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NPR’s Scott Simon engages with John Kenney, a contributing writer for The New Yorker, to discuss his latest novel, “I See You’ve Called in Dead,” which humorously explores the life of an obituary writer.
SCOTT SIMON, HOST:
In this story, Bud Stanley, an obituary writer, confronts the absurdities of life and mortality. He becomes aware of surprising statistics; for instance, one is statistically more likely to be killed by a cow than a shark. Following a night of unfortunate events—a disastrous blind date and troubling news from his ex-wife—Bud returns home, indulges in too much alcohol, and ends up penning an outrageous obituary for himself.
JOHN KENNEY: (Reading) Bud Stanley, known as the first individual to perform open-heart surgery on himself, passed away today in a hot air balloon accident. He was 44 years old, as confirmed by his wife, Miss France.
SIMON: The following day at work, the unfortunate reality hits Bud when a security guard informs him that it seems he has, in fact, expired. This humorous turn of events arises from the fact that Bud inadvertently published his own obituary. “I See You’ve Called In Dead” is Kenney’s newest work, which he discusses from our New York studio. Thank you for joining us, John.
KENNEY: Thank you, Scott. I’m glad to be here.
SIMON: The way Bud writes his own obituary is undeniably inventive, wouldn’t you agree?
KENNEY: Absolutely. It’s more a reflection of wishful thinking rather than a factual account. It’s the kind of late-night decision he’d likely regret.
SIMON: Would you say that his drunken mistake serves as an electronic Freudian slip, revealing something deeper about his self-perception?
KENNEY: That’s a fair interpretation. Bud is inherently lost and unaware of just how lost he truly is. He grapples with the aftermath of his divorce, feeling detached not only from his personal life but also from his work. His absurd self-written obituary reflects this existential uncertainty.
SIMON: Despite his dismissal from work, circumstances prevent him from being officially fired. What unfolds next?
KENNEY: The company does aim to terminate his employment, but they soon realize that legally, a deceased person cannot be fired from a job, and thus Bud’s unique situation leaves them in a quandary.
SIMON: Unable to disengage from life or work, Bud starts attending funerals, prompting the question of whether he should have been doing so all along.
KENNEY: Indeed. His journey begins after the passing of his ex-wife’s mother, someone Bud was relatively close to. The wake becomes a chaotic reunion, as he confronts his ex-wife, who has moved on with someone significantly more appealing and engaging. Following this, Bud meets a young woman at the wake, who introduces him to the hidden value of attending such gatherings, nudging him toward a series of funerals that become central to his journey of self-discovery.
SIMON: And what can you tell us about Tim, Bud’s friend, who plays a crucial role in the story?
KENNEY: After the divorce, Bud relocates to a modest Brooklyn apartment owned by a remarkably intriguing character, a Renaissance man now in a wheelchair following an accident. Despite his physical limitations, this man holds spirited gatherings that attract a colorful mix of artists and dreamers. For Bud, Tim becomes an essential source of support and friendship, illustrating the theme of male camaraderie throughout the narrative.
There’s a stark contrast in the depth of friendships observed in this dynamic. While women often share their lives intimately with one another, male friendships can lack that same vulnerability.
SIMON: What initially drew you to the subject of obituaries?
KENNEY: My interest in obituaries stems from my journalism studies in college, where one of our assignments included writing our own. I thought little of it at the time, but I have always been captivated by obituaries. Growing up in Boston, my parents would often dissect the obituaries in the Boston Globe, referring to them humorously as the “Irish sports page.” They can encapsulate a lifetime in just a few hundred words, often capturing the essence of a person beautifully and providing insights that go far beyond the basics of their life achievements.
SIMON: I recently came across a quote from Art Buchwald…
KENNEY: A brilliant figure!
SIMON: He posed a significant question: while we may not know what happens after death, we should reflect on why we are here in the first place.
KENNEY: That’s a deeply personal inquiry. My answer revolves around striving to be a good friend, a caring father, and a somewhat tolerable husband while enjoying life to its fullest. Though the subject of death is inherently somber, there’s also an element of humor that can provide relief, and I aimed to weave that humor throughout my book.
The inspiration for this work surfaced in 2019, when I lost one of my brothers, Tom. I dedicate this novel to him. He was an extraordinary individual, much like our father and grandfather, serving as a firefighter. He had a zest for life and for his work. We suspect he developed his pancreatic cancer due to exposure while serving on the Massachusetts FEMA team following 9/11.
During his last months, my brothers and I would visit him regularly. One day, upon my arrival, I found Tom, weaker than usual but still embodying that sharp Irish humor. When my other brothers arrived, he humorously quipped, with a grin, to tell them they were too late. I found that exchange so rich in its dark humor that I knew it needed to be reflected in my writing. It inspired my desire to create an engaging narrative about death that highlights the humor of life, acknowledging the lightness we should find even amidst the uncertainties ahead.
SIMON: John Kenney, thank you for sharing your insights into your novel, “I See You’ve Called In Dead.” It’s been a pleasure having you with us.
KENNEY: Thank you, Scott.
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