Dutch Shea, Jr.


Book Description

“Dunne’s bravura plotting asserts an exhilarating mastery.” —The New York Times Book Review. In John Gregory Dunne’s celebrated third novel, Los Angeles-based criminal defense attorney Dutch Shea, Jr. struggles to keep from falling apart after an act of terrorist violence strikes his family, the loss pushing him towards a confrontation with his past and into a mystery involving the death of his father, a felon who died in prison. Set in L.A. and Dunne’s hometown of Hartford, Connecticut, the novel follows Shea into a labyrinth of deception, corruption, and criminal malice. Fighting to keep a host of disturbing memories tamped down, Shea plunges into his legal work, one embedding him in a world of scammers and burglars, pimps and prostitutes, corrupt cops and shady private eyes. With unrivaled detail and pitch-black humor, Dunne takes us into police precincts and criminal courtrooms, judge’s chambers and city morgues. The novel’s deft noir touches will remind readers of Raymond Chandler and Dashiell Hammett, while Dunne’s command of legal dynamics and police procedures anticipates fiction by Scott Turow, John Grisham and Michael Connelly. Introducing a sweeping cast of two dozen vivid characters, including Shea’s sometime girlfriend, a judge who packs a pistol under her robe, Dutch Shea, Jr. - a Zola e-book exclusive - is a gripping, bleakly funny exploration of a fallen world through which its past-haunted hero weaves, beset from within and without, for a series of fraught days.




Nothing Lost


Book Description

A grisly racial murder in what news commentators insist on calling “the heartland.” A feeding frenzy of mass media and seamy politics. An illicit love affair with the potential to wreck lives. In his grandly inventive last novel, John Gregory Dunne orchestrated these elements into a symphony of American violence, chicanery, and sadness.In the aftermath of Edgar Parlance’s killing, the small prairie town of Regent becomes a destination for everyone from a sociopathic teenaged supermodel to an enigmatic attorney with secret familial links to the worlds of Hollywood and organized crime. Out of their manifold convergences, their jockeying for power, publicity or love, Nothing Lost creates a drama of magnificent scope and acidity.




Writing Widowhood


Book Description

Explores how memoirs of widowhood can help us understand the reality of bereavement and the critical role of writing and reading in recovery. The death of a beloved spouse after a lifetime of companionship is a life-changing experience. To help understand the reality of bereavement, Jeffrey Berman focuses on five extraordinary American writers—Joan Didion, Sandra Gilbert, Gail Godwin, Kay Redfield Jamison, and Joyce Carol Oates—each of whom has written a memoir of spousal loss. In each chapter, Berman gives an overview of the writer’s life and art before widowhood, including her early preoccupation with death, and then discusses the writer’s memoir and her life as a widow. He discovers that writing was, for all of these authors, both a solace and a lifeline, enabling them to maintain bonds with their lost loved ones while simultaneously moving on with their lives. These memoirs of widowhood, Berman maintains, reveal not only courage and resilience in the face of loss, but also the critical role of writing and reading in bereavement and recovery. “Writing Widowhood is a stunning achievement that combines biography, literary history, and theoretical and philosophical exploration into the nature of grief as well as mental illness—all seamlessly executed. Berman elegantly and lucidly conveys a range of theories and perspectives to suit both academic and general readers. Berman never compromises complexity while remaining accessible and straightforward throughout.” — Virginia L. Blum, author of Flesh Wounds: The Culture of Cosmetic Surgery “Writing Widowhood contributes to the field of autobiography/biography, and particularly to women’s writing within that generic field, by discussing five memoirs which Berman categorizes as the ‘widow memoir.’ No other critic that I know has shaped commentaries into a newly defined genre. Berman’s book, thus, makes an important contribution to the overall field.” — Linda Wagner-Martin, author of Telling Women’s Lives: The New Biography




Monster


Book Description

In Hollywood, screenwriters are a curse to be borne, and beating up on them is an industry blood sport. But in this ferociously funny and accurate account of life on the Hollywood food chain, it's a screenwriter who gets the last murderous laugh. That may be because the writer is John Gregory Dunne, who has written screenplays, along with novels and non-fiction, for thirty years. In 1988 Dunne and his wife, Joan Didion, were asked to write a screenplay about the dark and complicated life of the late TV anchorwoman Jessica Savitch. Eight years and twenty-seven drafts later, this script was made into the fairy tale "Up Close and Personal" starring Robert Redford and Michelle Pfeiffer. Detailing the meetings, rewrites, fights, firings, and distractions attendant to the making of a single picture, Monster illuminates the process with sagacity and raucous wit.




Playland


Book Description

A critically acclaimed best-seller set in the glamorous, gangster-dominated Hollywood of the 1940s tells the story of Blue Tyler, a child star who disappears from Hollywood and becomes a bag lady in New York City.




Show Don’t Tell


Book Description

If one hears one thing from every single writing instructor it’s, “Show, don’t tell.” “Don’t tell us he’s afraid of losing her, show us!” “Don’t tell us it’s a richly decorated room, show us!” “Don’t tell us the Russian tundra is cold, show us!” Easier said than done, and no one ever wrote a book on how to do it, that is until William Noble wrote this classic work a decade ago. From the use of dialogue to employing melodrama to developing incidents and anecdotes, Show Don’t Tell explains how to entertain your readers instead of lecturing to them. Written in Noble’s absorbing voice, Show Don’t Tell illustrates how to develop a dramatic framework using similes and metaphors, a focused point of view, steady pacing, increasing tension, and an appeal to the senses to create solid dramatic impact. In other words, how to show, not tell! Perfect for novelists, short story writers, and those interested in writing creative nonfiction.




Vegas


Book Description

"The best book about Sin City ever written . . . [Dunne's] grotesqueries aren't drug-induced, they're very real. His is the genuine Vegas." (Esquire) "In the summer of my nervous breakdown, I went to live in Las Vegas, Clark County, Nevada." So begins John Gregory Dunne's neglected classic of first-person writing, a mordant, deadpan, grotesque tale that blurs the line between autobiography and fiction, confession and reportage. Panicked by his own mortality, despondent over his many failings as a writer and a man, Dunne leaves his wife, Joan Didion, and their three-year old child for the solitude of a crummy apartment off the Vegas Strip. His plan: to write a book about the city he describes as a "prison of yesterdays." In his desperation, he connects with a remarkable trio of characters: Artha, a student at cosmetology college by day, a sex worker by night; Buster Mano, a private detective whose specialty is tracking down errant husbands; and Jackie Kasey, a lounge comic who opens for Elvis at $10,000 a night and wonders why he is still only a "semi-name." Pimps, bail bondsmen, parking-lot moguls, used-car tycoons, ex-jockeys, and women who look as if they had "spent a lifetime meeting guys in Vegas or Miami Beach or Louisville for the Derby"--these are the people who wander through the lives of Artha, Buster, and Jackie; and, for a dark season, their world becomes Dunne's. Vegas captures a low point in American culture and in one American life with rare vitality, honesty, and perception. Sad, powerful, wildly funny, Vegas is like no memoir before or since.




Princeton Alumni Weekly


Book Description




Grief Memoirs


Book Description

Grief Memoirs: Cultural, Supportive, and Therapeutic Significance bridges literary studies and psychology to evaluate contemporary grief memoirs for use by bereaved and non-bereaved individuals. This volume positions the grief memoir within life writing and bereavement studies through examination of the genre’s characteristics, definitions, and functions. The book presents the views of memoirists, helping professionals, community members, and university students on writing and reading as self-expressive, self-searching, and grief-witnessing acts after the loss of a loved one. Utilizing new data from surveys assessing grief support and bibliotherapy, this text discusses the compatibility of grief memoirs with contemporary grief theories and the role of interdisciplinary methods in assisting the bereaved. Grief Memoirs: Cultural, Supportive, and Therapeutic Significance will help educators advance the understanding and interpretation of loss within psychology, literature, and medical humanities classrooms.




The Studio


Book Description

In 1967, John Gregory Dunne asked for unlimited access to the inner workings of Twentieth Century Fox. Miraculously, he got it. For one year Dunne went everywhere there was to go and talked to everyone worth talking to within the studio. He tracked every step of the creation of pictures like "Dr. Dolittle," "Planet of the Apes," and "The Boston Strangler." The result is a work of reportage that, thirty years later, may still be our most minutely observed and therefore most uproariously funny portrait of the motion picture business. Whether he is recounting a showdown between Fox's studio head and two suave shark-like agents, watching a producer's girlfriend steal a silver plate from a restaurant, or shielding his eyes against the glare of a Hollywood premiere where the guests include a chimp in a white tie and tails, Dunne captures his subject in all its showmanship, savvy, vulgarity, and hype. Not since F. Scott Fitzgerald and Nathanael West has anyone done Hollywood better. "Reads as racily as a novel...(Dunne) has a novelist's ear for speech and eye for revealing detail...Anyone who has tiptoed along those corridors of power is bound to say that Dunne's impressionism rings true."--Los Angeles Times