Deeply insightful investigations of major works.
The Nobel laureate as professor.
Complementing studies of Morrison as a writer and an editor, this volume focuses on her courses on the American canon at Princeton, including teaching materials, course descriptions, lectures, and a syllabus. A helpful introduction and notes are provided by Morrison’s teaching colleague, Claudia Brodsky. Morrison aimed to guide students through close readings of 19th- and 20th-century American fiction “to discover what impact notions of racial hierarchy, racial exclusion, and racial vulnerability and availability have had on the literature.” How, she asks, has the concept of whiteness been “built/invented/produced,” and how has it served the literary imagination of white authors in their exploration of American identity? Among the works she discusses are Edgar Allan Poe’s The Narrative of Gordon Pym, Herman Melville’s Moby-Dick, Gertrude Stein’s Three Lives, Willa Cather’s Sapphira and the Slave Girl, Ernest Hemingway’s To Have and Have Not and Garden of Eden, Carson McCullers’ The Heart Is a Lonely Hunter, Harriet Beecher Stowe’s Uncle Tom’s Cabin, William Styron’s The Confessions of Nat Turner, Mark Twain’s Huckleberry Finn, and Saul Bellow’s Henderson the Rain King. Morrison reiterates in each lecture the uses that white authors make of the Africanist character, Africanist idiom, and Africanist narrative. Recurring themes include the surrogate self as enabler: that is, the use of Black people to aggrandize or explore the white self (here, Morrison notes that the enabling role of Africanism for men becomes disabling for women); the use of Black people to comment on the qualities and characteristics of non-Black people; blackness as a means by which chaos is negotiated through its association with anarchy, disorder, and illegality; and the use of race as a disguise for other types of divisions, such as class and gender.
Deeply insightful investigations of major works.Pub Date: Feb. 3, 2026
ISBN: 9780593802748
Page Count: 240
Publisher: Knopf
Review Posted Online: Oct. 10, 2025
Kirkus Reviews Issue: Nov. 15, 2025
BOOK REVIEW
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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