My novel about love, betrayal and chess in New Orleans: The Pride and the Sorrow

Tuesday, September 15, 2009

"Queen to Play" - film review - checkmate!

Film Reviews
Queen to Play -- Film Review
By Frank Scheck, April 27, 2009 05:39 ET



Bottom Line: Some good moves, but no cinematic checkmate.
More Tribeca reviews

NEW YORK -- Chess as metaphor for life is the theme of Caroline Bottaro's French drama starring Sandrine Bonnaire as a maid who rediscovers herself thanks to her newfound love for the game and Kevin Kline as the misanthropic recluse who teaches her. While "Queen to Play" boasts an admirable dramatic subtlety and several strong performances, its overly familiar ideas and lugubrious pacing, as well as the fact that chess is not exactly the most cinematic of subjects, will make it a tough sit even for dedicated art house audiences. It recently received its world premiere at the Tribeca Film Festival.

Bonnaire plays Helene, a chambermaid at an upper-class Corsican hotel who's dealing with financial problems, a rebellious daughter and a less than ideal marriage to a handsome but not particularly sensitive blue-collar worker (Francis Renaud).

When she sees a glamorous, barely clothed couple (including Jennifer Beals in a cameo) intensely playing chess on their balcony, it stirs something within her. She promptly buys a set, but her husband proves to be an unwilling player. Spotting a board in the home of Dr. Kroger (Kline), for whom she moonlights as a cleaning person, she implores him to tutor her in its intricacies.

Kroger, who has barely spoken to her in all the time she's worked for him, initially rebuffs. But sensing her passion, he eventually agrees, and the two begin weekly sessions in which the pupil soon starts overshadowing her teacher. By the time she's allowed to participate -- in underdog "Rocky" fashion -- in a local tournament, all the principal characters have undergone life-enhancing emotional changes.

That the film works to the degree that it does is largely due to the sensitive performances. Bonnaire delivers a beautifully modulated turn, delineating Helene's liberating transformation in quietly powerful and convincing fashion. Kline, in his first entirely French-speaking role, intriguingly underplays as the mysterious Kroger, and Francis Renaud strongly conveys the husband's complicated feelings of disdain for his wife's new obsession and concern for his marriage.

Production: Mon Voison Prods
Cast: Sandrine Bonnaire, Kevin Kline, Francis Renaud, Jennifer Beals, Valerie Lagrange
Director: Caroline Bottaro
Screenwriters: Caroline Bottaro, Caroline Maly, Jeanne Le Guillou
Producers: Dominique Besnehard, Micher Feller, Amelie Latscha
Director of photography: Jean-Claude Larrieu
Editor: Tina Baz
Production designer: Emmanuel de Chavigny
Music: Nicola Piovani
No MPAA rating, 96 minutes

Queen to Play -- Film Review

By Frank Scheck, April 27, 2009 05:39 ET


Why are we still reading Dickens?

Jon Michael Varese
Friday September 4 2009
The Guardian
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It seems that you cannot turn a corner this year without bumping into Charles Dickens. So far we've seen the release of four major novels based on the Victorian icon's life: Dan Simmons's Drood (February), Matthew Pearl's The Last Dickens (March), Richard Flanagan's Wanting (May), and Gaynor Arnold's Girl in a Blue Dress (July). Earlier this year BBC1's lush new production of Little Dorrit was nominated for five Bafta awards in the UK, and 11 Emmys in the US. Newspapers and magazines have run stories on his relevance to the current global economic crisis. And with the Christmas season now only four months away, it seems that there is no getting away from him any time soon.

As someone who teaches and writes about Dickens, the question of why we still read him is something that's often on my mind. But that question was never more troubling than one day, nearly 10 years ago, when I was standing as a guest speaker in front of a class of about 30 high school students. I had been speaking for about 20 minutes with an 1850 copy of David Copperfield in my hand, telling the students that for Victorian readers, Dickens's writing was very much a "tune-in-next-week" type of thing that generated trends and crazes, much as their own TV shows did for them today.

Then a hand shot up in the middle of the room.

"But why should we still read this stuff?"

I was speechless because in that moment I realised that, though I had begun a PhD dissertation on Dickens, I had never pondered the question myself.

The answer I gave was acceptable: "Because he teaches you how to think," I said. But lots of writers can teach you how to think, and I knew that wasn't really the reason.

The question nagged me for years, and for years I told myself answers, but never with complete satisfaction. We read Dickens not just because he was a man of his own times, but because he was a man for our times as well. We read Dickens because his perception and investigation of the human psyche is deep, precise, and illuminating, and because he tells us things about ourselves by portraying personality traits and habits that might seem all too familiar. His messages about poverty and charity have travelled through decades, and we can learn from the experiences of his characters almost as easily as we can learn from our own experiences.

These are all wonderful reasons to read Dickens. But these are not exactly the reasons why I read Dickens.

My search for an answer continued but never with success, until one year the little flicker came ? not surprisingly ? from another high school student, whose essay I was reviewing for a writing contest. "We need to read Dickens's novels," she wrote, "because they tell us, in the grandest way possible, why we are what we are."

There it was, like a perfectly formed pearl shucked from the dirty shell of my over-zealous efforts ? an explanation so simple and beautiful that only a 15-year-old could have written it. I could add all of the decoration to the argument with my years of education ? the pantheon of rich characters mirroring every personality type; the "universal themes" laid out in such meticulous and timeless detail; the dramas and the melodramas by which we recognise our own place in the Dickensian theatre ? but the kernel of what I truly wanted to say had come from someone else. As is often the case in Dickens, the moment of realisation for the main character here was induced by the forthrightness of another party.

And who was I, that I needed to be told why I was what I was? Like most people, I think I knew who I was without knowing it. I was Oliver Twist, always wanting and asking for more. I was Nicholas Nickleby, the son of a dead man, incurably convinced that my father was watching me from beyond the grave. I was Esther Summerson, longing for a mother who had abandoned me long ago due to circumstances beyond her control. I was Pip in love with someone far beyond my reach. I was all of these characters, rewritten for another time and place, and I began to understand more about why I was who I was because Dickens had told me so much about human beings and human interaction.

There are still two or three Dickens novels that I haven't actually read; but when the time is right I'll pick them up and read them. I already know who it is I'll meet in those novels ? the Mr Micawbers, the Mrs Jellybys, the Ebenezer Scrooges, the Amy Dorrits. They are, like all of us, cut from the same cloth, and at the same time as individual as their unforgettable aptronyms suggest. They are the assurances that Dickens, whether I am reading him or not, is shining a light on who I am during the best and worst of times.

--
guardian.co.uk Copyright (c) Guardian News and Media Limited. 2009



Friday, September 4, 2009

The Ten Commandments of Blogging

Published in Pimp My Novel: September 3, 2009
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1. I am thy blog. If you're an author, you should already have a blog. If you're not yet published, now is the time to start.

2. Thou shalt have no other blogs before me. We all love reading blogs—we wouldn't be here if we didn't—but yours comes first. Write your own posts before you spend all afternoon reading someone else's.

3. Thou shalt not make of thyself an idol. Keep your ego in check; you always want to portray yourself positively in your blog. Your reputation is all you've got in this business, and if you earn yourself one as a likable person as well as a great writer, you're a golden calf.

4. Remember thy Schedule and keep it, wholly. You don't have to write a post every day, but keeping a regular schedule is a courtesy and a sort of unwritten contract between you and your readers; they'll know when to expect new content and will come to appreciate and respect you for that.

5. Thou shalt honor thy agent and thy publisher. You couldn't have done this without them. Give props where props are due.

6. Thou shalt not commit character assassination. Everyone has authors or critics they don't like, sometimes personally. Don't pull an Alice Hoffman. And, I guess, don't try to kill anyone in real life, either.

7. Thou shalt not commit adultery, but thou shalt pimp thyself. No one sells you like you do. Facebook, Twitter, &c. The more pervasive your presence, the more likely it is that people will buy your book.

8. Thou shalt not plagiarize. Always quote. Always cite your sources. Always link back to them if they're on-line.

9. Thou shalt not deceive thy audience. Never post anything you don't believe is true, and be sure to provide links to any research you've done. Always be sure to clarify whether a point you're making is an opinion or a fact.

10. Thou shalt monetize. I don't do it because I don't consider blogging a part of my livelihood, but you, as authors, should consider self-promotion as part of the job. Let Google or whomever run a few relevant ads on your blog and make a little cash on the side. (Unless you've got a large readership, though, it probably won't be much.)
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Copyright 2009 Pimp My Novel


Tuesday, September 1, 2009

Alice Hoffman Goes Ballistic on Twitter!


Alice Hoffman Goes Ballistic on Twitter | Market My Novel
Source: marketmynovel.com





Dominick Dunne, Chronicler of Crime, Dies at 83

Published in The New York Times: August 26, 2009
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Dominick Dunne, who gave up producing movies in midlife and reinvented himself as a best-selling author, magazine writer, television personality and reporter whose celebrity often outshone that of his subjects, died Wednesday at his home in Manhattan. He was 83.

The cause was bladder cancer, a family spokesman said. The spokesman had initially declined to confirm the death, saying the family had hoped to wait a day before making an announcement so that Mr. Dunne’s obituary would not be obscured by the coverage of Senator Edward M. Kennedy’s death.

In the past year Mr. Dunne traveled to the Dominican Republic and Germany for experimental stem-cell treatments to fight his cancer, at one point writing that he and the actress Farrah Fawcett, who died in June, were in the same Bavarian clinic.

He sprang to national prominence with his best-selling novels “The Two Mrs. Grenvilles” in 1985 and “An Inconvenient Woman” in 1990, both focused on murders in the upper realms of society. He later chronicled high-profile criminal trials and high society as a correspondent and columnist for Vanity Fair magazine.

He achieved perhaps his widest fame from his reporting of the O. J. Simpson murder trial in 1994 and 1995 and later as the host of the program “Dominick Dunne’s Power, Privilege and Justice,” on what was then Court TV (now TruTV).

Last year, as a postscript to his Simpson coverage, Mr. Dunne defied his doctor’s orders and flew to Las Vegas to attend Mr. Simpson’s kidnapping and robbery trial.

Mr. Dunne’s magazine career was weighted toward the coverage of sensational murder trials. He made no secret of the fact that his sympathy generally lay with the victim, and he was vocal about what he considered the misapplication of justice.

Sympathetic Stance

He never hesitated to admit that his sympathetic stance stemmed from the murder of his daughter, Dominique, by John Sweeney, her ex-boyfriend, in 1982. Ms. Dunne, a 22-year-old actress, was found strangled, and Mr. Sweeney, who was found guilty only of voluntary manslaughter and a misdemeanor for an earlier assault, served less than three years.

“I’m sick of being asked to weep for killers,” Mr. Dunne often said. “We’ve lost our sense of outrage.”

During the trial, Tina Brown, who was the editor of Vanity Fair at the time, suggested he keep a journal. The account, “Justice: A Father’s Account of the Trial of His Daughter’s Killer,” was published in Vanity Fair in 1984.

“He never pretended to be objective in covering trials,” Graydon Carter, the current editor of Vanity Fair, said Wednesday. “He was always writing from the point of view of the victim because of what happened to his daughter, and he had a riveting way of knowing, almost like Balzac, what to tell the reader when.”

Mr. Dunne went on to cover the trials of Claus von Bulow, Michael C. Skakel, William Kennedy Smith, Erik and Lyle Menendez, and Phil Spector, as well as the impeachment of President Bill Clinton.

“I realized the power writing has, and it has also helped me deal with my rage,” he said in an interview with The New York Times for this obituary in 2000. “It gave me a lifelong commitment not to be afraid to speak out about injustice.”

Mr. Dunne’s brother was the writer John Gregory Dunne, the husband of the writer Joan Didion. He died in 2003.

High-Profile Clashes

Mr. Dunne’s speaking out led to a lawsuit for slander filed by Gary Condit, a Democratic congressman from California, over remarks Mr. Dunne had made on national radio and television in 2001. Mr. Condit had been scheduled to testify in a deposition about his relationship with Chandra Levy, a federal government intern who disappeared in May 2001 and whose body was found in a Washington park in 2002.

Mr. Dunne quoted a man who asserted that he had heard that Mr. Condit had talked about his relationship with a woman whom he had described as a clinger. Mr. Dunne said this had created an environment that led to Ms. Levy’s disappearance. Mr. Condit’s suit, originally seeking $11 million in damages, was settled for an undisclosed sum and an apology. A later suit by Mr. Condit was dismissed.

Mr. Dunne also clashed with the Kennedy family about his involvement in the 2002 trial of Mr. Skakel, a first cousin of Robert F. Kennedy Jr. Mr. Skakel was sentenced to 20 years to life in the murder of Martha Moxley in 1975. Her body was found beneath a tree on her parents’ property in Greenwich, Conn.

In 2003, in a 14,000-word article in The Atlantic Monthly arguing that the case against his cousin was flawed and had left reasonable doubt, Mr. Kennedy accused Mr. Dunne of intimidating prosecutors and helping to drive the news media into “a frenzy to lynch the fat kid.”

Mr. Dunne said in The Times interview that he had also been a source of information for a book that Mark Fuhrman was writing about the Skakel trial. He had met him when Mr. Fuhrman testified during the O. J. Simpson murder trial. “I had some hot information about Skakel,” Mr. Dunne said, “and I knew Fuhrman would bring it to attention.”

Mr. Dunne, known as Nick to his friends, was a ubiquitous figure in both American and European society. He attributed his success to his being a good listener. “Listening is an underrated skill,” he said in discussing his interviews with political figures and celebrities like Imelda Marcos, Elizabeth Taylor, Diane Keaton and Mr. von Bulow.

At Michael’s restaurant in Manhattan, a favorite gathering spot of the news media elite, Mr. Dunne could often be found at his regular corner table receiving admirers. Even as his health declined, he would show up in his trademark round glasses and a Turnbull & Asser shirt, with the proper white collar and large blue stripes.

With his appetite for gossip, a short stop at his table would usually yield some nugget. And the story would almost always start with, “Do you know what I heard?” and end with “Can you believe that!”

‘A Rotten Athlete’

Born in Hartford, Dominick John Dunne was one of six children of a fourth-generation Irish-Catholic family. His father, Richard, was a heart surgeon, and although the family was well-off, his childhood was not happy.

“I was a rotten athlete, I liked puppet shows and I was kind of a sissy,” he recalled in The Times interview. “Something about me drove my father crazy. He mocked me and often beat me with a wooden coat hanger, and although we belonged to WASP clubs, we were never a part of things. We were like minor-league Kennedys.”

Drafted into the Army during his senior year in high school, Mr. Dunne fought in the Battle of the Bulge and won both his father’s admiration and a Bronze Star for crawling past Nazi sentries and carrying back a wounded soldier. After his Army service, he attended Williams College, where he and a group that included Stephen Sondheim started a theater.

After graduating in 1949, he moved to New York, where he became stage manager for television shows and later an assistant to the producer of “Playhouse 90.” In 1954 he married Ellen Griffin, who was known as Lenny and with whom he had two sons, Griffin and Alexander, in addition to Dominique.

By 1957 he was in Santa Monica, Calif.; a year later he was producing at 20th Century Fox and living in Beverly Hills. By the 1970s he was a vice president of Four Star Television and produced “The Boys in the Band,” “Panic in Needle Park” and other films.

Dominick and Lenny Dunne became famous in the industry for their parties, the most memorable of which was a black and white ball, held in 1964 to celebrate their 10th anniversary. The guests included Nancy and Ronald Reagan and Truman Capote, who two years later used the idea for his own ball of the same name, at the Plaza Hotel in New York, a renowned event to which the Dunnes were not invited.

“My jobs never qualified me for the strata of Hollywood we moved in,” he recalled. “I always kept scrap books and saved everything. On some level, I knew it was not going to last.”

It didn’t. Devastated when his wife asked for a divorce — “She was the real thing, and I became a fake,” he said — he declined into “a hopeless alcoholic,” he admitted, and started to use cocaine. Returning from Mexico, he was arrested for drug possession at the airport in Los Angeles.

But his drinking continued, and though none of his films were box-office smashes, the denouement came in 1973 with the widely panned “Ash Wednesday,” a picture he produced starring Ms. Taylor. Compounding that failure was the publication in a trade newspaper of a joke he told, while he was drinking, about a Hollywood power broker.

“I kind of knew it was going to be my swan song,” he said of the remark. He became a nonperson in the industry.

At one point he sold all his possessions including, for $300, his dog, a West Highland terrier. He went on unemployment, all the while terrified that his friends would see him in the line.

In 1979, approaching his mid 50s, he left Los Angeles. “I got into the car and didn’t know where I was headed,” he said in an interview. “I drove north, stopped for a flat tire in Oregon and stayed there in a one-room cabin for six months.” There he started to write for the first time. The book was a novel of Hollywood, “The Winners.”

A New Chapter

He moved to New York in 1981. Reviews of “The Winners” were scathing, but his editor, Michael Korda, advised him to go in another direction.

“He told me there was nothing people liked more than reading about the rich and powerful in criminal situations,” Mr. Dunne said. “It was, like, ‘Boing’ in my head, and I made a genre out of the thing. I wrote ‘The Two Mrs. Grenvilles,’ about a social family whose son married a showgirl who was then accused of murdering him. Two million copies were sold and that book utterly changed my life.”

Other books followed, among them “People Like Us”; “A Season in Purgatory,” based on a rich Catholic family and murder; and “An Inconvenient Woman,” about a social couple and the murder of the husband’s mistress.

In 1999 he published a memoir, “The Way We Lived Then, Recollections of a Well-Known Name Dropper,” studded with photographs of the famous.

His increasing prominence as a reporter, writer, author and television personality made him a staple at fashionable dinner parties and social events.

“All the people who dumped me years before were now giving dinner parties for me,” he said during Mr. Simpson’s trial. “And I went.”

Although he had been divorced for two decades, he remained devoted to his ex-wife, who learned she had multiple sclerosis in 1972, until her death in 1997. He is survived by his sons Griffin, an actor and director of New York, and Alexander of Portland, Ore.; and a granddaughter, Hannah Dunne.

In 2000, Mr. Dunne was found to have prostate cancer. Six years later he was being treated in a hospital when, he said, he decided to leave. Disconnecting himself from the medical instruments attached to him, he walked out and took a taxi home.

“It caused a lot of commotion at the hospital,” he said. “But I was convinced I was going to die, and the room was not the right setting for my death scene.

“I stayed home for five days and did everything the doctor told me to do,” he added, “and a week later I flew to Europe.”
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