Engaging, in-depth study of how Tom Wolfe's The Bonfire of the Vanities was transferred from megahit book to megaflop movie; by the film critic of The Wall Street Journal, novelist of White Lies (1987). With an okay from Brian de Palma, Bonfire's director, Salamon jumped on board early, when only Tom Hanks had been hired to play Sherman McCoy. She charts the movie's birth pains, financing, script revisions, casting, location-scouting in the Bronx and Manhattan, the New York shoot and the Los Angeles shoot, second unit work for backgrounds not directed by de Palma, editing, sound mixing, scoring, previews around L.A. and in Boston, reediting, advertising, premiere, and reviews. Salamon keeps a steady interest both in the artisans and the mechanics of their art without ever quite finding a voice of her own (say, like Pauline Kael's) or revealing how her presence on the scene may have affected anything. ``The devil's candy'' is a phrase from Peter Guber, the movie's original producer, which means both the actress to be cast as Sherman's mistress and the orgasm of instant success, as in E.T. or Batman. The book's embattled center is de Palma, who is rescued from his ghoulish image in suspense films, and would be the book's tragic hero were the abortive film a tragedy instead of a creative misfire from the first script and first compromise onward. Even so, this movie struck its makers as ``the definitive vehicle of dreams...the stretch limo of hopes and ambition.'' Stephen Spielberg's take on what happened is right on target: ``Brian is stepping into shoes that can be worn by other film makers. When he does that he's caught up in the machinery of the studio system.'' Like watching a World Trade Center tower topple onto Wall Street. (Eight-page b&w photo insert—not seen.)
Pub Date: Nov. 20, 1991
ISBN: 0-395-56996-6
Page Count: 384
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 1991
A superb book about doing his job by a master of his craft.
The renowned writer offers advice on information-gathering and nonfiction composition.
The book consists of eight instructive and charming essays about creating narratives, all of them originally composed for the New Yorker, where McPhee (Silk Parachute, 2010, etc.) has been a contributor since the mid-1960s. Reading them consecutively in one volume constitutes a master class in writing, as the author clearly demonstrates why he has taught so successfully part-time for decades at Princeton University. In one of the essays, McPhee focuses on the personalities and skills of editors and publishers for whom he has worked, and his descriptions of those men and women are insightful and delightful. The main personality throughout the collection, though, is McPhee himself. He is frequently self-deprecating, occasionally openly proud of his accomplishments, and never boring. In his magazine articles and the books resulting from them, McPhee rarely injects himself except superficially. Within these essays, he offers a departure by revealing quite a bit about his journalism, his teaching life, and daughters, two of whom write professionally. Throughout the collection, there emerge passages of sly, subtle humor, a quality often absent in McPhee’s lengthy magazine pieces. Since some subjects are so weighty—especially those dealing with geology—the writing can seem dry. There is no dry prose here, however. Almost every sentence sparkles, with wordplay evident throughout. Another bonus is the detailed explanation of how McPhee decided to tackle certain topics and then how he chose to structure the resulting pieces. Readers already familiar with the author’s masterpieces—e.g., Levels of the Game, Encounters with the Archdruid, Looking for a Ship, Uncommon Carriers, Oranges, and Coming into the Country—will feel especially fulfilled by McPhee’s discussions of the specifics from his many books.
A superb book about doing his job by a master of his craft.Pub Date: Sept. 5, 2017
ISBN: 978-0-374-14274-2
Page Count: 208
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 8, 2017
Kirkus Reviews Issue: June 1, 2017
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.
The undisputed champion of the self-conscious and the self-deprecating returns with yet more autobiographical gems from his apparently inexhaustible cache (Naked, 1997, etc.).
Sedaris at first mines what may be the most idiosyncratic, if innocuous, childhood since the McCourt clan. Here is father Lou, who’s propositioned, via phone, by married family friend Mrs. Midland (“Oh, Lou. It just feels so good to . . . talk to someone who really . . . understands”). Only years later is it divulged that “Mrs. Midland” was impersonated by Lou’s 12-year-old daughter Amy. (Lou, to the prankster’s relief, always politely declined Mrs. Midland’s overtures.) Meanwhile, Mrs. Sedaris—soon after she’s put a beloved sick cat to sleep—is terrorized by bogus reports of a “miraculous new cure for feline leukemia,” all orchestrated by her bitter children. Brilliant evildoing in this family is not unique to the author. Sedaris (also an essayist on National Public Radio) approaches comic preeminence as he details his futile attempts, as an adult, to learn the French language. Having moved to Paris, he enrolls in French class and struggles endlessly with the logic in assigning inanimate objects a gender (“Why refer to Lady Flesh Wound or Good Sir Dishrag when these things could never live up to all that their sex implied?”). After months of this, Sedaris finds that the first French-spoken sentiment he’s fully understood has been directed to him by his sadistic teacher: “Every day spent with you is like having a cesarean section.” Among these misadventures, Sedaris catalogs his many bugaboos: the cigarette ban in New York restaurants (“I’m always searching the menu in hope that some courageous young chef has finally recognized tobacco as a vegetable”); the appending of company Web addresses to television commercials (“Who really wants to know more about Procter & Gamble?”); and a scatological dilemma that would likely remain taboo in most households.
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.Pub Date: June 1, 2000
ISBN: 0-316-77772-2
Page Count: 288
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2000
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