A memoir for those who want to laugh through the free fall of their own emotional roller coaster.
A humorous take on dread.
In her amusing graphic memoir, cartoonist Correll turns her emotional roller coaster into a literal, visual experience with her own amusement park of worries that she calls Anxietyland. Within this playful framework, she guides readers through her lifelong struggle with severe anxiety—there are attractions like the “worry-go-round,” “booze cruise,” “downward spiral,” and more, all culminating in finding the help that not only helps her manage the anxiety, but pushes her to do the work in confronting and living with it. To her credit, Correll uses the amusement park concept to dissect points in her life where her anxiety was holding her hostage from leading a fulfilling life. One panel shows Correll’s whimsical approach, as when her cat, Oliver, goes missing. “Why hasn’t he come home?” she thinks, her eyes full of worry, her mouth downturned. “What if he’s dead?” The subsequent image shows her pet peeking into the panel; the accompanying text reads, “Oliver (very much alive).” It’s one thing to read a memoir that breaks down episodes with the benefit of time and knowledge; it’s a completely different experience to see someone living through their depression while hanging on for dear life in “anxie-tea” cups. Readers who hold season passes to Anxietyland will be able to laugh along with the author, but this book will also benefit those coming to terms with a new or future anxiety diagnosis. These readers may, for the first time, be able to put their swirling emotions into a tangible context that makes more sense to them and others. That’s the beauty of Correll’s memoir: The book provides a comical medium lens that can open doors to understanding—rather than a door to the house of horrors.
A memoir for those who want to laugh through the free fall of their own emotional roller coaster.Pub Date: April 28, 2026
ISBN: 9781668004159
Page Count: 448
Publisher: Gallery Books/Simon & Schuster
Review Posted Online: Feb. 16, 2026
Kirkus Reviews Issue: March 15, 2026
An accessible, informative journey through complex issues during turbulent times.
Immersion journalism in the form of a graphic narrative following a Syrian family on their immigration to America.
Originally published as a 22-part series in the New York Times that garnered a Pulitzer for editorial cartooning, the story of the Aldabaan family—first in exile in Jordan and then in New Haven, Connecticut—holds together well as a full-length book. Halpern and Sloan, who spent more than three years with the Aldabaans, movingly explore the family’s significant obstacles, paying special attention to teenage son Naji, whose desire for the ideal of the American dream was the strongest. While not minimizing the harshness of the repression that led them to journey to the U.S.—or the challenges they encountered after they arrived—the focus on the day-by-day adjustment of a typical teenager makes the narrative refreshingly tangible and free of political polemic. Still, the family arrived at New York’s JFK airport during extraordinarily political times: Nov. 8, 2016, the day that Donald Trump was elected. The plan had been for the entire extended family to move, but some had traveled while others awaited approval, a process that was hampered by Trump’s travel ban. The Aldabaans encountered the daunting odds that many immigrants face: find shelter and employment, become self-sustaining quickly, learn English, and adjust to a new culture and climate (Naji learned to shovel snow, which he had never seen). They also received anonymous death threats, and Naji wanted to buy a gun for protection. He asked himself, “Was this the great future you were talking about back in Jordan?” Yet with the assistance of selfless volunteers and a community of fellow immigrants, the Aldabaans persevered. The epilogue provides explanatory context and where-are-they-now accounts, and Sloan’s streamlined, uncluttered illustrations nicely complement the text, consistently emphasizing the humanity of each person.
An accessible, informative journey through complex issues during turbulent times.Pub Date: Sept. 8, 2020
ISBN: 978-1-250-30559-6
Page Count: 192
Publisher: Metropolitan/Henry Holt
Review Posted Online: Aug. 17, 2020
Kirkus Reviews Issue: Sept. 1, 2020
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.
An erudite and artful, though frustratingly restrained, look at Old Testament stories.Pub Date: Oct. 19, 2009
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
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