A slender, highly satisfying collection.

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LET ME TELL YOU WHAT I MEAN

A dozen pieces of nonfiction from the acclaimed novelist, memoirist, and screenwriter.

In an appreciative introduction, New Yorker theater critic Hilton Als praises Didion as “a carver of words in the granite of the specific.” Stylistic precision (“Grammar is a piano I play by ear,” she writes) and the “energy and shimmer” of her prose are fully evident in this volume of previously uncollected pieces, written from 1968 to 2000. Although Didion portrays herself as a diffident, unconfident writer as a college student, she learned “a kind of ease with words” when working at Vogue, where she was assigned to write punchy, concise copy. The experience, she recalls, was “not unlike training with the Rockettes.” Several pieces were originally published in magazines, and two were introductions: one, to a volume of photography by Robert Mapplethorpe; another, to a memoir by director—and Didion’s friend—Tony Richardson. All reveal the author’s shrewd, acerbic critical eye. In “Getting Serenity,” she reports on a meeting of Gamblers Anonymous, where, she notes sardonically, one woman “adapted her mode of public address from analgesic commercials.” William Randolph Hearst’s “phantasmagoric barony,” San Simeon, “seemed to confirm the boundless promise of the place we lived,” but, she decided, was best admired from afar, like a fairy-tale castle, “floating fantastically.” Didion’s rejection from Stanford elicited an essay about college as consumption, and her skewering of consumption and artifice recur as themes—for example, in her observation of the ways women stage themselves for portrait photographs. Several particularly revealing essays focus on writing: “I write entirely to find out what I’m thinking,” she famously admitted, a statement often misattributed to others. Writing, for her, is “the act of saying I, of imposing oneself upon other people, of saying listen to me, see it my way, change your mind. It’s an aggressive, even a hostile act.” As these pieces show, it’s also an accomplished act of seduction.

A slender, highly satisfying collection.

Pub Date: Jan. 26, 2021

ISBN: 978-0-593-31848-5

Page Count: 192

Publisher: Knopf

Review Posted Online: Oct. 10, 2020

Kirkus Reviews Issue: Nov. 1, 2020

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A conversational, pleasurable look into McConaughey’s life and thought.

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GREENLIGHTS

All right, all right, all right: The affable, laconic actor delivers a combination of memoir and self-help book.

“This is an approach book,” writes McConaughey, adding that it contains “philosophies that can be objectively understood, and if you choose, subjectively adopted, by either changing your reality, or changing how you see it. This is a playbook, based on adventures in my life.” Some of those philosophies come in the form of apothegms: “When you can design your own weather, blow in the breeze”; “Simplify, focus, conserve to liberate.” Others come in the form of sometimes rambling stories that never take the shortest route from point A to point B, as when he recounts a dream-spurred, challenging visit to the Malian musician Ali Farka Touré, who offered a significant lesson in how disagreement can be expressed politely and without rancor. Fans of McConaughey will enjoy his memories—which line up squarely with other accounts in Melissa Maerz’s recent oral history, Alright, Alright, Alright—of his debut in Richard Linklater’s Dazed and Confused, to which he contributed not just that signature phrase, but also a kind of too-cool-for-school hipness that dissolves a bit upon realizing that he’s an older guy on the prowl for teenage girls. McConaughey’s prep to settle into the role of Wooderson involved inhabiting the mind of a dude who digs cars, rock ’n’ roll, and “chicks,” and he ran with it, reminding readers that the film originally had only three scripted scenes for his character. The lesson: “Do one thing well, then another. Once, then once more.” It’s clear that the author is a thoughtful man, even an intellectual of sorts, though without the earnestness of Ethan Hawke or James Franco. Though some of the sentiments are greeting card–ish, this book is entertaining and full of good lessons.

A conversational, pleasurable look into McConaughey’s life and thought.

Pub Date: Oct. 20, 2020

ISBN: 978-0-593-13913-4

Page Count: 304

Publisher: Crown

Review Posted Online: Oct. 27, 2020

Kirkus Reviews Issue: Dec. 1, 2020

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If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

THE 48 LAWS OF POWER

The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.

Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.

If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

Pub Date: Sept. 1, 1998

ISBN: 0-670-88146-5

Page Count: 430

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1998

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