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.
Andrew Holleran’s 1978 novel, Dancer From the Dance, is about gay men in 1970s New York looking for love—and falling for the city itself. The romantic, elegiac tone has much in common with F. Scott Fitzgerald’s The Great Gatsby and Truman Capote’s Breakfast at Tiffany’s. All three of these stories meditate on the power of beauty, mystery, doom, glamour, summer, and romance. All three are narrated by characters that stand outside the main action, and all three feature New York City as a central character. The city as it’s depicted here is more than a place: it’s an idea, often a romantic ideal, and sometimes a trap.
“To choose to live with a dog,” Mark Doty writes at the start of Dog Years: A Memoir, “is to agree to participate in a long process of interpretation—a mutual agreement, though the human being holds most of the cards.” In moving but restrained prose, Doty reveals the cards held closest to his chest: his feelings about loving and losing his canine companions, Arden and Beau.
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.
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.
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.