Toby Young is associate editor of The Spectator.
This book, which presents itself as a no-holds-barred account of Joe Eszterhas’s reign as the toughest and most highly-paid screenwriter in Hollywood, is doubly misleading. To begin with, it’s heavily censored; and, secondly, he isn’t the fierce defender of his work that he purports to be, at least not judging from the way he’s allowed
H. L. Mencken once said that the function of journalism was to comfort the afflicted and afflict the comfortable, but few of us manage to live up to that standard today. On the contrary, most of us are more likely to hurl ourselves at the feet of the high and mighty and ignore everyone else.
Dear James, Thanks for sending me a copy of your … what shall we call it? Memoir? Novel? Anyway, I really enjoyed it. You’ve completely captured what it was like to be an Oxford undergraduate in the mid-80s — all that Sloane Ranger crap, the Pimms, the seccies. Every time I turned the page I
Stop all the clocks, cut off the telephone, prevent the dog from barking with a juicy bone. For the next 24 hours I’ll be glued to my television set watching the final moments of Celebrity Big Brother. Admittedly, it hasn’t proved quite as compelling as the first series, but it has been pretty entertaining nevertheless.
The big play at Edinburgh this year – the one with Tim Robbins and Susan Sarandon in it – was The Guys, a heartfelt tribute to the ‘ordinary’ heroes of 11 September. Written by a journalist called Ann Nelson, it tells the story of her encounter with a New York fire captain who asked for