Sedaris’ new essay collection ‘ Calypso’ goes dark and deep
‘ Though there’s an industry built on telling you otherwise, there are few real joys to middle age.” So begins “Calypso” ( Little, Brown and Co., $ 28), David Sedaris’ first collection of essays since 2013. It’s firmly grounded in the present but with the same sense of twisted nostalgia that’s always marked his best work.
The setting for many of these stories is a place in the Outer Banks of North Carolina that Sedaris bought in 2013 after his sister Tiffany committed suicide. Adhering to the tradition of naming summer homes, he calls it Sea Section.
“I told myself when I was young that one day I would buy a beach house and that it would be everyone’s, as long as they followed my draconian rules and never stopped thanking me for it,” he writes.
The family — four surviving siblings now and a nonagenarian father — gather in the home for holidays and vacations.
It’s in those moments that Sedaris is at his best, observing his oddball relatives.
On Lisa’s gift for talking to strangers: “I left her at a Starbucks for ninety seconds last year, and when I returned the woman behind the counter was saying to her, ‘ My gynecologist told me that exact same thing.’ ”
On Paul’s middle- aged fitness obsession: He “has all but given up solid food, and at age forty- six eats much the way he did when he was nine months old. … Everything goes into his Omega J8006 — kale, carrots, celery, some kind of powder scraped off the knuckles of bees — and it all comes out dung- colored and the texture of applesauce.”
Tiffany’s fate is never far removed from any of the tales. In “Now We Are Five,” Sedaris shares a moment from the first Thanksgiving without his sister.
“‘ Why do you think she did it?’ ” he asks his father and his partner, Hugh, before continuing inside his head, “How could anyone purposefully leave us — us, of all people? This is how I thought of it, for though I’ve often lost faith in myself, I’ve never lost faith in my family, in my certainty that we are fundamentally better than everyone else.”
“I don’t know that it had anything to do with us,” says his father. “But how could it have not?” Sedaris continues in his thoughts. “Doesn’t the blood of every suicide splash back on our faces?”
The best stories here are the work of a man seeking catharsis by coming to terms with tragedy the only way he knows how — telling stories.