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From the comic genius of Steve Martin comes a contemporary fable of life an love from the point of view of a shopgirl behind the glove counter at Neiman Marcus. Mirabelle, a semi-glamourous young woman who is making her way through the romantic jungles of Beverly Hills/Los Angeles, is an aspiring artist who prides herself on her clothing aesthetic. Unfortunately, she doesn't always have the best taste in men. When she meets a young Turk named Jeremy, whose idea of a great second date is a visit to the Laundromat, she sees him through a haze of prozac and other anti-depressants, and through the prism of her own poor self-esteem. But then she meets Ray Porter and thinks he could be her Knight in Shining Armor. In fact, he does turn out to be a worldly, rich gentleman who is a kindly and even exciting lover, but he never really takes Mirabelle seriously. Together, Mirabelle, Ray, Jeremy, and a few other suporting characters populate this insightful piece that is sometimes quirky, sometimes comic, and sometimes languid as a summer day.
Shopgirl has some of Chekhov's autumn light about it: a story remembering all the really fine recent things.
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Shad Granius
reviewed Shopgirl: A Novella on July 28, 2013
Shopgirl: A Novella
Welcome to Steve Martin's gallery of portraits!
The subject is the vacuous LA social scene.
First up and the focal point of the show: Mirabelle Buttersfield
Miss Buttersfield is a wallflower coming into her own. She works at a high-end clothing store. Her thoughts on romance and relationships are juvenile.
Next we have a brief study on Jeremy.
He begins as a slacker an evolves into a more successful bit of trite pomposity. His thoughts on romance and relationships are juvenile.
The next subject is a catalyst for change within the arch of Martin's intended scope for this show: Ray Porter
Ray is too wealthy for his own good. It leaves him with too much time on his hands. His thoughts on romance and relationships are juvenile.
Aside from the above, a number of minor works fill out the show.
Critics have lambasted Martin's portraits as non-representative of the true human experience. Those people probably haven't met a Los Angeles socialite, a being who believes that who you know, who you fuck and who you wear is of paramount importance. Some have attacked Martin himself, as if laying blame on him for his subjects' vapid thoughts and actions. This is unfair.
For this reviewer, the portraits themselves are not the problem, it's the overall story that this collection presents that makes the work as a body fall apart. Or perhaps it would be more poignant to say that it falls on its face. As a whole it fails to "move". They are, after all, portraits. They do not move, not themselves nor the viewer.
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