An insightful, approachable exploration of a scourge of self-harm in an “idyllic American town.”
Two academics research the origins of teen suicide and its societal ramifications.
Grounding their study within the confines of pseudonymous Poplar Grove, a wealthy, predominantly white suburban American community, sociologists Mueller and Abrutyn present an erudite study on several “suicide clusters” inexplicably plaguing the region. While their initial goal was to better understand how individual community members processed suicide losses, their study eventually branched out to encompass the mechanics of youth communal environments, the dilemma of mental health stigma, and how these social forces shape adolescent suicide risk. Careful not to draw conclusions based solely on their individual perceptions, the authors’ groundwork included epistemological analysis, archival research, community observations, and psychopathology survey data. Most productive and illuminating were their intensive sociological interviews and focus groups with individuals from Poplar Grove High School, where the authors put both youth and adult participants at ease with conversational and nonjudgmental language. Mueller and Abrutyn also probe the nature of whether or not suicidal behavior is contagious, how these clusters developed and persisted into a “suicide contagion” at upscale Poplar Grove High, and the school’s response to these losses. The students’ stories are alternatingly sad and thought provoking. Mueller and Abrutyn’s conclusions settle on the patterned vulnerabilities of Poplar Grove youth, identifying as credible culprits its gossipy, tightly knit community, cultural ideals, and demanding, ingrained “high-pressure achievement culture.” Concise, accessible, and well organized, the book succeeds in offering readers from any competency level a better understanding of youth suicide and the proactive intervention strategies currently aimed at its prevention. The authors also provide an empathetic connection to those most at risk and effectively debunk a variety of myths—e.g., “talking about suicide does not cause suicide; it prevents it.”
An insightful, approachable exploration of a scourge of self-harm in an “idyllic American town.”Pub Date: today
ISBN: 9780190847845
Page Count: 288
Publisher: Oxford Univ.
Review Posted Online: Feb. 24, 2024
Kirkus Reviews Issue: April 1, 2024
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
A top-flight nonfiction debut from a unique artist.
The acclaimed director displays his talents as a film critic.
Tarantino’s collection of essays about the important movies of his formative years is packed with everything needed for a powerful review: facts about the work, context about the creative decisions, and whether or not it was successful. The Oscar-winning director of classic films like Pulp Fiction and Reservoir Dogs offers plenty of attitude with his thoughts on movies ranging from Animal House to Bullitt to The Texas Chainsaw Massacre to The Big Chill. Whether you agree with his assessments or not, he provides the original reporting and insights only a veteran director would notice, and his engaging style makes it impossible to leave an essay without learning something. The concepts he smashes together in two sentences about Taxi Driver would take a semester of film theory class to unpack. Taxi Driver isn’t a “paraphrased remake” of The Searchers like Bogdanovich’s What’s Up, Doc? is a paraphrased remake of Hawks’ Bringing Up Baby or De Palma’s Dressed To Kill is a paraphrased remake of Hitchcock’s Psycho. But it’s about as close as you can get to a paraphrased remake without actually being one. Robert De Niro’s taxi driving protagonist Travis Bickle is John Wayne’s Ethan Edwards. Like any good critic, Tarantino reveals bits of himself as he discusses the films that are important to him, recalling where he was when he first saw them and what the crowd was like. Perhaps not surprisingly, the author was raised by movie-loving parents who took him along to watch whatever they were watching, even if it included violent or sexual imagery. At the age of 8, he had seen the very adult MASH three times. Suddenly the dark humor of Kill Bill makes much more sense. With this collection, Tarantino offers well-researched love letters to his favorite movies of one of Hollywood’s most ambitious eras.
A top-flight nonfiction debut from a unique artist.Pub Date: Nov. 1, 2022
ISBN: 978-0-06-311258-2
Page Count: 400
Publisher: Harper/HarperCollins
Review Posted Online: Oct. 31, 2022
Kirkus Reviews Issue: Dec. 1, 2022
SEEN & HEARD
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