I See You've Called in Dead

John Kenney

56 pages 1-hour read

John Kenney

I See You've Called in Dead

Fiction | Novel | Adult | Published in 2025

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Background

Content Warning: This section of the guide includes discussion of death and illness.

Authorial Context: Personal Grief and the Role of Dark Humor

In the Author’s Note for I See You’ve Called in Dead, John Kenney reveals that the novel’s central premise was born from a moment of dark humor shared with his dying brother, Tom. A firefighter who worked at the World Trade Center after 9/11, Tom was diagnosed with pancreatic cancer, an illness with a five-year survival rate of approximately 13%, according to the American Cancer Society (“Survival Rates for Pancreatic Cancer.” American Cancer Society). During Kenney’s final visit, as other family members arrived, his brother joked that Kenney should “[t]ell them they’re too late” (291).


This blend of levity and tragedy became the emotional core of the novel, grounding Bud Stanley’s fictional journey in the author’s real experience and exploring how humor can function as a useful coping mechanism in the face of profound loss. Psychological research, including studies reported by the Mayo Clinic, often highlights humor’s role in relieving stress and fostering resilience. Laughter, in particular, has been shown to simultaneously decrease levels of stress hormones like cortisol and increase levels of oxytocin, dopamine, and endorphins—hormones associated with pleasure and social bonding (Gregory, Sara Youngblood. “The Health Benefits of Humor.” Healthy Aging, The Mayo Clinic Press, 28 Mar. 2024). The latter is particularly relevant to the novel, which shows Bud grappling with The Search for Authentic Human Connection amid divorce and loneliness. The narrative structure underscores humor’s centrality to healing: Bud’s accidental publication of his own obituary, an absurd act, occurs at a moment of deep despair yet becomes a catalyst for connection and self-reflection.


At the same time, research suggests a distinction between “healthy” and “unhealthy” uses of humor, both broadly and in times of acute stress. For instance, a joke that pokes fun at the absurdity of a situation can function as a form of “positive reappraisal” that makes challenges seem more manageable. By contrast, humor that undermines one’s own self-esteem, or that of others, can become a maladaptive coping mechanism (Pistoia, Jared C. “Humor as a Coping Mechanism.” PsychCentral, 28 Jun. 2022). The novel shows Bud gradually shifting from the latter style of humor to the former as those around him point out his reliance on barbed sarcasm to avoid vulnerability. As the novel closes, jokes remain central to Bud’s interactions with others, but they increasingly serve to solidify bonds rather than undercut them.

Cultural Context: The Decline of Print Journalism and the Art of the Obituary

The novel is set against the backdrop of the news industry’s turbulent shift from print to digital media, a crisis that directly shapes the protagonist’s professional and personal identity. Since the early 2000s, the rise of online news has led to a steep decline in traditional newspaper circulation and revenue. Research from the Pew Research Center confirms this trend, reporting that US newspaper newsroom employment fell by more than half between 2008 and 2020 (Walker, Mason. “U.S. Newsroom Employment Has Fallen 26% Since 2008.” Pew Research Center, 13 Jul. 2021). Journalists in particular have been hard hit, with roughly two-thirds losing their jobs since 2005 (“Abernathy, Penelope Muse. “The State of Local News: The 2023 Report.” The State of Local News Project, 16 Nov. 2023). This industry-wide contraction created a high-pressure, cost-cutting environment where long-form, thoughtful journalism has often lost out to content optimized for clicks; research suggests that consumers reading news online spend roughly one to two minutes per article (De Visé, Daniel. “Is Long-Form Journalism Dying? A Five-Minute Read.” The Hill, 4 Dec. 2022).


Kenney’s novel captures this reality through the lens of obituary writing. Bud Stanley reflects on the shifting industry, noting that “the art of obituary writing is dying. As newspapers die, with a few exceptions, so do the local obits” (26). Bud’s words reflect the particular crisis facing local newspapers: Even in a city as large as New York, Bud suggests, readers increasingly have little appetite for news they perceive as parochial. In this environment, his struggle to find meaning in his work speaks to his personal crisis, but it also reflects a craft becoming obsolete in an age of disposable content. Bud’s ultimate professional redemption therefore comes when his boss, Howard, proposes a new section for longer, more meaningful life stories, a direct counterpoint to the prevailing media trends. This plotline uses the decline of the traditional obituary to frame Bud’s journey as a search for authentic storytelling and human connection in a rapidly changing world.

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