If you really like Jim Carrey, stick out the insanity for the gems of comic fantasy and the nuggets of memoir gold.
A mad fever dream starring Jim Carrey, incorporating morsels of autobiography with adventures involving Nicolas Cage, Kelsey Grammer, Taylor Swift, Anthony Hopkins, Goldie Hawn, Sean Penn, and many more.
“They say his empire was ruined by the same psychosis that found him, at the end, driving around Tucson with a loaded Uzi on his lap, ranting in word salad, high on methamphetamine.” This remark is made about a fictional celebrity guru named Natchez Gushue, but when you encounter it in Chapter 2 you may wonder if it also applies to the creators of this book. Carrey and his collaborator Vachon pull out all the stops as their protagonist Jim Carrey careens from midlife blues through love and career complications toward the apocalypse. (The actual apocalypse, in which the world ends.) “He was nearing fifty, his fans aging, too. His talent was such that Hollywood could not replace him in its usual way, the kind of body snatching that saw Emma Stone swapped in for Lindsay Lohan, Leonardo DiCaprio taking over for River Phoenix.” The question is, should he stage his comeback with “Disney’s Untitled Play-Doh Fun Factory Project” or with a star turn as Mao Zedong in a biopic by Charlie Kaufman? Mixing the memoir with the misinformation, as the title suggests, is not the clearest or most powerful way Carrey might have presented the story of his life. Did his parents really tell everyone to feel free to beat him, “joking but not really”? Was an affair with Linda Ronstadt in 1982 “the only truly selfless love he’d ever known”? Is the scene where Carrey remembers telling Rodney Dangerfield a joke on the older comic's deathbed (“Don’t worry Rodney, I’m gonna let everyone know you’re really gay. That kind of thing isn’t frowned on anymore”) real? Moments of candor and alarming or moving revelations are a bit lost in the mad rush from Hungry Hungry Hippos in Digital 3D to the end of the world, when “Cher and Dolly Parton whizzed by overhead, both singing Leonard Cohen’s 'Hallelujah.' ”
If you really like Jim Carrey, stick out the insanity for the gems of comic fantasy and the nuggets of memoir gold.Pub Date: July 7, 2020
ISBN: 978-0-525-65597-8
Page Count: 272
Publisher: Knopf
Review Posted Online: June 16, 2020
Kirkus Reviews Issue: July 1, 2020
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
