The story of James Kirkwood demonstrates how easily and inexplicably the acclaimed can fall off the critical radar.
In 1975, he had two shows playing on Broadway, while his latest novel Good Times/Bad Times saw reviewers comparing him to Saul Bellow and Joseph Heller. One of those shows – A Chorus Line – won him a Pulitzer Prize for his co-writing contribution. Yet the reaction of most people today to the mention of Kirkwood’s name would be a crinkled brow. Almost none of his works remain in print.
Kirkwood became my favourite writer in the 1980s. I was enchanted by the vulnerability and effervescence of novels like Good Times/Bad Times, P.S. Your Cat Is Dead! and Some Kind of Hero, and even more by the fact that neither of those qualities ruled out streetwise grittiness in his prose. Yet though he was my favourite writer, he for a long time remained a myth to me. His books were not in print in my native UK and for an impoverished young man were only obtainable by scouring second-hand shops, a veritable tilling-for-gold process that produced indescribable joy on the rare occasions when an out-of-print or imported paperback turned up. In those pre-internet days, I could discover nothing about Kirkwood beyond what was conveyed on book flyleaves and covers. The first time I ever saw his name mentioned in a British newspaper was in a list of AIDS fatalities. Needless to say, I hadn’t known he was dead.







