An eloquently provocative anthology.
A book club founder and creative strategist gathers pieces from distinguished black females to celebrate “the legacy of Black women in literature,” which is “extensive, diverse, and beautifully complicated.”
Well-Read Black Girl founder Edim writes that “[s]torytelling is an extension of [African-American] sisterhood.” In this book, she highlights black literary achievement by offering first-person narratives from noted writers, activists, and intellectuals along with recommendations for further reading. In each essay, the contributor discusses her relationships to reading, books, and the world, yet each bears the unique experiential imprint of the woman who wrote it. In “Magic Mirrors,” two-time National Book Award–winning novelist Jesmyn Ward explores storytelling and representation. A favorite childhood book—Jennifer, Hecate, Macbeth, William McKinley and Me, Elizabeth—depicted a rarity for that time: a black girl who “harbor[ed] the power of magic.” But because the girl did not narrate her own story, Ward felt cheated. Only after she began writing her own stories was she able to find the “mirror” literature had been unable to offer her. Edim’s interview with Rebecca Walker deals less with literary reflections and more with the truth-telling power of words. Walker discusses how witnessing a man beating a woman in the street and then writing about the incident for her high school newspaper made her aware of just how important storytelling could be. It could give voice to the voiceless and socially marginalized and spotlight those “challenging the status quo.” Barbara Smith, lesbian activist and co-founder of Kitchen Table: Women of Color Press, discusses how reading saved her during the culturally repressive 1950s and how her own awakening came after reading the works and “miraculous language” of James Baldwin—in particular, his hetero- and homosexually explicit novel Another Country. Candid and thoughtful from start to finish, Edim’s collection amply celebrates the many paths black women have traveled on the road to self-definition. Other contributors include Tayari Jones, Jacqueline Woodson, Nicole Dennis-Benn, and N.K. Jesimin.
An eloquently provocative anthology.Pub Date: Oct. 30, 2018
ISBN: 978-0-525-61977-2
Page Count: 240
Publisher: Ballantine
Review Posted Online: July 30, 2018
Kirkus Reviews Issue: Aug. 15, 2018
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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