An earnest, if disjointed, reflection on life’s end and its aftermath.
Hagood explores the nature of life after death in this unconventional collection of prose poems about grief.
“All I want to do since losing my father is molt in my nest,” the author begins this book, which she later describes as a “séance.” In the book’s first section, “Death as the Ulysses of Desperate Housewives,” she tells of grief manifesting as compulsive Google searches about ghosts, binge-reading about death, and translating foreign recipes, then cooking while listening to audiobooks. She makes a list of talking points “in case I ever get to speak to my father again. You never know,” and contemplates how writing can be a kind of time machine, returning her to when her dad was still alive. The second section, “Death as the Beginning of Dracula,” backtracks to her father’s rapid deterioration from cancer: “He’s unconscious, one cyclopean eye ajar but unseeing, still green but clouded,” she reports. His mortality also prompts contemplation about the author’s mother’s eventual demise, then her own: “What if I were to see death as the most gorgeous part of life? Or, more particularly, as something audacious that exceeds life?” she wonders. In the third section, “Death as Furiosa,” set after her dad’s death, Hagood takes a broader look at the world around her, including wars abroad, neighborhood violence, and online vitriol. Throughout, she incorporates philosophy, literature, pop culture, and SF references—from Cicero and Ray Bradbury to Blade Runnerand the Star Warssaga’s Yoda—into her wide-ranging examinations. As a result, the narrative can feel overly scattered at times, veering from film commentary to parenting anecdotes to the consequences of a viral climate change tweet. Hagood’s observations on the parallels between writing and mourning are particularly astute in lines such as “all writers are mediums, talking daily with the deceased, resurrecting, bringing back ghost truths from the underworld.” Her prose poems are equally creative in their descriptions, such as one of New York City as “a dead cement isle” where “commuters step over people sleeping on the subway platform like they were plastic bags.”
An earnest, if disjointed, reflection on life’s end and its aftermath.Pub Date: Jan. 1, 2025
ISBN: 9781963908503
Page Count: 116
Publisher: Spuyten Duyvil
Review Posted Online: Nov. 13, 2024
Review Program: Kirkus Indie
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
A frank and funny but uneven essay collection about neurodiversity.
An experimental, illustrated essay collection that questions neurotypical definitions of what is normal.
From a young age, writer and comedian Myers has been different. In addition to coping with obsessive compulsive disorder and panic attacks, she struggled to read basic social cues. During a round of seven minutes in heaven—a game in which two players spend seven minutes in a closet and are expected to kiss—Myers misread the romantic advances of her best friend and longtime crush, Marley. In Paris, she accidentally invited a sex worker to join her friends for “board games and beer,” thinking he was simply a random stranger who happened to be hitting on her. In community college, a stranger’s request for a pen spiraled her into a panic attack but resulted in a tentative friendship. When the author moved to Australia, she began taking notes on her colleagues in an effort to know them better. As the author says to her co-worker, Tabitha, “there are unspoken social contracts within a workplace that—by some miracle—everyone else already understands, and I don’t….When things Go Without Saying, they Never Get Said, and sometimes people need you to Say Those Things So They Understand What The Hell Is Going On.” At its best, Myers’ prose is vulnerable and humorous, capturing characterization in small but consequential life moments, and her illustrations beautifully complement the text. Unfortunately, the author’s tendency toward unnecessary capitalization and experimental forms is often unsuccessful, breaking the book’s otherwise steady rhythm.
A frank and funny but uneven essay collection about neurodiversity.Pub Date: Oct. 28, 2025
ISBN: 9780063381308
Page Count: 272
Publisher: Morrow/HarperCollins
Review Posted Online: Sept. 12, 2025
Kirkus Reviews Issue: Oct. 15, 2025
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