Creation of The Man Who Signed the City: Time Spent with Remarkable People, continues apace. At least, what passes for apace with me. I'm simulteanously revising text, researching typography and book design, mocking up covers, exploring publishing platforms, testing software, and pondering which model Tesla to buy with all the royalties that soon will be surging into my account.
That last one, not so much.
One of the profiles to be included is from 2012—essayist and cartoonist Tim Kreider. Here is how that one opens:
It is simplistic but not entirely inaccurate to say that Tim Kreider drank his way through his 20s, drew his way through his 30s, and has been writing his way through his 40s. As a drinker in his 20s he was, by his own testimony, depressed, but by his friends’ testimony, still fun to be around. As a cartoonist in his 30s he was an adept caricaturist whose drawings were frequently puerile, as frequently obscene, and savagely funny unless you count yourself among the right wing of the Republican Party, in which case you probably regard them as filthy, blasphemous, treasonous, and worth collecting just in case the day comes when he can be prosecuted.
As a writer, however, Kreider reveals himself to be well-read, smart, a fundamentally decent and kind man possessed of rare candor, a pitiless sense of his own shortcomings, and a gift for friendship that makes you wish your number were stored in his cellphone. This summer, Kreider published We Learn Nothing, a collection of 14 essays the author describes as a collection of thoughts about friendship and loss. There is indeed much in the essays about friends he still sees and friends who have drifted out of touch or cut him off, eccentric friends, and friends who were flat-out nuts. There is also an account of the author trying to feel some empathy for people he loathes at a Tea Party rally, his discovery in his 40s of two half-sisters he did not know he had, and a lovely, fond remembrance of a deceased friend who was beloved for the elaborate lies he told. There are rueful tales of Kreider’s hopeless love life; a tough, an unsparing account of an uncle who died in prison; and yet another telling of what he describes as the story he cannot escape, about the time he was nearly murdered in Crete.
The book provides substantial evidence that while Kreider was a good cartoonist, he is a superb essayist, a funny and fluent storyteller who wears his cultural literacy lightly, capable of references, in the same paragraph, to Friedrich Nietzsche, The Dude from the film The Big Lebowski, and Rebecca Solnit, all without affectation. To read “The Creature Walks Among Us,” “The Czar’s Daughter,” “Escape from Pony Island,” or “An Insult to the Brain” is to appreciate a mordant but affectionate observer of life’s rich pageant, and a craftsman who almost never puts a word wrong.
For example, here he is on the sudden recognition of falling in love: “Someone shows you the rabbit’s foot she just bought, explaining, ‘It was the last green one,’ or simply reaches out and takes your lapel to steady herself as the subway decelerates into the station, and you realize: Uh-oh.” On political intolerance: “One reason we rush so quickly to the vulgar satisfactions of judgment, and love to revel in our righteous outrage, is that it spares us from the impotent pain of empathy, and the harder, messier work of understanding.” On embarrassment, derived from observing a man with a very bad toupee: “Each of us has a Soul Toupee. The Soul Toupee is that thing about ourselves we are most deeply embarrassed by and like to think we have cunningly concealed from the world but which is, in fact, pitifully obvious to everybody who knows us. Contemplating one’s own Soul Toupee is not an exercise for the fainthearted.” On friendship: “This is one of the things we rely on our friends for: to think better of us than we think of ourselves. It makes us feel better, but it also makes us be better; we try to be the person they believe we are.”
Forthcoming July 1. Maybe. Let's says Julyish...