Too many books are forgotten as soon as they're published—that doesn't mean they're not worth reading, writing, or talking about. My reading list is generated by interest, whim, and chance—and by what's available at the Brooklyn Public Library.
When writing my reviews, I don’t Google anything about the book or author. To draw my impressions, I rely only on the book itself.
Copy editor Mary Norris investigates grammar—its usage and history—and frequently digresses. These tangents are the heart and soul of this quirky book. Many of them relate to her investigation of the English language, some are deeply personal, and others concern her work at the influential weekly magazine, The New Yorker.
By offering an informed, rigorous, sensitive, nuanced, and compassionate evaluation of Bernstein’s creative output, Shawn, a teacher of composition and music history at Bennington College, achieves a remarkable feat: he gives a master class in biography as music appreciation.
Part of the pleasure for me in discovering and reading this book was remembering a world of the “armchair traveler,” when imagination made the only pictures the mind saw of a trip. This book was published in 1999, pre-European Union. This was before the heyday of the internet, and the age of global tourism, when for many people Paris wasn’t a place, but an idea.
Reading a celebrity memoir, one is naturally curious about how that person became famous. If the book isn’t well-written, everything comes across as cliché. If it lingers too long in the time before success, the reader gets impatient to get to “their big break.” (I would argue this is because their fame is “where we know them,” so to speak.) Reading about a celebrity who isn’t well known to you, you’re either bored, or looking for clues to solve a mystery: what makes this person special? Liv Ullman, the author of Changing, was one of director Ingmar Bergman’s leading ladies and the mother of one of his children. I’ve seen only a few of her films. Things about Changing perplexed me, but I was never bored.
I was watching a lot of the old Hammer Horror Dracula movies at the same time I was reading this, and I think there are a lot of similarities. Facing something scary and possibly unknown, you want to arm yourself with knowledge and weapons, however regressive they may be. Vampires hate sunlight, garlic, the sign of the cross, and holy water. Guys like a girl who looks “hot, hot, hot. Not slutty—sexy!” Guys like a chase.
Picasso and Dora strikes me as a faithful account, but admirably it’s not to James’s own vanity. He comes across as the worst of the lot. Even his own mother remarks at one point, “‘I’m sure it’s very interesting for you to have met these famous people, but I can’t help wondering what it is they see in you.’”
Pauline Kael: A Life in the Dark examines the personal life and career of Kael, who established herself, largely through her writing at The New Yorker, as the preeminent voice of 20th Century movie criticism. The book is well-written, well-researched, and Kellow does a good job of staying out of the way. What comes through is Kael’s voice.