Nora Ephron Criticism
Nora Ephron's contributions to literature and film are marked by a distinctive blend of humor, personal insight, and a keen eye for the absurdities of contemporary life. Her work draws from an array of personal experiences and cultural observations, making her a celebrated yet occasionally polarizing figure in the realm of literary criticism. From her semi-autobiographical novel Heartburn to her screenplay for the film Silkwood, and her essays in collections such as Wallflower at the Orgy, Ephron's work spans various genres and themes, each met with a range of critical responses.
Ephron's first novel, Heartburn, serves as a humorous yet poignant take on her personal life, specifically her marriage to Carl Bernstein. While some, like Stuart Schoffman, appreciate its blend of humor and personal pain, others argue its comedic tone overshadows deeper emotional layers, as noted by Christopher Lehmann-Haupt. Conversely, Marni Jackson praises its honesty and entertainment value, even as Rhoda Koenig critiques its heavy reliance on autobiography without sufficient creative transformation.
In the cinematic realm, Ephron co-wrote the screenplay for Silkwood, a film that faced both acclaim and criticism for its factual narrative. Richard Schickel and Stanley Kauffmann discuss its struggle to maintain a balance between mythic storytelling and a compelling narrative, despite its success in portraying the challenges of the working class. This tension exemplifies Ephron's ability to tackle significant societal issues with humor and insight, a hallmark of her broader oeuvre.
As a columnist for Esquire and New York magazine, Ephron's prose in collections like Wallflower at the Orgy, Crazy Salad, and Scribble Scribble showcases her versatility and sharp wit. Albert Johnston lauds the humor in Wallflower at the Orgy, while Susan Braudy and Barbara Zelenko commend the incisive feminist commentary in Crazy Salad. Meanwhile, Scribble Scribble is recognized for its media critiques, although John Deedy and Joe McGinniss argue it lacks a deeper seriousness.
Contents
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Ephron, Nora (Vol. 31)
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Christopher Lehmann-Haupt
(summary)
In the following essay, Christopher Lehmann-Haupt critiques Nora Ephron's "Heartburn" for failing to transcend its comedic narrative, arguing that the novel's humor ultimately detracts from a deeper exploration of the protagonist's emotional turmoil and lack of self-understanding in the face of marital betrayal.
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Marriage and Ephrontery: A New Woman Strikes Back
(summary)
In the following essay, Stuart Schoffman explores the candid and vulnerable nature of Nora Ephron's first novel, Heartburn, emphasizing its blend of personal pain and humor, while acknowledging its lack of literary pretension and its inseparable connection to Ephron's personal life and public persona.
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A Witty Woman's Revenge
(summary)
In the following essay, Marni Jackson asserts that Nora Ephron's novel Heartburn deftly balances humor and honesty, ultimately producing a work that is both entertaining and poignantly introspective as it explores themes of betrayal and marital dissolution without resorting to malice or cynicism.
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Yakety Yak (Don't Talk Back)
(summary)
In the following essay, Rhoda Koenig criticizes Nora Ephron's novel Heartburn for its reliance on autobiographical elements without creative transformation, describing it as a superficial narrative that fails to engage deeply with its themes and instead offers formulaic humor and underdeveloped characters in a self-serving monologue.
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Dazzling Double Takes from a Marriage
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In the following essay, Patricia Bosworth examines Nora Ephron's novel Heartburn, arguing that its wit and personal narrative drawn from Ephron's own life experiences make it both an entertaining and profound exploration of betrayal, demonstrating her capacity to rise above personal hurt to achieve artistic success.
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Mediatized Offerings
(summary)
In the following essay, Frank Tuohy critiques Nora Ephron's 'Heartburn' for its humorous yet superficial portrayal of universal experiences, suggesting that it lacks the depth of traditional novels by focusing on commonalities rather than individual uniqueness.
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A Tissue of Implications
(summary)
In the following essay, Richard Schickel argues that the film Silkwood, co-written by Nora Ephron, fails to balance factual integrity with mythic storytelling, leaving it unable to provide a compelling narrative or political critique of its subject, Karen Silkwood, due to unresolved ambiguities and a lack of emotional engagement.
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Death and Transfiguration
(summary)
In the following essay, Stanley Kauffmann critiques Nora Ephron's screenplay for Silkwood, arguing that its factual alterations and implications verge on the unethical, compromising its intent to depict a true story, yet acknowledges the film's effective portrayal of the struggles of the American working class.
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Christopher Lehmann-Haupt
(summary)
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Ephron, Nora (Vol. 17)
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Show Business: 'And Now Here's Johnny'
(summary)
In the following essay, Leonore Fleischer critiques the biography And Now Here's Johnny for its struggle to reveal the private side of Johnny Carson, depicting him as an enigmatic figure, resulting in a rather dull portrayal that may appeal to readers interested in similarly bland narratives.
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Paperbacks: 'And Now, Here's Johnny'
(summary)
In the following essay, Clarence Petersen highlights Nora Ephron's diligent efforts to construct a compelling biography of Johnny Carson, despite Carson's reluctance to reveal personal details in interviews, by thoroughly researching and compiling various sources to satisfy public curiosity about his true persona.
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Non-Fiction: 'Wallflower at the Orgy'
(summary)
In the following essay, Albert Johnston critiques Nora Ephron's Wallflower at the Orgy as an uneven but humorously engaging collection of personal interviews and analyses that entertainingly dismantles the reputations of cultural figures.
- Henry S. Resnik
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A Woman for All Seasons
(summary)
In the following essay, Anatole Broyard contends that Nora Ephron embodies an androgynous ideal while her work, particularly in "Crazy Salad," explores themes of feminism, gender roles, and societal expectations, albeit sometimes with a lack of profundity or clarity in her critiques of female figures.
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Nora Ephron on Women and Nora Ephron
(summary)
In the following essay, Alix Nelson analyzes Nora Ephron's journalistic style and wit, highlighting her moral ambivalence and critique of women's societal roles through her collection "Crazy Salad," which examines female failure and public figures, while also exploring Ephron's personal experiences with humor and candidness.
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'Crazy Salad'
(summary)
In the following essay, Barbara Zelenko praises Nora Ephron's Crazy Salad for its witty, perceptive, and original writing, noting Ephron's ability to blend personal insight and well-researched journalism with a nuanced feminist perspective.
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Non-Fiction: 'Crazy Salad'
(summary)
In the following essay, Barbara Hoffman argues that Nora Ephron's Crazy Salad provides a candid and balanced perspective on feminist issues, combining humor and honesty to address women's experiences while simultaneously critiquing and acknowledging the complexities of the Feminist Movement.
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Books in Short: 'Crazy Salad: Some Things about Women'
(summary)
In the following essay, Susan Braudy contends that Nora Ephron, through her collection "Crazy Salad," serves as a significant social critic with her insightful and witty commentary on female culture in the early 1970s.
- Harriet Kriegel
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Mixed Salad
(summary)
In the following essay, Joe McGinniss critiques Nora Ephron's Scribble Scribble, praising her wit, clarity, and conversational style, while criticizing the collection's lack of sustained seriousness and unevenness due to its diverse and sometimes trivial subject matter.
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National Insecurities
(summary)
In the following essay, John Leonard argues that Nora Ephron's writing in "Scribble, Scribble" showcases her exceptional ability to craft insightful and sharp commentary, despite occasionally focusing on seemingly trivial subjects, establishing her as a unique and formidable moralist in literature.
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Pressing Issues
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In the following essay, Walter Clemons examines Nora Ephron's collection "Scribble Scribble," highlighting her incisive media critiques and noting her ambivalence towards personal journalism, as expressed in her resignation from her Esquire column.
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She-Wits and Funny Persons: Five Women Who Have Something in Comic
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In the following essay, R. Z. Sheppard examines Nora Ephron's collection Scribble Scribble, highlighting her skillful parodic writing and her ability to humorously critique both well-known journalists and personal acquaintances.
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'Scribble Scribble'
(summary)
In the following essay, John Deedy critiques Nora Ephron's work Scribble Scribble for being less thoughtful and substantive compared to other works, arguing that despite Ephron's standing as a leading journalist, her reliance on reprinted columns may not satisfy her audience indefinitely.
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Show Business: 'And Now Here's Johnny'
(summary)