16. John Kenney, I See You've Called in Dead (2025) (8/2/25)
After the last book—which continues to stick with me, so perhaps I liked it better than I thought (if "like" is the operative word)—I needed something light. A FB friend, in her daily status post, had mentioned this book, said it was delightful. Sold!It's the story of a lost-his-way obituary writer who accidentally one drunken night publishes a mock obit—for himself: "Bud Stanley, forty-four, former Mr. Universe, failed porn star, and mediocre obituary writer, is dead." His employer, the largest wire service news organization in the world, is not amused.
From there the story doesn't really do much, except meander through New York City with, mostly, Bud's landlord, a paraplegic named Tim, and Clara, a woman he encounters at his ex-mother-in-law's funeral and whom he starts meeting at other funerals, of strangers. He has conversations with his boss, Howard, and a young neighbor boy, Leo. And he waits for word on whether he will be fired—and if so, what then? He's hardly employable.
It's a bit of sentimental fluff, really—but it was just what I needed. Nothing heavy; on the contrary, Kenney (who writes regularly for the New Yorker's "Shouts & Murmurs" humor column) is very funny and gives the self-deprecating Bud some great lines. The other characters are mostly foils, helping Bud to find the joy in life again. (Clara, perhaps, especially: yes, they fall in love—though at the end of the book she's off to Bhutan for a year; still, you know they'll come together again. Love is love.)
The passages I flagged, though, weren't the funny bits, but the "Life is a gift" bits of wisdom. Schmaltzy, maybe. But no less important for all that. I flagged six. I'll just go ahead and quote them here, though I'll start with a one-liner, the last thing I flagged: "How many days do you experience something for the first time?" The occasion being a helicopter ride that Bud has gifted to Tim. "We banked right over the Bronx, over Yankee Stadium, to the East River. The city small and quiet below. We should be required to take flight from time to time, to see anew, to see how small and fragile we are."
But let's go back to the beginning—straight to the set-up for Bud's disaster:
I took down a bottle of sixteen-year-old Lagavulin from a shelf in the kitchen. My boss, Howard, gave it to me at our company Christmas party a few years ago.
On occasion—a damp, cold evening, the house too quiet—I pour myself a glass, give it a gentle swirl, inhale the heady, fiery aroma, and imagine my ancestors in Ireland a long time ago, in a cottage, by a peat fire, rough hands, so tired, so much labor, wondering, perhaps, if there was something else out there, a better life, if they had the courage to find it, knowing they would, that they had to, that they owed it to themselves and their family, afraid, excited, eternally hopeful, dreaming of possibility for their children, their children's children, for me, this person sitting here now. Surely that was worth a toast.
I sat on the couch with my computer and got lost, aimlessly clicking through cnn.com and tmz.com, nytimes.com. YouTube, Instagram, Facebook, the algorithms knowing my tastes, pulling me in deeper, mindlessly following every new link. A Nick Drake video, a Stephen Fry talk, a Fry & Laurie skit, The Two Ronnies' "Fork Handles" skit, great catches in baseball, vintage wristwatches, yoga women of Malibu, Bill Maher, news anchor bloopers, a garbage truck that bursts into flames, Norman Mailer drunk on The Dick Cavett Show, squirrels dancing.
The videos—half watch, click, half watch, skip ad, click—alternatingly intrigued and annoyed me, engaged me, sucked life from me. It was after eleven. Go to sleep, Bud. But Bud wasn't listening. Bud had pushed past tired into numbness, the brain buzz of too little sleep, the mistake of topping off his drink. What's the worst that could happen?
See, nothing deep here, but also something most of us can perhaps identify with. Not these specific details, perhaps, but our bad habit of seeking to escape, to entertain ourselves to death, to avoid what's right in front of us. Next up: a bit about Howard and their relationship:
Something happened after his wife's death, me being there, that drive to the hospital. I saw behind a door normally closed to others, these things in our personal lives that coworkers never know about. How well do we know a colleague? The ebb and flow of workdays, weeks, years. We might notice a new suit, a haircut, a bit of weight put on. We talk of work, a bit about life, we have drinks at office parties. But something changed in a way I couldn't quite explain. We had inched closer. How can you not, standing in the doorway of a hospital room as this man I had known for so long—this man I barely knew at all—wailed and sobbed over the body of his dead wife?
I wondered how I could ever put that in an obituary.
And here Bud and Howard meet up after the disastrous obit:
"The world changed," Howard said to his glass. "Broke in a way. I see things, read things, watch things, and I think . . . I don't understand that. The inanity, the vulgarity, the cruelty." He turned to look at me. "Is it just me, getting older?"
"I think something has changed."
"Something fundamental, perhaps. And so we retreat. Sure, we do our jobs, provide for our families. But then we seek cover. I subscribe to a channel on YouTube called Relaxing Mowing. It's speeded-up footage of people mowing their lawns, trimming their hedges. The world made clean and perfect. They put classical music over it. If someone described that to me five months ago, I would say that person was insane. Now, I love it. I watch these in bed at night. I watch videos of Fred Astaire and Cyd Charisse dancing. The elegance and grace. Where has that gone? Now we have twerking."
The book is full of details like this, of wisdom like this, of regret but also hope. Tim, too, is full of wisdom, earned from being in a wheelchair—a bit heavyhanded, okay, but still. Here, at their first meeting, when Bud comes to interview for an apartment to let in Tim's brownstone, Tim has just asked Bud if he's ever sat with someone as they died. Yeah, not your typical first encounter, and also heavyhanded, but still.
"It's quite something. Especially if they're ready . . . if . . . if they lived. Do you know what I mean?"No, not mad at all. And finally, here Tim and Bud are at the Frick Collection, looking at one of their two Vermeers, Officer and Laughing Girl. "Why is the girl laughing?" Tim asks. Bud says:
"Totally," I lied. "Sorry. I lied. I'm not sure I understand."
He laughed. "I don't really know what I mean either. I guess I mean this. That at the end—and I've had the privilege to be in the room with a few people now, my parents, two friends—I think, and it's just a guess, but I think we let go of everything ad the true nature of experience falls over us. This . . . miracle that is existence. Which we layer with so much. With anxiety and fear and greed and smallness and what's next and hurry up and I've got a meeting and all the . . . stuff . . . that gets in the way. I'm not saying we should all go live like a monk. I'm saying that if you haven't lived the life you want, if you haven't loved life, then at the end, I think a deep and very sad regret comes over you. And if you have, if you've lived well . . . friends and family and . . . if you've lived . . . then just as true is the peace you feel. I've seen it. Does this make any sense or do I sound mad?"
"It's a nervous laugh. He just made a bad joke, said something embarrassing."
"Like what?"
"He just showed her how he could burp the alphabet."
"You don't deserve Vermeer. Look at the painting. Pretend you're not you. Let the picture speak to you. It wants to speak to you. It's speaking to you across hundreds of years. This is its power. It's trying to tell you something, a universal thing, a thing that has no boundary in time. Why is the girl laughing?"
I stared at the painting. I waited. It seemed too obvious.
"Because she's happy?" I said.
Tim turned to me and smiled. "Yes."
"That's it?"
"What else is there?"