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HIDING BOYS IN BATHROOMS

A comprehensive account of one woman’s love life that loses its overarching narrative in the details.

In her debut memoir, Prada recounts the frustrations and anxieties of dating men in her 30s.

The author freely admits that she’s a “late bloomer”—a single schoolteacher who, at 30, lives with her hard-of-hearing grandmother in the San Francisco Bay Area. In this book, she recounts a string of unsuccessful relationships, with each man neatly encapsulated in his own chapter. There’s James, her first kiss; men with fanciful pseudonyms, such as “Dante Prosecco” and “Rich Calamari”; an array of Irish beaus (Seamus, Finn, Connor); and a Japanese surfer named Hiro. “No matter where I was, I was a magnet for foreigners,” she writes. “What can I say? I’m a sucker for someone funny who also has an accent.” Prada gives a complete account of the way the men entered her life—through school, via a mutual friend, or, more often than not, while drinking at an Irish bar—as well as the various confusions and insecurities that come with courtship and, inevitably, the breakups. One engaging story recounts a relationship that was particularly disastrous: at one point, Prada had to track down and steal back a car from an untrustworthy ex. But other accounts make for less-compelling reading. The book is more of a dry catalog of romantic happenings and the back-and-forth of flirty conversation than a narrative with memorable scenes. Tonally, it reads like a chatty monologue delivered over glasses of pinot grigio, complete with self-deprecating asides, constant worrying, and evaluations of the quality of men’s teeth. Prada sometimes strikes notes of humor—“Send me your poor, emotionally and geographically unavailable, huddled masses, yearning for credit or codependency, or just yearning to break free (probably from prison)”—or pathos (“How long had [he] been going around telling people…that he was trying to shake me, like some annoying piece of lint from a fuzzy sweater?”). But she focuses so heavily on the intricacies of each romantic entanglement that she leaves little room for deeper self-reflection. In this regard, the book’s resolution is no exception—like the author’s relationships, it’s ultimately unsatisfying.  

A comprehensive account of one woman’s love life that loses its overarching narrative in the details.

Pub Date: Feb. 6, 2017

ISBN: 978-1-5246-6860-0

Page Count: 192

Publisher: AuthorHouse

Review Posted Online: May 29, 2017

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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