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MORE THAN LOVE

AN INTIMATE PORTRAIT OF MY MOTHER, NATALIE WOOD

An intimate and heartfelt memoir.

A Hollywood actress reflects on the life and death of her mother, Natalie Wood (1938-1981).

Wagner was 11 years old when her mother, with whom she felt inextricably “entwined,” drowned. In this eloquent debut memoir, the author examines Wood’s life and the relationship they had while offering her perspective on the mysterious circumstances surrounding her mother’s untimely demise. Born Natalia Nikolaevna Zakharenko in San Francisco, Wood was the daughter of Russian immigrants. At age 4, she caught the attention of a Hollywood director. Five years later, Wood had not only played opposite such legends as Orson Welles; she had also earned enough celebrity status to negotiate movie contracts that included jobs for the star-struck parents who would control their daughter throughout adolescence and young adulthood. In 1957, Wood married Robert Wagner, her “childhood movie crush,” in part to escape a lonely and restrictive family life. The two divorced and then reunited in the early 1970s, after Wood ended her marriage to the author’s birth father, producer Richard Gregson. For most of the author’s childhood, life with Wood and “Daddy Wagner” was idyllic. But as the author remembers her beautiful mother presiding over dazzling celebrity parties, she also remembers the terror she felt being apart from Wood, which haunted her long after her mother’s death. When the author’s parents returned to full-time acting, the pressures mounted. Wood developed a dependence on alcohol, high levels of which were found in her blood after she died. The author denies years of tabloid speculation that Robert Wagner murdered her mother, suggesting instead that the reports, which came from Wood’s envious younger sister and a family employee, were motivated by greed. Fascinating as these details are, it is Wagner’s sensitive, probing depiction of how she coped without Wood that makes for the most compelling reading in a book that celebrates both a brilliant actress and a bygone film era.

An intimate and heartfelt memoir.

Pub Date: May 5, 2020

ISBN: 978-1-9821-1118-2

Page Count: 304

Publisher: Scribner

Review Posted Online: March 14, 2020

Kirkus Reviews Issue: April 1, 2020

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NIGHT

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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A WEALTH OF PIGEONS

A CARTOON COLLECTION

A virtuoso performance and an ode to an undervalued medium created by two talented artists.

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The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.

Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.

A virtuoso performance and an ode to an undervalued medium created by two talented artists.

Pub Date: Nov. 17, 2020

ISBN: 978-1-250-26289-9

Page Count: 272

Publisher: Celadon Books

Review Posted Online: Aug. 30, 2020

Kirkus Reviews Issue: Sept. 15, 2020

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