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Shnayerson's fifth book was a collaborative biography of singer, actor and civil rights activist Harry Belafonte, titled My Song in 2011. In 2016, he wrote The Contender , an unauthorized biography of New York Governor Andrew Cuomo , [ 5 ] while his seventh book, BOOM: Mad Money, Mega Dealers, and the Rise of Contemporary Art was released in 2019.
Biographer Michael Shnayerson reports that critical assessment for the collection was positive, with Shaw widely identified as "one of America's best short story writers." [ 9 ] He cites New York Times critic Robert Gorman Davis, who wrote (August 26, 1946): "Irwin Shaw is a moral writer who conceives moral problems simply, feels them deeply ...
Biographer Michael Shnayerson identifies the story as one that "made him famous." [11] Critic Luther Ray Abel in National Review observes that the story "captures [the] fraught dynamic between the sexes well. The tale is dry, painfully cogent, and brief..." [12] New York Times critic Herbert Mitgang wrote:
Coal River: How a Few Brave Americans Took on a Powerful Company–and the Federal Government–to Save the Land They Love is a 2008 book by Michael Shnayerson. Coal River is a work of investigative journalism which describes an environmental controversy in southern West Virginia, where coal companies are using mountaintop removal mining. The ...
Biographer Michael Shnayerson reports that Shaw, impressed by the rendering of the incident, retreated to the restroom to furtively record notes from which he would develop the story. [ 2 ] "Then We Were Three" was declined by The New Yorker , a journal that had formerly published numerous short stories by Shaw.
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Biographer Michael Shnayerson reports that the collection was "overwhelmingly" acclaimed by critics when it first appeared confirming Shaw's reputation as an outstanding American writer. [2] New York Herald Tribune reviewer H. N. Doughty praised the "warmth of feeling, the heart, the humanity" that characterized the stories in the volume. [3]
Biographer Michael Shnayerson notes that Random House’s decision to capitalize on the release of the film adaption of the story tended to “cheapen” the literary critics’ perceptions of the 1957 short story collection. [8] [9]