Adam Kirsch in The New Republic:
Books of essays regularly turn up on the best-seller lists; many of their authors are stars on the radio, especially on the cult program “This American Life.” In the HBO show “Girls,” the character portrayed by Lena Dunham declared her ambition to become a writer and “the voice of my generation,” but she did not hope to write the Great American Novel: she wanted to produce a book of essays. Here as in so many of its details, “Girls” proves to be a faithful stenographer of its moment. A talented writer such as John Jeremiah Sullivan might, fifty years ago, have tried to explore his complicated feelings about the South, and about race and class in America, by writing fiction, following in the footsteps of Walker Percy and Eudora Welty. Instead he produced a book of essays, called Pulphead, on the same themes; and the book was received with the kind of serious attention and critical acclaim that were once reserved for novels.
But all is not as it seems. You do not have to read very far in the work of the new essayists to realize that the resurrection of the essay is in large measure a mirage. For while the work of writers such as David Sedaris, Sloane Crosley, John Jeremiah Sullivan, and Davy Rothbart are described as essays—My Heart Is an Idiot: Essays, is the title of Rothbart’s new book—they have little in common with what was once meant by that term. The new essay, like the old essay, is a prose composition of medium length; but beyond that the differences are more salient than the resemblances.