Squirrel Seeks Chipmunk is a collection of “comedy” “short stories” by David Sedaris, a writer most known for his humorous essays on various “life” topics. Sedaris was recommended to me by a couple of gentlemen on the street who were purchasing some of my books (I mention this because it’s a sentence I really wanted to say) and as it turned out I already had one of his books, though it is a departure from his usual style (from what I understand, at least). So it might not be the most representative of his works, but is it a good one?
The book consists of 16 stories (Fables? Tales? Skits? Scenes? I’m having trouble coming up with the right word…) that are quite short, most being under seven pages with illustrations and the longest being only 20 pages. Every story has at least one illustration, usually at the beginning or end, though some have more (I assume where more story progression potential was presented by the images). These illustrations, by Ian Falconer, are very skillfully done, and in a very interesting style. I would say I am an overall fan of the aesthetic, but there are certainly points in this book where I think the artwork goes too far (though that is, of course, partly the fault of the story). It is very strange to see artwork that appeals to me present such repulsive images. But I do think that the “kids-book” style juxtaposed with the at-times grotesque content works well as part of the overall atmosphere the creators were going for, and Falconer, being mainly a children’s book author/illustrator (mostly the Olivia books, which I haven’t read but have knowledge of), is well suited to create that look (though I do have a fear of this book being mixed in with children’s books accidentally in second-hand shops and the like).
The stories (fables, whatever) themselves feature animals (simply named “rabbit” or “squirrel”) that are anthropomorphized, though less than in most fables, modern or traditional. The animals have the ability to understand all of the other animals (and humans, it seems) in plain English, but they can’t communicate with humans or perform many actions based on the flow of the story. When it is convenient for a rabbit to be able to heft a big stick, or a parrot wear a costume, they can, but cows and bears still prefer to walk on 4 legs, and most animals can’t escape farms, laboratories, and zoos. I have trouble nailing down what exactly these stories are (as should be obvious), Sedaris’ writing is dry, short, and distinctly modern, and most of the stories’ “morals” are not driven home or they are dunked in woe. Still, they most resemble fables with their talking animals and “morals”. While this isn’t a problem (and perhaps the world needs more works that don’t fit any one genre) it does lead to a problem I have, not necessarily with the book, but with the description of the book. From the back cover, to the genre it’s categorized under, to most of the reviews, this book is called “comedy” or “humor”, a point with which I will have to disagree. Separated from whether or not I liked the writing, all but the first few stories certainly aren’t “funny” (well, they might be in the odd sense) and while they have the “logical-illogical twist” that creates most (perhaps all) humor, this twist is not humorous, but macabre. I’m not one to say that “black humor” doesn’t have a place, or isn’t funny, or even good, but here I just don’t get the “joke” because as far as I can tell there isn’t one. I certainly wasn’t laughing, or even chuckling to myself, while reading.
That isn’t intended to say I disliked the book. While I’m not usually a fan of things in this “area”, I wasn’t having a bad time when reading this book. It was a very interesting modern (and cynical?) look at the fable formula. The morals are blunt and real, with the subjects being harsh and at times violent. Really it’s not unlike the fables of old before they were watered down in their modern retellings. And that makes for a fascinating idea and read. It’s a refreshing look at the idea and a good implementation of the elements of the fable. Most of the stories convey heavy and complex messages in very simple, down-to-earth language that sounds very real; the vernacular (or language of the common fable⸮ {irony mark}) if you will. And while the writing is simple and dry it isn’t boring. It compels the reader to continue while still providing ample logical stopping points at the end of each brief story.
It didn’t take me long to finish the book, which for something this “odd?” is a good thing. Sedaris knows when to stop, and how to correctly pace a story or book. Whether or not that quick read demands the cover price is up to the reader and whether they want a well-crafted piece of entertainment or a bang-for-their-buck piece of longer entertainment. Though if one does go in blind and ends up not liking the book at least it is relatively brief. It packs less of a punch time-wise than most books of its size but more than some graphic novels of its size, and Sedaris and Falconer are both masters of their craft in full control of exactly where they want it to go.
I have a hard time summing this one up. I’m glad I read it, I had a fairly good time reading it, and I would say it’s a good, but not great book. But I wouldn’t recommend it to anyone without extensive knowledge of what they have enjoyed previously, and even then it’s unlikely since the tone isn’t reflected in much other writing. It isn’t a work that makes the world, either whole or in part, better for its existence. It’s strange, visceral, cynical, and at times unpleasant to read. If its own strangeness, or the “challenge” it presents to the beliefs or thoughts floating around in your head warrant its existence in your mind then it is a book that should be out there. But even with that and the undeniable skill of its creators I wouldn’t be handing it off, or giving it as a recommendation or present to anyone. Indeed I’d struggle to find where its audience is.
