Author Julie Gilbert Discusses the Writing of Her New Book ‘Giant Love’

Today, we delve into the enduring relevance of the themes explored by Pulitzer Prize-winning author Edna Ferber—issues like racism, sexism, greed, and anti-Semitism that continue to resonate in America more than 70 years later. Ferber’s remarkable body of work includes twelve novels, notably one that earned her a Pulitzer Prize for Fiction. Many of her stories found new life on the big screen, with ten adaptations and eight plays, some of which graced Broadway stages. In addition, she produced eleven collections of short stories and penned two memoirs.

In a fascinating new book, her great-niece, Julie Gilbert, offers a rare insight into Ferber’s life and work. Drawing from an extensive collection of personal letters, interviews, and journals, Gilbert has crafted GIANT LOVE, which provides an intimate look at the creation of Ferber’s iconic novel Giant and the making of the acclaimed 1956 film, featuring legendary stars like Rock Hudson, Elizabeth Taylor, and James Dean in his final role. The book was released by Pantheon Books, a division of Penguin Random House, earlier this month.

Julie Gilbert ‘Giant Love’ book cover

Julie, Giant Love is a deeply personal exploration of your great-aunt Edna Ferber’s legacy. What inspired you to write this book, and how did your family’s connection to her shape the narrative?

Julie Gilbert: “I had decided to write the book when I was travelling to Madison, Wisconsin, to do research in the ‘Edna Ferber Archive’ at the Historical Society of the University of Wisconsin. I was informed that their collection of GIANT material had gone missing. I promised myself that whenever it was found, there would be a book for me to write. The collection was located many years later, having been misfiled under the ‘Judge Felix Frankfurter Collection.’

“Being the great-niece of Edna Ferber and having lived 20 blocks away from her in New York City, shaped my view in many distinctive ways. I was a Manhattan child of privilege the minute I was born. My great aunt Edna was a vocal and benevolent figure from the time I could perceive.”

You’ve mentioned that Giant Love covers not only the creation of Edna Ferber’s novel Giant but also the making of the iconic 1956 film. How did you approach balancing these two major aspects of the story?

“Chronologically. I personally enjoy the night follows the day kind of narrative. However, that was not the way I wrote my initial biography of Edna Ferber. I was young and seemed to enjoy being stylistic, so I chose to write the book in reverse chronology.”

The Ferber’s family business, circa 1980, by Ferber Family photo collection. Courtesy of Julie Gilbert

Edna Ferber’s Giant was both a controversial bestseller and a major Hollywood film. How did Ferber handle the backlash from Texans, and how do you think her experiences influenced her later works?

“She handled the backlash by toughing it out. She was not intimidated so much as shocked by their outrage. I do not think it influenced the writing of her next two books.”

You had unique access to Ferber’s personal letters, journals, and interviews. How did these materials shape your understanding of her as both a writer and a person?

“Having access to everything Ferber meant a great deal. It enabled me to blend the woman I knew with a lot more about her.”

Giant is often praised for its depiction of the treatment of Mexican labourers in West Texas. How do you see Ferber’s work as part of the broader literary and social conversation about racism and injustice?

“Ferber was a strong voice of injustice in her work and in her life. I think it is important to note that women and women writers of her day did not take stands against perceived wrongs and then strongly articulate their positions. She was extremely creative in pointing out social and racial wrongs through inventive stories and colourful characters.”

In Appleton, Wisconsin: Edna (third from left), the Ryan High School graduate, class of 1902. Credit: Ferber Family photo collection. Courtesy of Julie Gilbert.

What surprised you most while researching the writing process of Giant? Were there any revelations that you found particularly powerful or unexpected?

“Yes, but I would like them to remain embedded in the book to be discovered by a reader.”

As a novelist, playwright, and biographer, you’ve had the chance to explore both fiction and non-fiction. How does writing a biography like Giant Love differ from crafting a novel or a play?

“In writing a biography, I am not so much creating as interpreting. The creative choices, I suppose, are in the tone.”

Your previous biography, Opposite Attraction, was nominated for a Pulitzer Prize. How did your experiences with that book influence your approach to writing Giant Love?

“Good question. The two subjects in Opposite Attraction, Erich Maria Remarque and Paulette Goddard, were light years away from Edna Ferber. I could be objective because I was not a relative of theirs. Writing about Ferber is an emotional, at times almost sensory experience, no matter how I slice it. However, because she had early training as a reporter, and honoured getting/securing the facts prior to crafting her story, I tried to follow closely in her footsteps.”

The Cayuse was a member of a once nomadic indigenous tribe, located primarily in Eastern Oregon and Washington. Credit: Ferber Family photo collection. Courtesy of Julie Gilbert.

Ferber’s influence on Hollywood and the theatre world is profound. How do you think her collaborations with figures like George S. Kaufman and Moss Hart shaped her career and her creative process?

“I don’t think anyone ‘shaped’ Ferber. She truly was her own, highly original person and craftsperson. She brought her colourful eye and zesty vocabulary to whomever she was working with at the time.”

You’ve written screenplays as well, and Giant Love delves into the making of the Giant film. How do you think Ferber’s vision for the novel translated to the silver screen, and what insights did you gain about the adaptation process?

“I believe I do cover the Ferber part of this question in the book. The insight that I gained is that no matter how gifted a writer can be, she or he might not be a natural in every form of writing.”

Stage Door: the play (1936) Page 72: (top) Ferber Family photo collection. Courtesy of Julie Gilbert

You’ve been involved in the creative world for many years, both as a writer and a teacher. What advice do you give your students at The Writers Academy, and how do you encourage them to develop their own voices as writers?

“Oh, boy… how much time do you have? This is a huge question. I suppose the bedrock advice I give the students is to try to write every day at the same time. Sunday can be taken off, but eventually, if writers really get in the swing of their craft, they begin to miss it on Sunday. Also, I beg of them not to write in their heads. That is not writing. What emerges on the page is writing.”

As someone who’s worked in many different creative fields, what role do you think storytelling plays in shaping culture, particularly when it comes to highlighting the struggles and triumphs of marginalized communities?

“Storytelling is such an effective and efficient way to point out injustice. A lecture is given, whereas a story is absorbed.”