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Renata Adler was born in Milan and raised in Connecticut. She received a B.A. from Bryn Mawr, an M.A. from Harvard, a D.d’E.S. from the Sorbonne, a J.D. from Yale Law School, and an LL.D. (honorary) from Georgetown. Adler became a staff writer at The New Yorker in 1963 and, except for a year as the chief film critic of The New York Times, remained at The New Yorker for the next four decades. Her books include A Year in the Dark (1969); Toward a Radical Middle (1970); Reckless Disregard: Westmoreland v. CBS et al., Sharon v. Time (1986); Canaries in the Mineshaft (2001); Gone: The Last Days of The New Yorker (1999); Irreparable Harm: The U.S. Supreme Court and The Decision That Made George W. Bush President (2004); and the novels Speedboat (1976; winner of the Ernest Hemingway Award for Best First Novel) and Pitch Dark (1983).
Guy Trebay reports on culture for The New York Times. He was previously a columnist for The Village Voice and has written for The New Yorker, Condé Nast Traveler, Travel and Leisure, Harper’s, Esquire, Grand Street, and other major publications. His work, twice honored with the Meyer Berger Award, presented by the Columbia University School of Journalism, has received numerous other awards, been widely anthologized, and was collected in In The Place to Be: Guy
Trebay’s New York.
“Told by Jen Frain, a journalist, Speedboat is a fragmentary and frequently hilarious novel about what it was to be an urban American in the 1970s. Here we have a narrator whose “I” looks out, not in. Frain describes her friends and work so keenly that at times she is almost effaced from her own narrative. In the space opened up by this near absence, Adler achieves a prose that, despite the odd bum note, sounds disaffected and despondent and charismatic all at once. ‘There doesn’t seem to be a spirit of the times,’ says Frain. But in Adler we sense the very crystallisation of one.” —The Irish Times
"She is one of the most brilliant—that is, vivid, intense, astute, and penetrating—essayists in contemporary letters, and most contrarian: much of what you think she will passionately undo. And she is a novelist whose voice, even decades after her books were written, seems new and original, and, if you are a writer, one you wish were your own." —Michael Wolff, The Guardian
“I think Speedboat will find a new generation of dazzled readers.” —Katie Roiphe, Slate
"Speedboat is as vital a document of the last half of the American century as Slouching Towards Bethlehem and The Death and Life of Great American Cities. Right down to its final, just-right sentence, it's—well, it will literally knock your socks off." —Michael Robbins, Chicago Tribune
“Speedboat captivates by its jagged and frenetic changes of pitch and tone and voice. Adler confides, reflects, tells a story, aphorizes, undercuts the aphorism, then undercuts that. Ideas, experiences, and emotions are inseparable. I don’t know what she’ll say next. She tantalizes by being simultaneously daring and elusive.” —David Shields, Reality Hunger
“Nobody writes better prose than Renata Adler.” —John Leonard, Vanity Fair
“A brilliant series of glimpses into the special oddities and new terrors of contemporary life—abrupt, painful, and altogether splendid.” —Donald Barthelme