The Coral Gables Times

material for his books. Other times they work in the library of their Beverly Hills home. PHOTOGRAPH BY ERNEST BRAUN

BY MRS. IRVING STONE

would all laugh together. It was fun. They did not want to be closed within their own walls with their own tv. The Italian women do not like to stay home at all. They do their chores, get dressed in their impeccable suits and their white gloves, and go out early. They do heir marketing, and little boys deliver the flowers and vegetables and meat they buy. Then they go and window shop. Or they order dresses that take endless, endless fittings. Or they sit in the cafes and watch the human traffic. The causes, the movements which we American women are so endlessly caught up in, do not exist there. WORKING ON IRVING'S biographical novel of Michelangelo was very exciting. Here was a man who was a poet, architect, sculptor, painter, and engineer living in one of the richest periods in history-the Renaissance. There are many praiseworthy men but to write about them is difficult because, unlike Michelangelo, they really never come into crisis, come into conflict. They are noteworthy, they are creative, but their lives do not have that wonderful man-against-the-gods, man-against-fate quality, that solid wall that you crack your head against until finally it gives. To have a story, you need conflict. Our two years in Italy, walking where this great artist had walked, visiting the quarries where he got his marble, talking with his countrymen, viewing his art were stimulating. But like anything else you do, there is always plain hard work. The Italian libraries were a great vexation. They closed for four hours in the midafternoon. They closed for innumerable festivals, and although they kept every scrap of paper only the Vatican library was catalogued. The voltage in Italy is very low, so another problem was working with poor light. I feel that I gave my eyesight to the research for that book. When we returned to California, we were practically in isolation for two years. My husband wrote continuously, and I edited and typed. My friends gasp when they hear that aside from his original drafts, I retyped the manuscript of "The Agony and the Ecstasy" seven times and proofread it twice. It's all part of helping your husband.

"Men, I hope I don't have to remind you that our television rights are at stake." chon Day SUBURBIA TODAY

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Suburbia Today, November 1962 31