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The Devil Wears Prada a Novel Paperback – April 13, 2004
| Lauren Weisberger (Author) Find all the books, read about the author, and more. See search results for this author |
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“The degree to which The Devil Wears Prada has penetrated pop culture needs no explanation.”—Vanity Fair
Andrea Sachs, a small-town girl fresh out of college, lands the job “a million girls would die for.” Hired as the assistant to Miranda Priestly, the high-profile, fabulously successful editor of Runway magazine, Andrea finds herself in an office that shouts Prada! Armani! Versace! at every turn, a world populated by impossibly thin, heart-wrenchingly stylish women and beautiful men clad in fine-ribbed turtlenecks and tight leather pants that show off their lifelong dedication to the gym. With breathtaking ease, Miranda can turn each and every one of these hip sophisticates into a scared, whimpering child.
Andrea is sorely tested each and every day—and often late into the night—with orders barked over the phone. She puts up with it all by keeping her eyes on the prize: a recommendation from Miranda that will get her a top job at any magazine of her choosing. As things escalate from the merely unacceptable to the downright outrageous, Andrea begins to realize that the job a million girls would die for may just kill her. And even if she survives, she has to decide whether or not it’s worth the price of her soul.
- Print length384 pages
- LanguageEnglish
- PublisherRandom House Trade Paperbacks
- Publication dateApril 13, 2004
- Dimensions5.14 x 0.86 x 7.98 inches
- ISBN-100767914767
- ISBN-13978-0767914765
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“A telling tale of life as an underling . . . compelling.”—BBC
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Excerpt. © Reprinted by permission. All rights reserved.
The light hadn't even officially turned green at the intersection of 17th and Broadway before an army of overconfident yellow cabs roared past the tiny deathtrap I was attempting to navigate around the city streets. Clutch, gas, shift (neutral to first? Or first to second?), release clutch, I repeated over and over in my head, the mantra offering little comfort and even less direction amid the screeching midday traffic. The little car bucked wildly twice before it lurched forward through the intersection. My heart flip-flopped in my chest. Without warning, the lurching evened out and I began to pick up speed. Lots of speed. I glanced down to confirm visually that I was only in second gear, but the rear end of a cab loomed so large in the windshield that I could do nothing but jam my foot on the brake pedal so hard that my heel snapped off. Shit! Another pair of seven-hundred-dollar shoes sacrificed to my complete and utter lack of grace under pressure: this clocked in as my third such breakage this month. It was almost a relief when the car stalled (I'd obviously forgotten to press the clutch when attempting to brake for my life). I had a few seconds--peaceful seconds if one could overlook the angry honking and varied forms of the word "f***" being hurled at me from all directions--to pull off my Manolos and toss them into the passenger seat. There was nowhere to wipe my sweaty hands except for the suede Gucci pants that hugged my thighs and hips so tightly they'd both begun to tingle within minutes of my securing the final button. My fingers left wet streaks across the supple suede that swathed the tops of my now numb thighs. Attempting to drive this $84,000 stick-shift convertible through the obstacle-fraught streets of midtown at lunchtime pretty much demanded that I smoke a cigarette.
"F***in' move, lady!" hollered a swarthy driver whose chest hair threatened to overtake the wife-beater he wore. "What do you think this is? F***in' drivin' school? Get outta the way!"
I raised a shaking hand to give him the finger and then turned my attention to the business at hand: getting nicotine coursing through my veins as quickly as possible. My hands were moist again with sweat, evidenced by the matches that kept slipping to the floor. The light turned green just as I managed to touch the fire to the end of the cigarette, and I was forced to leave it hanging between my lips as I negotiated the intricacies of clutch, gas, shift (neutral to first? Or first to second?), release clutch, the smoke wafting in and out of my mouth with each and every breath. It was another three blocks before the car moved smoothly enough for me to remove the cigarette, but it was already too late: the precariously long line of spent ash had found its way directly to the sweat stain on the pants. Awesome. But before I could consider that, counting the Manolos, I'd wrecked $3,100 worth of merchandise in under three minutes, my cell phone bleated loudly. And as if the very essence of life itself didn't suck enough at that particular moment, the caller ID confirmed my worst fear: it was Her. Miranda Priestly. My boss.
"Ahn-dre-ah! Ahn-dre-ah! Can you hear me, Ahn-dre-ah?" she trilled the moment I snapped my Motorola open--no small feat considering both of my (bare) feet and hands were already contending with various obligations. I propped the phone between my ear and shoulder and tossed the cigarette out the window, where it narrowly missed hitting a bike messenger. He screamed out a few highly unoriginal "f*** yous" before weaving forward.
"Yes, Miranda. Hi, I can hear you perfectly."
"Ahn-dre-ah, where's my car? Did you drop it off at the garage yet?"
The light ahead of me blessedly turned red and looked as though it might be a long one. The car jerked to a stop without hitting anyone or anything, and I breathed a sigh of relief. "I'm in the car right now, Miranda, and I should be at the garage in just a few minutes." I figured she was probably concerned that everything was going well, so I reassured her that there were no problems whatsoever and we should both arrive shortly in perfect condition.
"Whatever," she said brusquely, cutting me off midsentence. "I need you to pick up Madelaine and drop her off at the apartment before you come back to the office." Click. The phone went dead. I stared at it for a few seconds before I realized that she'd deliberately hung up because she had provided all of the details I could hope to receive. Madelaine. Who the hell was Madelaine? Where was she at the moment? Did she know I was to pick her up? Why was she going back to Miranda's apartment? And why on earth--considering Miranda had a full-time driver, housekeeper, and nanny--was I the one who had to do it?
Remembering that it was illegal to talk on a cell phone while driving in New York and figuring the last thing I needed at that moment was a run-in with the NYPD, I pulled into the bus lane and switched my flashers on. Breathe in, breathe out, I coached myself, even remembering to apply the parking brake before taking my foot off the regular one. It had been years since I'd driven a stick-shift car--five years, actually, since a high school boyfriend had volunteered his car up for a few lessons that I'd decidedly flunked--but Miranda hadn't seemed to consider that when she'd called me into her office an hour and a half earlier.
"Ahn-dre-ah, my car needs to be picked up from the place and dropped off at the garage. Attend to it immediately, as we'll be needing it tonight to drive to the Hamptons. That's all." I stood, rooted to the carpet in front of her behemoth desk, but she'd already blocked out my presence entirely. Or so I thought. "That's all, Ahn-dre-ah. See to it right now," she added, still not glancing up.
Ah, sure, Miranda, I thought to myself as I walked away, trying to figure out the first step in the assignment that was sure to have a million pitfalls along the way. First was definitely to find out at which "place" the car was located. Most likely it was being repaired at the dealership, but it could obviously be at any one of a million auto shops in any one of the five boroughs. Or perhaps she'd lent it to a friend and it was currently occupying an expensive spot in a full-service garage somewhere on Park Avenue? Of course, there was always the chance that she was referring to a new car--brand unknown--that she'd just recently purchased that hadn't yet been brought home from the (unknown) dealership. I had a lot of work to do.
I started by calling Miranda's nanny, but her cell phone went straight to voice mail. The housekeeper was next on the list and, for once, a big help. She was able to tell me that the car wasn't brand-new and it was in fact a "convertible sports car in British racing green," and that it was usually parked in a garage on Miranda's block, but she had no idea what the make was or where it might currently be residing. Next on the list was Miranda's husband's assistant, who informed me that, as far as she knew, the couple owned a top-of-the-line black Lincoln Navigator and some sort of small green Porsche. Yes! I had my first lead. One quick phone call to the Porsche dealership on Eleventh Avenue revealed that yes, they had just finished touching up the paint and installing a new disc-changer in a green Carrera 4 Cabriolet for a Ms. Miranda Priestly. Jackpot!
I ordered a Town Car to take me to the dealership, where I turned over a note I'd forged with Miranda's signature that instructed them to release the car to me. No one seemed to care whatsoever that I was in no way related to this woman, that some stranger had cruised into the place and requested someone else's Porsche. They tossed me the keys and only laughed when I'd asked them to back it out of the garage because I wasn't sure I could handle a stick shift in reverse. It'd taken me a half hour to get ten blocks, and I still hadn't figured out where or how to turn around so I'd actually be heading uptown, toward the parking place on Miranda's block that her housekeeper had described. The chances of my making it to 76th and Fifth without seriously injuring myself, the car, a biker, a pedestrian, or another vehicle were nonexistent, and this new call did nothing to calm my nerves.
Once again, I made the round of calls, but this time Miranda's nanny picked up on the second ring.
"Cara, hey, it's me."
"Hey, what's up? Are you on the street? It sounds so loud."
"Yeah, you could say that. I had to pick up Miranda's Porsche from the dealership. Only, I can't really drive stick. But now she called and wants me to pick up someone named Madelaine and drop her off at the apartment. Who the hell is Madelaine and where might she be?"
Cara laughed for what felt like ten minutes before she said, "Madelaine's their French bulldog puppy and she's at the vet. Just got spayed. I was supposed to pick her up, but Miranda just called and told me to pick the twins up early from school so they can all head out to the Hamptons."
"You're joking. I have to pick up a f***ing dog with this Porsche? Without crashing? It's never going to happen."
"She's at the East Side Animal Hospital, on Fifty-second between First and Second. Sorry, Andy, I have to get the girls now, but call if there's anything I can do, OK?"
Product details
- Publisher : Random House Trade Paperbacks; later ptg edition (April 13, 2004)
- Language : English
- Paperback : 384 pages
- ISBN-10 : 0767914767
- ISBN-13 : 978-0767914765
- Item Weight : 9.6 ounces
- Dimensions : 5.14 x 0.86 x 7.98 inches
- Best Sellers Rank: #51,382 in Books (See Top 100 in Books)
- #21 in Humorous American Literature
- #467 in Humorous Fiction
- #1,718 in Contemporary Women Fiction
- Customer Reviews:
About the authors

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Lauren Weisberger is the author of The Devil Wears Prada, which spent more than a year on the New York Times hardcover and paperback bestseller lists. The film version, starring Meryl Streep and Anne Hathaway, won a Golden Globe Award and grossed over $300 million worldwide. Her second novel, Everyone Worth Knowing, was also a New York Times bestseller. She lives in New York City with her husband.
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Other than those 2 small things, this was a really fun, easy read which mirrors the movie quite well.
I can't understand how someone my own age could write a character who does nothing to actually further her career prospects or behave properly while at work, yet still expects the world to just hand her the dream job she has always wanted at The New Yorker...you know, one of the most discriminating magazines in publishing EVER. Yet, Andy does. This version of Andy decided at 14 that that was what she wanted to do, but she describes herself as basically half-heartedly writing her high school and college assignments, not really paying attention in class, and deciding to travel the world for three months instead of going right into the workforce like the rest of her peers. So, does she deserve a job at The New Yorker? Probably not. The award winning journalism pieces the film version of Andy mentions are nowhere to be seen here. And after getting home from her world travels, she leaves her parents' house only because she is tired of answering to them about where she is going and when she will be back. Common courtesy? How annoying! [eye roll]
Andy then moves in with her bestie, and goes out one morning to apply for ONE job just to "give the appearance of making an effort to get off Lily's couch" because she can tell that Lily is getting fed up. Miraculously, she ends up at Elias-Clarke and gets the job a million girls would die for without actually wanting it or even having met her boss. Then she has the nerve to complain that they call her at 7:15 on a Friday morning ("Who in the hell would call at such an hour?") to say she has the job and to come in on Monday. But they want her to come in at 7 a.m., an even more un-Godly hour, and really, what kind of job DOES that?
Really? She never had to be in homeroom class in high school by 7:30? Never worked a summer job at McDonald's where she had to do breakfast shift and be at work by 7 a.m.? NEVER? Lucky witch.
It's just one of the little things about Andy's attitude towards her job that drove me crazy. For instance, she knows that she has to have Miranda's Starbucks order to her quickly every day, and she stresses about the time it takes to stand in line for it, stresses about jumping the line when she makes friends with the manager to tell her it's for Miranda, says over and over how terrible an experience it is to do this only to come back late with it every time. Yet, never once does she, oh, I don't know, CALL AHEAD and place the order so it will be half done when she gets there. No, instead she decides to take smoking breaks standing out in front of the building *before* she goes in, and to call her boyfriend or Lilly and chat for ten minutes first, and even to add extra capuccinos to the order so she can give them out to different homeless people in between work and Starbucks. And this last one she does not out of the goodness of her heart, but to spite Elias-Clarke by adding it to Miranda's account. And yet, she wonders why her boss is so rude to her when she FINALLY gets back after 20 minutes, when the whole thing should have taken 10 minutes. Has Andy forgotten that Miranda has had assistants before her and knows how long it takes to run down to Starbucks and get her latte?
Andy complains incessantly; about the security guard who makes her sing before he lets her through the turnstile into the building, about having to sort Miranda's dirty laundry for dry cleaning every day, about having to wash Miranda's breakfast or lunch plates every day ("It's just too humiliating.") She makes it clear she has never had to lift a finger at home and help clean up or do the family laundry by such complaints, and having lived with such a spoiled brat before, I cannot have any sympathy for her. I have even less when she describes wiping her greasy hands on Miranda's dirty clothes after a meal (instead of using a napkin), of simply scraping off the dried food from Miranda's plate and serving food to her on the same dirty plate every day (really, scraping the food off is *less* work and less humiliating than running the plate under the water with a drop of soap??), and instead of reporting the security guard to his superiors, playing along with him every day, even though she claims to despise it.
All this half-assed effort is the reason her boss doesn't treat her better, and she has the nerve to complain? If she would do her job, maybe she would look like she actually deserved the recommendation she hopes to get from Miranda at the end of a year.
Yes, assistant work is menial. Yes, it can be mind-numbing. Did she really not know this going in? But of course, she is going to put up with it, because if she just can just tough it out for one year, Miranda will make that call and get her a job anywhere she wants. So she can get hired at The New Yorker just like that--without having to do anything like prove that she has the writing chops to deserve the job. And that is my biggest problem with Andy. At the ripe old age of 23, she has decided that 4 years of college is enough and she doesn't need to pay her dues like regular folks and work her way up the career ladder. She wants it right now, and she wants it without putting any effort into it.
I'm not saying Miranda is not thoroughly difficult and verbally abusive; she is. She is currently the most powerful woman in publishing in this book, and that comes with all the ego you would expect. She is very one-dimensional here, though, and you never get to see what makes her so terrifying, really. I was hoping to get more of her evilness, something like what I saw in the film, but this Miranda is as flat as a pancake.
The character of Nigel is nowhere to be seen. The person who gives Andy the clothes and shoes and help becoming a Runway Girl is a throwaway character who basically gives her a bag of stuff being cleared out of the closet, implying her job is at stake if she doesn't start representing Miranda better through her fashion choices, but the pep talk and the reality check that Andy desperately needs in this book is not forthcoming. The book is literally littered with throwaway characters--characters who show up just once or twice in the book, and then are gone, never to be seen or heard from again. And thank God, because they are more caricatures than characters. Every gay man is the book is flamboyantly out there, just this side of Drag Queen. Every Southern character (and there are a lot somehow, because both Miranda's brother-in-law and Andy's are Southerners with extended families) is described as a "hick," even the millionaires Miranda knows, and described as unfashionable (ironic that Andy, of all people, should be judgmental about that), loud, boorish, and uneducated. (And yet, they somehow manage, at the same time, to be heading up IT companies and hedge fund operations.)
No one has any depth. No one has any personality. No one is anything more than a stereotype thrown into the book to make Andy look more three-dimensional by comparison. And Andy herself is just too mean for me to like. In the film, she gives Miranda's cast-off gifts to her friends and loved ones. In the book, she sells them out of spite. In the film, she is unfashionable and lovably uncoordinated, but she tries hard. In the book, she doesn't try at all, and in fact spends more time goofing off (again, out of spite) than actually doing the job running the errands she is supposed to. Maybe if you are a spoiled NYC socialite's kid, you can identify with this type of attitude, but I could not. I, like most of the people I know, have had to really WORK to get ahead, sometimes struggle, and Andy's whining about the fact that she has to do the same makes me want to tell her to grow up, put on her Big Girl panties, and get over it. Welcome to Real Life. This is what it means to be an adult. Deal with it. If you can't handle it, you sure as hell aren't going to be able to handle writing for The New Yorker.
Seriously, save your money and go buy the movie instead. It was much better written and much more fun to watch.
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1. Nigel in the film is an amalgamation of 2 or 3characters in the book - none of whom really have much page time. This means that there is no natural sympathiser for Andy to turn to in the office.
2. Andrea herself is actually pretty much unlikeable in the book,she has none of the charisma of her screen counter part. This was my biggest issue with the book to be honest - the main character is just so self-absorbed and just lives to have her own pity party, it drove me batty
3. In the film we do see a touch of humanity to Ms Priestly - well, towards the end we do. In the novel this is completely missing and she is painted as completely vindictive and self-centred with no redeeming qualities whatsoever.
The plot is ore or less the same as that in the film so you do know what is going to happen overall. There are some significant tweaks though, particularly with Andy's living arrangements and relationships. Unusually the screenwriter has taken a rather unprepossessing novel with a great idea and turned it into broadcast gold.
I found the writing to be rather stilted and there was an awful lot of covering old ground; there are only so many ways you can describe going for coffee or answering the phone. It does feel like a one-idea book and that nothing that is put on the page should deviate from that so it does become, actually, quite boring in several places. There are some good moments but these come early on when Andy is fully subsumed by Runway magazine and still has at least half a brain and a sense of basic human dignity.
Basically if you haven't seen the film you will probably enjoy this book a lot more. If you have then probably best to steer clear as it will disappoint.
I recently read the book again and while it remains an easy read, this time (perhaps I am older) I found Andrea the protagonist to be a bit on the whinging side. For instance, she knows that her boss Miranda (aka the immaculately and expensively dressed titular Devil) is demanding and expects things like her coffee from Starbucks to magically appear minutes after she demands for it. Yes, that seems very demanding and diva-like behaviour. However, having known how Miranda is, Andrea still continues to take her time in returning to the office with the coffee, taking the opportunity to smoke and chat on the phone. And when she gets reprimanded by Miranda or by her senior colleague Emily for being late, Andrea goes on a whinge-fest. She could have avoided the unhappy looks in the office if she had just gone to Starbucks and returned with the coffee.
Somehow the novel does not seem as funny as when I read it last decade (perhaps this is because I am older). The novel is still fluffy, easy to dip into, but nothing that would blow your mind away. Perhaps the book would appeal to the pre-25-year-old set than to those closer to 40.
Lily is the "problematic friend", that together with Alex - the archetype of the good guy - is there essentially so that Andy can feel guilty. Guilty about what? About a demanding job. Poor Andy works late in the evening, poor Andy cannot go back to her family whenever she wants, poor Andy might not be able to leave Paris at the right time... and all of this is unacceptable for the other characters, while instead is just part of adult life - especially if you live far from your hometown, not being able to see your family or to jump on a plane when something happens.
Not to talk about the finale, which is honestly gross... I couldn't side up with Andrea, in Paris, and even later when she is so resentful I keep thinking that if she hated her job so much she should have just quitted it earlier on.
I think in the film, at least, both Miranda and Andrea are better shaped characters. Andrea is not a crying baby, she is a smart woman who impresses people around herself, and the finale actually makes sense rather than being the last tantrum of an entitled child.
Read the full review here: http://reviewdiaries.blogspot.fr/2014/10/review-devil-wears-prada-by-lauren.html
I saw the movie before I read the book, and this is one of the few cases where the movie is better than the book. So if you’re thinking about reading this after seeing Anne Hathaway turn from slouchy to glamorous, I’d really save your time.
The movie worked to make the characters likeable, both Andy and Miranda, and for there to be progress, character development, and you know, an actual plot. The book really didn’t bother. Andy remained aloof, sarcastic and whiny throughout the book and it never really felt like she grew as a person, or developed at all over the course of the year. She maybe had slightly better dress sense by the end, but there was no development, she just whinged at everyone, pushed her friends and family away and didn’t really try to integrate or work particularly hard at Runway. Yes her job was demeaning at points and yes Miranda had unrealistic expectations, but Andy never even really tried. She went out of her way to try and be obnoxious and get one over on Miranda the entire time, only for it to backfire and cause her more work as a result. It was painful to read.
I really enjoyed this book as a light and entertaining read, primarily for the acidic portrait of Miranda Priestly and the power she wields not just over her colleagues, but over the entire fashion world. Allegedly based on Anna Wintour of Vogue, the increasingly demented demands of Andy's boss become almost surreal as Andy strives to juggle her job, her parents, her love life and her friends.
As a memoir, this is great but I have to admit that the fictionalising of Andy's life feels very thin, predictable and obvious. Strands that feel like they should be important - for example, Christian, the attractive writer - simply fizzle out without going anywhere, and the issue of personal integrity vs. professionalism is very one-sided.
That said, this is funny in a dreadful kind of way, and Andy has enough charm to keep the whole thing buoyant. So I enjoyed the exposé aspect of the book, but as fiction it doesn't quite work.









