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If You're Talking To Me, Your Career Must Be In TroubleEditions
Review
How right that is. In one article he pretends to be Mickey Rourke for a day, smoking 82 Marlboros and degrading women throughout Manhattan; in another he tries to engage Keanu Reeves intellectually… I remember very clearly the morning that we first unpacked this book: a newspaper review had alerted us to the index, so there we looked right away, and it doesn’t disappoint. ‘Sutherland, Kiefer – inability to act, 166, 175, 176, 177…’ Or how about this: ‘Streisand, Barbra – unconvincing as a $500-a-night call girl, xvi’? At this point I really should warn any fan of Barbra Streisand to leave this web page before trauma sets in and the inevitable expensive counselling follows. (And whilst I’m at it, any Céline Dion fans should probably leave, too. Poor Céline doesn’t feature in this review, but it makes me feel uncomfortable to think of any of her followers reading this. Instead of sitting in front of a screen, you should be out there trying to get painfully thin and looking for a much older man, possibly one who’s stone deaf.) To get back to Barbra – she is the subject of a superb essay entitled ‘Sacred Cow’ – and to her role as a $500-a-night call girl in the film ‘Nuts’, Queenan tells us that he conferred with several friends to establish what the going rate might be for a night with someone answering the general physical description of La Streisand, and, ‘All parties agreed…that $85-a-night was more in the general price range. Room included.’ Sorry, Barbra, but you’ve got to laugh. - review by Dan Fenton |
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John Sandoe [Books] Ltd |
At the end of 1992 Joe Queenan wrote to 75 actors and actresses, requesting an interview for his forthcoming book. He received two negative replies - one from Raul Julia’s publicist, the other from Liza Minnelli’s. Why? He had gained a reputation for doing hatchet jobs on the subjects of his articles, although as he says in the introduction to this volume, they were all written ‘in a spirit of cheerful, life-affirming malice, not the noxious, downbeat variety…’
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