that he fits in with other art students, nor does he identify with the forms of expression they choose. This insecurity drives Sedaris away from academia and toward hard drugs and absurdism. By his own admission, one of the major factors causing his addictions is the need to feel good at what he does, or at least to feel that his lack of acceptance is justified by his inner genius. The inevitable failure of this enterprise reveals for Sedaris the truth behind his folly: that he can never belong anywhere unless he first accepts himself as he is.

In keeping with Sedaris’s focus on authenticity, the journey to self-acceptance is lifelong, difficult, and gradual. For this reason, a sense of belonging is worked toward slowly throughout the second half of the collection. Short on money in New York, Sedaris explores the city from a brilliantly unique perspective and almost accidentally becomes an insider, at home in a city built on anonymity. Struggling with location and especially language, Sedaris confronts his fears and moves to France with Hugh. Despite his initial fears of not fitting in in France, Sedaris works to overcome the language barrier and eventually becomes part of the French community as well. He can only do this, however, by accepting his own flaws and limitations rather than trying to eliminate them.

In Me Talk Pretty One Day, Sedaris struggles against fears of rejection, geographic and linguistic distance, and the loss of wealth and status, among other concerns. In nearly all cases, however, Sedaris can find refuge in his family. At times, certain family members can adopt antagonistic roles (this is usually Sedaris’s father), but there is always a different family member who helps to achieve balance.

From the beginning, in “Go, Carolina,” Sedaris sets up a conflict against the “agent” Miss Samson, and as a counterpoint to this villain, the young Sedaris confides in his mother. Similarly, after Sedaris becomes addicted to drugs and drops out of college, his family takes him in. Sedaris’s mother, in particular, tries to appreciate his artistic endeavors (although she does not always succeed), and though it is quite decidedly not what Sedaris wants at the time, his father even goes so far as to try and collaborate artistically with him.

In the same way, Sedaris’s sisters offer Sedaris ample support. Especially while he struggles with traditional masculinity, his sisters and mother accept him within the context of traditionally feminine pursuits in ways that are especially admirable given the location and era in question.

It is not only his family who is there for Sedaris: Sedaris also supports them, particularly in “A Shiner Like a Diamond.” While Amy Sedaris rebels against their father’s expectations, she enjoys a deeper relationship with Sedaris, who acts as her confidant and who truly understands the need and drive to be oneself, even when that isn’t easily accepted by traditional parents.

Sedaris also carefully observes the family relationships that don’t include him. In the essay “You Can’t Kill the Rooster,” Sedaris paints an intimate and generous portrait of his father and younger brother, Paul (“the Rooster”). After the untimely death of their mother, the Sedaris children all move to separate parts of the world, while their father remains in North Carolina. The exception to this, however, is Paul. By virtue of retaining both geographical and emotional closeness with his father, Paul enjoys a peculiar yet deeply loving relationship with him, which they both need and cherish.

Throughout the numerous conflicts laid out in the collection, a common factor is Sedaris’s ability to return home or reach out to family members and receive support and solace—even if such comfort takes unconventional forms. Taking pains to render the unique peculiarities of each member of his family with tenderness and depth, Sedaris characterizes his family’s closeness as a refuge against any other problems life may present.