Front Porch Books is a monthly tally of books--mainly advance review copies (aka "uncorrected proofs" and "galleys")--I've received from publishers, but also sprinkled with packages from Book Mooch, Amazon and other sources. Because my dear friends, Mr. FedEx and Mrs. UPS, leave them with a doorbell-and-dash method of delivery, I call them my Front Porch Books. In this digital age, ARCs are also beamed to the doorstep of my Kindle via NetGalley and Edelweiss. Note: most of these books won't be released for another 2-6 months; I'm just here to pique your interest and stock your wish lists. Cover art and opening lines may change before the book is finally released.
Frank Capra called her “The greatest emotional actress the screen has yet known.” She was one of its most natural, timeless, and underrated stars. Now, Victoria Wilson gives us the first full-scale life of Barbara Stanwyck, whose astonishing career in movies (eighty-eight in all) spanned four decades beginning with the coming of sound, and lasted in television from its infancy in the 1950s through the 1980s—a book that delves deeply into her rich, complex life and explores her extraordinary range of motion pictures, many of them iconic. Here is her work, her world, her Hollywood. We see the quintessential Brooklyn girl whose family was in fact of old New England stock . . . her years in New York as a dancer and Broadway star . . . her fraught marriage to Frank Fay, Broadway genius, who influenced a generation of actors and comedians (among them, Jack Benny and Stanwyck herself ) . . . the adoption of a son, embattled from the outset; her partnership with the “unfunny” Marx brother, Zeppo, crucial in shaping the direction of her work, and who, together with his wife, formed a trio that created one of the finest horse-breeding farms in the west; her fairy-tale romance and marriage to the younger Robert Taylor, America’s most sought-after— and beautiful—male star. Here is the shaping of her career with many of Hollywood’s most important directors: among them, Frank Capra, “Wild Bill” William Wellman (“When you get beauty and brains together,” he said, “there’s no stopping the lucky girl who possesses them. The best example I can think of is Barbara”), King Vidor, Cecil B. De Mille, and Preston Sturges, all set against the times—the Depression, the New Deal, the rise of the unions, the advent of World War II—and a fast-changing, coming-of-age motion picture industry. And here is Stanwyck’s evolution as an actress in the pictures she made from 1929 through the summer of 1940, where Volume One ends—from her first starring movie, The Locked Door (“An all-time low,” she said. “By then I was certain that Hollywood and I had nothing in common”); and Ladies of Leisure, the first of her six-picture collaboration with Frank Capra (“He sensed things that you were trying to keep hidden from people. He knew. He just knew”), to the scorching Baby Face, and the height of her screen perfection, beginning with Stella Dallas (“I was scared to death all the time we were making the picture”), from Clifford Odets’s Golden Boy and the epic Union Pacific to the first of her collaborations with Preston Sturges, who wrote Remember the Night, in which she starred. And at the heart of the book, Stanwyck herself—her strengths, her fears, her frailties, her losses and desires; how she made use of the darkness in her soul in her work and kept it at bay in her private life, and finally, her transformation from shunned outsider to one of Hollywood’s—and America’s—most revered screen actresses. Writing with the full cooperation of Stanwyck’s family and friends, and drawing on more than two hundred interviews with actors, directors, cameramen, screenwriters, costume designers, et al., as well as making use of letters, journals, and private papers, Victoria Wilson has brought this complex artist brilliantly alive.
Noël Coward: dramatist, composer, actor, director, lyricist, and at one time the highest-earning author in the western world. He virtually invented the concept of the sophisticated Englishman for the 20th Century. Queen Elizabeth knighted him in 1969, and since his death in 1973, there has not been a time when his plays are not staged (Private Lives), films shown (Brief Encounter) and songs sung ("Mad Dogs and Englishmen"). An astounding talent, not even his very public homosexuality and his flamboyant lifestyle could diminish his popularity and acclaim. Firefly is Coward’s beloved retreat on a secluded hillside in Jamaica. There, between brandies and cigarettes, the entertainer wiles away his days—a dispiriting pattern of unwanted meals, reluctant walks, graceless swims in the pool—in the company of his man servant, Patrice, and reluctant former lover, Graham Payn. They talk of a London long gone or imagined: Noel’s is peopled with glamorous friends—Redgrave, Taylor, Olivier, O’Toole—Patrice’s a naive vision of elegance and opportunity. Set over a few weeks in the early seventies, Firefly sorts through Coward’s dreams and memories, his successes and regrets against a sultry Caribbean backdrop of blue mountains and endless vistas. By turns revealing, wicked, witty, and unsparing, this sparkling novel is a moving portrait of age and friendship, and a poignant recollection of a life fully lived.
For nearly fifty years, since first airing in December 1965, A Charlie Brown Christmas has been one of America's most beloved television shows and is a holiday television staple. Every year millions of fans tune in to the Emmy-winning Christmas special featuring Vince Guaraldi's iconic jazz score and Charles Schulz's Peanuts characters as they remind Charlie Brown, and all of us, of the true meaning of Christmas. A Charlie Brown Christmas: The Making of a Tradition is a lushly illustrated tribute to the beloved television classic that takes readers behind-the-scenes of the Peanuts holiday special. It includes the script of A Charlie Brown Christmas, more than two hundred full-color pieces of original animation art, Vince Guaraldi's original score and publication notes for the songs "Christmas Time is Here" and "Linus and Lucy," and a look at the making of the feature from producer Lee Mendelson and original animator, the late Bill Melendez. The two share their personal memories and charming reminiscences on the Christmas special and reflect on their three decades of working with Peanuts creator, Charles M. Schulz.
A Thousand Acres and Empire Falls meet during the present hydrofracking controversy as a beleaguered patriarch must decide the fate of his land and children in this enveloping family drama. The Joyner family sits atop prime Marcellus Shale. When landmen for the natural gas companies begin to lease property all around the family’s hundred acres, the Joyners start to take notice. Undecided on whether or not to lease the family land, Frank Joyner must weigh his heirs’ competing motivations. All of this culminates as a looming history of family tragedy resurfaces. A sprawling family novel, Fractures follows each Joyner as the controversial hydrofracking issue slowly exacerbates underlying passions and demons. With echoes of Jonathan Franzen’s Freedom, Fractures takes its reader deep into the beating heart and hearth of a family divided.Blurbworthiness: “Here’s an environmental novel that does just what you want it to do: Frame an important contemporary debate in profoundly human terms….How we should act is the real heart of this brooding novel, which moves beyond its timely environmental debate to consider more existential questions with great discernment….Plenty of readers will enjoy Herrin’s book for its lustrous writing and poignant insight into the challenge of building a life worth living. But if you also want a novel that addresses a pressing political and environmental issue, Fractures is worth exploring.” (Ron Charles, The Washington Post)
The friendship between Mary and Nix had endured since childhood, a seemingly unbreakable bond, until the mid-1980s, when the two young women reunited for a summer vacation in Greece. It was a trip instigated by Nix, who had just learned that Mary had been diagnosed with a disease that would inevitably cut her life short. Nix, a free spirit by nature, was determined that Mary have the vacation of a lifetime, but by the time their visit to Greece was over, the ties between them had unraveled, and when they said goodbye, it was for the last time. Three years later, Mary returns to Europe to try to understand what went wrong, in the process meeting the first of many men she will spend time with and travel with throughout the world. Through them she experiences not just a sexual awakening but a spiritual and emotional awakening that allows her to understand how the past and the future are connected, and to appreciate how important it is that she live her life to the fullest.I was pulled right into the novel by the Opening Lines:
Pretend I'm not already dead. That isn't important anyway. It's just that, from here, I can see everything.I was also very touched by Gina's personal essay about the story behind A Life in Men in The Algonquin Reader which was included in the press materials from the publisher. You can read “Life Imitates Art” at The Algonquin Reader here (scroll down the page to find it).
There we are, see? Or should I say, There they are? Two girls sitting at a cafe off Taxi Square, eating anchovies lined up in a small puddle of oil on a white plate. Both girls are obsessed with salt. Since arriving in Mykonos, they have ordered anchovies every day, lunch and dinner. As a result, they are constantly thirsty. They carry large bottles of water with them everywhere, written on in Greek lettering, the blue caps peeking out the tops of their beach bags along with their rolled-up beach mats. The curly-haired blond girl, Mary, jokes to the straight-haired blond girl, Nix, that this influx of salt is going to be a turnoff should they pick up any hot men.
Last year, the girls wore dance skirts on the ice, sheer fabric tied at the waist, ribbons fluttering behind them—absurdly expressive tails. This year, they wear nothing. No skirts. No leotards. No tights. They skate naked, wind nipping their nipples, ice burn searing their thighs.Still with me? Good. Because if you continue, I think you'll reap plenty of literary rewards. Here's what Publishers Weekly had to say about the book:
Along with their lycra, they gave up their skates, unscrewed the blades from the boots, and drilled them right into their feet. Two screws in the heel, three up front, secured into flesh and bone, just as one would mount them to wood. They say this way it's easier to point their toes in the air, to sink into the ice as the shock of descent shoots into their knees.
The 12 stories in Mellas's debut collection, which won the 2013 Iowa Short Fiction Award, employ fantasy to magnifying effect as she explores the ways women and girls view themselves and their shortcomings. Much like Karen Russell or Aimee Bender, Mellas uses bizarre and even grotesque elements to test the mettle of her characters—or to indicate their skewed worldviews. Many resort to extreme tactics to get what they want: figure skaters screw blades directly into their feet and shave their bodies to give themselves an added edge in "Mariposa Girls;" a woman alleviates empty-nest syndrome by raising caterpillars in "The White Wings of Moths;" and a menopausal caregiver has an evergreen baby in "Beanstalk." In "Dye Job," a gaggle of high school girls gorge on fruit to lure prom dates. "So Many Wings" depicts a divorcée making off with her ex-husband's severed arm from a morgue. "Bibi From Jupiter," which centers on a college student who, over the course of two semesters, has more-unusual-than-average roommate issues, is a departure. The other six stories have an impressionistic, abstract bent, lacking coherent narrative backbones; the best of these, "Quiet Camp," hyperbolizes the punishments that girls endure for being loquacious. This collection establishes Mellas as a writer of strong, strange, and questioning stories.
Nearly 100 years after bursting onto Chicago's music scene under the tutelage of Joe "King" Oliver, Louis Armstrong is recognized as one of the most influential artists of the twentieth century. A trumpet virtuoso, seductive crooner, and consummate entertainer, Armstrong laid the foundation for the future of jazz with his stylistic innovations, but his story would be incomplete without examining how he struggled in a society seething with brutally racist ideologies, laws, and practices. Thomas Brothers picks up where he left off with the acclaimed Louis Armstrong's New Orleans, following the story of the great jazz musician into his most creatively fertile years in the 1920s and early 1930s, when Armstrong created not one but two modern musical styles. Brothers wields his own tremendous skill in making the connections between history and music accessible to everyone as Armstrong shucks and jives across the page. Through Brothers' expert ears and eyes we meet an Armstrong whose quickness and sureness, so evident in his performances, served him well in his encounters with racism while his music soared across the airwaves into homes all over America. Louis Armstrong, Master of Modernism blends cultural history, musical scholarship, and personal accounts from Armstrong's contemporaries to reveal his enduring contributions to jazz and popular music at a time when he and his bandmates couldn't count on food or even a friendly face on their travels across the country. Thomas Brothers combines an intimate knowledge of Armstrong's life with the boldness to examine his place in such a racially charged landscape. In vivid prose and with vibrant photographs, Brothers illuminates the life and work of the man many consider to be the greatest American musician of the twentieth century.
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