Dana Spiotta's new novel is about two women, best friends, who grow up in LA in the 80s and become filmmakers. Read more...
Dana Spiotta's new novel is about two women, best friends, who grow up in LA in the 80s and become filmmakers. Meadow and Carrie have everything in common--except their views on sex, power, movie-making, and morality. Their lives collide with Jelly, a loner whose most intimate experience is on the phone. Jelly is older, erotic, and mysterious. She cold calls powerful men and seduces them not through sex but through listening. She invites them to reveal themselves, and they do.
Spiotta is "a wonderfully gifted writer with an uncanny feel for the absurdities and sadnesses of contemporary life, and an unerring ear for how people talk and try to cope today" (The New York Times). Innocents and Others is her greatest novel--wise, artful, and beautiful.
Publishers Weekly® Reviews
- Reviewed in: Publishers Weekly, page .
- Review Date: 2015-12-14
- Reviewer: Staff
Spiotta (Stone Arabia) tackles the slippery nature of identity and the destructive pull of desire in her fourth novelthis time through the lens of film. Having lived in Los Angeles since the 1980s, best friends Meadow and Carrie are both successful filmmakers, but their approach to art and life couldnt be more different. Married and strapped with a family, Carries films are breezy crowd-pleasers, while solo Meadows searing documentaries pick at the scabs of their subjects shortcomings. One of Meadows early films tracks an outcast boys disastrous experimentation with sex. Another of her heavy, invisible, unremarkable subjects is 41-year-old Jelly, aka Nicolewhose sad but captivating backstory Spiotta explores over the course of sporadic chaptersseduces Hollywood men over the phone but self-consciously vanishes when they ask to meet in person. As the book progresses, both womens lives spiral downwardCarries home life is hollow, Meadows self-destructive narcissism ends her careerleaving neither fulfilled. Eschewing linear storytelling in favor of chapters interspersed with scene and interview transcripts and paragraphs of film theory, Spiotta delivers a patchwork portrait of two women on the verge of two very different nervous breakdowns. True to form, the effect is like watching raw footage before its been editedsometimes moving, often disjointed, always thought provoking. (Mar.)