A resplendent collection from a writer who never disappoints.
Urbane essays in pursuit of a self.
Reprising themes he explored in his most recent collection of nonfiction, Alibis (2011), novelist, memoirist, and cultural critic Aciman, at 70, offers elegant meditations on time and memory, longing and desire, being and becoming. Whether writing about his childhood in Alexandria, visiting Rome with Freud’s ghostly presence, searching for Dostoevsky’s 19th-century milieu in St. Petersburg, reading Proust, or watching Éric Rohmer’s movies, Aciman finds himself “caught between remembrance and anticipated memory.” The feeling is a swirl of moods he calls “irrealist,” where “boundaries between what is and what isn’t, between what happened and what won’t,” disappear, and where “what might never, couldn’t, shouldn’t, wouldn’t possibly occur” may well happen. Nostalgia imbues many essays with ruefulness, if not regret. In Rome, he discovered “the birthplace of a self I wished to be one day and should have been but never was and left behind and didn’t do a thing to nurse back to life again.” All of us, he writes, “seek a life that exists elsewhere in time, or elsewhere on-screen, and that, not being able to find it, we have all learned to make do with what life throws our way.” Past and present, for him, are “continuously coincident,” and memories that have apparently vanished continue to exert their presence. Those memories include encounters with works of art—John Sloan’s portraits of New York in the 1920s, Monet’s Poppy Field, the “muted lyricism” of Corot’s French landscapes—that hover enticingly in his imagination. Art, writes Aciman, “sees footprints, not feet, luster, not light, hears resonance, not sound. Art is about our love of things when we know it’s not the things themselves we love.” Reminiscent of the writings of W.G. Sebald and Fernando Pessoa (both subjects of his essays), Aciman’s latest conveys with grace and insight his longing to apprehend “myself looking out to the self I am today.”
A resplendent collection from a writer who never disappoints.Pub Date: Jan. 19, 2021
ISBN: 978-0-374-17187-2
Page Count: 256
Publisher: Farrar, Straus and Giroux
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
IN THE NEWS
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
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