A potent lesson in empathy that is all the more powerful for never presenting itself as a lesson.

SOMEWHERE IN THE UNKNOWN WORLD

A COLLECTIVE REFUGEE MEMOIR

A “collective refugee memoir” that serves as an object lesson in the utility of creative nonfiction.

In the prologue, Yang describes wanting to write this book years ago but feeling like she was not yet ready as a writer. Whether she was correct in her self-assessment then, she’s certainly up to the job now. This is a work of technical as well as empathetic mastery. The narrative consists of a series of stories of refugees who have ended up in Minnesota, Yang’s home state. (The author is a Hmong refugee who was born in a Thai refugee camp after her parents fled Laos.) Her subjects’ origins are global but cluster primarily in Africa, the Middle East, and Southeast Asia. The stories are as powerful as they are unique, and Yang makes the wise decision to get out of the way and let her subjects express themselves. For example, Awo talks about her weekly calls home to Somalia: “Every Saturday, in those conversations, they become a full family: a mother, a father, and their children, voices celebrating their gratitude for each other’s safety and small successes. Each is reminded of the immense love in their lives, a love that survives unimaginable distance.” Throughout, the author’s straight-ahead, declarative sentences can’t conceal that her presence is all over this book. Her immersively descriptive language is reminiscent of her two previous memoirs, The Latehomecomer and The Song Poet, and her delicate touch allows us to see what is right in front of us: luck. If we are not refugees, we might have been. If our lives have been relatively stable, they may not remain so. “The people in this book are people going through this storm with us all on this very night,” she writes near the end. She is addressing her own children, but she is speaking to the rest of us as well.

A potent lesson in empathy that is all the more powerful for never presenting itself as a lesson.

Pub Date: Nov. 10, 2020

ISBN: 978-1-250-29685-6

Page Count: 272

Publisher: Metropolitan/Henry Holt

Review Posted Online: Aug. 30, 2020

Kirkus Reviews Issue: Sept. 15, 2020

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A sweet-and-sour set of pieces on loss, absurdity, and places they intersect.

HAPPY-GO-LUCKY

Sedaris remains stubbornly irreverent even in the face of pandemic lockdowns and social upheaval.

In his previous collection of original essays, Calypso (2018), the author was unusually downbeat, fixated on aging and the deaths of his mother and sister. There’s bad news in this book, too—most notably, the death of his problematic and seemingly indestructible father at 96—but Sedaris generally carries himself more lightly. On a trip to a gun range, he’s puzzled by boxer shorts with a holster feature, which he wishes were called “gunderpants.” He plays along with nursing-home staffers who, hearing a funnyman named David is on the premises, think he’s Dave Chappelle. He’s bemused by his sister Amy’s landing a new apartment to escape her territorial pet rabbit. On tour, he collects sheaves of off-color jokes and tales of sexual self-gratification gone wrong. His relationship with his partner, Hugh, remains contentious, but it’s mellowing. (“After thirty years, sleeping is the new having sex.”) Even more serious stuff rolls off him. Of Covid-19, he writes that “more than eight hundred thousand people have died to date, and I didn’t get to choose a one of them.” The author’s support of Black Lives Matter is tempered by his interest in the earnest conscientiousness of organizers ensuring everyone is fed and hydrated. (He refers to one such person as a “snacktivist.”) Such impolitic material, though, puts serious essays in sharper, more powerful relief. He recalls fending off the flirtations of a 12-year-old boy in France, frustrated by the language barrier and other factors that kept him from supporting a young gay man. His father’s death unlocks a crushing piece about dad’s inappropriate, sexualizing treatment of his children. For years—chronicled in many books—Sedaris labored to elude his father’s criticism. Even in death, though, it proves hard to escape or laugh off.

A sweet-and-sour set of pieces on loss, absurdity, and places they intersect.

Pub Date: May 31, 2022

ISBN: 978-0-316-39245-7

Page Count: 272

Publisher: Little, Brown

Review Posted Online: March 11, 2022

Kirkus Reviews Issue: April 1, 2022

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If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

THE 48 LAWS OF POWER

The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.

Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.

If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

Pub Date: Sept. 1, 1998

ISBN: 0-670-88146-5

Page Count: 430

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1998

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