Richard Greenberg. (2016). Rules for Others to Live By: Comments and Self-Contradictions. Penguin Publishing Group.

Richard Greenberg. 2016. Rules for Others to Live By: Comments and Self-Contradictions. Penguin Publishing Group.

Richard Greenberg, Rules for Others to Live By: Comments and Self-Contradictions. Penguin Publishing Group, 2016.

Richard Greenberg. Rules for Others to Live By: Comments and Self-Contradictions. Penguin Publishing Group, 2016.

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Rules for Others to Live By

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“Richard Greenberg turns life upside down and sideways. Read­ing the provocative Rules for Others to Live By is like having dinner with a friend whose point of view shakes up and invari­ably runs counter to conventional thinking. He’s a debunker of the pretensions of daily life.” 
—Delia Ephron, author of Sister Mother Husband Dog and Siracusa 
Between stressing about his theater friends and reconciling his complicated feel­ings about an inconsistently wonderful New York City, Tony Award–winning playwright and Pulitzer finalist Richard Greenberg also maintains a reputation for being something of a hermit. He takes the time to privately process the absurdity of the world outside, and the result is this hysterically funny and daringly thoughtful collection of original essays. In Rules for Others to Live By, he shares lessons from his highly successful writing career, observations from two long decades of residence on a three-block stretch of Man­hattan, and musings from a complicated and occasionally taxing social life. Firmly sympa­thetic to the struggles of the more bizarre and unstable among us, Greenberg tackles a range of topics—from the difficulties of friendship to the art of writing, the pain of heartbreak to the curiously unpredictable weather of his neighborhood, and the moderate hypo­chondria that comes with age, as well as the more serious health crises that unfortunately also come with age. In essays that are at turns quietly subversive and thoroughly hopeful and life-affirming, Greenberg’s distinct and hilarious voice articulates our own mild obsessions and the idiosyncrasies that we can only hope will go unnoticed in a crowd.

reviews

1. • premium: True
   • source:
   • content:

     A Tony Award-winning playwright turns his hand to humorous nonfiction in this generally disarming, self-mocking collection of essays on matters personal and cultural.From its cheeky title to the arresting bons mots sprinkled throughout, the book is a breezy read that cloaks some penetrating truths in occasionally flippant, mildly corrosive remarks. Some pieces are just writerly doodling with little to commend them. Greenberg, who has written two dozen plays and styles himself an urban recluse, believes that when one spends an inordinate amount of time inside, one's perceptions when out of doors are sharpened (a dubious notion). He addresses many of the more vexing questions of modern life with tongue planted firmly in cheek, and at his best, he is both wryly funny or scathing, especially regarding our propensity to mistake talking about an injustice for actually doing something about it. Greenberg sometimes gets serious, as in his observation about the rocky shoals of political correctness. "The language of cultural transit," he writes, "is tricky and constantly mutating and one can be embraced and then shunned for the very same gesture." Among many other subjects, he weighs in on the unexpected pleasures of achieving an aim by telling the truth, on the divide between judgment and opinion, on self-congratulatory literary criticism, on the scarcity of unretouched beauty, and on the absurdity of dismissing exceptional work solely because its practitioner may be disagreeable. Mixed in are appreciations of Greenberg's more colorful friends, among them the late actress Jill Clayburgh. Reminiscent of David Eagleman's Sum (2009), in tone if not in content, the shorter essays can be mere fragments of a page. Irresistible "hooks" sometimes compete with padding, and toward the end, the author gets a bit showy with his vocabulary. Despite the book's shortcomings, most readers will be disappointed to reach the final page. COPYRIGHT(1) Kirkus Reviews, ALL RIGHTS RESERVED.

2. • premium: True
   • source:
   • content:

     September 1, 2016
     

     Greenberg (Our Mother's Brief Affair) has the self-consciously idiosyncratic attitude toward the world that one would expect from a well-known playwright who has lived in New York City for decades. From theater to memoir, he explores how one constructs an identity; the problems and benefits of gentrification in New York; changes in artistic culture and sensibilities since the 1980s; the vicissitudes of medical problems and aging; and, via a set of darkly humorous vignettes, mental illness and murderous impulses. Through all of the essays runs an engagement with the dangers of nostalgia and the importance of strongly held but considered opinions. As with Greenberg's dramatic writing, this work is full of quick thoughts and shifts in tone, and while much is seemingly inconsequential humor, it builds into a sharply constructed worldview that commands respect. The author's personality may not appeal to all readers, but those who appreciate a cantankerous outlook overlaying thoughtful reflection will find that his humor grows on them. VERDICT This volume should appeal to fans of David Sedaris and the late David Rakoff as well as theater aficionados.--Margaret Heller, Loyola Univ. Chicago Libs.

     Copyright 2016 Library Journal, LLC Used with permission.

3. • premium: True
   • source:
   • content:

     September 1, 2016
     Tony Awardwinning playwright Greenberg's intrinsic wit, style, and charm are apparent throughout this eclectic mix of 59 long and short essays loosely grouped under 10 topic headings that range from city life to health, relationships, obsessions, and neuroses. It will come as no surprise that this writer loves words, and his erudition prompts him to season his musings with such gems as brilliantined and Spatchcocked. Greenberg's long residency in New York City is evident in his focus, frame of reference, and sensibility, even when the city's many joys and challenges are not the subjects of his unique observations. From his sharp perspective on everyday experiences to discussing edgy, not-for-everyone topics, there is a rich variety that should more than satisfy a large following of sophisticated readers. If it were possible to revive the spirited discourse of the famed Algonquin Round Table with a contemporary crowd, this collection would surely earn Greenberg a prominent seat among his peers.(Reprinted with permission of Booklist, copyright 2016, American Library Association.)

4. • premium: True
   • source:
   • content:

     August 1, 2016
     A Tony Awardwinning playwright turns his hand to humorous nonfiction in this generally disarming, self-mocking collection of essays on matters personal and cultural.From its cheeky title to the arresting bons mots sprinkled throughout, the book is a breezy read that cloaks some penetrating truths in occasionally flippant, mildly corrosive remarks. Some pieces are just writerly doodling with little to commend them. Greenberg, who has written two dozen plays and styles himself an urban recluse, believes that when one spends an inordinate amount of time inside, one's perceptions when out of doors are sharpened (a dubious notion). He addresses many of the more vexing questions of modern life with tongue planted firmly in cheek, and at his best, he is both wryly funny or scathing, especially regarding our propensity to mistake talking about an injustice for actually doing something about it. Greenberg sometimes gets serious, as in his observation about the rocky shoals of political correctness. The language of cultural transit, he writes, is tricky and constantly mutating and one can be embraced and then shunned for the very same gesture. Among many other subjects, he weighs in on the unexpected pleasures of achieving an aim by telling the truth, on the divide between judgment and opinion, on self-congratulatory literary criticism, on the scarcity of unretouched beauty, and on the absurdity of dismissing exceptional work solely because its practitioner may be disagreeable. Mixed in are appreciations of Greenberg's more colorful friends, among them the late actress Jill Clayburgh. Reminiscent of David Eagleman's Sum (2009), in tone if not in content, the shorter essays can be mere fragments of a page. Irresistible hooks sometimes compete with padding, and toward the end, the author gets a bit showy with his vocabulary. Despite the books shortcomings, most readers will be disappointed to reach the final page.

     COPYRIGHT(2016) Kirkus Reviews, ALL RIGHTS RESERVED.

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“Richard Greenberg turns life upside down and sideways. Read­ing the provocative Rules for Others to Live By is like having dinner with a friend whose point of view shakes up and invari­ably runs counter to conventional thinking. He’s a debunker of the pretensions of daily life.” 
—Delia Ephron, author of Sister Mother Husband Dog and Siracusa 
Between stressing about his theater friends and reconciling his complicated feel­ings about an inconsistently wonderful New York City, Tony Award–winning playwright and Pulitzer finalist Richard Greenberg also maintains a reputation for being something of a hermit. He takes the time to privately process the absurdity of the world outside, and the result is this hysterically funny and daringly thoughtful collection of original essays. In Rules for Others to Live By, he shares lessons from his highly successful writing...

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