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I first encountered Sedaris the way most Americans my age did: as a voice on National Public Radio, reciting his essay ‘Santaland Diaries’. If you are generally well disposed to him, but find that the particular imperfections of latter-day Sedaris grate on you, you could give this new book and its predecessor a try: they’re different, if perhaps not different enough. It has earned him extraordinary acclaim and, as he writes in this book with bewilderment and delight, wealth. I don’t think it’s a slight to say that this is the formula Sedaris has leveraged to build a remarkable, sui generis career as a humorist, essayist and monologist. Instead, ‘the key is to fill the space between your skill level and perfection with charm.’ ‘I … need to be perfect.’ ‘It’s such a burden to place on yourself,’ Sedaris reflects, suggesting that perfection, being unattainable, is an unreasonable and immeasurable goal. ‘I wanted to be perfect,’ Hugh said after the recital. ‘I’ve never seen him so vulnerable,’ Sedaris wrote that night in his diary, excerpted here in a second curated volume of entries, which he has said are a small fraction of the nearly ten million words he has ‘handwritten or typed’ as part of this project since 1977.
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Hugh had practised with obsessive intensity for many hours a day, but ultimately performed poorly, disappointing himself in front of a room full of his fellow students and their parents.
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I n late 2016, David Sedaris attended a piano recital delivered by his longtime partner, Hugh.