Longtime fans will recognize the hilarity, and newbies will appreciate the frank thoughtfulness.

PLEASE DON'T SIT ON MY BED IN YOUR OUTSIDE CLOTHES

ESSAYS

A funny, heartfelt, joyful third book from the 2 Dope Queens star and author of You Can’t Touch My Hair.

Separately, Robinson’s hot takes on life mostly hold their own, but when taken together, they create a satisfying, hilarious tapestry. Featuring the author’s own style, replete with abbreviated language (“Mother Naych” for Mother Nature) and hashtags (“#NoNewFriendsOrAcquaintancesOrWorldlyExperiences”)—which may not appeal to some readers—this steady-clip read provides us with an intimate setting that feels akin to a vibrant conversation with a friend, entertaining as it informs. Society’s pandemic helplessness and mishaps underlie several pieces, most of which will resonate with readers. In a related vein, the author examines the seemingly ever expanding commoditization of “self-care” in the bluntly titled chapter, “Self-Care Is Not a Candle and Therapy Is Not a Notebook: How We Are Doing the Most and the Absolute Least at the Same Damn Time.” Also at the forefront are Robinson’s current life status, as she tackles topics including running her own business, performative allyship (“if you really want a taste of what Blackness has to offer, look around you….Feel secondhand joy when you see a Black family having a good-ass time together. Listen to Black people in the workplace when they have really good ideas. Don’t save us. See us”), and the decision to not have children. It’s important, she notes, that “no matter what a woman chooses, everyone will refrain from judgment because choosing to be a mother and choosing to be childfree are both decisions worth celebrating because the celebration is in the fact that a woman chose the trajectory of her life.” Robinson also pens a love letter to her natural hair: “Full disclosh: I have 4A/B hair in the front third of my head while the rest is 4C and those mofos ain’t trying to work together.” Throughout, the robust prose moves smoothly, making for a thoroughly enjoyable reading experience.

Longtime fans will recognize the hilarity, and newbies will appreciate the frank thoughtfulness.

Pub Date: Sept. 28, 2021

ISBN: 978-0-593-18490-5

Page Count: 320

Publisher: Tiny Reparations

Review Posted Online: July 27, 2021

Kirkus Reviews Issue: Aug. 15, 2021

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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A virtuoso performance and an ode to an undervalued medium created by two talented artists.

A WEALTH OF PIGEONS

A CARTOON COLLECTION

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. 31, 2020

Kirkus Reviews Issue: Sept. 15, 2020

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