I undertook
reading Naked a decade after its
publication and surely after much hype surrounding the book had died down.I knew, however, that author David Sedaris
had already been hailed as an important American voice and that this book was
quite popular amongst his many fans.I
started with a bit of apprehension and a fair amount of enthusiasm – knowing
that it might be a challenging task to form my own opinion of the book after having
heard so many others’.
Naked partakes in the increasingly
popular genre of the ‘memoir-as-novel’ and, says the description on the back of
the book, is one in which “Sedaris turns the current mania for the memoir on
its proverbial ear, mining the exceedingly rich terrain of his life, his
family, and his unique worldview – a sensibility at once take-no-prisoners
sharp and deeply charitable.”This book,
as a departure from or mockery of the memoir genre, may be on target (as I’ve
read very few of these and can’t really say), but, nonetheless, the text did
not generally strike me as anything other than flippant self indulgence.Making fun of people, as well as making fun
of one’s self, can surely elicit a good chuckle and the occasional roar of
laughter, but I’m not sure that, at the book’s close, it amounts to much more
than a collection of jokes and observations that one might otherwise encounter
at a typical house party for the queer, urban elite.Witty repartee is, no doubt, a necessary
survival tool for any gay man, and while it does occasionally illuminate a
truth or two, it often does so without any sense of humanity or relevance - it
is, essentially, the ability to express that one is astute enough to notice,
but smart enough not to care.This in
itself provides for a very entertaining read, as Sedaris introduces us to the
clumsy, idiotic, and often racist, homophobic, or otherwise prejudiced
characters he has apparently encountered on his journey, but it fails to
execute any meaningful task or tell us much about ourselves as humans (or even
about Sedaris as an individual), other than that we’re delusional egoists.
What we
get, on the whole, is something neither touching nor sincere, at least not in
the way I expect it from works of art (or nearly-art) but instead something
that proposes life and its undertaking to be not much more than awkward
situations, missed opportunities, and random happenings…all with no meaning and
purpose.Perhaps this IS what life is
about and perhaps it’s also what we should be trying to grasp…that existence is
some big joke?What is often more
exciting, however, is the oscillation between the meaningful and the
meaningless, that, in our struggle to ‘understand it all’, we continuously go
back and forth between ‘everything matters’ and ‘nothing matters’, residing
most of the time in some sort of middle ground where things exist and pass us
by.Surely, being able to laugh at
ourselves and our situations is important, but doing so at the expense of depth
and meaningfulness reduces this book to mere entertainment and prevents it from
being elevated to any higher level.Maybe
this is Sedaris’ intention; maybe this is all I should have expected.
Despite my
ranting and general disappointment with the text (expecting it to be something more
than a joke book), I was able to identify that I too, as a young gay man, shared
(with Sedaris) the inability to comprehend why everyone didn’t see my greatness
all the time, or how people could be so inconsiderate of my, supremely
important, needs.The difference is, of
course, that though Sedaris may have struggled to get a proper audience in his
youth, he now bends the ear of countless readers and thus, his holier-than-thou
attitude is somehow justified. Instead
of indicating that I (as his trying-to-identify-with-the-author reader) should
give it up and recognize my irrelevance, his example encourages me to continue
on my path of self-importance until I too wield some significant, greater power
in society.This is not the lesson my already
over-inflated ego needs, but it sure makes me feel good about myself.
I do not
disagree that the text is funny, only that it fails to live up to the hype.I’d recommend this book only to those who
have nothing better to read, have procured headaches from reading ‘serious’
texts, or are depressed and need a good laugh.After reading – pass it on, resell or recycle…but please, don’t let it
muck up your library.
David Sedaris' stories were much funnier when they were featured on Morning Edition (early 90s) or This American Life, where his deadpan reading is framed with delightful musical framing. But I would have never mistaken them for anything than pop cultural musings, occasionally funny, often times not. Funny, I would have never have expected anything more from Sedaris after coming to know his work in this way. My husband loves reading his books--but his main form of entertainment is reading science fiction novels. Another "popular" genre that is more about entertainment than lasting literary value. Actually, I gave up reading contemporary fiction over a decade ago. The dross to gold ratio was too high for my limited time. Now, I read mostly for information (i.e., research). I do read a novel or two a year, but usually don't finish them, either bored to tears or disappointed that this majorly hyped writer fails to live up to my, apparently, stringent notion of what qualifies as literature.
Charles Slender is a San Francisco-based international dance artist who has performed, made choreography, and taught in the United States, Russia, Hong Kong, Poland, Latvia, Mexico, and France...
Charles Slender is a San Francisco-based international dance artist who has performed, made choreography, and taught in the United States, Russia, Hong Kong, Poland, Latvia, Mexico, and France. He is the founder and Artistic Director of FACT/SF - a contemporary dance-theater company based in San Francisco. His choreography, with commissions from art galleries, universities, and dance companies, has been described as "balancing on the edge of kitsch and something more serious...paradoxical and interesting" (Natalia Kurumova, dancenet.ru) and as "sexy...vicious...bizarre" (Ariel Soto, SF Bay Guardian). In addition to his work as a choreographer, Charles teaches contemporary dance technique at Shawl-Anderson Dance Center in Berkeley, California and continues to perform, most recently in works by Jesse Hewit, Laura Arrington, and Todd Courage. He was also visiting faculty at the American Dance Festival in 2009 and 2007.
A California native, Charles has continued to work both at home and abroad with commissions by Electric Works Gallery (San Francisco), Dialogue Dance Company (Kostroma, Russia), Acid Rain (Chelyabinsk, Russia), and the Yekaterinburg University of the Humanities (YUH, Yekaterinburg, Russia). In 2007, The Fringe Club (Hong Kong) presented three new works Charles developed in collaboration with Emily Woo Zeller. In 2006 and 2007, he performed with Provincial Dances Theatre in Yekaterinburg, Russia, under the direction of Tatiana Baganova. With Provincial Dances he toured internationally, taught company and master classes, and collaborated on the creation of new works.
Charles graduated with honors from the University of California, Berkeley, with degrees in English Literature and Dance and Performance Studies. While at Berkeley, Charles received the Chancellor's Eisner Award for "highest achievement in the creative arts" and the Hickman Undergraduate Scholarship for "continued excellence and achievement in dance".
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