No Judgment

January 22, 2024
“There is never no judgement, and certainly not in this book,” writes cultural critic Oyler (Fake Accounts), setting the mission statement for her irreverent collection. In a style reminiscent of David Foster Wallace and Vivian Gornick, Oyler opines on the injustices of the Goodreads ratings system, struggling to tame her anxiety, and her skepticism toward bestseller Brené Brown’s understanding of vulnerability. In “Embarrassment, Panic, Opprobrium, Job Loss, Etc.,” Oyler defends gossip as the “comparing and contrasting and development of interpretation.” Reflecting in “Why Do You Live Here” on the quirks of her life as an American expat in Berlin, Oyler describes moving to the city “for no good reason” after college and wrestling with how she and other expats are changing what counts as “authentic” Berlin. Elsewhere, Oyler pushes back against claims that autofiction is indulgent, arguing that anything can be worth writing about—“it just has to be interesting.” Oyler’s commentary is incisive, and her prose is lucid and playful. “I heard a crazy story recently,” she concludes the piece on gossip. “I wouldn’t sacrifice the knowledge for even the highest moral high ground in the world—but I would also never, in a million years, tell you.” This is as intellectually stimulating as it is fun to read. Agent: Alia Habib, Gernert Co.

May 31, 2024

Two megaphones blare at each other on the cover of Oyler's latest; one wonders if a mirror was left out on purpose. Author and critic Oyler spends much of her essay collection defending the lack of acclaim for her debut novel, Fake Accounts. Her wearying sense of self-importance is not improved by her rushed, somewhat expressionless narration. While her focus on the perils of platforms such as Gawker and Goodreads is entertaining, even here, her discussion seems more diatribe than substantive critical engagement. In her essay on autofiction, she dissects its relevance while defending her own right to write it. Her sharpest essay examines the practice of criticism in a world where both artists and critics can react immediately and publicly on social media. Despite occasional moments of wit and insight, much of this listening experience feels like a long conversation with an indignantly smart person who won't allow anyone to get a word in edgewise. VERDICT Though Oyler clearly can speak to a specific cultural moment, lackluster narration and a tedious level of self-referentiality make this an optional purchase for most libraries.--Kailyn Slater

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