Every kitchen should be stocked with this hilarious book—provided readers can make room amid the mess.
There’s no expiration date on this timeless humor.
In her latest book, Chast (Can’t We Talk About Something More Pleasant?, 2014) pairs up with fellow New Yorker cartoonist Katzenstein to “kvetch about kitchens.” Like many, Chast occasionally wishes she had a better kitchen. Then again, she writes, “Sometimes when I think about super-fancy, Martha-Stewartized kitchens with their giant stoves and refrigerators…I start to feel upset! I can hear the voices of my lefty grandfathers.” One of them is seen angrily wagging his finger: “Ziss is capitalism run amok! Nobody should hev a hunderd deeshtowlz when some pipple do not hev one deeshtowl!” The other grandfather, a look of worry on his face, chimes in: “Oy, so true.” Katzenstein adds: “Admittedly I’m a thirty-four-year-old man who lives alone, but I do think I could probably splurge on having more than three bowls, zero plates, and one cheap scary pan.” Among the “fun” quirks of his kitchen: a freezer door that opens when he closes the fridge door. “Days later, when I open the freezer, I find what looks like the faces of Indiana Jones’ enemies who looked directly at the Ark.” His renderings of skull-like formations, mouths agape, prove it. Every page of the cartoonists’ colorful work is full of funny observations, including an “undersink cabinet of doom” topped by the words “Abandon all hope, ye who enter here.” There’s the Museum of Too Many Teas (with a Beige Horizons flavor), the Tragic Pantry (and its Forgotten Poet Sardines), and a drawing that shows the “archaeology of a sink” (the oldest layer is “Precambrian dishes”). Chast imagines Simone de Beauvoir and Jean-Paul Sartre bickering over chores. De Beauvoir: “Is there a specific reason you stack the dishes the way you do?” Sartre: “Oui.” And, of course, there’s mismatched Tupperware. Katzenstein likens missing lids to missing socks. He draws a lid with an arm wrapped around a sock as they admire a sunset. “Wherever they all are,” he writes, “I wish them well.”
Every kitchen should be stocked with this hilarious book—provided readers can make room amid the mess.Pub Date: Oct. 6, 2026
ISBN: 9781639735181
Page Count: 192
Publisher: Bloomsbury
Review Posted Online: yesterday
Kirkus Reviews Issue: July 1, 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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