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Editorial Reviews
From Publishers Weekly
The appeal of journalist Young's memoir is his willingness to skewer himself as savagely as he does his acquaintances and colleagues. The self-portrait is rarely flattering and sometimes repellent, but carries a startling ring of truth. Young targets Manhattan's superficial social scene and gives a slashing insider's view of Vanity Fair and its parent company, Cond‚ Nast. Consumed with the desire to be "somebody," Young is hired by editor Graydon Carter and unwittingly offends everyone he seeks to impress. He learns that journalists must have "a plausible manner, rat-like cunning and a little literary ability," and he encounters a caste system so rigid that if an important editor trips and falls, etiquette dictates to leave her on the floor and walk on, rather than offer assistance or directly address her. Young's description of his efforts to crash Oscar parties is an appallingly accurate picture of wannabes whose identity depends on the celebrities they cultivate. He's amusingly perceptive in his analyses of women whose motive for marrying prominent men is to impress other women; this jealousy is brilliantly summed up by Gore Vidal's comment, "Every time a friend succeeds, I die a little." British-born Young, who has also been fired from the Times of London and the Guardian, paints Carter as a fascinatingly complex individual, capable of devastating employees or helping them face dire health problems. He also includes intriguing profiles of power couple Tina Brown and Harry Evans, and Sex and the City creator Candace Bushnell. What keeps readers on Young's side is his courage to keep fighting, even when confronted by publicist Peggy Siegal's withering line, "I have no respect for writers. They never make money. They're like poor people looking in the windows."
Copyright 2002 Cahners Business Information, Inc.
From AudioFile
British journalist Toby Young should have been the best person to read his own gossipy, occasionally bitter, but mostly hilarious memoir of his time at Vanity Fair. Given the personal nature of the book--he hobnobbed with movie stars, screwed up assignments, fell in love, and generally drank too much--and his melodious BBC delivery, this production should have worked. But Young shows poor judgment by ascribing grating voices to every character. He does a passable American accent, but everyone is improbably gruff, whining, or buffoonish--even the celebrities, whom he is utterly unable to imitate. This is still a funny work, but a straight-up delivery would have allowed listeners to laugh without cringing. D.B. © AudioFile 2002, Portland, Maine-- Copyright © AudioFile, Portland, Maine --This text refers to the Audio Cassette edition.
See all Editorial Reviews
The appeal of journalist Young's memoir is his willingness to skewer himself as savagely as he does his acquaintances and colleagues. The self-portrait is rarely flattering and sometimes repellent, but carries a startling ring of truth. Young targets Manhattan's superficial social scene and gives a slashing insider's view of Vanity Fair and its parent company, Cond‚ Nast. Consumed with the desire to be "somebody," Young is hired by editor Graydon Carter and unwittingly offends everyone he seeks to impress. He learns that journalists must have "a plausible manner, rat-like cunning and a little literary ability," and he encounters a caste system so rigid that if an important editor trips and falls, etiquette dictates to leave her on the floor and walk on, rather than offer assistance or directly address her. Young's description of his efforts to crash Oscar parties is an appallingly accurate picture of wannabes whose identity depends on the celebrities they cultivate. He's amusingly perceptive in his analyses of women whose motive for marrying prominent men is to impress other women; this jealousy is brilliantly summed up by Gore Vidal's comment, "Every time a friend succeeds, I die a little." British-born Young, who has also been fired from the Times of London and the Guardian, paints Carter as a fascinatingly complex individual, capable of devastating employees or helping them face dire health problems. He also includes intriguing profiles of power couple Tina Brown and Harry Evans, and Sex and the City creator Candace Bushnell. What keeps readers on Young's side is his courage to keep fighting, even when confronted by publicist Peggy Siegal's withering line, "I have no respect for writers. They never make money. They're like poor people looking in the windows."
Copyright 2002 Cahners Business Information, Inc.
From AudioFile
British journalist Toby Young should have been the best person to read his own gossipy, occasionally bitter, but mostly hilarious memoir of his time at Vanity Fair. Given the personal nature of the book--he hobnobbed with movie stars, screwed up assignments, fell in love, and generally drank too much--and his melodious BBC delivery, this production should have worked. But Young shows poor judgment by ascribing grating voices to every character. He does a passable American accent, but everyone is improbably gruff, whining, or buffoonish--even the celebrities, whom he is utterly unable to imitate. This is still a funny work, but a straight-up delivery would have allowed listeners to laugh without cringing. D.B. © AudioFile 2002, Portland, Maine-- Copyright © AudioFile, Portland, Maine --This text refers to the Audio Cassette edition.
See all Editorial Reviews
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