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Review

“No living writer has narrated the drama of turning the messy and meaningless world into words as brilliantly, precisely, and analytically as Janet Malcolm . . . Her influence is so vast that much of the writing world has begun to think in the charged, analytic terms of a Janet Malcolm passage.” ―Katie Roiphe, The Paris Review“[A] master of the profile...alluring, pointed, singularly perceptive tellings.” ―The New Yorker“Forty-One False Starts [is] a powerfully distinctive and very entertaining literary experience. . . what the reader remembers is Janet Malcolm: her cool intelligence, her psychoanalytic knack for noticing and her talent for withdrawing in order to let her subjects hang themselves with their own words. . .These short pieces [are] unmistakably the work of a master.” ―Adam Kirsch, The New York Times“Forty-One False Starts is a remarkable and, in its strange way, gripping piece of work. It achieves the rare feat of communication something valuable about the largely ineffable ‘creative process.'” ―Zoe Heller, The New York Review of Books“[An] invigorating new collection . . . keenly intelligent journalism that feels, always, as if it had been written by a human being, one with a beating heart, a moral compass, a wide-ranging curiosity, and a point of view.” ―Laura Collins-Hughes, The Boston Globe“Even if you've been reading Janet Malcolm for years, the critical appreciations collected in Forty-One False Starts may surprise you. The title essay is (or pretends to be) a series of scrapped beginnings to her profile of the painter David Salle, a giant of the art world in vulnerable mid-career. If you want to write magazine prose, this alone should make you buy the book. Ranging from Bloomsbury to Edward Weston to J.D. Salinger, the entire book is full of stylistic daring, fine distinctions, and bold judgments set down at the speed of thought.” ―Lorin Stein, The Paris Review online“[Malcolm's] portraits of the storytellers . . . are glorious. Without any diminishment of her critical eye, she seems like she's having more fun--when she describes Gene Stratton-Porter writing deranged children's books, or Julia Margaret Cameron admiring England's finest beards, or Blair Waldorf sulking over caviar at the Plaza.” ―Molly Fischer, The New York Observer“Janet Malcolm offers a penetrating new collection of essays . . . She's so penetrating, in fact--and her writing so seductive and entertaining--that I always begin reading her books in a kind of critical defensive crouch. . . She might be the most gifted scene-setter in American journalism. . . She's so deft an observer--so rich are her descriptions and insights--that you might find yourself rushing through a piece and only remarking afterward how fine her sentences are.” ―Michael Robbins, The Chicago Tribune“Malcolm has solidified her reputation as a guide who can expertly help readers through, as her New Yorker colleague Ian Frazier writes in the introduction to Forty-One False Starts, 'a good big mess.' One is the sheer pleasure of her rich descriptive power, her sentences turned like spindles on a lathe. There is the historical interest: reminders of who was once fashionable, should one care. There is the cruelly perfect aim of her insults. But there is, above all, the unequaled glimpse into the mind of Malcolm the critic, which is as close as we're likely to get to the mind of Malcolm, one of our smartest, best writers, someone whose personal inscrutability and elusiveness I regret all the time.” ―Mark Oppenheimer, The Nation“Malcolm's severity, her terrifying neutrality-like a teacher who is capable of handling even her most despised pupils no differently than the ones she secretly adores-is part of what makes her a brilliant writer. It is also why her writing does not occasion adolescent reverence and why her image is not printed in fashion magazines. You discover Didion in high school and you read her on the beach. Malcolm you discover in college-or after-and read before you do your own work....[She] is a priestly figure; an aura of quiet surrounds her work. She is always in control....Reading even the most cerebral of her sentences, you feel smart by association rather than dumb by comparison.” ―Alice Gregory, Slate“Bringing together a quarter-century's worth of subtle, sharply observed essays on artists and writers, this collection chronicles not just life events and artistic influences, but also the amorphous subjectivity of biography itself . . . These unstinting essays investigate how a consensus forms relating to a body of work or an artistic movement, how attitudes toward art change over time, and how artistic legacies are managed--or mismanaged--by children and heirs.” ―Publishers Weekly (starred review and pick of the week)

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About the Author

Janet Malcolm is the acclaimed author of many books, including In the Freud Archives; The Journalist and the Murderer; Iphigenia in Forest Hills: Anatomy of a Murder Trial; Two Lives: Gertrude and Alice (for which she received the PEN/Jacqueline Bograd Weld Award for Biography); and Burdock, a volume of her photographs of a "rank weed." Malcolm writes frequently for The New Yorker and The New York Review of Books.

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Product details

Paperback: 320 pages

Publisher: Farrar, Straus and Giroux; Reprint edition (May 13, 2014)

Language: English

ISBN-10: 0374534586

ISBN-13: 978-0374534585

Product Dimensions:

5.5 x 0.8 x 8.2 inches

Shipping Weight: 9.9 ounces (View shipping rates and policies)

Average Customer Review:

3.8 out of 5 stars

23 customer reviews

Amazon Best Sellers Rank:

#30,938 in Books (See Top 100 in Books)

A masterful writer combined with a discussion of great artists, what a treat for someone who appreciates both.

I like reading about the art world and creativity and even if I didn't I would like to read what Janet Malcolm Writes about it. It was a nice surprise to find that one of the players in her art world drama had gone to my high school in Cincinnati and I always wondered what happened to him. The role of esoteric art critic in New York City seems to be a natural extension of who he was as an outspoken, rebellious student in an elite, college preparatory high school in the Midwest. I also find it interesting when anybody can make some sense out of the mishmash of what I view as the New York City art world. I believe Tom Wolfe is correct when he said that the word makes the message in the art world. It is not what you see is what you get it is what you see is formed by the art critic you are listening to about that piece of artwork.

I got bogged down in the VERY long essay about Artforum magazine, and I don't agree with Malcolm's enthusiasm for J.D. Salinger's writing (he's got a very narrow focus and his characters are really more petulant than anything else). But the David Salle piece which opens the collection (and furnishes its title) is a masterpiece.She also skillfully demolished the blowsy excess of the catalog of the SanFrancisco Art Museum's Diane Arbus exhibit, making the point that learning every last jot of trivia about a person does not contribute to understanding them. I will remember this line forever: "What Helen of Troy did in her spare time, and what she was "really like" as a person, are not questions that torture us."

Some people have complained here that these essays have appeared elsewhere and therefore are not "new." The truth is, most essay collections have work in them that has appeared elsewhere. That doesn't prevent this from being a riveting read. Even the ones I've read before, like the title essay, surprised me all over again. Janet Malcolm is a brilliant thinker, a cool and clear-eyed journalist, and a beautiful writer. All it takes is one paragraph before you know you're in the thrall of an authoritative, interesting voice and mind.

I love Janet Malcolm's writing style and prose and therefore can't be objective. This compilation has been fascinating. She continues to astound me with her perceptive voice and remarkable wisdom. I highly recommend this to anyone interested in the arts.

I love Janet Malcolm's work, just about every word of it, so I am unqualified to review this book. To me, reading each piece was like eating exquisite dark chocolate, superb smoked salmon, and so on: fill in the blanks with your own cherished tasty treats. I'm sorry, I just can't be objective about Janet Malcolm. But I can tell you which is my favorite: her write-up on the collection of characters (art historians, art critics, editors, and artists) who shed light on the enigma of _Artforum_ magazine in the 1980s. That may sound arcane to you, but for me, it's riveting material. She even makes Bloomsbury freshly interesting! Enough said.

Fascinating book that I will read again and again.

She is one of my favorite writers, offering such a complex, nuanced version of a story, making me think. This is a collection of essays and some of them are not so successful as her other books, but I was glad to read it.

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