A celebration of John Gregory Dunne's best nonfiction writing
No writer captured the tragic absurdity of late-twentieth-century America better than John Gregory Dunne. Whether novels, screenplays, or nonfiction, his work was marked with a droll wit and a long view that illuminated buried aspects of public and private life in Hollywood and America at large.
Regards is a celebration of Dunne's best nonfiction, from frank observations on the film industry, politics, sports, and popular culture to tender reflections on what it was like to raise an adopted daughter. The collection spans his entire career and includes essays from the last fifteen years of his life, never before collected.
"Dunne was one of the best American writers of his generation. . . . He was a brilliant prose stylist. . . . He never lost the journalist's eye, one that ceaselessly observed the world around him and never flinched from the unpleasant, the outré, the outrageous. Indeed, it can be argued that these were his true subjects, that he was drawn irresistibly to the deep vein of corruption in American life." --Jonathan Yardley, The Washington Post
No writer captured the tragic absurdity of late-twentieth-century America better than John Gregory Dunne. Whether novels, screenplays, or nonfiction, his work was marked with a droll wit and a long view that illuminated buried aspects of public and private life in Hollywood and America at large.
Regards is a celebration of Dunne's best nonfiction, from frank observations on the film industry, politics, sports, and popular culture to tender reflections on what it was like to raise an adopted daughter. The collection spans his entire career and includes essays from the last fifteen years of his life, never before collected.
"Dunne was one of the best American writers of his generation. . . . He was a brilliant prose stylist. . . . He never lost the journalist's eye, one that ceaselessly observed the world around him and never flinched from the unpleasant, the outré, the outrageous. Indeed, it can be argued that these were his true subjects, that he was drawn irresistibly to the deep vein of corruption in American life." --Jonathan Yardley, The Washington Post
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