pr. is found in the stacks. Webster's Third New International Dictionary. Springfield, MA: Merriam-Webster Inc., 1981.

3 JPEG image of cover art from first edition, if available

4 Pagination

130 leaves, pp.[10] [1-2] 3-244 [6]

5 Edited or Introduced? If so, by whom?

The first edition (both printings) is not edited. It says, "To Julie" on unnumbered page [7].

6 Illustrated? If so, by whom?

The book is illustrated by Gluyas Williams. The inside of the front cover and the first page, facing the inside of the cover, are illustrated in black and white and depict a wedding reception inside a tent with numerous illustrated characters. Illustrated pages: unnumbered page [4], 9, 13, 23, 27, 30, 33, 39, 44, 49, 53, 57, 64, 69, 75, 79, 81, 90, 93, 95, 97, 99, 107, 111, 115, 118, 125, 129, 133, 137, 145, 149, 154, 160, 165, 168, 170, 177, 183, 185, 191, 195, 201, 207, 211, 217, 219, 227, 233, 237, 243. The inside of the back cover and the facing page are illustrated in the same black and white wedding reception as the front, inside cover and facing page.

7 JPEG image of sample illustration, if available

8 General physical appearance of book (Is the physical presentation of the text attractive? Is the typography readable? Is the book well printed?)

The text is an attractive presentation that lends the reader to believe they are in for some comedy. The 1st ed., 1st pr has browned pages with stains and a badly worn cover, whereas the 1st ed., 3rd pr has no stains and the pages appear to be the original color. The measurements of the 1st ed., 1st pr are larger than the 1st ed., 3rd pr . The pages of the 1st ed,1st pr measure 20 1/5cm X 13 Ω cm, with a cover measuring 29 9/10 cm X 13 4/5 cm. Whereas the 1st ed. ,3rd pr has 20cm X 13cm pages, with a cover measuring 13 Ω cm X 20 Ω cm. The text is double spaced in 105R in serif type with 1.5" margins. The legends underneath the pictures are in serif italicized. Each chapter has a title in large, capital letters. Above it is the word "chapter" in small, capital letters with the number of the chapter, below it in slanted, cursive. The title is in cursive on the spine, cover and title page. But on the dust jacket, it appears in bouncing, green, serif print. The 1st ed. , 3rd pr has an attractive dust jacket. There is a 6" X 4/5" red rectangle that runs horizontally on the top left side, extending to the spine of the book. Here, "Edward Streeter" is typed in black. Directly under the red is a verticle, yellow rectangle that is 3 Ω" X 1 æ" with Father of the Bride in small, bouncing, green, serif print. Beneath the yellow rectangle is a 4" X 1 æ" pink-ish rectangle that has "Simon and Schuster" in yellow print. The front of the dust jacket has the title again in large, green, bouncing, serif print. There is a black and white picture of a father walking the bride down the isle and a man in the foreground pointing to the floor. See the title page transcription. The right of the picture is bordered by a 4 3/10" X æ" vertical, purple rectangle. Beneath it is a 3 Ω" X 3 º" vertical rectangle. Running horizontally on the bottom left towards the middle, is a 5 1/5" X 3/5" green rectangle. Inside the front flap of the dust jacket is a larger, black and white drawing of the same man in a tuxedo as on the actual cover in the lower, right-hand corner. There is a prologue to the book enclosed in a thin, blue-line on the front and back flaps. Underneath the writing on the front flap it says, "Jacket design by Edward R. Collins". On the back cover of the dust jacket there is written in cursive, "One of Guyas Williams' drawings for Father of the Bride". Beneath is a black and white drawing of the wedding reception with a legend below that reads, "No one paid the least attention to him". This is all outlined in a thin, blue line. Gaskell, A New Introduction to Bibliography.

9 JPEG image of sample chapter page, if available

10 Paper (Assess the original quality of the paper used for the book. Is the paper in the copy or copies you examined holding up physically over time?)

The paper of the 1st ed., 1st pr. is very yellow and stained, especially on the inside of the front and back covers. The pages have not been torn, but the corners have been rounded off. The pages are limp and no longer crisp. There is no watermark. On the title page there are small holed punched in the shape of a UV. On the back of unnumbered page[2] there are small, horizontal, yellow lines that appear to be from the aging of the type on the unnumbered page [3]. The paper could possible be cross-grained. It is almost like construction paper, but not as heavy. The 1st ed., 3rd pr is in much better condition. The pages are still crisp and not discolored. There are few rounded corners. Page 18 is torn like two-ply toilet paper, with the torn part still attached. The edged of the dust jacket are yellowed. The tops of the pages are colored yellow, unlike the 1st ed, 1st pr. Gaskell, A New Introduction to Bibliography. E.J. Labarre's Dictionary and Encyclopedia of Paper and Paper Making. 2nd Ed., 1959,1969.

11 Description of binding(s)

The material of the binding is buckram. The color is blue. On the 1st ed., 1st pr, it is a much darker blue, but that can probably be attributed to lack of a dust jacket, and dirt. On the lower right-hand corner of the front cover there is a man in a tuxedo with the title underneath him, in cursive, stamped in black. All the paper is the same color. All illustrations are in black and white, but the 1st ed., 3rd pr is much bolder. Binding of 1st ed.,1st pr:Bound in eight sections Sewn together with nine stitches Held together along the spine by cardboard The inside front and back covers are glued to the facing page. There is no gilt, or staining of the edges. The spine is stamped in black ink, as well. Binding of the 1st ed.,3rd pr : The stitching is more difficult to find because the book is in good condition. The tops of the pages are gilded in yellow. Everything else is the same. Transcription of the spine: EDWARD| STREETER|_____| Father| of the|Bride|_____| ILLUSTRATED|BY|GLUYAS|WILLIAMS| SIMON AND|SCHUSTER. Transcription of the front cover: Illustration of man in black stamping |Father of| The Bride.

12 Transcription of title page


13 JPEG image of title page, if available

14 Manuscript Holdings

Not available at this time.(1999)

15 Other (typograpical information from title page, etc.)

The verso of the title page in the top, right corner is stamped "PURCHASED JUL 19 '49" in the 1st ed., 1st pr. The call number is written in pencil. There are numbers 476887 stamped in blue. On the top, left corner of the unnumbered page [2], there is cursive handwriting in pencil, "Best Seller Miss Land". On the page facing the back cover, there is a card that says, "Best Seller Two Weeks ONLY" with stamps of thirty-three check-outs from Alderman Library dating from Aug. 15, 1949-May 2, 1962. Inside of the 1st ed., 1st pr there is written in italics Third Printing Ω" down from the copyright information.

Assignment 2: Publication and Performance History

1 Did the original publisher issue the book in more than one edition? If so, briefly describe distinguishing features of each (illustrations, cover art, typography, etc.); if not, enter N/A

There is no evidence of a second edition of Father of the Bride. All research suggests that there was one first edition issued with three different printings. There may possible be more than three printings of the first edition, however it has not been found at this time. Other than no noted second edition, there are various other editions: Streeter, Edward.Father of the Bride. New York:Simon and Schuster, 1948,1949.(First Printing, Second Printing, Third Printing) Streeter, Edward. Father of the Bride. 1st Ed.1st Printing; 1999 Simon and Schuster Classic Edition. New York. 1949. Streeter, Edward. Father of the Bride. Book Club Edition. Simon and Schuster. New York. 1949. Although the different editions are specified, there does not seem to be a great deal of discrepancy in regard to physical appearance amongst the various editions. In there is an "Out of Print, For Sale" where prices on differing editions range from a $5.75 paperback Acting Edition to $105.00 for a hardcopy 1st Edition of Father of the Bride. WorldCat Infotrac: Books in Print RLIN Eureka International Books in Print National Union Catalog Internet Bookshop

2 JPEG image of cover art from one subsequent edition, if available

3 JPEG image of sample illustration from one subsequent edition, if available

4 How many printings or impressions of the first edition?

There is evidence of three printings of the first edition. There is no bibliographic difference among the three editions besides the words "Second Printing" on the copyright page of that edition, and the words "Third Printing" on the copyright page of that edition. The 1st Edition second printing is in Special Collections because of its mint condition and fancy dust jacket. Streeter, Edward.Father of the Bride. New York:Simon and Schuster, 1948,1949.(First Printing, Second Printing, Third Printing) The National Union Catalog pre-1956 Imprints had the 1st Edition and the Acting Edition, no other impressions. There is a Reprint issue: Streeter, Edward. Father of the Bride. New York: Buccaneer Books Inc., 1993. (October) It has a Library Binding, is written in English and is an Active Record being sold. There is a Large Type, Reprint issue: Streeter, Edward. Father of the Bride. New York: Macmillan Library Reference, 1984. (January) It has Library Binding, large type with 202 pages, not the standard 244. It is written in English and is Out of Print. Infotrac WorldCat

5 Editions from other publishers? If so, list their dates and publishers; if not, enter N/A

Macmillan Library Reference, January 1984 Buccaneer Books, Inc., October 1993 Buccaneer Books, June 1993 Red Bridge Books, 1949 (The Acting Edition, 1951, is in Trade Paper, is written in English and is an Active Record still being sold.) DEILTAK "G, UK First" 1950 (however unlikely published that year) Infotrac Bibliofind

6 Last date in print?

The last hardcover edition of Father of the Bride was published in April 1999, and as of November 1999, is in stock at Barnes and Noble and also the Internet Bookshop and

7 Total copies sold? (source and date of information?)

Hackett's 70 Years of Best Sellers and Hackett's 80 Years of Best Sellers have the same number of total copies sold. As of 1975, 73,281 copies were sold plus Book of the Month Club editions. Bestsellers Index through 1990: New York Times Fiction List: Number twelve on 6/5/49. It peaked on 7/27/49 at number two for seven weeks. It was in the New York Times for thirty weeks. Publisher's Weekly Fiction List: Number four on 7/2/49. It peaked on 8/6/49 as number one for three weeks, with a total of twenty weeks in Publisher's Weekly. Total time on Bestseller's List: Fifty Weeks.

8 Sales figures by year? (source and date of information?)

Publisher's Weekly Vol.156 July-Sept 1949, pg.61 : Number four on Bestseller of the Week. $2.50. "A new best-seller this week, 250,000 including book club copies printed." July 9, 1949: Number four on Bestsellers of the Week. $2.50. It was written or put into stores on May 20. June .325 as a percentage of sales figures from reports of 69 Booksellers. July 23, 1949: Number two on Bestsellers of the Week. "38,444 copies have been sold, exclusive of the Bookclub up to July 8." July 30, 1949: Number two on the Bestsellers of the Week List, "Increasingly good sales report." Aug 6, 1949: Number one on the Bestsellers of the Week List. " A new title at the top of the fiction best seller list this week 46,578 copies sold through the trade to the end of July." National Bestsellers List-July 1949: May 20. July .528, June .325: Two months on the list. August 27, 1949: Number one on Bestsellers of the Week List. "Sold 50,572, exclusive of Bookclub copies, up to Aug. 19." Sept. 3, 1949: "leads in Boston and Chicago stores, according to Sunday Globe and Daily News." Sept. 10, 1949: Number two on Bestsellers of the Week List. "55,958, exclusive of book club copies, have been sold." It was off the Bestsellers List by Sept 24, 1949 It made the National Bestsellers List for the third month in a row in August with a .480 percentage. It was featured in the January 21, 1950 Publisher's Weekly as 10th on the "1949 Non-fiction List". Publisher's Weekly

9 Advertising copy (transcribe significant excerpts, briefly identify where ads were placed)

Nothing found in Publisher's Weekly. Simon and Schuster placed very few ads in PW compared to various other publishers who placed a multitude of ads (especially for children's books) each week.

10 JPEG image of sample advertisement, if available

11 Other promotion

"Books on Film" in Publisher's Weekly mentioned the coming of the 1950 movie in the July 9, 1949 edition. Barnes and Noble has an "Out of Print, For Sale" on its web page that lists over seventy copies for sale by various booksellers all over the country, with the books condition, edition, physical characteristics, individual sale prices. etcÖ They also have two sheet movie posters for sale from 1991, Touchstone US, of the 1992 movie "Father of the Bride." Prices range from a $5.75 paperback Acting Edition to $105.00 for a hardcopy 1st Edition of Father of the Bride. Publisher's Weekly pg. 147 "Father of the Bride which Schary acquired for Metro in a whirlwind transaction last winter (PW, Dec. 4, 1948) has not yet gone before camerasÖWalter Pidgeon not Spencer Tracy will star in the adaptation of Edward Streeter's book." Publisher's Weekly July 9, 1949 "The film version to get underway with Walter Pidgeon as Father."

12 Performances in other media? If so, list media, date, title, production information; if not, enter N/A

Streeter, Edward.1891-Father of the Bride. Francke, Caroline. Father of the Bride: Comedy in Three Acts. Based on the novel, Father of the Bride by Edward Streeter, illustrated by Gluyas Williams. Acting Edition. New York. Dramatist Play Service, 1951. There is evidence that supports that the last printing of the Acting Edition by Dramatists Play Service Inc. was in paperback and published in June 1995. "Father of the Bride". 1950. Spencer Tracy. VHS, NTSC format, Color, Closed-Captioning. "Father of the Bride". 1992. Steve Martin. VHS, NTSC format, Color, HiFi Sound, Surround Sound, Closed-Captioning, Digital Sound. "Father of the Bride". 1992. Steve Martin. DVD. Wednesdays-Saturdays through March 1, 1998 "Father of the Bride" at the Barn Dinner Theatre, 120 Stage Coach Trail. From the Greensboro News and Record 1/11/1998 issue. TV3 Monday at 8:30 pm "Steve Martin plays the title role in the comedy Father of the Bride." From The Press 9/12/98 issue. Obituary of Don Taylor: The bridegroom from the 1950 version of Father of the Bride starring Spencer Tracy died Tuesday (no date) at the University of California, Los Angeles, Medical Center of heart failure. From the St. Petersburg Times circa 1998. Theater Review from "Father of the Bride" which opened Saturday and runs through Feb. 7 at the Dutch Apple Dinner Theatre. From the Lancaster New Era Lancaster, PA 12/29/97 issue. Review from Homestead High School's spring production of the 1970's version of Father of the Bride. From The Milwaukee Journal Sentinel 4/30/98 issue. Theater Review from "Father of the Bride", which opened this week at the Ingersoll Dinner Theatre. From obnoxious caterers to swarming relatives, the play does a good job of driving home the point that simplicity and weddings can never coexist." From The Des Moines Register 5/29/99 issue. Film Review "Father of the Bride" the Touchstone remake of the 1950 MGM feature starring Spencer Tracy. From BPI Entertainment News Wire 12/1991. -Touchstone motion picture, 1950 -Touchstone motion picture re-make, 1991 -Dinner Theatre performances -Television movie appearance Northern Light Bibliofind Publisher's Weekly

13 Translations? If translated, give standard bibliographic information for each translation. If none, enter N/A

N/A However there are sales figures for the book given in German, French and Swedish currency,and the Euro. National Union Catalog International Books in Print on WorldCat Eureka

14 Serialization? If serialized, give standard bibliographic information for serial publication. If none, enter N/A

N/A Simkin, John E. 3000 Years: The Whole Story Publisher's Weekly Virgo

15 Sequels/Prequels? Give standard bibliographic information for each. If none, enter N/A

N/A Simkin, John E. 3000 Years:The Whole Story

Assignment 3: Biographical Sketch of the Author

1 Paste your biographical sketch here (maximum 500 words)

Edward Streeter was born August 1, 1981 to Harvey and Frances "Fanny" Chamberlain in a small town hidden in the Adirondacks called Chestertown , New York. He was brought up in Buffalo, New York. As he was fascinated by his parents' home library, he was encouraged to read and write at a very young age. By age nine, he had started his first novel, but that ended soon after, as his interests wandered to being the editor of the Pomfret School newspaper and his class yearbook. When he studied at Harvard, he was the editor-in-chief for the Lampoon and wrote the Hasty Pudding Show. He received his A.B. in 1914. For the two years after his graduation, he worked in Buffalo for a building supplies business and received his first introduction into journalism as he became a reporter for the Buffalo Express. He did his own investigational work, using his own car, given to him by his parents as a graduation gift. Here, he worked until 1916 when he was serving on the Mexican border in the National Guard, (Troop 1, First Calvary, Twenty-seventh Division). He continued correspondence with the Buffalo Express until he took over the Twenty-seventh Division's local paper, The Rio Grande Rattler, where his first "Dere Mable" letters appeared. The "Dere Mable" letters were satirically written satirizing Army life with letters from "Private Bill Smith" to his sweetheart "Mable Gimp". As World War I began to form, he was transferred to Camp Wadsworth in Spartanburg, South Carolina for active duty. Here, he continued writing his "Dere Mable" letters. They were published by William Morrow at Frederick A. Stokes and Company. In 1918, Dere Mable had become a best-seller, having sold over 600,000 copies. Edward found out after he returned home from serving in France as first lieutenant in his field artillery. Returning to Buffalo in 1919, Edward did some freelance writing until he joined the Bankers Trust Company of New York. From 1921-1929 he was the assistant vice-president. He married Charlotte Lockwood Warren (of Buffalo) on October 29, 1919. They had four children: Claire, Edward, William, and Charlotte. From 1929-1930 he was a partner with Blake Brothers as members of the New York Stock Exchange. From 1931 until he retires in August 1956, he served as vice-president of the Fifth Avenue Bank, which became the Bank of New York in 1948. During the thirties, he had published some short storied in the Saturday Evening Post, Redbook, McCall's and Good Housekeeping. In 1938, he wrote in Daily Except Sundays where his reputation as a humorist became known, but the journal had no success for ten years. It wasn't until 1948, with the sale of his masterpiece Father of the Bride, that Edward was most recognized for his success as an author. He based his "urban satire" on his own daughter's wedding in 1947, including the emotional, financial and familial details of being the "father of the bride". His novel made the Book-of -the-Month Club and was on the Publisher's Weekly "Bestsellers" list for three months. It later became a successful movie starring Elizabeth Taylor and Spencer Tracy in 1950. Edward retired from banking in 1956 at the age of sixty-five. He continued writing, however, and completed three novels: Mr. Robbins Rides Again (1958), Chairman of the Bored (1961) which was a narrative about retirement, and Ham Martin, Class of '17(1961) about a father who supports his family as an eminent financier while attempting to be a creative-writer, only to see his literary success befall on his son. Chairman of the Bored received good reviews, and Ham?won an accolade from the Wall Street Journal. None of these three books, however, received him the fame of his previous novel. Streeter contributed to travel literature with Skoal Scandinavia (1952) and Along the Ridge (1964). Streeter secured his position as an American Humorist and a "socially prominent New Yorker". He was a member in the Century Association, the Harvard Club, the Coffee House Club, and the Union Club. From 1965 to 1971, he served on Harvard College's board of overseers. He was described as "a gracious, charming man with a tremendous zest for life". His last residence was Sutton Place, New York where he died on March 31, 1976. Edward Streeter's other works: Dere Mable: Love Letters of a Rookie (New York: Stokes, 1918: London: Jarrolds, 1919); "That's me all over, Mable" (New York : Stokes, 1919; London: Jarrolds, 1919); Same Ole Bill, Eh, Mable (New York: Stokes, 1919; London: Jarrolds, 1919); As You Were, Bill (New York: Stokes, 1920); Beany, Gangleshanks and the Tub (New York and London: Putnam's, 1921); Daily Except Sundays or, What every Commuter Should Know (New York: Simon and Schuster, 1938); Father of the Bride (New York: Simon and Schuster, 1949); Skoal Scandinavia (New York: Harper, 1952; London: Hamish Hamilton, 1952); Mr. Hobb's Vacation (New York: Harper, 1954); Merry Christmas, Mr. Baxter [novel] (New York: Harper, 1956); Merry Christmas. Mr. Baxter, a comedy in two acts [play], by Streeter and William Fuson Davidson (Chicago: Dramatist Publishing Company, 1956); Mr. Robbins Rides Again (New York: Harper, 1958); Window on America: The Growth of a Nation as seen by New York's First Bank, 1784- 1959 (New York: The Bank of New York, 1959); Chairman of the Bored (New York: Harper and Row, 1961); Words of Welcome; an address at the dinner for new members of the Century Associa- tion, October 5, 1961 (Stamford, Conn.: Overbrook Press, 1962); Mr. Hobbs' Vacation, by Streeter and F, Andrew Leslie (New York: Dramatists Play Service, 1963); Along the Ridge: From Northwest Spain to Southern Yugoslavia (New York, Evanston & London: Harper and Row, 1964); Ham Martin, Class of '17 (New York: Harper & Row, 1969).

Assignment 4: Reception History

1 Paste contemporary reception history in here (maximum 500 words)

Father of the Bride is viewed as a family comedy, uplifting and bittersweet. As compared to the degree of humor it contains with some of Streeter's other works, it "is not as funny?because he sticks too close to the truth." This is significant of his real life experience of the marriage of his own daughter. New York Herald Tribune 1949. "This is light comedy at its best and you will enjoy it with a lively sense of identification." Edward Weeks Atlantic July, 1949, Booklist May 1, 1949, Bookmark October, 1949, Catholic World July, 1949 This book is called "fun" and touching as a father goes through the expected turmoil in preparing for his daughter's wedding. Edward Streeter is credited with a style all his own as he "points out the cliches' of behavior and speech in the comic spirit, not with contempt. Rod Nordell (Christian Science Monitor June 1, 1949; Cleveland Open Shelf May, 1949) goes on to say, "It touches the irony of a man, a free agent, being victimized by some of the more ridiculous folkways of the society he helps to perpetuate." Gluyas Williams is credited for domesticating the book with his cartoons that Nordell noted as "invaluable". This may suggest that without Williams' illustrations, the book would not have had the same amount of charm, which is a characteristic of the book that has been highly admired by critics. Suggesting a humanist opinion of the influence of Streeter's book on one critic, P.T. Hartung: "Here's something for a good laugh and absolutely perfect for relaxing in a summer hammock, if you want a short vacation from the cares of the world and if you don't mind being reminded what fools we mortals be." Edward Streeter creates characters who seem to come alive for the reader. The New York TimesMay 22, 1949 and the New Yorker May 21,1949 states that "Mr. Streeter's style is as felicitous as his subject matter." It also states that it is not a big fan of exaggeration to create humor, and is glad to see that it is missing in Father of the Bride. San Francisco Chronicle May 22, 1949 proclaims that the book should be read by, or to, any parent who has or is getting ready to give their daughter away to marriage. It is a sympathetic book and lends some insight to first-time parents of the bride to be, calling the bride in the book, "the storm-center of all the excitement." On the other hand, J.T. Winterich declares that the book is valuable to the unwed as well. He states that it is enjoyable for all and that "It is hard, in fact, to think of people who won't." He also goes on to say that it is difficult to decipher whether a picture paints a thousand words or if a thousand word paint a picture because "Gluyas Williams's illustrations are so perfect and accompaniment of the text?" Springfield Republican May 1, 1949; Time June 13, 1949 Overall, the reviews suggest that Father of the Bride is a well-written, appealing story-line. Critics pose that the characters are likeable, and that because of the influence of his own daughter's wedding, are very life-like. The book is highly suggested for anyone, not just fathers and daughters, who wants a light, entertaining read. Book Review Digest. 1949.

2 Paste subsequent reception history in here (maximum 500 words)

"Customer Comments" in Amazon. Com was the only available subsequent reception. All of the customer comments are accompanied by a star-rating. These vary from five stars to four and a half stars. The overall feel of the reviews is positive. The book is described as "funny" and "delightful that share something in common with us all" by a reader in New Jersey. He says that it is "A pleasant read that pokes fun of all those fatherly qualities we can all find in our own dads. I will definitely have this around my own father when I get married!!!" One reader who was grateful to Simon and Schuster bringing back the classic wrote, "Even if you have seen the movie (old or new), the book captures a simple elegance that transforms the story into a suprisingly new experience." The style of writing is complemented as the reader feels that "The story flows seamlessly from beginning to end with a clever combination of heart-tugging and humorous developments." He too, calls it "truly a pleasurable read!"

Assignment 5: Critical Analysis

1 Paste your critical analysis in here (maximum 2500 words)

Edward Streeter's was complimented as having written his best work with Father of the Bride. The bestseller was considered "lightly fictionalized" (Wakeman) as its main character closely represents Streeter, whose own daughter had just recently been betrothed. A novel, born, and quite possibly condemned, to the decade it was written had not died because of its film remakes which keep a simple, timeless subject matter of the betrothal of one's daughter, alive and comic. Father of the Bride uses "urbane satire" and "familial mellowness" that give the novel "its distinction and a universalism" that make it easy for a father-of-the-bride-to-be anywhere to take part in the chaos of the book that might also be represented in his life at the time (Swanson). Likewise, a bride-to-be might enjoy reading the novel to find out how her father views the entire production that he will soon encounter, and be directly in the middle of. The novel had been praised for its "believable characters," (Garraty and Carnes) however, much of the emphasis of the novel is on money. It is easy to presume that the book most likely had an audience that appreciated reading about the extravagance to which one could shell out so much of one's money. The novel was significant of the post WWII economic boom, and of all the younger marriages because couples were better off at a younger age. With Edward Streeter working as the Vice President of the Bank of New York, he had a realistic view of this economic prosper, the want to be the family breadwinner, and the ideal of "keeping up with the Jones's." The grade the novel received in its reviews was not all together specified for, or limited to, the brilliance and contemplative qualities of the writing itself. On the other hand, it could be argued that the rating the book was given was actually affected by the quality and expense, the extravagance and elaborative qualities of the wedding in the book. There are no secrets about it, Father of the Bride represents an upper, middle-class family whose daughter is marrying a man from an upper-class family with a bigger house. The family's last name "Banks" can either be a pun on the amount of money shelled out for an occasion like a wedding, or Edward Streeter's attempt to classify his own family's social rank through his novel (as he was considered a "socially prominent New Yorker" until his death) (Garraty and Carnes). In the book, Stanley Banks (the father of the bride) is contemplating how many guests he can afford to invite to the reception at his home after the wedding. He has just told his wife that they can have one-hundred and fifty people for $3.72 a head, and that no more are to be invited. After he thrusts the job of making the final list into her hands, Streeter writes, "[Mr. Banks] felt masterful and composed that evening as he entered 24 Maple Drive (his residency). Next to achieving sudden riches, acquiring financial equilibrium is almost equally gratifying"(Streeter, 82). This statement is significant of the late 1940's and early fifties when the man was the primary breadwinner of the household, in charge of all financial matters. Stanley Banks' feeling of mastery over financial matters gives us some insight to the similar way Streeter might have felt about money, which shows us that he felt that the economic power of his family was in his hands. When the final list has been made and Kay (the bride) is disappointed that not everyone she had hoped for had been invited, her father replies, "It's a shame we don't have a bigger house" (Streeter, 87). Much emphasis of the author's writing is put on the idea of having more money, a bigger house, making more things extravagant. A wedding that he vows to make as inexpensive as possible turns into an affair to break the bank. On critic, Wakeman, states that the novel "counts the enormous costs- financial, nervous, and emotional- of a stylish wedding," -not a sentimental wedding, or a simple wedding, but a stylish wedding. Considering that this word means "fashionable," "trendy," "contemporary," the conclusion may be drawn that pretzels weren't served as the h'ordourves. In this light, the novel may have set some societal norms by suggesting an "extravagance, at all costs" wedding. It is evident that Mr. Banks feels that his wealth is under the scrutiny of the eye of the public when he tries on his tuxedo. Streeter writes that the "crucial garment?must withstand the hostile eye of the general public" (94). Can we look at this as a statement from Streeter, and the effects he is feeling from the public critiques of him as an author? Or is this a statement made by a prominent New Yorker who feels the need to deface the eyes cast on him, or impress them? In the part of the book describing the ordeal of buying the champagne for the wedding, the fact that Streeter writes that in the Banks' home "Champagne was a commodity which was kept on the top shelf of the hall closet in two-bottle lots and used only on very special occasions" (98) might help us to understand that in the attempts to live a frugal life, Streeter feels that society is pushing the need to spend onto his shoulders. We can assume that Mr. Banks reflects the life of Edward Streeter if we look at Father of the Bride as an autobiographical account of the wedding of Streeter's daughter. The very private matter of a family's financial status is brought downstage when Mr. Banks has a talk (in which he ends up doing all the talking) with the fiancé on whether or not his daughter will be sufficiently provided for once married. The father actually had this talk because he was intimidated to think that his daughter might be marrying into more wealth, and wanted to show his status. He also used the talk to reassure himself that he had the funds to provide for the wedding. With the book becoming a real to life picture with the 1950 movie version of Father of the Bride , we see that the wedding, played by Spencer Tracy and Elizabeth Taylor, was a top hat affair. This suggests that it was important to the public to see a very elaborate and richly fulfilled version of the wedding in the book. This may be because the public wishes to see a beautiful wedding that might not be a realistic financial ability for the viewer. The effort that was made, intentionally or unintentionally, by Streeter to bring money into the novel definitely left a stamp of appeal to certain audiences. A wedding is a very private affair between two people, which is brought public for all to enjoy in the ceremony. Streeter brings the wedding and extra step into the lime-light by writing a novel about it. The social norms and stereotypes set for post 1949 weddings were set by this book. With a white, American, nuclear family with a husband, wife and three kids, a live-in maid and a car this novel represents the American dream. This was one dream that came to life in the 1950's. There was the development of the middle class in the fifties, an end to the extremely rich, rich, and the extremely poor, poor. For example, the working class who were confined to the inner-city boroughs could now find available, inexpensive, but very nice, new houses being built in the suburbs. With a good economy and jobs bringing the dollar away from the home and into the cities for men, the opportunity was available for a man to substantially provide for his family in ways he wasn't able to before. The wedding from Father of the Bride was becoming more realistic to those who had read the story when they were young, and could now do something about it. For any father wanting to provide for his daughter and make a beautiful wedding come to life, this book illustrates the intense effort made by one father for the love and happiness of his daughter, no matter what stresses and strains he may encounter on the way. Father of the Bride was on the Bestseller's List for three months. It is easy to see why it had a relatively short life-span: the movie became more of a success, and there is no deep, earth-shattering plot, nor a new global theory maintaining the reader's intensity on the novel. It is a story of the production of a wedding within the family and its affects on everyone involved, particularly the father of the bride. A greater reason that the book isn't as popular to day is because its humor and overall appeal is a bit dated. For example, when the expenses begin piling up on Mr. Banks, Streeter writes, "What an innocent I've been!''(103). A reader of today is unlikely to feel the same emphasis of a statement like that, or to appreciate the true stress diplayed by Mr. Banks when he says it. When Mr. Banks get drunk the night before the wedding, Streeter wants us to see it as humor. However, the appeal of the nineties causes one to overlook the humor in it and feel sympathy for the man because of the style (of the 1940's) of which the book is written. The movie re-make in 1991 with Steve Martin brings the family from the fifties into the 1990's where the expenditures are not $3.72 per head for a wedding, but $250.00 a head. Characters, only so slightly introduced in the novel are developed by actors in the movie. It's humor is encapsulated and spread by Steve Martin as the father and it brings what "light and lively" did for the novel into the "warm fuzzies" of the nineties. This is not to say that the novel is not enjoyable or light-hearted. It is an appealing story line, but the substance of the best-seller's of today is missing. This is the reason the novel itself has not extravagantly survived passed it's generation, and a reason that the movie has.

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