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Forty-one False Starts: Essays on Artists and Writers

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3.76 of 5 stars 3.76  ·  rating details  ·  183 ratings  ·  33 reviews
A National Book Critics Circle Finalist for Criticism

A deeply Malcolmian volume on painters, photographers, writers, and critics.

Janet Malcolm’s In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one “false st
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Paperback, 320 pages
Published May 13th 2014 by Farrar, Straus and Giroux (first published April 24th 2013)
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(showing 1-30 of 1,756)
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Wendell
The haphazard, somewhat thrown-together quality of the essays and profiles included in Forty-One False Starts keeps this collection from being a truly satisfying record of Malcolm’s writing on contemporary artists and writers. Several very brief pieces, including two near the end, should simply have been left out: they’re notebook jottings, not finished pieces; and Malcolm’s famous, long article on Ingrid Sischy, “Girl of the Zeitgeist” from 1986, has aged rather badly, perhaps because the petty ...more
Bernie
The first sentence in Janet Malcolm's controverisal book, "The Journalist and the Murderer," is probably the most provocative line she's ever written. The book was about the relationship between Jeffrey MacDonald, convicted of murdering his family, and Joe McGinnis, the writer who pretended to befriend him. The sentence is, "Every journalist who is not too stupid or too full of himself to notice what is going on knows that what he does is morally indefensible." McGinnis never recovered from the ...more
Pamela
I reviewed this book over at The Millions (clickable link)
Jaclyn
This collection includes essays from 1986-2011. Malcolm’s profiles are layered and interesting. She finds the extraordinariness in the person and the situation surrounding the person and strings together each fascinating element, as if knitting a garment that when completed is presented as a gift that no one wants to return.

I am not an insider in the art world and I had to look up all of the artists she profiled. But I never felt like an outsider while reading the essays. My googling was a resu
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Catherine
This fantastic collection of essays - covering David Salle, Edith Wharton, Julia Margaret Cameron, Virginia and Vanessa Bell, among others - is quite unlike any other I've read. Janet Malcolm takes the idea of "review" and "critique" to a different level. She truly is an original thinker and an incisive critic. I disagreed with almost everything she wrote in this collection, but, boy did she make me think. I was outraged, humbled, and enervated. I really want to have lunch with her.
Blaine Harper
As if The Journalist and the Murderer and Two Lives weren't enough for me to go by! But I read those for class, so the interesting part of observing Malcolm's writing tics is over and done with. The title essay was so pretentious that I, even as member of the expected audience, felt alienated and bored. And I'm morally opposed to the writing of seven-page essays with two full pages' worth devoted to block quotes (see The Woman Who Hated Women).
Blair
My interest waned in this a little towards the end and Malcolm's writing wasn't enough to get me absorbed in subjects I didn't have a pre-existing interest in. I enjoyed the essays on Bloomsbury and Salinger the most.
Vonetta
I'm no longer a student, so I am not forced to read pretentious academic material that is in no way pleasurable. That said, I put the book down after the title essay and the one about Edith Wharton. Life's too short to read books I don't like. Also, the fact that the author has her own adjective, "Malcolmian," is exhausting.
Kallie
This is not a book of essays; these pieces are reportage and should be read as such. Malcolm's work in this book seems to me more about connecting with her subjects and her subjects' subjects (i.e. painting), which are also of great personal interest to her, and persuading them to reveal themselves and their unique relationships to their subjects -- an interest that differentiates her work from that of biographers who primarily seek gory childhood and marriage details. Not that M would refuse su ...more
Hank Stuever
After the memorable title piece, which was fantastic when it first ran in the New Yorker and is still 98 percent as fantastic now (but caution to all writers who are thinking of aping it: the structure worked exactly once), most of the rest of these Malcolm articles should be labeled "for serious fans only."

These are deep -- and deeply intellectual -- essays on well-known and also arcane subjects of art, literature, photography. My favorite piece, after "Forty-One False Starts," is "Capitalist
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Aseem Kaul
How amusing that a book called Forty-one False Starts should start off strong and gradually peter out towards the end!

The best pieces in Janet Malcolm's book are the ones in the beginning: the profile of David Salle that gives the book its title is one of the most creative and insightful pieces I've read in a long while, the piece on the Bloomsbury legend is fascinating, and her take on Salinger's Franny and Zooey left me itching to re-read that book.

The essays that follow are nowhere near as
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Brendan
I received a promotional copy of this book through the First Reads program.

Rating: Somewhere in the 3 to 3 1/2 range.

I really like the title piece. "Capitalist Pastorale" is a waste of time. The others fall somewhere in between, with "Edward Weston's Nudes" being one of the better pieces and the Bloomsbury piece falling flat.

There are whiffs of elitism and NYC-centrism scattered throughout the book. She likes to quote other writers, and does so a bit too much for my taste. Sometimes it seems a
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Genevieve
Some say the best-written reviews and critiques reveal something about the critic as much as the subject being reviewed. With that criteria, you would think Forty-one False Starts by Janet Malcolm would be brilliant, the writing being so self-absorbed.

To be fair, the title essay was fascinating and engaging, a critique of the larger-than-life artist David Salle told in 41 short sections that give us different facets and points of view on Salle; its unique form is a commentary on the writing/cre
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Tiffany
I have always respected the ability of the pen. But I have never seen the sharpness and strength of the pen until I had read a Janet Malcolm piece. Malcolm's writing has always either opened my eyes to the art world, or forced me to appreciate how everything either stems from this world or attributes to it; everything contributes to everything, and has meaning. This collection of her essays has only served to deepen my respect for her and the pen as her instrument of wonder. I will honest that t ...more
JQAdams
Malcolm, largely by dint of subject matter, is usually about my least-preferred of the New Yorker staff writers, and this anthology of her work (about "artists and writers") didn't change my mind. If you're looking for a 75-page account of the squabbles among the editorial board of a prominent art-criticism journal during the mid-1980s, though, I have just the thing for you. Most of the pieces aren't that protracted, thankfully, but this just wasn't on my wavelength.
Kristina Pasko
I don't think I could call Malcolm one of my favorite writers (this is the first book of hers that I've read), and I don't really like her style (humorless, matter-of-fact, a bit bland) but it was a good exercise to see good literary (and art) criticism meant for popular consumption. I particularly enjoyed the chapter about Vanessa Bell (Virginia Woolf's sister).
Rj
A collection of Malcolm's short essays on art, artists, literature and film. A talented journalist and writer, her work is a pleasure to read.
Miranda Hersey
Malcolm is a brilliant writer, and these essays were fascinating--until I got to the last quarter of the book, when things started to feel repetitive and I lost interest. Might be best not to read this book all the way through but instead to dip in.
Faith McLellan
Janet Malcolm is a genius. Her gifts are on full, and often chilling, display here. Full of erudition, razor-sharp judgments, icy observations. Learned and scary and admirable. Would not want to be on her bad side. Agree with other readers that the last two "chapters" are disastrous additions--are there any editors left? The chapter on Bloomsbury perhaps the best. I have read this collection over a day or so and feel as if run over by a truck--in a good way.
Paul Wilner
The Salinger piece is wonderful, and feisty, with several well-chosen ripostes in the direction of his detractors )Malcolm's specialty, in her gentlewoman's way) and the Virginia Woolf and Ingrid Sischy pieces are also delightful. (banal word, just read them and you will see, the Woolf thing in particular is just amazing, particularly acute in the way she dissects the relationship between Virginia and Vanessa).
Trina
Janet Malcolm is just SO SMART. And her essays, most of which have been published before in the New Yorker, but maybe not all of them, are quite diverse in both subject and writing style. These range from David Salle to Hilaire Belocq and everywhere in between. I read it in fits and starts, an essay here, another one a week later. Absolutely fascinating.
refgoddess
Excellent collection of essays on writers and artists. I was captured by "Salinger's cigarettes" and stuck around for Virginia Woolf and Gene Stratton Porter. There's nothing earth-shaking in Malcolm's assessments, but I like her voice, and she shares enough new (to me) factoids to make it interesting.
Kirsti
Most of this was over my head, but I enjoyed reading about so many artists and writers. And I thought it was interesting that all of the essays are extremely serious except for one she threw in toward the end, which is a review of the Gossip Girl series of novels.
Marcia
The best thing about this fantastic book of essays is how many of them inspired me to revisit writers, books, and pictures I hadn't thought about in while. I especially liked the pieces on J.D. Salinger, Vanessa Bell's house, and Julia Margaret Cameron.
Aphra
Amazing essays by an amazing writer.
Alissa Wilkinson
My reaction to Malcolm's quiet marrying of form and content - subtle enough that you could totally miss it - is to grasp my head in both hands, shake it violently, and yell AGGGGHHHH.
Rob
I had high hopes for this book, but was sadly disappointed. Only a few essays were worth the time. The signature essay was especially disappointing.
Sinead Fitzgibbon
My review can be found on Gorse.ie, the new Dublin-based literary journal. Link below.

http://gorse.ie/forty-one-false-starts/
Tobias
The high points in here -- especially a long piece on Artforum in the mid-1980s and one on Bloomsbury -- are pretty essential.
Yellowoasis
Transcendently beautiful writing about art and the people who make it. When can I be Janet Malcolm and live her life?
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“Every amateur harbors the fantasy that his work is only waiting to be discovered; a second fantasy-that the established contemporary artists must also be frauds- is a necessary corollary” 1 likes
“The distinguished dead are clay in the hands of writers, and chance determines the shapes that their characters assume in the books written about them.” 0 likes
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