Something To Write About: The Author [Ch. 7.1]Ð’Â ...
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Although the book was started in his Central Park South penthouse, Saint-Exupéry soon found New York City's noise and sweltering summer heat too uncomfortable to work in and so Consuelo was dispatched to find improved accommodations. After spending some time at an unsuitable clapboard country house in Westport, Connecticut,[57] they found Bevin House, a 22-room mansion in Asharoken that overlooked Long Island Sound. The author-aviator initially complained, \"I wanted a hut, and it's the Palace of Versailles.\"[46] As the weeks wore on, the author became invested in his project and the home would become \"a haven for writing, the best place I have ever had anywhere in my life.\"[58] He devoted himself to the book on mostly midnight shifts,[22] usually starting at about 11 pm, fueled by helpings of scrambled eggs on English muffins, gin and tonics, Coca-Colas, cigarettes and numerous visits by friends and expatriates who dropped in to see their famous countryman. One of the visitors was his wife's Swiss writer paramour Denis de Rougemont, who also modeled for a painting of the Little Prince lying on his stomach, feet and arms extended up in the air.[46][51] De Rougemont would later help Consuelo write her autobiography, The Tale of the Rose, as well as write his own biography of Saint-Exupéry.
Many of the book's initial reviewers were flummoxed by the fable's multi-layered story line and its morals,[9] perhaps expecting a significantly more conventional story from one of France's leading writers. Its publisher had anticipated such reactions to a work that fell neither exclusively into a children's nor adult's literature classification. The New York Times reviewer wrote shortly before its publication \"What makes a good children's book ... The Little Prince, which is a fascinating fable for grown-ups [is] of conjectural value for boys and girls of 6, 8 and 10. [It] may very well be a book on the order of Gulliver's Travels, something that exists on two levels\"; \"Can you clutter up a narrative with paradox and irony and still hold the interest of 8 and 10-year olds\" Notwithstanding the story's duality, the review added that major portions of the story would probably still \"capture the imagination of any child.\"[79] Addressing whether it was written for children or adults, Reynal & Hitchcock promoted it ambiguously, saying that as far as they were concerned \"it's the new book by Saint-Exupéry\", adding to its dustcover \"There are few stories which in some way, in some degree, change the world forever for their readers. This is one.\"[60]
Shortly before departing the United States to rejoin his reconnaissance squadron in North Africa in its struggle against Nazi Germany, Saint-Exupéry appeared unexpectedly in military uniform at the door of his intimate friend, Silvia Hamilton. He presented his working manuscript and its preliminary drawings in a \"rumpled paper bag\", placed onto her home's entryway table, offering, \"I'd like to give you something splendid, but this is all I have\".[63][72][80][131][132] Several of the manuscript pages bore accidental coffee stains and cigarette scorch marks.[48] The Morgan later acquired the 30,000-word manuscript from Hamilton in 1968, with its pages becoming the centrepieces of its exhibitions on Saint-Exupéry's work. The 2014 exhibition also borrowed artifacts and the author's personal letters from the Saint-Exupéry-d'Gay Estate,[Note 13] as well as materials from other private collections, libraries and museums in the United States and France.[133] Running concurrent with its 2014 exhibition, the Morgan held a series of lectures, concerts and film showings, including talks by Saint-Exupéry biographer Stacy Schiff, writer Adam Gopnik, and author Peter SÃs on his new work The Pilot and The Little Prince: The Life of Antoine de Saint-Exupéry,[132][134]
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