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WORK TITLE: I’ll Eat When I’m Dead
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE:
WEBSITE: http://www.barbarabourland.com/
CITY: Baltimore
STATE: Maryland
COUNTRY:
NATIONALITY:
http://www.barbarabourland.com/about * http://www.booklistreader.com/2017/05/02/books-and-authors/talking-with-barbara-bourland-about-her-debut-mystery-ill-eat-when-im-dead/
RESEARCHER NOTES:
LC control no.: n 2016040566
LCCN Permalink: https://lccn.loc.gov/n2016040566
HEADING: Bourland, Barbara
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PERSONAL
Married.
ADDRESS
CAREER
Writer and novelist. Formerly a web producer for O, the Oprah magazine, Oprah.com, and OWN, the Oprah Winfrey Network.
MEMBER:International Thriller Writers, Mystery Writers of America, Sisters in Crime.
WRITINGS
Contributor to Forbes Traveler and Conde Nast Digital’s Concierge.com.
SIDELIGHTS
Barara Bourland worked as web producer for several Oprah Winfrey enterprises and as a freelance travel writer. “I was sort of a not-terribly-important employee at a variety of media companies,” Bourland noted in an interview with Annie Bostrom for the Booklist Reader website. Bourland’s debut mystery novel, I’ll Eat When I’m Dead, revolves around the death of a high fashion magazine editor. In the interview with Bostrom, Bourland noted that the inspiration for the story came from her “personal love for women’s magazines and how I have longed for them to be. We learn about ourselves when we look in the pages of a magazine.”
I’ll Eat When I’m Dead begins with the death of Hillary Whitney, stylish and sophisticated editor of RAGE Fashion Book. When her body is found in a windowless conference room, the ultimate cause of death is ruled as heart attack resulting from her extreme diet and the pressure society puts on women to be thin. Catherine “Cat” Ono used to work at the magazine, does not believe the findings, knowing that her friend was not fanatical about her diet and being thin.
Two months pass when a cryptic note apparently in Hillary’s handwriting is sent to the police, causing them to reopen the case. Det. Mark Hutton is assigned to the case and soon must deal with Flemish-Japanese Cat, who is no stranger to following the fabulous fashions of the day. The only problem now is that she wants to join Mark in the investigation.
Cat eventually teams up with her colleague, Bess Bonner, to conduct their own investigation. At the same time, Cat comes in to help Hilary’s replacement, an ambitious socialite named Lou. Cat connects Hillary’s death with her designer eye drops, leading her to an upscale Brooklyn shop specializing in cosmetics. It turns out that the shop is much more than a business establishment as Cat and her friend Bess soon are confronted by a seedy world of drugs, sex, and lies.
In an interview for the Big Thrill website, Bourland noted that she had an unusual expectation as a mystery writer in terms of what she would like the readers to take away from the story, noting that these takeaways include “a new understanding of the pressures that modern women face every single morning when they get dressed—and of course, the satisfaction of having been wildly entertained.” In a review of I’ll Eat When I’m Dead, a Kirkus Reviews contributor remarked on the hints of vulnerabilities shown by Cat who desires “freedom from the constraints that are put on women in the name of beauty” and went on to note: “Death by beauty was never so much fun.”
BIOCRIT
PERIODICALS
Booklist, April 1, 2017, Annie Bostrom, review of I’ll Eat When I’m Dead, p. 24.
Kirkus Reviews, March 15, 2017, review of I’ll Eat When I’m Dead.
Publishers Weekly ,March 20, 2017, review of I’ll Eat When I’m Dead, p. 52.
ONLINE
Barbara Bourland Website, http://www.barbarabourland.com (October 24, 2017).
Big Thrill, http://www.thebigthrill.org/ (May 31, 2017), “Latest Books, Mysteries: I’ll Eat When I’m Dead, by Barbara Bourland,” author interview.
Booklist Reader, http://www.booklistreader.com/ (May 2, 2017), Annie Bostrom, “Talking with Barbara Borland about her Debut Mystery, I’ll Eat When I’m Dead.”
Chick Lit Plus, http://chicklitplus.com/ (June 22, 2017), review of I’ll Eat When I’m Dead.
Niche, https://the-niche.blog/ (August 4, 2017), “I’ll Eat When I’m Dead: A Niche Interview with Author Barbara Bourland.”*
I'll Eat When I'm Dead Option F.jpg
I'LL EAT WHEN I'M DEADABOUTPRAISEEVENTSCONTACT
BARBARA BOURLAND
MANIACSPINE CITY
© dennis drenner
© dennis drenner
INTERVIEWS
The Niche
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Barbara Bourland
Barbara Bourland lives in Baltimore, MD. Formerly, she was a freelance writer for Forbes Traveler, Conde Nast Digital's Concierge.com, and a web producer for O, The Oprah Magazine, Oprah.com, and OWN, the Oprah Winfrey Network. She is a member of the ITW, MWA, and Sisters in Crime.
I'll Eat When I'm Dead is her first novel. She is at work on a sequel, entitled Maniacs. Her third novel, Pine City, is also forthcoming from Grand Central Publishing in North America and riverrun abroad.
Follow her @babsbourland on instagram (for pictures of her mastiff) and twitter (for updates).
Read her essay ON BEAUTY for GRAZIA, August Issue
Read The Price of Luxury: The Books Behind I'll Eat When I'm Dead
@babsbourland
I crashed the tintypes demo that Ian and @jaaaaaaybird run in history of photography for #micaphoto. Ian & I were the test! This took about 3 seconds to shoot, and a few minutes to develop. Dramatic. But I like it!
had such a great time speaking @bmorebookfest (fresh from my international rumspringa) this afternoon! thanks for letting me give my (work in progress) talk about attention/discipline/meditation on this gorgeous day. Now--time to eat barbecue until I fall asleep.
oh god, Lisbon was so beautiful and such an (unexpected) adventure. En route to the airport & I'm already freaking out, like a Labrador in an empty apartment, at the prospect of separating from my @2lfr3d @jurajjuraj @zanbri and my rosa, who is not on insta. BUT I have to be at the @bmorebookfest tomorrow at 1pm (I'm squeaking in right on time). So if you're free tomorrow, come see me! ❤️😊😬😭😭😭
on the beach with my boys
jumping with joy over the NICEsT visit we just had @hodgesfiggis bookshop, where bookseller ida messaged me months ago with ❤️ and has been selling the bejaysus out of #illeatwhenimdead ever since. & they have it on the front table, right in front of the door!!!
Goodbye to London, & riverrun, & especially this adorable interview corner they made for me yesterday. And my editor took me out on the town, like OUT out, like everywhere, and now I'm pretty well hung over, which I think is exactly the circumstances under which I should always leave this island. Onto Dublin!!
What's up London!! I know I recently said I don't care about makeup, and I should have inserted a jetlag clause, my bad, because my ghost face is wearing a dynasty amount of paint. Also: How many Starbucks vias can I empty I to my mouth before I have cardiac trouble?
London! Dublin! And... a five day house party in Spain! About to leave for my September trip and actually looking forward to all these flights so I can finish @lizzydgoodman 'a AMAzING #meetmeinthebathroom . Cheers girl, this is a hell of a thing.
Hey killers, listen to @thetorontostar ! This Labor Day, I suggest you follow their lead & escape to a world where the fashion industry gives a hoot about labor politics and your clothes aren't made by the worlds poorest women. It's a fantasy worth indulging in 🍦if only for one single damn day
#scruples is my life! so exited to see #eatwhenimdead in this months @stellarmagazine (Ireland!), alongside scruples, the horniest, most fashionable book of all time, and the wonderful #partygirlsdieinpearls by @therealplumsykes and #unsticky by @sarra_manning. Reposted this from stellar editor @jeannedesutun because I won't be in Dublin until next month -- but I'm so looking forward to grabbing a copy then!
👋🎉🍾 its in print! I wrote an essay for @graziauk about beauty, Britney, overalls (which they call dungarees), labia trimming, etc etc, you know, the usual things I talk about, and though it's about giving up on beauty, the incomparable 📸 @jnlljns and 💄@christineherbeck still somehow made me look super great in the photo that accompanies it, & 🙏 @emilylphillips edited me into sense. ANYWAY, it's a few pages long & on newsstands abroad now (and I'll be sure to post a link when it goes online), so, U.K. and euro friends, get reading and tell me what you think!!
👋 look mom I'm a trend piece in @racked ! My inner monocle meter is soaring. Or rather, IEWiD is. (Also this piece is not only about my book, it's about several books, and has a *ton* of primo women's magazine trivia, if that's what you're into.) link in the racked profile.
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By Annie Bostrom May 2, 2017 0 Comments
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Talking with Barbara Bourland about her Debut Mystery, I’LL EAT WHEN I’M DEAD
Photo of Barbara Bourland (c) Dennis Drenner
Photo of Barbara Bourland (c) Dennis Drenner
Mystery Month 2017Barbara Bourland’s debut mystery, I’ll Eat When I’m Dead (Grand Central), unfolds from the offices of the fictional RAGE Fashion Book, a groundbreakingly ethical magazine. I loved the book’s characters, especially tough, smart fashion editor Cat Ono, its industry-insider mood with just the right amount of froth and gloss (in other words, a lot), and the way it delightfully skewered the behemoth fashion and beauty industries.
Bourland and I recently talked on the phone about her book, out today, which she calls “a satire that comes from love.” I was surprised by the origins of my favorite character, Cat, and delighted to hear about Bourland’s future projects—including a sequel to IEWID, already in the works.
There’s a line at the beginning of your book that made me drop everything and find a pencil: “Magazines were where women watched themselves being watched; where they learned how to be.” Can you talk a little bit about your work in, and your relationship to, magazines?
I was a web producer, and I did travel writing, and I was sort of a not-terribly-important employee at a variety of media companies. This book really comes out of my personal love for women’s magazines and how I have longed for them to be. We learn about ourselves when we look in the pages of a magazine; we see a fantasy. And that can be the [Vogue creative director] Grace Coddington dragons-and-forest fantasy, or it can be when we see real women looking really powerful.
Grace Coddington
Grace Coddington
Most women I know tend to investigate the construction of their identity. We’re always, on the one hand, getting dressed and shopping, picking outfits, changing up our makeup; it really does feel like self-expression. But then on the other hand, fashion and beauty are these massive economies that have global ramifications.
Often when I pick up a fashion magazine, I’ll see a spread that has some variation on “budget looks for work,” and the idea is that by tending to our own economic needs, we are engaging in feminist behavior that raises all ships. But when the clothing on the page is made by another woman who’s incredibly economically disadvantaged by your passion as a consumer, then it doesn’t really function as feminism. Commercial feminism is a really interesting idea to me. I don’t know if it’s bad or good; I don’t know if we can buy our way into better politics or not, but I had the idea that, what if there was a magazine that could do that? And it really stuck with me. . . [Margo, the editor-in-chief at RAGE, is] very, very loosely based on Helen Gurley Brown, who took over Cosmopolitan.
Can you tell us a little bit about the research that went into writing I’ll Eat When I’m Dead?
There are three books on the garment industry that I read. One of them is Deluxe by Dana Thomas, who lives in Paris and is a foreign correspondent for fashion for T: The New York Times Style Magazine. She wrote this book trying to unpack a high-end handbag. A handbag is $7,000: Where does everything in it come from, and is it really luxurious? There’s a brand understanding that luxury goods are made by groups of women in France whose families have been doing this for a thousand years in a cottage industry in a small town, and it’s worth every penny. But that’s less and less true with each passing year.
deluxe dana thomasI also read Overdressed by Elizabeth Cline. Cline looked in her closet and realized how much fast fashion was in it, and wanted to know how all of it was made and if it was possible to track a supply chain. . . She created a fake company, went to China, handed out business cards, and tried to see as many factories as she could.
There’s another book called Wear No Evil by Greta Eagan, a how-to guide about wearing clothes that aren’t made by someone who’s disadvantaged. But the problem with most clothing really isn’t even necessarily with the manufacturing; all of the statistics about the garment industry in IEWID are true or have been reported in some way. The World Bank put out a report several years ago noting that the garment industry is actually the number two polluter of the worlds potable waterways, after agriculture. Because to make a really inexpensive jersey in a super-bright red with a color-fast dye is pretty chemically complex, and if a manufacturing corridor doesn’t have any incentive to regulate that, they’re not going to. When you start thinking about wanting to buy things that are only made in a way you would feel good about, it does actually become really hard to shop. In IEWID, that universe is different. RAGE has changed that, they have made a difference. That’s the fantasy, that that is even possible. Which it may not be. [For more fashion titles, check out the reading list Bourland shared on Read it Forward. –Ed.]
At one point, readers are suddenly dropped into Cat’s past, which is this unexpected and beautiful departure from the book’s action. How did Cat’s backstory emerge for you?
[When] I wrote the very first draft of the book, I was living in Chicago. My husband was finishing his PhD in Art History at the University of Chicago, and I was doing a year at Harpo Studios. About a week before we got married, which is roughly this time five years ago, he was on the academic job market, and it’s incredibly nerve-racking. He looked at me and said, “I don’t know what’s going to happen. What do you think I could do?”
He’d essentially spent eight years thinking about the semiotic structures of visual culture. . . and I had no idea how that was applicable. I went to work the next day, and I was still thinking about it. I went on my lunch break and I was walking around the block smoking a cigarette and I thought, “Oh my god, you could use all these things at a fashion magazine! But it would have to be really progressive: as glamorous as Vogue and as principled as Ms.” And so I sat there and I wrote this weird little sketch on my phone, with a dead woman at the center of the plot, and the protagonist is this weird alternate-universe version of my husband. But of course Cat went ABD—[and] Ian did finish, and got a job.
Ferdinand de Saussure, foundational semiotician
Ferdinand de Saussure, foundational semiotician
I had forgotten about it until we moved to Baltimore three years ago, and then I was able to sit down and write it. In the moment, I think I was trying to emotionally process a fantasy to deal with the stress of what was actually happening. But it stayed with me, and I’m so glad that it did.
Have you ever been sewn into a dress? Because this happens to your characters a lot and I was so curious if. . .
No! No no no no no. I know some seamstresses, though.
There’s a sequel to I’ll Eat When I’m Dead in the works—any teasers you can throw our way?
While IEWID focused on the impact that print media has on the politics of women’s bodies and women’s work, Maniacs will explore how technology could change a billion women’s lives—including Cat’s—for better, and for worse.
My third novel is also forthcoming from Grand Central. It’s called Pine City, a murder mystery set at an abandoned hotel that’s been turned into an artists’ colony in upstate New York. It’s written in the first person, so it’s different from the constant jumping POVs of IEWID. It’s about a young abstract painter who goes to the colony for the summer, as a guest, and falls into their circle and starts digging around with the people who run the place. It’s sort of sexy, scary, Twin Peaks-y. Right now we’re saying 2019, so I’m working as I go. I started it when I needed a break from Cat’s technologically heavy world. So there’s no phones in Pine City. Phones don’t work there.
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Tags: author interviews, featured, mystery, Mystery Month
About the Author: Annie Bostrom
Annie Bostrom is Associate Editor, Adult Books, at Booklist. She is a cat person, but also really likes dogs. Follow her on Twitter at @Booklist_Annie.
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I’ll Eat When I’m Dead by Barbara Bourland
MAY 31, 2017 by ITW
4 0
When stylish Hillary Whitney dies alone in a locked, windowless conference room at the offices of high-concept magazine RAGE Fashion Book, her death is initially ruled an unfortunate side effect of the unrelenting pressure to be thin.
But two months later, a cryptic note in her handwriting ends up in the office of the NYPD and the case is reopened, leading Det. Mark Hutton straight into the glamorous life of hardworking RAGE editor Catherine Ono, who insists on joining the investigation. Surrounded by a supporting cast of party girls, Type A narcissists and half-dead socialites, Cat and her colleague Bess Bonner are determined to solve the case and achieve sartorial perfection. But their amateur detective work has disastrous results, and the two ingenues are caught in a web of drugs, sex, lies and moisturizer that changes their lives forever.
Author Barbara Bourland discussed her debut novel, I’LL EAT WHEN I’M DEAD, with The Big Thrill:
What do you hope readers will take away from this book?
A new understanding of the pressures that modern women face every single morning when they get dressed—and of course, the satisfaction of having been wildly entertained.
How does this book make a contribution to the genre?
I’LL EAT WHEN I’M DEAD is a complex and highly contemporary entry into the mystery genre that subverts expectations at every turn, and uses the conventions of women’s fiction—romance, high fashion, makeover montages, etc—to distract and charm the reader as the mystery is revealed.
Was there anything new you discovered, or surprised you, as you wrote this book?
I spent a great deal of time researching the apparel and beauty industries and was shocked to discover that beauty products aren’t regulated in any way by the FDA, a fact that became a central part of the book’s plot.
No spoilers, but what can you tell us about your book that we won’t find in the jacket copy or the PR material?
The founding of the book’s primary setting, a fashion magazine called RAGE Fashion Book, was modeled on Helen Gurley Brown’s original takeover of Cosmopolitan magazine.
What authors or books have influenced your career as a writer, and why?
I’ve always loved twentieth-century writers who have more words than they know what to do with, a spectrum that stretches from Elizabeth Bishop’s poetry to Bret Easton Ellis’ prose nightmares. I’m highly influenced by midcentury camp classics like Jacqueline Susann’s Valley of the Dolls and Patrick Dennis’ Auntie Mame, and in the more contemporary genre, I have loved modern updates on women’s fiction, like Crazy Rich Asians by Kevin Kwan, Only Ever Yours by Louise O’Neill, and The Vegetarian by Han Kang.
*****
Barbara Bourland lives in Baltimore, MD. I’ll Eat When I’m Dead is her first novel. Formerly, she was a freelance writer for Forbes Traveler, Condé Nast Digital’s Concierge.com, and a web producer for O, The Oprah Magazine and OWN, The Oprah Winfrey Network.
To learn more about Barbara, please visit her website.
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I’LL EAT WHEN I’M DEAD: A NICHE INTERVIEW WITH AUTHOR BARBARA BOURLAND
August 4, 2017
CaptureHave you ever had one of those totally magical experiences when you’re killing time at Barnes & Noble and you spot a book with an intriguing cover and you pick it up and you read the first goddamn sentence and you immediately have to stand in one place and hoover up as much of the story as you possibly can?
That was me last month when I seized upon Barbara Bourland’s absurdly well-crafted debut novel, I’ll Eat When I’m Dead. It’s an anti-capitalist satirical high-wire act masquerading as fluffy Women’s Fiction – with a capital W and F – and I could not get enough of the damn thing.
The story begins with the suspicious death of wealthy heiress Hillary Whitney, a senior editor at the prestigious RAGE Fashion Book. (Think Vogue, but with an aggressively pro-labour bent.) Hillary’s longtime friend and fellow editor, Cat Ono, is left to unravel the mystery of her colleague’s death – all while contending with an international beauty industry conspiracy and the rapid death of publishing as we know it.
Bourland was generous enough to geek out with me via e-mail about her book’s philosophy on feminism and Marxism and WASP-y dilettantes. Check out her answers below!
Generally when I see the fashion world portrayed in popular media, creators are either providing full-throated glorification or else satirizing the industry in a way that’s disrespectful of women’s intelligence. I’ll Eat When I’m Dead strikes a sort of middle ground I’d never encountered before, with these very capable and very intelligent women deriving real enjoyment from their work while running up against the dark, sticky bits of the industry. What was your thinking behind that approach? Were there any particular narratives or tropes you were looking to challenge or deconstruct?
I agree wholeheartedly that we don’t necessarily see a lot of nuanced portrayals of the world of fashion. Fashion as a verb, not just a noun; to make, to fashion yourself. When women talk about clothing, and our appearances, there are a lot of externalities at play. Cost, time, perception, culture, context, ethics, convenience, and of course messaging, advertising, etc. I personally don’t have a way to write about fashion that doesn’t process all of those things at once. The approach of I’ll Eat When I’m Dead is simply that of both: fashion is both fun and absurd. It’s both meaningful and a waste of time. It’s good for you and it’s bad for you. It creates jobs and it destroys economies. It’s amazing and brilliant and it’s incredibly fucking dumb. Think of the Vetements DHL t-shirt. Hilarious, genius, stupid, offensive, all at once, and now if you wear one, it’s a cultural artifact, a walking anecdote.
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As for the challenging or subverting narratives—which in this case would be the standards of women’s fiction as I’ll Eat When I’m Dead is a big pink book—I’m trying to deal with subject areas that are unique to women, while taking into account the particular contexts those subject areas hold. There’s no reason not to. Fiction is free in that way. And I’m not the first. IMHO, Confessions of a Shopaholic is a totally hilarious anti-capitalist manifesto. Each chapter begins with a threatening letter from her bank. It’s not unconscious.
Cat’s locked in this eternal struggle to transform her fashion career into something more edifying – bringing feminism to the masses, talking about labour rights on the red carpet, hoping against hope that they don’t fuck up the Sylvia Plath shoot. In the process, though, she ends up taking part in a lot of things she finds destructive and humiliating. Is there a way to bring feminism into fashion? Or, at the very least, is there a way to defend femininity without literally being like, “Spending two hours a day on your makeup routine will empower you!”
You can defend it — just maybe not for profit? We are constantly being sold feminism. Every headline, print or digital or social media, is a kind of sale on behalf of an advertiser. Yet I honestly don’t know if feminism is something we can buy, especially when it comes to our appearances. I’m leaning towards no. Obviously [spoiler alert] Cat, even as smart as she is, with everything that she has going for her, is incapable of experiencing that level of for-profit self-fashioning without suffering. The more she participates, the sicker she gets, and at the end of the book she’s made the extremely rash decision to work for a four-year-old media company helmed by teenagers, and she has a full-blown eating disorder, and she goes to live with her parents. It’s not a happy ending.
On the other hand, fashion’s effects are a bell curve, because when I get dressed and put on makeup, there’s always a theme, a kind of costume theme, a visual narrative, and that feels like self-expression. It feels like art. It feels good. But once you approach the top of the bell, it turns to quicksand, very very fast… that’s a hideously mixed metaphor, but I hope you understand what I mean.
How long did it take you to land on that perfect, perfect first sentence?
It was not impossible for a thirty-seven-year-old woman to starve to death in Manhattan, less than a mile from the nearest Whole Foods, though it was unusual.
I think it was the structural edit. So I guess the technical answer is almost four years, which is the distance from when I first wrote out the idea for the book (followed immediately by two years of not working on it at all, then a year of writing it and months in edits) to the writing of that sentence. The dead body was not originally on the first page. But when I did finally write it, that whole prologue was drafted in an hour, and I don’t think it changed very much.
In the world you’ve created, RAGE is single-handedly leading a worldwide charge to promote “ethical” clothing made by living-wage workers – mostly, it seems, through Paula’s sheer force of will. Is there a parallel social movement today, or is anti-sweatshop activism obsolete in a time when Forever 21 sells jeans for three bucks apiece and nobody bats an eyelash?
This is such a big question, so I’ll do my best to answer efficiently, but I think it has a ton of facets.
First, as to the parallel: no. Margot and Paula and RAGE are an absolute fantasy of mine — though of course, I’ve said this before, I’m so cynical that even my fantasies are failures. I’d say the real world is quite literally the opposite. Broadly, media properties dependent on advertising revenue that do not consider themselves news organizations — which is to say, nearly every magazine and website — tend to avoid writing about topics sensitive to their advertisers. This is capitalism. Media is a business. Culture is a business. Everyone who works in media, especially women’s media, lives in that compromise. I think that answers your second question a bit further — Cat, as you pointed out, is locked in that compromise, though only visually, because it’s more fun that way.
Outside of anything that could be considered parallel to RAGE (by audience, prestige, circulation, etc.), there are absolutely many organizations that are actively attempting to regulate and monitor all aspects of the garment industry. Fashion Revolution, The Fair Labor Association, and Project Just are examples, though all three have different missions.
Capture
Finally, no, I don’t think this kind of activism is obsolete. I don’t think any kind of activism is obsolete. You’re the one who has to live with yourself, you know? It matters what kind of person you are, and what kind of choices you make. I’m not religious, but I do believe that very very firmly. However, I wouldn’t necessarily call what RAGE is doing in the novel “activism.” It’s a branding strategy from a large, privately owned corporation, to apply the core tenets of Marxism atop a capitalist economy that runs on images of women’s bodies. That’s the joke — not a funny ha-ha joke, but that’s the narrative of the book.
I noticed, too, that many of the characters engage with RAGE’s ethics mission in a way that feels very out of touch – i.e., Lou’s wonderful yogic cleansing elephant sanctuary in Nah-miii-biii-ah. Is there a point at which that kind of activism just loses efficacy by virtue of the privileged people leading the charge?
The failures of RAGE aren’t due to an inability to advocate effectively for their mission. That failure is due to the realities of how magazines make money, which is to say, that they don’t make any — not any more. Magazines as we know them became an industry while my grandmother was alive, and they will die off in my lifetime. Advertising-based revenue is being drastically transformed at this very moment. And if magazines don’t make money from or for their advertisers, then they lose the power to shape culture by shaping economies.
As for Lou specifically — she’s a dilettante who is trying to fit in. She is mimicking the values of people whose respect she would like to have, but they’re not her own actual homegrown values. Yet everyone does this in some way or another, and I think the efficacy of the impact of any argument, yes, does depend on the issue or the person delivering it.
Because beyond a certain threshold, we’re all too privileged, we’re all too out of touch, we’re all too absurd. To someone working in the garment industry in Bangladesh, there’s no difference between you or me or Lou. There’s a lot of ways to be a dilettante, to be an insincere person… or to accuse someone of being a dilettante, or of being insincere… I think it all depends on who’s talking and who’s looking.
And of course that is a distraction from the real problem, which is just the financial system in which we live – capitalism – pitting us all against each other, making us rats in a cage who fight over the authenticity of who is authorized to complain about the flavor of the pellets. And all the while the cage is growing smaller and smaller. Lou is meant as a deeply hilarious, outsize version of that push and pull of what’s authentic and what’s not. Like everybody else in the book she wants to lead an authentic life. And I think she is so, so funny. I would happily go on vacation with her. But I wouldn’t want her to be my mother.
Cat’s an interesting protagonist in that she’s not quite an outsider – her family’s very wealthy, she’s had a world-class education, she speaks six languages – but there’s juuuuuuust enough separating her from the WASP-y American upper class that she feels persistently out of place. She moves between worlds a lot. What is her code-switching meant to reflect?
That everybody feels like an outsider. Everybody. Absolutely everybody. We are all trying to fit in, all the time. We are all trying to find our place in the world, especially women; we have been conditioned to believe that our appearances are paramount to our success on this planet, and that’s an idea we just can’t seem to shake, no matter how hard we try.
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JENNY August 4, 2017 at 12:47 pm REPLY
im going to buy the book now, thank you! looks so interesting
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ALLEGRA August 4, 2017 at 2:08 pm REPLY
whoaaaaaa DEFINITELY gonna check this one out
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Print Marked Items
Bourland, Barbara: I'LL EAT WHEN I'M DEAD
Kirkus Reviews.
(Mar. 15, 2017):
COPYRIGHT 2017 Kirkus Media LLC
http://www.kirkusreviews.com/
Full Text:
Bourland, Barbara I'LL EAT WHEN I'M DEAD Grand Central Publishing (Adult Fiction) $27.00 5, 2 ISBN: 978-1-
4555-9521-1
When the beautiful Hillary Whitney is found dead, her co-workers smell a rat, but hunting for clues in stilettos isn't all
it's cracked up to be.Hillary is found dead--of starvation, no less--in a locked workroom of the New York City fashion
mag RAGE Fashion Book, and her co-workers are shocked, especially her close friend and RAGE's senior editor,
Catherine "Cat" Ono. While her death isn't officially labeled murder, Detective Mark Hutton wants to dig deeper,
smelling a career maker, and enlists Cat's help. Sparks fly between the two but quickly cool after a sting goes south,
with Cat as bait. If Cat and her friend Bess Bonner, the magazine's associate editor, thought they'd seen enough death,
they'd be wrong. After the fallout from the sting, Cat and Bess, in an attempt at damage control, are remade as the
glam faces of RAGE, and the endless photo shoots, appearances, and dresses so tight they have to be sewn on are only
relieved by alcohol and drugs, of which there are plenty. Hutton becomes increasingly alarmed by their behavior, and
it looks like a RAGE employee has her own agenda and will kill to achieve it. Bourland's delightfully snarky (with
names such as Whig Beaton Molton-Mauve Lucas) debut leans heavily on satire, poking razor-sharp fun at the beauty
industry and the cutthroat world that Bess and Cat inhabit, and some scenes are laugh-out-loud funny: keep an eye out
for the makeover Cat and Bess give two female police officers for an undercover job. However, for all the outrageous
(and eye-opening) focus on makeup, beauty, fashion, and, of course, the desire to be thin, there are tantalizing
glimpses of the vulnerability and insecurities beneath the surface, especially with Cat, who longs for her home in
Brussels, the smell of her mother's horses, and freedom from the constraints that are put on women in the name of
beauty. Death by beauty was never so much fun.
Source Citation (MLA 8th
Edition)
"Bourland, Barbara: I'LL EAT WHEN I'M DEAD." Kirkus Reviews, 15 Mar. 2017. General OneFile,
go.galegroup.com/ps/i.do?
p=ITOF&sw=w&u=schlager&v=2.1&id=GALE%7CA485105214&it=r&asid=fff357eec1d78e197b43de5cfd22cb32.
Accessed 4 Oct. 2017.
Gale Document Number: GALE|A485105214
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I'll Eat When I'm Dead
Annie Bostrom
Booklist.
113.15 (Apr. 1, 2017): p24.
COPYRIGHT 2017 American Library Association
http://www.ala.org/ala/aboutala/offices/publishing/booklist_publications/booklist/booklist.cfm
Full Text:
I'll Eat When I'm Dead.
By Barbara Bourland.
May 2017. 336p. Grand Central, $27 (9781455595211); e-book, $13.99 (9781455595228).
When her boss and longtime friend, Hillary Whitney, died last spring, alone in a sad, windowless room in the RAGE
fashion magazine offices, Cat Ono suspected something beyond the cardiac arrest caused by Hillary's excessive
thinness that the investigation ruled. Months later, Detective Mark Hutton is cracking the case back open, starting with
a surprise interview with Cat. His handsomeness, charm, and surprisingly good style certainly help smooth over
prickly Cat's annoyance that the NYPD bungled things the first time. Details behind Hillary's death are revealed
merely halfway through the book, before Cat's job at RAGE takes a major turn, which she doesn't handle well, and
further, occasionally unwieldy intrigue unfurls. Former magazine writer and web producer Bourland fills her debut
with terrific characters--Cat especially is wonderfully weird and well dimensioned--and a heaping helping of froth and
gloss that will turn readers into industry insiders. Delightfully, playfully skewering the fashion and beauty industries,
this is like The Devil Wears Prada (2003) with more feminism, plus murder.--Annie Bostrom
Bostrom, Annie
Source Citation (MLA 8th
Edition)
Bostrom, Annie. "I'll Eat When I'm Dead." Booklist, 1 Apr. 2017, p. 24+. General OneFile, go.galegroup.com/ps/i.do?
p=ITOF&sw=w&u=schlager&v=2.1&id=GALE%7CA491487867&it=r&asid=4eab98ff00228a1665ab5d61ffa22f98.
Accessed 4 Oct. 2017.
Gale Document Number: GALE|A491487867
---
10/4/2017 General OneFile - Saved Articles
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I'll Eat When I'm Dead
Publishers Weekly.
264.12 (Mar. 20, 2017): p52.
COPYRIGHT 2017 PWxyz, LLC
http://www.publishersweekly.com/
Full Text:
I'll Eat When I'm Dead
Barbara Bourland. Grand Central, $27 (336p)
ISBN 978-1-4555-9521-1
In her debut, Bourland attempts to update The Devil Wears Prada and kick it up a notch with the story of a thoroughly
modern assistant editor at a Vogue-like fashion magazine who teams up with an NYPD detective to solve a murder
mystery. The action begins when editor Hillary Whitney's body, in Dior pumps, is discovered on the floor of a Rage
Fashion Book workroom. Police conclude she died from a heart attack caused by extreme dieting, but they reopen the
case after seeing a cryptic message she sent her brother. Det. Mark Sutton interviews Hillary's silk-and-leather-clad
friend and assistant, Flemish-Japanese Cat Ono, prompting Cat to try to dig up more about Hillary's untimely demise.
As 'Rage struggles to compete against online startup Mania, Cat assists Hillary's replacement (the ambitious socialite
Lou), while tracking Hillary's designer eye drops to an upscale Brooklyn cosmetics shop, then joining forces with
friends and the police to uncover the shop's secrets. Bourland narrates at a quick New York City tempo, detailing
perks, personal connections, and property values, both satirizing and celebrating fashion and feminism. Will the hot
cop and the cool fashionista hook up? Can Rage pivot to adjust to a changing market? Can its employees pivot without
ruining their stilettos? Do crimes committed by the cosmetics firm go beyond overcharging? The writing is stylish
even when the answers are obvious. (May)
Source Citation (MLA 8th
Edition)
"I'll Eat When I'm Dead." Publishers Weekly, 20 Mar. 2017, p. 52. General OneFile, go.galegroup.com/ps/i.do?
p=ITOF&sw=w&u=schlager&v=2.1&id=GALE%7CA487601744&it=r&asid=a02b1800f640f680f5614a08c8cd5b4e.
Accessed 4 Oct. 2017.
Gale Document Number: GALE|A487601744
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#BOOKREVIEW: I’LL EAT WHEN I’M DEAD BY BARBARA BOURLAND
JUNE 22, 2017 / LEAVE A COMMENT
i'll eat when i'm deadSummary:
Every weekday morning, as the sun rose above Sixth Avenue, a peerless crop of women-frames poised, behavior polished, networks connected, and bodies generally buffed to a high sheen-were herded by the cattle prod of their own ambition to one particular building. They’re smart, stylish, and sophisticated, even the one found dead in her office.
When stylish Hillary Whitney dies alone in a locked, windowless conference room at the offices of RAGE Fashion Book, her death is initially ruled an unfortunate side effect of the unrelenting pressure to be thin. But Hillary’s best friend and fellow RAGE editor Catherine Ono knows her friend’s dieting wasn’t a capital P problem. If beauty could kill, it’d take more than that.
When two months later, a cryptic note in Hillary’s handwriting ends up in the office of the NYPD and the case is reopened, Det. Mark Hutton is led straight into the glamorous world of RAGE and into the life of hot-headed and fiercely fabulous Cat, who insists on joining the investigation. Surrounded by a supporting cast of party girls, Type A narcissists and half- dead socialites, Cat and her colleague Bess Bonner are determined to solve the case and achieve sartorial perfection. But their amateur detective work has disastrous results, and the two ingénues are caught in a web of drugs, sex, lies and moisturizer that changes their lives forever.
Viciously funny, this sharp and satirical take on the politics of women’s bodies and women’s work is an addictive debut novel that dazzles with style and savoire faire.
Review:
For some reason, I really wanted to like this book. Even though the beginning started off slow for me, I tried convincing myself not to give up and to stay invested. I liked the idea of following women who worked for a fashion magazine, but it was quickly evident that they weren’t going to be my cup of tea. I held on until about halfway through, but the chapters seemed to drag on and there were so many unnecessary plot points that I had to start speed reading. The ending seemed a bit all over the place and it was just too hard to like any of the characters and to really focus on any particular storyline due to the frenzied writing. Interesting premise, but overall fell flat for me.
2 stars
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