THE etiology of unearned success is neither simple nor uninteresting, and it deserves greater attention than it gets. Consider, for example, The Designated Mourner and its author, Wallace Shawn. A small, chubby fellow with an assertive fringe of hair and an understatedly porcine countenance, Shawn owes his status to a number of extracurricular circumstances.
First, he is the son of William Shawn, the longtime editor of The New Yorker, a magazine that anybody who is anybody reads, wants to be published in, or hopes for good reviews from. Rightly or wrongly, appreciation of Wallace-or Wally, as people call him-was perceived as a stepping-stone to that magazine. Yet those in the know also realized that, in rebellion against his father, Wally had become a bohemian and, it seems, self-supporting, which naturally enhanced his moral stature. Then, for his movie Manhattan, Woody Allen needed a sight gag: he had to find an actor unsightlier than himself. When the legendary ex-husband of the Diane Keaton character of whom the Woody character was madly jealous turned out to be Wally Shawn, laughter exploded.




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