A pleasurable and well-researched journey into pop iconography.
A look at the complex, often serious world of emoji’s creators, gatekeepers, and enthusiasts.
This book by information-technology writer Houston (Empire of the Sum: The Rise and Reign of the Pocket Calculator, 2023, etc.) comes at the end of a sort of Cambrian Explosion for emoji: For much of the 2010s, thousands of tiny icons emerged on programs and smartphones. Each “emoji season,” as he shows, prompts heated debates over which images were and weren’t included. But Houston also uses emoji to explore a deeper story about how technologies become ubiquitous (or don’t), how they change communication, and what emoji says about our cultural blind spots. The beginnings of emoji are surprisingly difficult to pin down—various proprietary software dating to the ’70s had some version of the images—but by the 2000s a sizable vocabulary and a certain design consistency emerged from its native Japan and beyond. The Unicode Consortium, which decides which emoji are made available, has had to make countless decisions, most recently around matters of inclusion and bias—its default yellow (read: white) faces now include multiple skin tones, and it addressed biases in depictions of professions as exclusively male (construction worker) or female (dancer). Houston can get deep in the weeds about the Unicode Consortium’s internal squabbles, which leaves less room for some other fascinating byways, like how emoji has impacted grammar and communication and why “stickers” and proprietary “celebrity ’moji,” designed to avoid Unicode’s strictures and turn a profit for their creators, have often fallen flat. Houston knows that any language whose mascot is a smiling poop pile can be treated only so seriously, so the text is charmingly filled with emoji as illustrations and within sentences, making it both a product of a new way of communicating as well as a study of it.
A pleasurable and well-researched journey into pop iconography.Pub Date: July 1, 2025
ISBN: 9781324075141
Page Count: 224
Publisher: Norton
Review Posted Online: April 4, 2025
Kirkus Reviews Issue: May 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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