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Everything Is Perfect When You're a Liar Hardcover – April 2, 2013
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“Kelly Oxford has this unbelievable ability to tell stories in that way that makes you laugh without ever shoving jokes in your face. This book is basically an announcement that she’s one of the best humor writers working today.” (Justin Halpern, author of Sh*t My Dad Says)
“Kelly Oxford is like your cool babysitter who teaches you about sex and sarcasm in an un-creepy way. Hanging out with her book makes you wish your parents were always out to dinner.” (Lena Dunham)
“Kelly Oxford is a refreshing rarity in a sea of Hollywood suck-ups. She’s hilarious, hot, and the most truthful liar I’ve ever encountered.” (Diablo Cody)
“Kelly Oxford is the friend we all deserve-the one who tells us the best secrets, takes us on all the finest adventures, and remembers every hilariously embarrassing detail. Everything Is Perfect is sharply funny, and truly great.” (Cameron Crowe)
“Everything Is Perfect When You’re A Liar is personal without being exploitative, smart but utterly unpretentious, and a complete delight to read. I’m not lying when I say this book is damn near perfect.” (The Frisky, named "The Funniest Memoir You'll Ever Read")
“Oxford’s writing is marked by the same wry voice that’s made her a social media sensation.” (Los Angeles Times)
“[Oxford’s] new book is full of humorous stories about growing up, making mistakes, stalking Leonardo DiCaprio, and braving Disneyland. . . It’s funny but also surprisingly touching. . . a coming-of-age story. . . just a hell of a lot funnier.” (Forbes)
“Kelly Oxford is the new cool kid in Hollywood. . . [In] Everything is Perfect When You’re A Liar Oxford displays the comic relief that’s been drawing celebrities like Jimmy Kimmel and Jessica Alba to her Twitter feed since 2009.” (New York Daily News)
“[Oxford] is one freakin’ funny lady. . . Hilarious.” (Daily Candy)
“Kelly Oxford in 140 characters seems like small doses of a great drug. We want more! Thanks to her new book, we’ve got it.” (Lifestyle Mirror)
“A hilariously mortifying memoir. . . Oxford plumbs her past for painful moments and turns them into slyly funny stories. . . These vignettes are vulnerable and powerful—they make us feel less freakish by comparison. Effortlessly cool, offbeat, devilish, dramatic Oxford makes sense and smart humor from her adventures.” (Interview)
“[Oxford’s] first book of humorous essays and we can officially confirm: They are indeed humorous.” (E! Online)
“The anecdotes included in the book will make you love [Oxford] even more than you probably already do, if that’s even possible. Kelly is truly hilarious. . . I couldn’t put this book down – you won’t be able to, either.” (HelloGiggles.com)
From the Back Cover
Kelly Oxford is . . .
A wunderkind producer of pirated stage productions for six-year-olds
Not the queen of the world
An underage schnitzel-house dishwasher
The kid who stood up to a bully and almost passed out from the resulting adrenaline rush
A born salesman
Capable of willing her eyesight to be 20/20
That girl who peed her pants in the gas station that one time
Totally an expert on strep throat
Incapable of making Leonardo DiCaprio her boyfriend
A certified therapy assistant who heals with Metallica mixtapes
"Not fat enough to be super snuggly." Bea, age four
Not above using raspberry-studded sh*t to get out of a speeding ticket
"Bitingly funny. But everybody knows that." Roger Ebert
Sad that David Copperfield doesn't own a falcon
A terrible liar"
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Top customer reviews
The most surprising and glaring thing about it was the poor editing. The prose was often unclear, ambiguous, clunky, and awkward. Also, one of the children was given different ages within the same chapter. I'm no grammarian, but I've never read a book and thought so much about why the editor did such a bad job. I even started to imagine different scenarios --like was the editor secretly trying to sabotage Oxford's success? It seems kind of disrespectful to readers to release such a haphazardly edited book, especially because comedic writing depends so much on the rhythm and gait of the text.
I thought the first few chapters about child-Kelly were the worst. When people write about children, they tend to write from the child's POV or from the adult writer's POV. But Oxford uses neither. Instead, the voice is a weird adult-child hybrid that robbed the stories of any humor or insight. The things that child-Kelly thought, said, and did didn't ring true emotionally for a child.
The book gets a lot better when Oxford writes about adult-Kelly. I liked the chapters where she meets her husband, goes to Disneyland and befriends David Copperfield. But as a writer, Oxford is so plagued by vanity that her humor never elevates far above preening lifestyle blogger jokes. She repeatedly tells us that she is smart, skinny, beautiful, and badass. What's worse, instead of owning her looks and moving on, she keeps having other characters in her stories remark unnecessarily upon her hotness. I dare you to find one section in the whole book that is not self-congratulatory. She can't even resist ending her awkward-teen stories with "wins" about modeling, dating a hot guy, and being accepted by the cool girl (then rejecting her).
In contrast, Louie C.K. and David Sedaris give everyone else in their stories the benefit of the doubt, while revealing their own weaknesses and hypocrisies.