Like a bender—starts out promisingly, becomes increasingly regrettable.

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LIVING LOADED

TALES OF SEX, SALVATION, AND THE PURSUIT OF THE NEVER-ENDING HAPPY HOUR

Fitfully amusing, ultimately annoying account of schmoozing and drinking on the liquor industry’s dime.

As Dunn never tires of proclaiming, he has a job many men would envy: “I get paid to crisscross the globe covering the adult beverage beat” for Playboy. His book blends memoir elements concerning his hardscrabble upbringing with magazine-style lists and primers (e.g. “Hangovers and How to Beat Them”) and, cleverly, 16 original cocktail recipes provided by esteemed professionals like Dale DeGroff. Dunn is at his most engaging when he’s humorously self-deprecating—readers may sense angst and self-doubt beneath his lucky-dog façade—or revealing cynical truths about the hedonism industry. “We booze journalists like to tell ourselves that we’re arbiters of some kind of high-minded gourmet sensibility,” he writes. “But the truth is the only reason we write about the good stuff is because rich people like to get fucked up on the good stuff, and they need someone to tell them about it.” Unfortunately, Dunn is not the sharpest writer, and he seems too preoccupied with his Playboy lifestyle to care—why craft prose that’s engaging or effective when you can brag about boorish behavior in Vegas and friendships with adult actresses and Tommy Lee? This results in a structurally incoherent, rambling narrative peppered with cardboard characters, constant asides that pierce the fourth wall and random repetition (an extended anecdote about having anal sex with an emotionally damaged woman by a Dumpster doesn’t really improve via emphasis). The book is replete with the misogyny of baffled adolescents (the women here are either unattainable nostalgic dreams or pornographic tramps) and downright hypocrisy (he mocks live-music venues and serious cocktail bars as pretentious, which clearly doesn’t apply to his industry pals who provided the drink recipes). By the time he gets around to bragging about his friendship with the late Hunter Thompson, readers will wonder why the author hasn’t developed the slightest insight into what made Thompson’s nonfiction special. Regardless, men who actually still read Playboy and Tucker Max fans may find this vicariously exciting.

Like a bender—starts out promisingly, becomes increasingly regrettable.

Pub Date: Feb. 8, 2011

ISBN: 978-0-307-71847-1

Page Count: 288

Publisher: Broadway

Review Posted Online: Oct. 21, 2010

Kirkus Reviews Issue: Nov. 15, 2010

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DEAR MR. HENSHAW

Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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