Nora ephron biography book
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&#;Nora Ephron: A Biography&#; in fem Remarkable Acts
&#;All roads lead to Nora,” Kristin Marguerite Doidge writes at the start of Nora Ephron: A Biography, and I can’t disagree. My road did. inom was graduating from high school in when the rom-com, When Harry Met Sally, was released. I learned Ephron had written the screenplay. From there, inom discovered her other work, particularly her essays. Her collection, I Feel Bad About My Neck: And Other Thoughts on Being a Woman, is still one of my favorites. I felt connected to her in other ways, too. She was the eldest of four sisters; inom am the second of fem. We were both born to literary parents. She loved Jane Austen and reread Pride and Prejudice every year. Same here. She was a feminist, an essayist, and a screenwriter: kvitto, check, and check.
I was predisposed to like Doidge’s biography because of its subject, and inom wasn’t disappointed. It’s highly accessible, uses both primary and secondary source material, and is al
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Nora Ephron: A Biography
"With her rigorous, authentic, and insightful biography of Nora Ephron, Kristin Doidge has gotten us all an invitation to sit around that table--to spend time with Nora and be forever changed by the encounter. This is a brilliant book."--Caroline Aaron, actress
Nora Ephron was one of the most popular, accomplished, and beloved writers in American journalism and film.
Nora Ephron: A Biography is the first comprehensive portrait of the Manhattan-born girl who forged a path of her own, earning accolades and adoration from critics and fans alike. Author Kristin Marguerite Doidge explores the tremendous successes and disappointing failures Ephron sustained in her career as a popular essayist turned screenwriter turned film director. She redefined the modern rom-com genre with bestselling books such as Heartburn and hit movies including When Harry Met Sally, Sleepless in Seattle, and Julie & Julia. Doidge also examines the private life Ephr
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“I have spent a great deal of my life discovering that my ambitions and fantasies—which I once thought of as totally unique—turn out to be clichés,” Nora Ephron wrote in , in a column for Esquire. Ephron was then thirty-two, and her subject was the particular clichéd ambition of becoming Dorothy Parker, a writer she had idolized in her youth. Ephron first met Parker as a child, in her pajamas, at her screenwriter parents’ schmoozy Hollywood parties. They crossed paths again when Ephron was twenty; she remembered the meeting in crisp detail, describing Parker as “frail and tiny and twinkly.” But her encounters with the queen of the bon mot weren’t the point. “The point is the legend,” Ephron wrote. “I grew up on it and coveted it desperately. All I wanted in this world was to come to New York and be Dorothy Parker. The funny lady. The only lady at the table.”
Unfortunately, after Ephron moved to Manhattan, in , she discovered that she was far from the only lady at the table to h