The Grouchy Editor

                                                         by Bill Maher                                                                     

I’m tempted to call Bill Maher a genius – but if I did that, I might be accused of self-flattery, because I happen to agree with about 95 percent of his opinions.  No, that’s not true:  96 percent.  If you lean left like me, Maher is your man, because he counters any “bleeding-heart-liberal” charges with take-no-prisoners wit.

As Maher points out in the foreword to New Rules, this is primarily a joke book, with hundreds of one-paragraph zingers targeting pop culture and everyday life.  The jokes are usually clever, often true, and frequently funny.  But Maher also includes dozens of longer essays – mostly about politics – and this is where he does us pinkos proud.

© 2010-2025 grouchyeditor.com (text only)

by Janet Evanovich

Reading an Evanovich “Stephanie Plum” novel is a bit like watching an episode of I Love Lucy.  Everyone is silly and everything is far-fetched – and yet it’s often quite amusing.  Evanovich goes all supernatural on us in her “between-the-numbers” books, including this one, which makes the proceedings in Plum Spooky even more ridiculous than usual.

© 2010-2025 grouchyeditor.com (text only)

by Ross Macdonald

As I was reading this mystery, I was reminded of a Hollywood legend about the movie script for another classic detective story, Raymond Chandler’s The Big Sleep.  Supposedly, the novel’s plot was so convoluted that at one point the screenwriters contacted Chandler to ask him who was responsible for the death of one character.  “They sent me a wire,” Chandler later said, “asking me, and dammit I didn’t know either.”  The Chill, in which Southern California detective Lew Archer attempts to solve several murders, is all plot, plot, plot – but Macdonald’s dialogue is snappy, his action is fast-paced, and his characters are colorful.  Best of all, the denouement features a wonderful twist –  and it doesn’t cheat.

© 2010-2025 grouchyeditor.com (text only)

by Mel Ayton     

True-crime books can be literary gems, like In Cold Blood and The Executioner’s Song.  Or they can be luridly entertaining, like The Stranger Beside Me and Deadly Innocence.  Unfortunately, true-crime books can also be plodding and dull, which brings me to Dark Soul of the South, historian Mel Ayton’s bland chronicle of Joseph Paul Franklin, the racist sniper who shot Larry Flynt and Vernon Jordan.  Serial-killer biographies like this one are inherently unpleasant; they require a gifted writer to keep the reader absorbed, but Ayton’s workmanlike approach is only mildly engaging.

As a side note, do book publishers no longer hire editors and proofreaders?  The level of sloppiness in this book is embarrassing.

© 2010-2025 grouchyeditor.com (text only)

by Arthur Marx

Arthur Marx (Groucho’s son) wrote this tell-all, an odd-but-compelling mix of typical showbiz biography and lurid sex anecdotes about the famous comedian.

The Good:  I loved the showbiz stories, and they are legion in this book because Hope’s career spanned 1920s vaudeville to 1990s television.  Despite the unflattering tales of Hope’s adulterous affairs (also legion), Marx’s reporting seems fair and balanced.  For every unsavory sex episode, there are examples of the entertainer’s outstanding philanthropy.  Hope is a fascinating subject and Marx sheds light on much – but not all – of his life.

The Bad:  Even though I gobbled up those show-biz tales, there might be a few too many of them.  Marx covers nearly every benefit, tour, movie, radio show, and airplane ride of Hope’s storied career.  Some of Marx’s critical allegations would benefit from footnotes, which are conspicuously missing.   The book’s editing and proofreading are horrendous – or nonexistent.

The Verdict:  When I finished the book, I had a strong desire to watch Hope at his best in some of his 1940s Paramount pictures.  But I was also disillusioned by his hypocrisy and embarrassing career windup – pretty much everything he appeared in from 1960 until his death at age 100 was dreadful.  If you idolize Hope the man, this book will shatter your illusions.  Yes, Hope’s USO tours are legendary – but so are his adulterous flings, misogyny, right-wing politics, and miserliness.

© 2010-2025 grouchyeditor.com (text only)

by Katherine Boo

Katherine Boo’s Behind the Beautiful Forevers is in many ways an astonishing piece of work.  Yet it’s also the type of “nonfiction” narrative that triggers nagging doubts (thanks a lot, James Frey).

The good.  Boo spent three years recording the lives of slum-dwellers at Annawadi, a squalid settlement adjacent to fancy tourist hotels and Mumbai’s international airport.  Boo avoids sentiment and, in depicting a world so harsh, unforgiving, and corrupt, has no need to embellish the facts.  (But does she?  See below.)  She uncovers a small slice of poverty and in the process sheds volumes of light on income inequality in India.

The suspect.  Imagine this:  A group of male street-toughs, all of them teenage thieves or scavengers, are gathered on a corner.  They discuss the sort of things that young boys discuss:  girls, music, movies.  They spot a white woman who is middle-aged, well-educated, privileged – and American.  “Hey lady,” say the boys, “come join us and we’ll share our secrets and dreams with you, and treat you like just one of the guys.”  See the problem?  And yet Boo manages to probe the innermost thoughts and dreams of these kids.  Great journalism, or creative license?

In an author’s note, Boo proffers a fairly convincing explanation of the techniques she used to get Indians like those boys to open up.   In a separate interview, Boo calls narrative nonfiction “a selective art.”  That leaves the reader with a choice:  buy into the reporter’s “selective art” … or not.

© 2010-2025 grouchyeditor.com (text only)

by Elmore Leonard

When it comes to crime fiction, there seem to be two types of consumers:  fans who want Martin Scorsese to keep making mob movies until the day he swims with the fishes, and who gobble up books like Elmore Leonard’s “tough-guy” novels; and people who enjoy a good gangster story – but only to a certain point.  There’s no question that Leonard is a skilled writer, especially with pacing, but a little bit of his clichéd bad-guys routine goes a long way with me.  I don’t automatically smile because the hero has a Brooklyn accent, and I’m not on tenterhooks because the characters carry guns. 

And Leonard’s female characters?  The main woman in Get Shorty is thinly drawn and exists primarily to lust after our “cool” hero, a loan shark who goes Hollywood and who barely has to lift a finger to attract her and (the few) other women in the story.  But if you love this tough-guy stuff, well, then this is a book for you.

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