This earnest record of emotions may inspire readers to look deeper at their own feelings.
Vikman’s debut collection of 100 brief poems both celebrates and laments his life.
The seemingly irrepressible Vikman shares joys and confesses to dark nights of the soul in brief meditations about infinity, pain, transgressions, society, redemption, frustration and, above all, love. He’s also a songwriter, and it shows. As a whole, these poems suggest what would happen if the romantic ideals of a Renaissance troubadour were expressed by a country-western singer. “The Shade Grey” begins with a familiar pop lament—“Who is there for the broken hearted / who can fix a heart smashed into a thousand pieces”—and ends with a depressed, wry acceptance that he’s now “an empty shell / of what once was a colorful human being / now there is only grey, grey, grey.” The volume’s verse is simple, mostly unrhymed and unornamented, as in “Wake Up,” the opening poem that ends with “you have to go thru / the darkness / in order to enjoy the sunshine.” Self-help advice abounds—“in order to have a better past / I have to start making it at this moment / cause the future is right now”—and the pep talks are sound: “be yourself, believe in what you want to / and you will be loved as the person you truly are!” Despite the author’s sincere approach, the verse shows little craft; it’s mostly free of poetic devices other than repetition, while careless typos (“I” is sometimes “i” for no particular reason, and likewise “you” is sometimes “u”) detract from the artistry. In fact, a few phrases may strike readers as commonplace, even trite.
This earnest record of emotions may inspire readers to look deeper at their own feelings.Pub Date: Nov. 15, 2012
ISBN: 978-1477239551
Page Count: 112
Publisher: AuthorHouseUK
Review Posted Online: March 13, 2013
Review Program: Kirkus Indie
A familiar format, but a timely reminder that cities are made up of individuals, each with their own stories.
Portraits in a post-pandemic world.
After the Covid-19 lockdowns left New York City’s streets empty, many claimed that the city was “gone forever.” It was those words that inspired Stanton, whose previous collections include Humans of New York (2013), Humans of New York: Stories (2015), and Humans (2020), to return to the well once more for a new love letter to the city’s humanity and diversity. Beautifully laid out in hardcover with crisp, bright images, each portrait of a New Yorker is accompanied by sparse but potent quotes from Stanton’s interviews with his subjects. Early in the book, the author sequences three portraits—a couple laughing, then looking serious, then the woman with tears in her eyes—as they recount the arc of their relationship, transforming each emotional beat of their story into an affecting visual narrative. In another, an unhoused man sits on the street, his husky eating out of his hand. The caption: “I’m a late bloomer.” Though the pandemic isn’t mentioned often, Stanton focuses much of the book on optimistic stories of the post-pandemic era. Among the most notable profiles is Myles Smutney, founder of the Free Store Project, whose story of reclaiming boarded‑up buildings during the lockdowns speaks to the city’s resilience. In reusing the same formula from his previous books, the author confirms his thesis: New York isn’t going anywhere. As he writes in his lyrical prologue, “Just as one might dive among coral reefs to marvel at nature, one can come to New York City to marvel at humanity.” The book’s optimism paints New York as a city where diverse lives converge in moments of beauty, joy, and collective hope.
A familiar format, but a timely reminder that cities are made up of individuals, each with their own stories.Pub Date: Oct. 7, 2025
ISBN: 9781250277589
Page Count: 480
Publisher: St. Martin's
Review Posted Online: Aug. 1, 2025
Kirkus Reviews Issue: Sept. 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
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