A vital playlist that hits all the right notes; readers will reach the end ready to hit repeat.

POP SONG

ADVENTURES IN ART AND INTIMACY

In this debut memoir, a writer and artist examines love and all of its complications through the lenses of art, literature, and her own life.

In her first full-length work of nonfiction, Pham, an inaugural Yi Dae Up fellowship recipient from the Jack Jones Literary Arts Retreat, thoughtfully collects a series of essays exploring themes of love, beauty, pain, trauma, art, and identity. Over the course of 11 pieces, Pham writes and rewrites her own story using her most honest memories alongside the lives and works of other artists and writers she admires. In "Blue,” she uses the writing of Rebecca Solnit, the artwork of Georgia O’Keeffe and Agnes Martin, and the beauty and allure of the American Southwest to narrate her professional burnout. In “Body of Work,” Pham interrogates the idea of pain—physical manifestations, potential for beauty, and increasing commodification—by analyzing Nan Goldin’s photography, the popularity of Tumblr, her tumultuous relationship with a high school boyfriend, and her subsequent sexual (mis)adventures. “I worry that in writing this down, I’m showing you the ways I made myself abject,” she confesses. “But it was useful before, and I’ve never liked the self-help books where the writer comes across as holier than thou, already healed and already recovered. I want to honor the girl I was, whose pain was real. It’s her I write for, too.” While each of the essays twists and turns from subject to subject, all of the material serves a purpose. Each curve in the collection leads readers to a fuller, more nuanced understanding of Pham’s unique perspective. In a manner reminiscent of contemporaries Leslie Jamison and Jia Tolentino, Pham seamlessly blends the personal and the cultural, the confessional and the critical, the cerebral and the sentimental, to create an exciting and imaginative memoir.

A vital playlist that hits all the right notes; readers will reach the end ready to hit repeat.

Pub Date: May 4, 2021

ISBN: 978-1-64622-026-7

Page Count: 288

Publisher: Catapult

Review Posted Online: March 12, 2021

Kirkus Reviews Issue: April 1, 2021

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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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