A searingly defiant account of the battle for truth under totalitarianism.
On journalism in an increasingly authoritarian Russia.
In 1991, with the collapse of the Soviet Union, write reporters Soldatov and Borogan, Russia edged closer to the rest of the world. That ended when Vladimir Putin “understood that globalization—through ideas and technologies—was the biggest threat to him.” And that realization put Soldatov and Borogan in the crosshairs, where, now in exile, they have remained, having enraged the regime with coverage of the Moscow theater massacre, the murder of Alexei Navalny, the invasion of Ukraine, and much else. Other investigations roused the ire of the security state that underlies the Putin regime, as when they uncovered shady real estate deals on the part of the Federal Security Service brass: “In the early 2000s, a real estate boom was transforming Moscow. The successors to the KGB had kept their property, and soon the generals realized they were sitting on a gold mine.” Soldatov and Borogan’s vivid narrative charts the changing trajectories of once like-minded colleagues at Izvestia, the erstwhile Soviet broadsheet. One was a stylish fixture in Putin’s press pool, another a war correspondent with deep connections to pro-Russian Serbia, still another “a deeply traumatized scion of an elite Soviet family whose ties with military intelligence mystified everybody.” Tracking them over the next quarter-century, the authors note disturbing changes that make them wonder whether they ever knew their former friends, some of whom they interview about that very question. Their conclusion is that accommodationism is inevitable in a people resigned to dictatorship: “The only difference one could make was to choose whether to stay outside the regime—doomed to be a loser, a victim of inevitable repression—or try to stay inside and play a role. And all of them, ever ambitious, chose to stay in and play.” It’s disturbing, and achingly real.
A searingly defiant account of the battle for truth under totalitarianism.Pub Date: June 3, 2025
ISBN: 9781541704459
Page Count: 336
Publisher: PublicAffairs
Review Posted Online: March 22, 2025
Kirkus Reviews Issue: April 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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