I Remember Nothing and other reflections
Memories and wisdom from the iconic writer and director
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- 9,49 €
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- 9,49 €
Publisher Description
'Memories, aphorisms and stern good advice from America's favourite naughty aunt' Independent on Sunday
'This book is as grown-up as a dirty martini' Sunday Times
'Sharp as a knife' Daily Express
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In her final book, Nora Ephron reflects on life, growing older, and everything she will and won't miss. Filled with Nora's trademark wit, wisdom and warmth.
* No one actually likes to admit they're old. The most they will cop to is that they're older. Or oldish.
* Freedom of the press belongs to the man who owns one.
* I have been forgetting things for years-at least since I was in my thirties. I know this because I wrote something about it at the time. I have proof. Of course, I can't remember exactly where I wrote about it, or when, but I could probably hunt it up if I had to.
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Praise for Nora Ephron
'So bold and so vulnerable at the same time. I don't know how she did it' Phoebe Waller-Bridge
'Oh how I loved Nora Ephron' Nigella Lawson
'Funny, knowing and smart' India Knight
'Nora's exacting, precise, didactic, tried-and-tested, sophisticated-woman-wearing-all-black wisdom is a comfort and a relief' Dolly Alderton
PUBLISHERS WEEKLY
Reading these succinct, razor-sharp essays by veteran humorist (I Feel Bad About My Neck), novelist, and screenwriter-director Ephron is to be reminded that she cut her teeth as a New York Post writer in the 1960s, as she recounts in the most substantial selection here, "Journalism: A Love Story." Forthright, frequently wickedly backhanded, these essays cover the gamut of later-life observations (she is 69), from the dourly hilarious title essay about losing her memory, which asserts that her ubiquitous senior moment has now become the requisite Google moment, to several flimsy lists, such as "Twenty-five Things People Have a Shocking Capacity to Be Surprised by Over and Over Again," e.g., "Movies have no political effect whatsoever." Shorts such as the several "I Just Want to Say" pieces feature Ephron's trademark prickly contrariness and are stylistically digestible for the tabloids. Other essays delve into memories of fascinating people she knew, such as the Lillian Hellman of Pentimento, whom she adored until the older woman's egomania rubbed her the wrong way. Most winning, however, are her priceless reflections on her early life, such as growing up in Beverly Hills with her movie-people parents, and how being divorced shaped the bulk of her life, in "The D Word." There's an elegiac quality to many of these pieces, handled with wit and tenderness.
