A few great essays can’t save a collection that tends toward the sentimental.
Women and nonbinary authors reflect on the music of the late Sinéad O’Connor.
When Irish singer-songwriter O’Connor died in 2023 at age 56, the music world was thrown into a state of shock. O’Connor was a global celebrity, and had been since the 1990 release of her hit single “Nothing Compares 2 U”—a cover of a previously obscure Prince song—two years before she would memorably tear up a picture of Pope John Paul II on Saturday Night Live. Huber and Bayne’s book collects essays by women and nonbinary authors reflecting on the singer’s influence on their own lives. The anthology kicks off with a foreword by fellow musician Neko Case, well written but a bit unfocused. The essays that follow, each tied to a specific O’Connor song, are a mixed bag. Standouts include Sarah Viren, who examines “Black Boys on Mopeds,” and May-lee Chai, who uses “Jump in the River” as a starting point to explore her relationship with her mother. Madhushree Ghosh does a good job writing about discovering O’Connor’s music as a 20-year-old whose Indian peers can’t quite relate, while Brooke Champagne writes a stunning piece about abortion inspired by “Three Babies.” In an essay tied to “Jackie,” Zoe Zolbrod, recalling the time she and a group of friends listened to the song at a gathering, successfully captures the effect O’Connor had on her fans: “We didn’t care if the whole building came tumbling down. We wanted it to. In those first moments, she made us feel powerful enough not just to stand our ground, but to fly.” There are some gems here, but too many of the essays lack focus and descend into the maudlin.
A few great essays can’t save a collection that tends toward the sentimental.Pub Date: July 22, 2025
ISBN: 9781668078334
Page Count: 256
Publisher: One Signal/Atria
Review Posted Online: May 15, 2025
Kirkus Reviews Issue: June 15, 2025
BOOK REVIEW
BOOK REVIEW
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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