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What if you could come back after death to watch over your loved one, installing yourself in a treasured mug, for example, or perhaps your mother’s hearing aid, a diary, or even a climbing frame, to feel the clambering limbs of a beloved sister? Eleven recently deceased protagonists find themselves floating in the afterlife where a nameless ghost offers them a joyous reunion with their loved ones. But not as you would expect.
We all want a best friend like Nora Ephron: frank but forgiving, wry but caring, someone who knows not only what to say but how to say it. Don’t know what to wear? ‘Black matches with everything, especially black.’ Trouble in love? ‘You can never know the truth of anyone’s marriage, including your own.’ Searching for a new belief system? ‘My religion is Get Over It.’ Here is the best of Nora for every season of life, across her storied career, from her early days in the news media to her cult classic novel, to her unexpected turn as a legendary Hollywood writer. Nora saw it all, and with a wicked sense of humour and shrewd intellect, she made it all deliciously funny. Filled with unforgettable lines, this is a celebration of Nora’s singular wit and generosity.
Western Australia, 1958. A truck rumbles along a lonely outback road. A moment’s inattention, and in a few muddled seconds the lives of the MacBride family are shattered. Instead of leaving them to heal, fate comes back for them in a twist of consequences that will cause one of them to lose their life, and another to sacrifice theirs for the sake of an innocent child.
The Flynns are not alright. It’s been disastrous since Bud and Catherine opened up their marriage, and none of the Flynns can remember the last time a meal was cooked, a load of laundry done, or a social code abided by. Their daughters spiral in their own chaotic orbits: Abigail, the eldest, is dating a man in his twenties nicknamed War Crime Wes; Louise, the middle child, maintains a secret correspondence with an online terrorist; the brilliant youngest, Harper, is being sent to wilderness reform camp due to her insistence that someone – or something – is monitoring the town’s citizens. Casting a shadow across their lives, and their small coastal town, is Paul Alabaster, a nefarious local billionaire. Rumours of corruption circulate, but no one dares dig too deep. No one except Harper, whose obsession with Alabaster’s machinations sends the family hurtling into a criminal conspiracy – one that may just, finally, bring them closer toget
Rocky, Nick, Willa and Jamie. A normal loving, anxious, messy relatable, family. Rocky has her own her way of processing disasters: 1. This could happen to us. 2. This couldn’t happen to us. And then there’s a secret third column: ‘This could happen to us unless I am very careful/superstitious/grateful’. So when a former classmate of Jamie’s dies in a seemingly random accident, Rocky becomes obsessed. She’s also developed a niggling medical condition that won’t go away. On the surface, she is still living her best life as the irreverent, funny, unpredictable beating heart of her family. Her father is his unique, adorable self; Willa is prone to bouts of existential angst whilst berating the fact that her mother has zero filter; Nick is steady, logical, sometimes infuriating. But if accidents can happen – and they do – is it safe to love anyone?
We tend to think that everything important comes from the centre: from big cities, from established orthodoxies in the sciences and the arts, from the Establishment in all its forms. We think this because the centre tells us it is so, but it’s a lie. It is only at the edges that we think, innovate and thrive. This book travels to the frontiers of human culture and consciousness; to the edges of continents, of evolution, of artistic and political movements, and life itself: from a rocky precipice in the Peloponnese where the first human set foot in Europe to an ancient Egyptian temple where monotheism was invented; from St Francis, kissing lepers to the giant bird-eating mice of St Kilda.
Acclaimed Hollywood filmwriter and director Nora Ephron turns her sharp powers of observation back onto herself in these autobiographical essays as she examines the indignities of ageing for the Baby Boom generation.
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