HEY, WHITE GIRL

It’s 1969 in Bice’s novel, and mandated busing has come to the Richmond, Virginia, schools.

The Randolphs are a White, middle-class Catholic family. Eleanor’s father is a lawyer. Nell, as she’s known, has an older brother, Donald, and a tightly wound mother, Marjorie. In the fall, Nell will be bused to Stonewall High, which is almost all Black and underfunded. Nell isn’t comfortable there but is determined to make the best of it and perhaps even to make some Black friends. She gets a small part in the fall play. The cast of Carousel is experimentally integrated, but when a Black-cast Billy Bigelow kisses a White-cast Julie Jordan, half the audience walks out and the local paper throws a fit. At semester’s end, Nell’s mother finds her a slot at a private White school, St. Mary’s. The nuns are racist (Nell, to her relief, is expelled), her classmates, clueless privileged snobs. She winds up, also to her relief, back at Stonewall. Nell’s father is a good man, trying to make the best of this situation and do the morally right thing. Her mother is not overtly racist, but she almost vibrates at this imposition, this disruption of her orderly, traditional life. Nell does make some Black friends, but those friendships are really fragile. We learn the story through Nell’s eyes, and a finely drawn character she is (as are others, especially the problematic Marjorie). We learn in the author blurb that Bice lived through that time as student and teacher, and her experiences inform every confrontation, every confusion. It’s important that in the epilogue, Nell is recalling in adulthood what she lived through and learned from. Thus, she can look back and trenchantly say, “My curated life was about to be challenged.” In the end, Nell can agree with Fergy Sutton, her Black almost-boyfriend, that the future is not without hope for the long haul but must be faced without rosy expectations for the short term.

A very sensitive, well-written treatment of a trying time and those who lived it.