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The Hamptons Are Revealed To The Plebeian Masses.
By Leigh Rich
Philistines at the Hedgerow: Passion and Property in the Hamptons,
by Steven Gaines (Little, Brown and Company). Cloth, $26.95.
MOST EVERYONE'S heard of the Hamptons, but how many could
actually find them on a map? Then again, as any ninth-grade geography
student has whined, would knowing be of any use in real
life? Ah, perhaps for those few--those lucky, filthy-rich few--who
can afford to inhabit one of America's last bastions of gentility
and refinement.
The Hamptons are, and have always been, an hermetic society for
we plebeians of the middle classes. But the latest pop-culture
disquisition by Steven Gaines, Philistines at the Hedgerow:
Passion and Property in the Hamptons, brings the multi-million-dollar
Hamptonite homes a little closer to our own. Known for his biographies
of modern-day icons like Calvin Klein, the Beach Boys and Alice
Cooper, Gaines is the publishing world's bizarre chimera of Robin
Leach and Claudia Cohen (merging architecture, history and Hollywood
hoopla). Sure, the Hamptons generate much grist for the Lifestyles
of the Rich and Famous mill, but Gaines steers away from tabloid-style
hype and instead presents a tale with intimacy and integrity.
In Philistines at the Hedgerow, it is the houses, rather
than inhabitants, which structure the narrative. Each chapter
chronicles estates from East Hampton, Water Mill, Southampton,
Sagaponack, Wainscott and Bridgehampton (the conglomeration of
villages known as the Hamptons) from their earliest days to the
present.
Gaines appropriately enough begins by recounting the career of
the Hamptons' most successful (and recently deceased) Realtor,
Allan Schneider. Schneider's story introduces much of the Hamptons'
glitz and glamour as well as its intolerance for the uncultured
outsider--the Philistine (on which Gaines vituperates in the last
few chapters of the book).
Philistines at the Hedgerow awkwardly lurches ahead in
the beginning. It's difficult to keep pace as Gaines inundates
the reader with knowledge and lore, switching verb tenses and
flip-flopping between eras in 20th-century American history. At
times it suffers from its density, eagerly awaiting some theme
or concept to tie each "house-history" together. But,
like the Hamptons themselves, Philistines at the Hedgerow
remains a mélange of esoteric, non-fiction short stories.
By far the most interesting and integrated chapters involve the
East Hampton domicile of billionaire Ron Perelman (Revlon, Inc.,
Consolidated Cigar Corp.), known as "The Creeks." Situated
alongside the famous Georgica Pond, The Creeks was originally
built in the late 1890s by affluent artists Albert and Adele Herter
(son and daughter-in-law of Christian Herter, Sr., the man who
"practically invented the trade of society interior decoration").
The Herters eventually overspent their stay--hardly surprising
considering Adele had servants swap out entire gardens of flowers
each night and floated about Georgica Pond in Robert Browning's
Venetian gondola during the day.
The Creeks further blossomed with its subsequent owners, art
dealer Alfonso Ossorio and his lifelong companion, dancer Ted
Dragon. Under Ossorio's control, "The Creeks became a Bloomsbury
on the Pond...a Disneyland for esthetes," drawing the second
wave of artists to the Hamptons. (The first artist infestation
occurred in the 1930s and included the likes of Dorothy Parker,
Robert Benchley, Zelda and F. Scott Fitzgerald, and one of Picasso's
lovers.)
The most illuminating and touching chapters in the book are those
on Ossorio and Dragon, in which Gaines explains their friendship
with now-famous artist Jackson Pollack and his wife Lee Krasner.
Not only does the author illustrate the rise and demise of the
great American artist Pollack, he also conveys the tender bond
between Ossorio and Dragon. Lonely in the large house with Ossorio
away on business, Dragon at one point found himself stealing and
refurbishing his neighbors' antiques: "He did such a good
job...that the owners marveled at how handsome their furniture
looked...and some even wrote (Dragon) thank-you notes."
Following Ossorio's death, Dragon sold The Creeks to Perelman,
who gutted the house and discarded all of Ossorio's outdoor sculptures
(these "conglomerations" are now worth more than six
figures each). As Gaines writes, "The worst aspect is that
The Creeks was so rich in culture and history that even the richest
man in New York State has managed to cheapen it. To buy a house
is one thing, to inhabit it is another."
In the end, Philistines at the Hedgerow presents a true
slice of Americana, albeit the petit slice purchased with the
Hamptons' exorbitant membership fee. Though it would profit from
the touch of a good editor, Gaines' book nonetheless offers a
spirited jaunt through this golden-gated community (the Hamptons
are not a welcoming place for the uninitiated or uninvited), successfully
placing it on the map for the rest of us...there at the tip of
Long Island.
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