NEW YORK, NY.- Kenward Elmslie, who wrote poetry, opera librettos and stage musicals, and who late in life made headlines when his chauffeur bilked him out of millions of dollars and several valuable artworks, including one by Andy Warhol, died June 29 at his home in the West Village of Manhattan. He was 93.

Poet Ron Padgett, a friend since the 1960s, confirmed the death but did not specify a cause. Elmslie had been dealing with dementia for many years.

Elmslie, a grandson of newspaper publisher Joseph Pulitzer, became interested in musical theater while in high school, and in 1952 he met and became a lover of John Latouche, a lyricist who worked with Leonard Bernstein, Duke Ellington and others and had numerous Broadway credits. Elmslie is said to have helped Latouche on some of his projects, generally uncredited.

After Latouche’s death in 1956, Elmslie continued to live in the house they had shared in Vermont, alternating between there and Manhattan. And he began to have success himself as a lyricist and librettist.

He provided the libretto for the Jack Beeson opera “The Sweet Bye and Bye,” which was first performed by the Juilliard Opera Theater in New York in 1957. In 1965 he worked with Beeson again, on “Lizzie Borden,” an embellished version of the famed ax-murder case, which premiered that year at City Center in New York. It was probably Elmslie’s biggest success in opera.

“The performers, the composer, the librettist, the designer and the director shared the bows at the end,” Howard Klein wrote in his review in The New York Times. “Many bravos were heard.”

Elmslie’s other opera credits included the libretto for Ned Rorem’s “Miss Julie” (1965). He also dabbled in songwriting — his “Love-Wise,” written with Marvin Fisher, was recorded by Nat King Cole in 1959 — and in theater, even accumulating a Broadway credit as book writer and lyricist for “The Grass Harp,” a musical based on a Truman Capote novel that opened in 1971 but, unloved by critics, closed days later.

W.C. Bamberger, in the introduction to “Routine Disruptions,” a 1998 collection of Elmslie’s poems and lyrics, wrote that it was during lulls in his opera and lyric-writing work that Elmslie began trying his hand at poetry. He was plugged into the New York art and literary scene and had befriended Barbara Guest, John Ashbery and other poets. His first collection, “Pavilions,” appeared in 1961, followed by more than a dozen others, including “Motor Disturbance” (1971) and “Tropicalism” (1975).

In the 1970s, as editor of Z Press and its annual Z Magazine, Elmslie published many of the poets he admired. His own work defied categorization. There was plenty of wit, as in “Touche’s Salon,” which shamelessly dropped names to evoke a 1950s gathering at Latouche’s penthouse:

Meet Jack Kerouac. Humpy and available.

His novel On The Road is unreadable. And unsalable.




John Cage is sober, Tennessee loaded.

Better not ask how his last flop show did.

But his more serious poetry could be ambitious, as well as dense. Ashbery once said that it was like the notes of “a mad scientist who has swallowed the wrong potion in his lab and is desperately trying to get his calculations on paper before everything closes in.”

Elmslie came to combine his various hats — librettist, songwriter, poet — both in his books, some of which were collaborations with visual artists, and in his poetry readings, which might find him in costume delivering a song in addition to reading his verses. Susan Rosenbaum, reviewing his 2000 book, “Blast From the Past: Stories, Poems, Song Lyrics & Remembrances,” in Jacket magazine, noted that the printed page didn’t do justice to his wide-ranging interests.

“For an artist as multitalented as Elmslie, the book is a limiting format: One wants to see and hear his musical works in performance, to visit the galleries where his visual collaborations are displayed,” she wrote. “But the very ability to elicit this desire — to reveal poetry’s affinities with song, theater and visual art — is a measure of the talent of this unique poet.”

Kenward Gray Elmslie was born on April 27, 1929, in Manhattan. His father, William, met Constance Pulitzer, Joseph Pulitzer’s youngest daughter, when he was working as a tutor for another of the Pulitzer children. They married in 1913.

Kenward grew up in Colorado Springs, Colorado, and Washington, D.C., and graduated from Harvard University in 1950 with an English degree. In New York in the 1950s and ’60s, he mixed easily with an artsy crowd. A 1965 article in The Times about a trendy party in the Bowery had him among the guests, with Warhol, photographers Diane Arbus and Richard Avedon, pioneering electronic composer Karlheinz Stockhausen and others, all gathered to hear a reading by William S. Burroughs.

The year before that party, Warhol had given Elmslie one of his Heinz ketchup box sculptures, a classic example of Warholian pop art. More than four decades later, in 2009, the work was stolen, along with other valuable items and several million dollars.

“Pulitzer kin hit in pop art scam,” the headline in The Daily News read.

In 2010, James Biear, who had been Elmslie’s chauffeur and caretaker, was indicted in the thefts. News accounts at the time said he took advantage of Elmslie’s dementia, which was already in its early stages. In 2012 Biear was sentenced to 10 years in prison.

In 1963 Elmslie began a long relationship with Joe Brainard, an artist and writer with whom he also collaborated on various projects. Brainard died in 1994.

Elmslie is survived by a half sister, Alexandra Whitelock.

This article originally appeared in The New York Times.