What really interested Ephron, for all her clever writing about food, politics and overcluttered purses, were matters of the heart ... She is wit without cynicism, the ultimate romantic. New York Times She was also a director, playwright, and journalist whose essays and articles have been saved in award-winning collections on feminism, culture, and politics. In this post, we’ve rounded up the best of this talented writer’s work for all readers to enjoy. Best Nora Ephron Books A big, gratifying collection . . . It’s the work of a brilliant woman who took copious notes on four decades of tumultuous social and political history and who exerted astonishing authorial control over the story of her own place within that history . . . A stirring portrait of both a nation in flux and of an extraordinary woman who retained a tight grip on her place within it, right till the end.”—Rebecca Traister , Los Angeles Times

In 1983, Ephron co-scripted the film Silkwood with Alice Arlen. The film, directed by Mike Nichols, starred Meryl Streep as Karen Silkwood, a whistleblower at the Kerr McGee Cimarron nuclear facility who dies under suspicious circumstances. [20] Ephron and Arlen were nominated for the Best Original Screenplay Oscar in 1984 for Silkwood. [21] Think of The Most of Nora Ephron as a big book of everything you already love about the acute author, bound together into one tome begging to be dog-eared. Oprah Magazine Readers will admire their literary heroine even more when, thanks to The MOST of Nora Ephron, they discover, or are reminded, of the brave positions she took, and of how far her preoccupations and her writing ranged.”—Francine Prose, The New York Review of Books Lena Dunham's memoir Not That Kind of Girl (2014) and Steven Spielberg's film The Post (2017) are both dedicated to Ephron. [46] [47] a b Ephron, Nora (2015). The Last Interview and Other Conversations. Brooklyn, New York: Melville House Publishing. ISBN 978-1-61219-524-7.

There's a lot of different material in this volume. Journalistic writing, her novel Heartburn in its entirety, the script for "When Harry met Sally", various and sundry essays. When she died in 2012, the public outpouring made clear how vastly popular she had become,and the great cheerful tome that is The MOST of Nora Ephron looks nothing if not confident of its mass appeal. The Times Literary Supplement

The Most of Nora Ephron - Nora Ephron I love Ephron’s writing, so reading this is a pure delight. But after having reread Crazy Salad, I’m really sorry that there weren’t more feminism pieces in it. Those pieces are often now unspeakably dated, but we have to remember the past, and remember that equal rights aren’t something anyone is ever given, that we have to fight and keep fighting. Unfortunately, after Ephron moved to Manhattan, in 1962, she discovered that she was far from the only lady at the table to have a “Dorothy Parker problem.” Every woman with a typewriter and an inflated sense of confidence believed that she was going to be crowned the next Miss One-Liner. To make matters worse, once Ephron started reading deep into Parker’s work, she found much of it to be corny and maudlin and, to use Ephron’s withering words, “so embarrassing.” Reluctantly, she let her childhood hero go. “Before one looked too hard at it,” Ephron wrote, “it was a lovely myth.” I have spent a great deal of my life discovering that my ambitions and fantasies—which I once thought of as totally unique—turn out to be clichés,” Nora Ephron wrote in 1973, in a column for Esquire. Ephron was then thirty-two, and her subject was the particular clichéd ambition of becoming Dorothy Parker, a writer she had idolized in her youth. Ephron first met Parker as a child, in her pajamas, at her screenwriter parents’ schmoozy Hollywood parties. They crossed paths again when Ephron was twenty; she remembered the meeting in crisp detail, describing Parker as “frail and tiny and twinkly.” But her encounters with the queen of the bon mot weren’t the point. “The point is the legend,” Ephron wrote. “I grew up on it and coveted it desperately. All I wanted in this world was to come to New York and be Dorothy Parker. The funny lady. The only lady at the table.”Golden Plate Awardees of the American Academy of Achievement". achievement.org. American Academy of Achievement. The best plays of 2002–2003. Jenkins, Jeffrey Eric. (84thed.). [New York]: Limelight Editions. 2004. ISBN 0879103035. OCLC 55139647. {{ cite book}}: CS1 maint: others ( link) Gottlieb has arranged “The Most of Nora Ephron” according to facets of Ephron’s identity, including “The Journalist,” “The Advocate,” “The Playwright,” and “The Blogger.” There is a section called “The Novelist,” comprised of the only novel Ephron published, “Heartburn” (1983), here in its entirety and holding up beautifully as a spikey portrait of dealing with divorce and rejection. Ephron was born in New York City on May 19, 1941, to a Jewish family. [9] She was the eldest of four daughters, and grew up in Beverly Hills, California. [10] Her parents, Phoebe (née Wolkind) and Henry Ephron, were both East Coast-born playwrights and screenwriters. Her parents named her Nora after the protagonist in the play A Doll's House by Henrik Ibsen. [11] Nora's younger sisters, Delia and Amy, are also writers. Her sister Hallie Ephron is a journalist, book reviewer, and novelist who writes crime fiction. Ephron's parents based the ingenue character in the play and film version of Take Her, She's Mine on the 22-year-old Nora and her letters from college; Sandra Dee played the character based on Nora in the film version, with James Stewart portraying her father. [12] Both her parents became alcoholics during their declining years. [10] She is credited as being a wedding guest in Crimes and Misdemeanors (1989) and as a Dinner Party Guest in Husbands and Wives (1992).

For the truly vengeful, the pen (or word processor) is mightier than the sword". Cosmopolitan. July 1, 1996. Archived from the original on October 5, 2007 . Retrieved August 17, 2007. It's got a little bit of everything, from witty essays on feminism, beauty, and ageing to profiles of empowering female figures' ELLEGlassman, Thea (September 12, 2016). "Richard Cohen and Nora Ephron: The Real-Life Harry and Sally". The Forward. The Forward Organization, Inc . Retrieved May 28, 2017.

I almost bought this for a friend’s birthday present - and I’m glad I didn’t. Not because the writing isn’t funny, intelligent and interesting (it is) but because this isn’t the best way to enjoy it. I’ve previously ready Heartburn, a small extract of which is included in this edition, and I’m glad this isn’t my first introduction to Ephron’s writing, because otherwise it may have been my last. What I enjoyed most was learning how life experiences translate into her screenplays. Examples include how 'Harry met Sally' blossomed from experiences with Rob Reiner; marriage to Carl Bernstein, the basis for "Heartburn" and "Sleepless in Seattle" from the years between her three marriages. A classic NY sense of humor, Nora can leave you laughing out loud; her skill at word smithing unrivaled. a b c d Ephron, Nora (May 31, 2005). "Deep Throat and Me: Now It Can Be Told, and Not for the First Time Either". HuffPost . Retrieved December 19, 2008. Several of Ephron’s screenplays became some of the most celebrated films of the twentieth century, including When Harry Met Sally, Sleepless in Seattle, and You’ve Got Mail.

Collins, Gail (June 27, 2012). "Nora Ephron, the Best Mailgirl Ever". The New York Times. ISSN 0362-4331 . Retrieved November 26, 2016. a b c d e f g Hawkins, Ed (March 4, 2007). "Get real – ageing's not all Helen Mirren". The Times. London, UK. Archived from the original on September 28, 2011 . Retrieved August 16, 2007.