As a religion reporter, Calvin Trillin showed himself as something of a Doubting Thomas.
He was working for Time in the 1960s, and he didn't much like his assigned beat. So, he turned to one of the standard tricks of a good reporter: He hedged. "I finally got out of that by prefacing everything with 'alleged,' " he told Publishers Weekly. "I'd write about 'the alleged parting of the Red Sea,' even 'the alleged Crucifixion,' and eventually they let me go."
Fans of Trillin's writing -- his snapshots of ordinary U.S. life for The New Yorker, his political poetry in the Nation, his search for the ideal meal with his wife good-naturedly in tow -- will recognize his style in this early exercise in subversion. He is warm, gentle, and human, but there can be a dash of mischievousness for taste. Even the unwelcome sight of a brussels sprout at a buffet provoked his ire. Turning to his wife, he said, "The English have a lot to answer for."
Humorist Mark Russell took note in the pages of The New York Times in 1987: "Mark Twain, Robert Benchley and [S. J.] Perelman are dead, but Calvin Trillin is right there with the post-funeral cocktail to assure us that life goes on."
Born in Kansas City but transplanted to the West Village of New York City, Trillin has kept in touch with his midwestern roots for much of his writing. A collection of articles from The New Yorker on so-called ordinary murders from around the country became the book Killings, called by The Wall Street Journal "one of the most low-key, dispassionate, matter-of-fact books on murder ever produced."
In its review, the Los Angeles Times said: "He may be The New Yorker's finest stylist, and his writing is quite different from the careful accretion of detail that characterizes much of the magazine's writing. Trillin omits as much as he possibly can; he leaves spaces for resonating, like a guitar string stopped and kept mute to sound the overtone from the next string down."
In Travels with Alice he writes of looking for hamburgers on the Champs Elysées in Paris. Even in a classic New York story, Tepper Isn't Going Out, he writes not of theater or restaurants or even a rent-controlled apartment equidistant between Zabar's and Central Park. Instead he seeks out deeper pleasures: finding the perfect parking space, and holding onto it.
Humor is a Trillin trademark. He began writing a humor column for The Nation in the late 1970s called Uncivil Liberties that became two book collections. In 1980, The New York Times chuckled gratefully at his first novel, writing that "the antics around the nameless news magazine in...Floater are as funny as The Front Page and as absurd as playground pranks."
In 1990, he began treating Nation readers to a new column, a weekly spot of verse on the political hijinks of the day, pieces with names like "If You Knew What Sununu." This, too, became a book, The Deadline Poet: My Life as a Doggerelist. He even shares insights into the creative process: "A fool is fine. A pompous fool's sublime. / It also helps if they have names that rhyme."
Trillin's résumé has a sense of elasticity: journalist, novelist, humorist, satirist, poet. But there is a commonality to his work: It's approachable. And The Washington Post's Jonathan Yardley points out that, for a journalist, this may be the toughest feat of all.
"Calvin Trillin is like an old shoe," he wrote in a 1998 review of Trillin's Family Man. "Whatever he may be writing about, he always makes you want to slip into it and get comfy. This may seem like a modest compliment, but it is a high one indeed. Few tricks are more difficult for the journalist to pull off than being consistently likable and engaging, making oneself and one's little world interesting and appealing to others."
Good to Know
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Growing up in Kansas City, Calvin Marshall Trillin was known as Buddy.
The family name was originally Trilinsky.
He staged two one-man shows showcasing his humor in the late 1980s and early 1990s.
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