Academic yet accessible, with special appeal to avid readers of classic lit.
A history of the 20th-century novel that examines, contextualizes, and draws connections among work by more than 30 authors.
Frank, editorial director of New York Review Books, presents his essays in three parts, chronologically ordered. The text, he notes, is a working example of “descriptive criticism, as practiced by such critics as Clement Greenberg, Randall Jarrell, Pauline Kael, Elizabeth Hardwick, and Greil Marcus.” Following a preface about Dostoyevsky’s Notes From Underground (1864), which “resembles nothing so much as a swept-up heap of broken glass,” the first section encompasses works from the last few decades of the 1900s through the end of World War I, including titles by Wells, Proust, Joyce, and Thomas Mann, whose book The Magic Mountain (1924) Frank deems “a new form of the twentieth-century novel, a form born of the war whose new significance could only be fully appreciated after the war.” The middle, beginning with Mrs. Dalloway, covers a “period of astonishing invention.” In the final section, the author examines the novels of the mid- to late 1900s, from Things Fall Apart to One Hundred Years of Solitude and beyond. Frank is a dogged enthusiast whose optimism almost always wins out, often for reasons related to positive emotions. Writing about Kafka’s Amerika, for example, he comments, “The book is one ongoing disaster, yet much of it is oddly cheery in tone.” Frank’s curiosity and scope are both admirable, and his prose style is consistently punchy, despite some repetition—e.g., “Kipling was a restless man”; “Thomas Mann…is a restless man”; D.H. Lawrence was the “most restless of writers.” The most controversial thing about this book may be the appeal that it makes for its own existence. While it may strike some as gratuitous, devoted literature fans of canonical literature will relish it.
Academic yet accessible, with special appeal to avid readers of classic lit.Pub Date: Nov. 19, 2024
ISBN: 9780374270964
Page Count: 480
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 10, 2024
Kirkus Reviews Issue: Aug. 15, 2024
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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