David Sedaris often finds himself as an outsider, having traveled to 62 different countries.

During his long stay in France with his partner, Hugh Hamrick, shopkeepers frequently inquired about the duration of his visit. Sedaris would respond, “I’ve been here for 25 years.”

In England, he feels overlooked, with people often speaking around him even though they share a language. “They communicate in English there, as do I, but I often feel insignificant as an American,” he explains. “People assume ‘He can’t grasp it; he never will.’”

His first visit to Tokyo also felt isolating, as he noticed he was the sole person smoking a cigarette on the street. “I thought to extinguish it,” he reminisces, “but then I observed the absence of cigarette butts on the ground, so I squashed the butt and tucked it into my pants’ hem.”

Sedaris has always felt like an outsider, meticulously documenting his experiences in a diary, from which he crafts sharp essays on both deep and trivial topics.

“Seeing things from an outsider’s perspective has always been beneficial for me,” he shares. This viewpoint enhances his skills in observation, allowing him to blend into the background and sense the mood of a room.

The success of his bestselling works has brought him considerable wealth and fame.

The only two topics Europeans discuss with David Sedaris

As an American in foreign lands, Sedaris finds that Europeans typically engage him in two recurring discussions.

First, they are intrigued by former President Donald Trump. When they discover he is American, it becomes the focal point of conversation. Sedaris suggests this reality should prompt caution for those considering leaving the country if Trump were to win again.

“Many people claim: ‘If Trump wins, I’m out of here.’ Oh really?” he remarks. “You’d leave, but every time you speak, folks will ask about Trump. You might as well stay in America. You have no clue what awaits you.”

The second topic that leads Europeans to seek Sedaris’ opinion involves tragic events in America.

“Every time a school shooting occurs, people ask me to explain it,” he notes. “In England, in France, they inquire, ‘How can you tolerate this?’ And I have to tell them, ‘I had no role in it.’ Then they counter with, ‘What about that other shooting six months ago?’ It’s frustrating to say, ‘I don’t even live there.’”

As a wordsmith, Sedaris admits he struggles to find clarity.

“I can’t rationalize gun culture to outsiders because I don’t understand it myself,” he confesses.

An invitation from the Vatican

Even when people who should know better consider him an insider and extend invites to exclusive events, Sedaris remains skeptical.

This past spring, Pope Francis invited numerous comedians worldwide, including well-known Americans like Stephen Colbert, Jim Gaffigan, Jimmy Fallon, Chris Rock, and Julia Louis-Dreyfus. Sedaris was also included, which made him uneasy.

He expressed in The New Yorker: “What am I doing among them? Why not invite Garrison Keillor, Tina Fey, or Donald Glover—just a few of the many who are far more deserving? It felt like substituting one of the apostles with Snoopy in ‘The Last Supper.’”

What will he discuss on tour?

The Vatican experience may be one of the stories he shares during his upcoming tour, which consists of a grueling lineup of back-to-back performances where Sedaris will read from his latest essays, including eight new stories he penned this summer. Some of these essays cover:

The reasoning behind non-voting. “If voting meant cleaning a mile of highway, everyone would do it,” Sedaris states. He recalls a woman who told his sister, actress Amy Sedaris, that she didn’t vote to avoid jury duty. “My family loves jury duty,” he adds. “We relish those experiences. My mother had a capital murder trial and loved every minute.”

Cranky travelers. “Hugh and I vacationed in Maine this summer, and I didn’t expect to leave with a story. In pondering how to make my experiences relatable, I realized not everyone has traveled to Maine or even visited an island. However, we all know someone who becomes insufferable when they travel, and that person is Hugh. He can be such a burden on trips. I figured many people would connect with that, so I began to write.”

Elements that spoil movies or TV shows. “Everyone has something that disrupts their enjoyment, whether it’s a detail they notice or a particular style that bothers them when watching.”

“They get pulled out of a movie or TV show, and are so distracted they can’t immerse themselves back into it,” Sedaris says. “For me, it’s about language. I watched something set in 1969 where the main character, a woman, tells a Marine, ‘Thank you for your service.’ That phrase was not used in 1969. Later, another character, an activist, says, ‘This money will really help women of color,’ but back then, they would have said ‘colored women.’ It completely took me out of the story.” He uses this observation as a springboard, and has been engaging with his audience at book signings to learn about their own frustrations regarding similar issues.

Why cab drivers frequently appear in David Sedaris’ stories

As a lifelong diary keeper, Sedaris draws from his daily notes to create his essays, often including dialogues with taxi drivers. These encounters often make it into his work.

“Most individuals like to believe they are in control,” he explains. “Since I never learned to drive, I rely on others to take me places; whether it’s by plane, train, car, or bus, I’m always around people. I think I should make the most of those moments.”

His brief interactions — like the cab driver who drove eight hours just to enjoy a rollercoaster, but refused to visit his local polling station because he felt it was rigged — often become part of his longer essays. Additionally, he reflects on the way he is sometimes dismissed unless the topic turns to Trump or school shootings.

“People will talk in front of you in ways they typically wouldn’t,” he remarks. “To me, that’s like a treasure.”

What can you expect at a David Sedaris reading?

The tales Sedaris shares during this tour, delivered in his unique thin voice, are still being refined. At each performance, he reads directly from his notes, taking a pen to make observations based on audience reactions.

“It’s a privilege to have 2,000 editors in the audience,” he said, referring to the attendees.

“My editor at The New Yorker might suggest, ‘We could cut this part.’ But that could be my biggest laugh! If I hadn’t performed it live 30 times, I wouldn’t know that. So, there’s no way I’m getting rid of my best laugh.”

He has learned to rely on his audience unless they can see him.

“The audience doesn’t lie,” he states, elaborating from his extensive touring experience. “But that can change if I can see them. Then they become polite, wanting to appear attentive and appreciative, often forcing fake laughter. However, if they know I can’t see them, they’ll be honest.”

This authenticity is what draws Sedaris’ fans, who appreciate the depth and complexity he brings to his work. He first gained recognition in 1992 through his candid portrayal of Macy’s Santaland in “Santaland Diaries,” a piece that introduced him as a significant new voice through NPR. His reputation has been built over the years with essays crafted and polished while addressing thousands of audiences.

This journey continues, with Sedaris performing near you soon.