A provocative appreciation of neglected writers from a leading critic.
Transitioning into a “post-literate” society.
“The sacred bones of a literary culture [are] being ground into dust by technology and AI and many other distractions,” writes essayist Allen. To help remedy this decay, she offers a set of appreciative essays on canonical European and Anglophone writers, focusing on the personalities of writers and how fictional and historical characters interact to offer lessons in living lives of beauty. Many of her writers—Samuel Butler, Somerset Maugham, Osbert Sitwell, and Ogden Nash, among others—achieved success despite hardship or criticism. “Light verse used to be a vital part of American culture, high and low,” Allen writes in her essay on Nash. Why has Sybille Bedford never escaped her status as “one of the twentieth century’s most attractive literary curiosities?” How can the plays of Horton Foote teach us that “we are all orphans wandering alone through life, and the consolations of community and family are fleeting at best?” The more you read these essays, the more you are convinced that there is something wrong with you: Distracted by modernity, you have lost grace and humor in the face of, writes Allen, “our Robespierrean practice of cancellation.” Most of Allen’s writers remain products of their own time, with their own prejudices and foibles. Can we truly get past Patricia Highsmith’s misanthropy? Can we forget Sitwell’s politics? Is Truman Capote anything other than the self-caricature he became? Many of these essays originally appeared in venues noted for their highly curated conservatism: the New Criterion, the Wall Street Journal, Christianity Today. Published over the past 25 years, they offer a road map to a reader unhappy with the way the world has turned out.
A provocative appreciation of neglected writers from a leading critic.Pub Date: Nov. 3, 2025
ISBN: 9781966218128
Page Count: 242
Publisher: Tivoli Books
Review Posted Online: Oct. 25, 2025
Kirkus Reviews Issue: Dec. 1, 2025
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
Sedaris at his darkest—and his best.
In which the veteran humorist enters middle age with fine snark but some trepidation as well.
Mortality is weighing on Sedaris (Theft by Finding: Diaries 1977-2002, 2017, etc.), much of it his own, professional narcissist that he is. Watching an elderly man have a bowel accident on a plane, he dreaded the day when he would be the target of teenagers’ jokes “as they raise their phones to take my picture from behind.” A skin tumor troubled him, but so did the doctor who told him he couldn’t keep it once it was removed. “But it’s my tumor,” he insisted. “I made it.” (Eventually, he found a semitrained doctor to remove and give him the lipoma, which he proceeded to feed to a turtle.) The deaths of others are much on the author’s mind as well: He contemplates the suicide of his sister Tiffany, his alcoholic mother’s death, and his cantankerous father’s erratic behavior. His contemplation of his mother’s drinking—and his family’s denial of it—makes for some of the most poignant writing in the book: The sound of her putting ice in a rocks glass increasingly sounded “like a trigger being cocked.” Despite the gloom, however, frivolity still abides in the Sedaris clan. His summer home on the Carolina coast, which he dubbed the Sea Section, overspills with irreverent bantering between him and his siblings as his long-suffering partner, Hugh, looks on. Sedaris hasn’t lost his capacity for bemused observations of the people he encounters. For example, cashiers who say “have a blessed day” make him feel “like you’ve been sprayed against your will with God cologne.” But bad news has sharpened the author’s humor, and this book is defined by a persistent, engaging bafflement over how seriously or unseriously to take life when it’s increasingly filled with Trump and funerals.
Sedaris at his darkest—and his best.Pub Date: May 29, 2018
ISBN: 978-0-316-39238-9
Page Count: 288
Publisher: Little, Brown
Review Posted Online: Feb. 19, 2018
Kirkus Reviews Issue: March 1, 2018
PROFILES
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