Review by Publisher's Weekly Review
Sirisena explores how stories can become a "talisman against the overwhelming darkness of another's pain" in her emotionally charged nonfiction debut (after The Other One: Stories). Recounting her family's struggle to adapt to the American South from their native Sri Lanka, a car accident at age 16 that damaged her eye, a "meaningless" affair with a friend's husband, and other events, Sirisena probes the role of luck in life: "I feel like so much of my trajectory--career, cultural, sexual," she writes, "has been the result not of choice or decision but of evasions, near misses, stumbles." In "Broken Arrow," she reflects on the 1961 crash of a B-52 carrying two hydrogen bombs near Goldsboro, N.C., and reflects on her father's life in the same town when she was a child; "In the Presence of God I Make This Vow" considers the 16th-century marriage of a maid of honor to Queen Elizabeth and the son of a wealthy landowner; and "Lady" draws connections between her mother's illness and Oscar Wilde's Lady Windemere's Fan. While the early essays work together well, the second part, where the pieces are largely on the art world, feels a bit less cohesive. Still, Sirisena's searching spirit leaves readers with plenty to dig into. (Dec.)
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Review by Kirkus Book Review
In her nonfiction debut, a Sri Lankan American writer and artist ranges across a variety of topics, from disability to queerness to grief to war. In several essays, Sirisena explores her relationship to her father, a Sri Lankan doctor who, just before surviving a stroke, secretly married his dead wife's cousin--and then lied "to his three daughters and to both families." Another essay revisits the grief she felt at her mother's untimely death, especially acute because "I'm obsessed with female toughness." In "Confessions of a Dark Tourist," the essay that lends the book its title, the author describes the experience of touring former battlefields of Sri Lanka's decadeslong civil war. Later, Sirisena writes about her bisexuality ("I've never really located my sex life around an identity, and I've typically thought of myself simply as very fluid") and her relationship with her "lazy eye." The book concludes with two essays on visual art: The first is about South African artist William Kentridge and "his level of technical ability and also the breadth of his craftsmanship"; and the second is an epistolary essay about the concept of punctum as applied to the Beatle's song "A Day in the Life." Sirisena makes good use of research throughout her personal narratives, incorporating information about the mysterious Lady Windermere syndrome into a chapter about her mother's illness, musing about an Elizabethan marriage that purportedly inspired Romeo and Juliet in a chapter about her father's secret marriage, and describing a plane crash in the chapter about her father's career trajectory. Several of the essays are formally inventive, most notably "Abecedarian for the Abeyance of Loss," which is designed as a child's beginning alphabet book. At its best, the book shimmers with honesty, vulnerability, and circumspection, and the experimental essays are both visually and textually fascinating. Taken together, however, the essays lack a common thread, making the narrative feel disjointed at times. A solid collection about identity, art, disability, and grief, best read an essay or two per sitting. Copyright (c) Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.