Just in time for Dr. King’s birthday! This lovely biography by Sandra Neil Wallace introduces a little-known leader of the Civil Rights Movement, Diane Nash. Nash fought for equal rights for people of color, and had a significant part in the changes that were won.
My thanks go to Simon and Schuster for the copy I received for review purposes. This book is for sale right now.
Most of us have never heard of Nash, who was active during a time when Black people and women were sometimes overlooked, and at other times, excluded in historical narratives. She grew up in the South side of Chicago, where there were many skin colors and cultures, but not many Caucasian people. It was when she went to college in Nashville that she gained firsthand experience of Jim Crow laws, which required separate (and generally inferior) facilities for African-Americans. And Diane was having none of it.
This sumptuously illustrated picture book details the key stages of her development and achievements. My one concern is with the references to “love” in the title and text which are never explained. Is the love in reference to her religion, a philosophy, or something else? The word is thrown in there several times with no context at all. If her mission was to bring change about using nonviolent methods, as Dr. King chose to do and encouraged others to do as well, it is not mentioned. Did she see Gandhi as a role model? We aren’t told. Instead, it appears that the word is injected to sanitize, to offset the word “fight,” perhaps because this story is written for young people. But children aren’t stupid, and without any cohesive portrayal of Nash’s character and underlying motivation, I fear they may forget her. Literature has power, and so although I am glad to see Nash introduced to young people, the effect is diluted when proper character development—which is necessary, even in a children’s picture book—is not provided.
That said, the literacy level is perfect for upper elementary students, and would also make a fine read-aloud for a teacher to frame a single lesson around. It would also be first rate for a sub plan, and teachers know that’s something we always need on hand.
Bryan Collier is the illustrator, and his artwork fills every inch of every page, with the text superimposed on top of it. This is lush, gorgeous work that elevates the story with its presence.
Recommended for classrooms, libraries, and to parents and other guardians of children in grades 4, 5, and 6.
Susan Straight is a force to be reckoned with. I knew this after I finished reading I Been in Sorrow’s Kitchen and Licked Out All the Pots after it came out in 1992, and after I sought out, bought, and read everything else she’d written that was available. When I discovered that her new novel, Mecca, was available on Net Galley, I leapt on it. My thanks go to Net Galley and to Farrar, Strauss, and Giroux for the review copy. This book is for sale now.
Mecca, an ironic title if ever there was one, is a story of race, class, and gender, and the way that they play into the “Justice” system in California. Add a generous seasoning of climate change and its horrific effects in dry, dry Southern California, and a fistful of opioid addiction, and you have a heady mix indeed. But these are all well worn ground at this point, and this book is exceptional, not because it examines complex current events, but because of Straight’s facility in building visceral characters we care about, and launching them into this maelstrom in a way that makes it impossible to forget.
We begin with Johnny Frias, an American citizen of Latino heritage. As a rookie and while off duty, he kills a man that is raping and about to murder a woman named Bunny. He panics and gets rid of the body without reporting what’s happened. Frias is on the highway patrol, and he takes all sorts of racist crap all day every day. But his family relies on him, and when push comes to shove, he loves his home and takes pride in keeping it safe.
Ximena works as a maid at a hotel for women that have had plastic surgery. One day she is cleaning a room and finds a baby! What to do? She can’t call the authorities; she’d be blamed, jailed, deported, or who knows what. She does the best thing she can think of, and of course, there’s blowback anyway.
And when a young Black man, a good student with loads of promise that has never been in any trouble at school, or with the law, is killed because the cops see his phone fall out of the car and decide it’s a gun…?
I find this story interesting from the beginning, but it really kicks into gear in a big way at roughly the forty percent mark. From that point forward, it owns me.
As should be evident from what I’ve said so far, this story is loaded with triggers. You know what you can read, and what you can’t. For those of us that can: Straight’s gift is in her ability to tell these stories naturally, and to develop these characters so completely that they almost feel like family. It is through caring about her characters that we are drawn into the events that take place around them, and the things that happen to them.
This is a complex novel with many moving parts and connections. I read part of this using the audio version, which I checked out from Seattle Bibliocommons. But whereas the narrators do a fine job, I find it easier to keep track of the characters and threads when I can see it in print. If you are someone that can’t understand a story well until you’ve heard it, go for the audio, or best of all, get both.
“Once you lift a sword, it is hard to put down again.”
I’ve been curious about Joan of Arc for a long time. I love military history, and as a feminist, I also love that Joan was responsible for leading French victories centuries before women were permitted to serve in the military of any major power. When I saw that Katherine J. Chen had written a “secular reimagining of the epic life of Joan of Arc…a feminist celebration of one remarkable—and remarkably real—woman who left an indelible mark on history,” I was all in.
My thanks go to Net Galley and Random House for the invitation to read and review. This book is for sale now.
In her end notes, Chen tells us that Joan’s biographers tend to leave out her difficult home life, with a violent, angry father that hates Joan from the moment she draws breath; he has wagered heavily on her being male, and she’s failed him. Chen sees it as a major factor in Joan’s development as a warrior.
When Joan leaves home, after her beloved uncle leaves and her elder sister, her one true friend within the family, commits suicide after she is raped by English soldiers, she expects to labor for her bread, which is nothing new to her. But ultimately, she wants to get word to the Dauphin, the heir to the throne, who is in hiding: she knows how to win this war.
I absolutely love the version of Joan that Chen develops, and my only frustration is in not knowing what aspects of Joan’s life she has had to invent, and which are historically accepted as truth. She tells us that Joan’s biographers would have her praying constantly, and that they depict Joan as little more than a totem that they carry to battle, a sort of human version of a lucky rabbit’s foot. And then I wonder even more: what facts are undisputed? Of course the Church would depict Joan as hugely religious, given that she has been beautified as a saint. Did she actually influence the battle plans? This part is frustrating to me. Had more information been provided, this would be a five star review.
In any case, the battle scenes are riveting, and Joan’s character is unforgettable. I look forward to seeing what Chen writes next.
Kim Michele Richardson broke new ground in 2019 with her blockbuster novel, The Book Woman of Troublesome Creek, which features an oppressed minority in Appalachia. In the early years of the 1900s, and possibly before, tucked into the hills and hollers of rural Kentucky were a small number of people that had blue skin. This first novel featured Cussy Mary Carter, a Blue woman that worked as a pack horse librarian as part of the WPA, a new government agency created by the FDR administration. In this sequel, it is her daughter, Honey Mary Angeline Lovett that joins this organization and in doing so, struggles toward emancipation when her parents are jailed for violating the miscegenation laws existing at the time.
My thanks go to Net Galley and Sourcebooks for the review copy.
When her parents are jailed for having intermarried—with “Blues” considered colored—Honey Lovett is sent to live with Retta, an elderly woman that has been like a grandmother to Honey. Returning to the area where she was born, Honey—who is also Blue, but only on her feet and hands, particularly when she is distressed—collides with many of the same biases and legal obstacles that her mother faced.
This sequel features more women that occupy nontraditional occupations; in her notes, Richardson says that she wanted to “explore themes of sisterhood.” The sentiment is a welcome one to this feminist Boomer; at the same time, it’s important to recognize that until the outbreak of the second world war, women seldom occupied positions with the government (our protagonist, plus her friend Pearl, who works for the Forestry Department as a fire lookout,) and as miners (another woman friend, who is harassed relentlessly.) For there to be three such women inside such a sparsely populated area would have been unusual. That said, I like the character of Pearl a lot, and providing Honey with a friend and peer gives the author more opportunities to flesh out her protagonist.
The novel’s greatest strengths are in the research behind it, the concept—informing readers about the existence and victimization of the Blues—and in the general setting of the time and place. Richardson knows her field.
Once again, I enjoy the return of Junia, the mule that I confess was my favorite character in the last book, as well as Tommy the Rooster, who is new. Another strength is that Honey is depicted in a more even and credible fashion than Cussy Mary, who was too saintly to be entirely believable.
However, I would still like to see some nuance in characters. There is a wide cast of characters here, but every single one is either a good guy—one that never does anything wrong—or a bad guy that never does anything good. This is a failing that would take the novel down, in my eyes, if not for the fact that Richardson has pioneered this particular time, setting, and topic. Even when a novel is primarily driven by setting, as this one is, the main characters need to be rounded out.
Shawn Levy has taken on an ambitious project, researching and writing about the pioneers of women’s stand-up comedy. In his author’s note, Levy says that while it may seem counterintuitive for a man to write about women comedians in this era of #MeToo, nobody else has done it, and because they are heroes, forging the way forward, performing for audiences that were frequently hostile. The result is in On the Joke, a well-researched book that tells the stories of the women that emerged from the vaudeville era to make history, roughly between the World War II era and Watergate.
My thanks go to Net Galley and Doubleday for the review copy. This book is for sale now.
There are eight chapters in this book, each dedicated to a particular type of comic. He starts with Moms Mabley, whom I had never heard of, and continues down the line with Totie Fields, Phyllis Diller, and several others, and ends with “The Scrapper,” Joan Rivers. I confess it was Rivers’ face on the cover that drew me to this historical work.
Levy has cut no corners, and the documentation is flawless; his style of reporting is conversational and written for a general readership. All told, he’s done a fine job here.
My only sorrow—and one that isn’t the author’s fault—is seeing what horrible things these women had to do to themselves in order to meet with success. One after another, women comics have mounted the stage, day after day, night after night, to make self-deprecating jokes, many of them downright vicious. They tell about how ugly they were as children, and how ugly they are now; they tear themselves apart like Christians diving voluntarily into the colosseum pit where the lions await. I expected to laugh my way through this thing, but most of the time I wanted to sit down and sob for these artists.
As I expected, my favorite among them is Rivers. Eventually she eased up somewhat on the self-attacks and began roasting other public figures. I saw some of her work when she was still alive, and at the time, I thought some of her jokes were too mean to be funny, but as Rivers pointed out to her critics, she always “punched up.” Using her well known catch phrase, “Can we tawk,” she eviscerated the most successful celebrities, politicians, and other newsworthy public figures, and a lot of her material was absolutely hilarious. In fact, I’d have finished reading and reviewing this book much sooner had I not kept setting it aside to watch old footage of her routines, as well as some of the others Levy covers.
If you are looking for a book to make you laugh your butt off, this isn’t that book, but it’s an excellent history of the women that paved the way for the likes of Gilda Radner, Tina Fey, Hannah Gadsby, and many others.
Recommended to feminists, and those interested in entertainment history.
I’ve been a big fan of Sarah Bird’s historical fiction since I read Daughter of a Daughter of a Queen, which was published in 2018. When I saw that she had a new book coming out, I was excited and couldn’t wait to start reading it. My thanks go to Net Galley and St. Martin’s Press for the review copy, and McMillan Audio for the recording. This book is for sale now.
Our protagonist is Evie Devlin; the setting is in Texas during the Great Depression. This is a time before government relief exists. Jobs for capable men are scarce, and for women, nearly nonexistent. Evie’s father is dead, and her mother has let her know that she won’t support her efforts to become a nurse. When hard work and determination land her a scholarship, Evie is over the moon, and she makes her way to St. Mary’s School of Nursing in Galveston. The director is not happy to see her; she disapproves of scholarship girls in general—a low class of girls, she believes—and in particular, a Protestant one! What is this world coming to? However, Sofia Amadeo likes Evie, and she wants her admitted, and since the Amadeo family’s money and power drive absolutely everything in Galveston, the director is forced to let Evie in. She and Sofie become roommates first, and then the closest of friends.
We follow Evie through nursing school, but on graduation day, she hits a snag and is sent away without her pin, which is the equivalent of a license to practice. Now homeless and nearly penniless, Evie is adrift, until she learns about the dance-a-thons that feature cash prizes. She was forced to dance for money as a small child and doesn’t care to do so again, but when she sees what passes for a nurse in the show—basically someone off the street recruited to play the role of nurse, but with no training of any kind—she persuades the manager to hire her instead. From there, romance and all sorts of other entanglements and complications ensue.
For roughly the first eighty percent of the book, I am enthralled. The plot is fascinating, the historical accuracy commendable. Soon this becomes my favorite galley. And this is why I feel such a colossal sense of disappointment, almost a sense of betrayal, in fact, when the ending is cobbled together with feel-good revisionism and wishful thinking. Without going into spoilerish detail, a member of an oppressed minority becomes Evie’s focus, and suddenly we roam so far from the historical truth that we never find our way back again. And make no mistake: the actual truth is ugly. But if you’re going to write in the kitchen, you have to be able to bear the heat. Or, something like that.
Sarah Bird is a badass writer. Just reading her figurative language alone gives me joy, and I am hoping fervently that this bizarre departure is an anomaly. I look forward to seeing what she writes next.
As for the audio, Cassandra Campbell does a serviceable job, though the Italian accent sounds a bit like Dracula. This is a common issue, I find, and so I’m not terribly concerned about this aspect. Everything else she does is right on point. If you are going to read this book—which, sadly, I cannot recommend—I’d say it’s a toss up as to audio versus print. Go with whatever you’re most comfortable with, but do it free or cheap if you decide to acquire it.
Hannah Gadsby appeared from seemingly out of nowhere—to those of us in the States—with a searing personal story about her own trauma that was built into her standup comedy routine. Nanette singed our eyebrows and made a great many of us absolutely love her. When I saw this memoir, I knew I had to read it. My thanks go to Net Galley and Random House Ballantine for the review copy; that said, I would have paid an exorbitant price for a personal copy had it been necessary, and I would not have been disappointed in what I bought.
This book is for sale now.
In some ways it seems useless to review this memoir, because those that are interested in reading it are already fans; those that recoiled in horror from her blunt revelations and assessments of the world around us won’t read it, no matter what I say. But for the few that haven’t seen her standup routine, I counsel you first to watch Nanette on Netflix, and then watch Douglas, too. Of course, you can go into this memoir green, but you’ll appreciate it more if you understand her references to the show.
For those that are fans but are wondering whether the memoir is going to be her standup material, recycled—and surely, plenty of other people have done that sort of thing—I can reassure you that it is not. There are references to Nanette, and there are also references to her newer release, Douglas, the show she named after her dog. But there’s a good deal of information here that you won’t get anywhere else, and that’s what makes it worth it.
After discovering that Gadsby made it in the entertainment business despite coming from no money whatsoever, with no connections to anyone in show business in her native Australia or elsewhere, and having a host of disabilities, foremost among them autism, I wondered whether her success was a piece of rare good luck, or the result of hard work and perseverance unseen by most of her viewers. It’s the latter. And not only has she worked long and hard to make it as a comic, she is also one hell of a fine writer. The depth of analysis and critical thinking in this memoir took my breath away.
Since I’ve been reviewing, I have built myself a bit of a reading routine. There are particular times of day when I read, and also times when I put my books down to get other things done. Gadsby destroyed my orderly timetable. It’s been a long time since any book, however enjoyable to read, has caused me to say, Nope. Not stopping. This one did.
I highlighted a lot of passages, but I’ve decided not to use any direct quotes here, because all of them are so much better in context. But I will say that I am truly ashamed at the way that teachers let her down. As a child she was disciplined, bullied, and received everything at school except the help she desperately needed. I am devastated that my profession failed this brilliant woman. I’d love to believe that things have improved significantly since she was a child, but in my heart, I know there are still little Hannahs out there. Some are falling through the cracks, whereas others are pushed. The horror!
Most of her story is not horrifying, however; it is immensely entertaining. Nobody could safely walk through the room while I was reading without having to listen to a passage or two. On the other hand, nobody minded much, either, because Gatsby.
The most engaging aspect of this memoir—and its author—is authenticity. She never pulls punches, whether describing her own poor choices, or those made by others. One or two very popular American performers have taken passive aggressive swipes at her, and she uses this opportunity to swipe back, right at the start of the book, no less! I wanted to stand up and cheer, but instead, I did it sitting down so as not to lose my place.
The only question remaining is whether you should read this brilliant, darkly funny and disarmingly frank memoir in print or audio. I haven’t heard the audio, but since she reads it herself, you know it’s good. On the other hand, there are several passages that are so well written that I went back over them before moving on; you might miss those with an audio book. True fans that can do so should get both versions.
Violeta is an epic tale that spans, along with its protagonist, a century-long period that begins during the Spanish Flu and ends with our modern day pandemic. Technically, then, it is part of the growing body of pandemic literature, but as is always true for Allende’s novels, it is so much more.
I received a review copy, courtesy of Net Galley and Random House Ballantine, but had I not, I’d have found a way to read this glorious story anyway. It’s available to the public now.
Violeta is born to wealth and privilege, the only daughter in a large family. Schooled at home by a nanny, sequestered in a mansion with servants to do her bidding, she is unaware that her luxurious standard of living comes at a tremendous cost to others. Then the market drops, and her father, who has overextended himself with unwise investments, is ruined. Most of her brothers are already grown and gone, but one brother, Jose Antonio, had remained at home, groomed by their father to take over the business one day. “He was the model son, and he was sick of it.” After their father’s abrupt departure, Jose Antonio finds himself responsible for the family; with the local populace in a state of near insurrection, the only thing left to do is to take his family—including Violeta—and leave town. They remove themselves to a distant farm owned by poor but generous friends, and they learn to make do as they’ve never done before.
We follow Violeta through her early marriage to a German immigrant who was “so bland and boring that he inspired instant trust,” and then through a long, tempestuous relationship with a handsome thug named Julian, who makes his fortune in dark, horrible ways involving illegal substances, the CIA, and the Mafia. And here, Allende’s startling sense of humor is in full brilliant flower, as she describes his retrieval of ill gotten funds from the septic tank of their Florida home:
He pulled a filthy bag from the hole, dragged it to the kitchen and poured the contents out on the floor; rolls of wet bills covered in poop. Gagging, I saw that Julian planned to clean the money in our washing machine. “No! Don’t even think about it!” I shouted hysterically. He must’ve understood that I was willing to draw blood to stop him, because I’d instinctively grabbed the largest knife in the kitchen. “Okay, Violeta, calm down,” he begged, frightened for the first time in his life. He made a call, and a short while later we had two mafia goons at our disposal. We went to a laundromat and the gangsters paid everyone to leave. Then the men stood guard as Julian washed the poop-covered bills. After that he had to dry them and pack them in a bag. He brought me along because he had no idea how to operate the machines. “Now I understand what money laundering is…”
As with all or most of Allende’s protagonists, Violeta becomes a strong woman that can stand on her own, and who picks and chooses the men she wants to be with. She is beautiful, intelligent, and ends up with piles of her own money that she has earned in an ethical manner. And here is my one, very small issue with this book; just once I would like to see an Allende main character that doesn’t get rich, but is fine anyway.
I am late in reviewing this book, but it’s important not to try to rush through a story such as this one, because the literary alchemy Allende creates is the sort that must be appreciated at one’s leisure. Her novels are not page turners; they don’t try to be. Instead, Violeta is the sort of book you take with you on a spa date, or to your very own bathtub with bubbles, candles, and your favorite beverage.
Highly recommended to feminist readers that enjoy top quality literary fiction.
There are books, and then there’s this: the autobiography of an icon that will be read for generations. I passed—perhaps foolishly—on a review copy, because I was afraid there would be large passages of minutiae about tennis, which doesn’t interest me. I was mistaken in my concern, but it worked out well, because I borrowed an audio version from Seattle Bibliocommons, and the author reads her own book. She is an old woman now, and hearing her detail her own remarkable life is a matchless experience. It’s hard to imagine there will be a more important, or more enjoyable book published in the coming year.
Billie Jean Moffitt King is born in 1943 and grows up in Southern California in a conservative working class family; her dad is a firefighter, and her mother stays home, as most mothers did back then. There is Billie, and there is her brother, and the family are devoted Methodists. Who is to know that both children will be famous one day? Brother Randy becomes a professional baseball player, and Billie Jean becomes a record-breaking tennis star and a passionate social justice activist. If you, reader, are younger than sixty, you probably don’t even know how much you owe Billie Jean.
Growing up, King enjoys all sorts of sports, but when she is introduced to tennis, a light comes on. The problem is, tennis is a sport for the elite, even more so back then than now. To find a tennis court, you needed to either have a private court built on your palatial estate, or belong to a country club, and of course, to do that, you also have to be Caucasian. Billie Jean’s family is nowhere near affluent enough to belong. And so, early on, her passion and her obvious talent draw support from people with enough pull, or enough money, to give her access. She takes the time to thank them, but doesn’t let this bog the story down.
Over and over, however, she is shut out on account of her gender. Prize money typically pays enough to help an athlete pay their own travel expenses and buy equipment, but when women are allowed to compete in competitions prestigious enough to offer prize money, it’s only for the men. Women are expected to be grateful that they are included at all. And as King gets better at her sport and her confidence grows, she begins to push back. Nobody wants to watch women play tennis? Since when? And since when should people of color be shut out?
Although she doesn’t say so, it becomes obvious to me that in addition to athletic talent, confidence, intelligence, and almost endless energy, King has one more talent, one that isn’t recognized as such in the mid-twentieth century: she has amazing people skills. Over and over, she is able to reach compromises, make deals, and shorten the gap between conservative perceptions of women athletes, and what all athletes deserve. She discusses the various battles (though she doesn’t use this word) and how they are resolved, and I am amazed at the grace and dignity she demonstrates. Perhaps the most telling moment is when she befriends Bobby Riggs, the obnoxious bastard that she has defeated in front of the world, and later, when he is on his deathbed, takes a call from his wife. Riggs is asking for her, and he doesn’t have much time left. She is too far away to get to him in time, but she tells him on the phone that she loves him. Wow.
If you are or were a girl that participated in high school sports, or if you or your loved ones have benefited from Title IX, thank Billie Jean, who testified before Congress. She also started the first professional tennis circuit for women.
Over the years, King wins 39 Wimbledon Grand Slam titles and a host of others as well. I am a child when she plays Bobby Riggs in “The Battle of the Sexes,” and she beats him squarely. What I don’t know (and would still not have known if I’d been paying attention,) is that she does her very best not to play this tournament. Riggs is much older than she, and he hounds her—in fact, today his behavior would violate anti-stalking laws. But she calmly tells him, over and over, that she isn’t interested, and then she ignores his calls and turns away from his in-person visits. But when a fellow women’s tennis champion plays him and loses, Billie turns to her husband and manager, Larry King, and with a sigh, says, “Okay. You’d better set it up.”
At this point, I turn away from the audio book and head to YouTube to watch The Battle of the Sexes. This trip back to the society in which I grew up is hair-raising. The ways that men talk about women, in public forums! The remarks by Howard Cosell, who was the most liberal of sportscasters, about her physical appearance, and the patronizing remarks of others are appalling. I wouldn’t go back for anything in this world! But when she is asked antagonizing questions, Billie Jean comments, briefly, calmly, and without showing even the slightest offence. Her coolness on the court is mirrored in her cool public appearances. It’s remarkable.
When Gloria Steinem starts Ms. Magazine, King supports her, but she is always either asleep or busy, so husband Larry handles the mail. When he sees the request to add her name to a list of famous women that support a woman’s right to choose, as the controversy over Roe v. Wade heats up, he signs for her and then forgets to mention it to her; had he read more carefully, he would have noted the line, “I had an abortion!” King doesn’t know it’s about to be public knowledge, and her parents didn’t know she’d terminated a pregnancy. It’s not a good moment.
Later, when her feelings for other women grow stronger, she and Larry separate, but not completely. For years, she stays with him when they both show up in town at the same time, and they continue a romantic relationship, though infrequently. It is when she grows close to South African tennis player Ilana, and Ilana makes her choose, that she divorces Larry; again, they remain friends.
I could carry on all day about this woman, a champion on the court and off, but if you are interested enough to read this entire review, then you’re interested enough to get this book. I’m sure the print version is lovely, but the audio book—which sounds like a garrulous old lady telling her story, like Forrest Gump, but authentic and more accomplished—and hearing her voice wobble when she speaks of her most moving experiences, is simply unmissable.
“I was not the first person to go through the world living two separate lives, one out in the open and the other locked up inside a box.”
Elly Bennett dies and leaves a detailed recording for her children. Wilkerson’s novel is about Elly’s life, but more than that, it’s about secrets. Everyone in this book has one or has been impacted by one in a major way, and for most, both are true. Elly and her late husband had a whopper, and they built their lives and their family around it. Their two children are Byron and Benny, and Benny’s secret is all consuming for much of her life; it has had a role in estranging her from her once-adoring older brother and parents. Meanwhile, there’s a child—now grown to middle age—in Europe that is herself a secret, and whose very identity has been obscured by one. Elly’s closest childhood friend carries a particularly potent secret, and so does the nanny that raised her. Even the lawyer that handles the estate has one.
When is it safe to let go of a secret?
I was invited to read Wilkerson’s debut novel by Random House Ballantine and Net Galley, and I thank them for the review copy. This book is for sale now, and everyone is talking about it. You’ll want to get in on it.
Our story unfolds with seventeen year old Coventina Brown, known as Covey, quietly launching a plan to join her boyfriend, Gibbs, in London. He’s gone there to go to school, and when she’s done with school, she will join him. That is, until her father, who has raised her alone, gets into big trouble with a loan shark, a local thug who now holds title to her father’s store and his home, and now wants the one thing this father has left: Covey. If Covey marries this nasty old man, the debt will be squared. Most fathers would send their daughters to safety, and then square their shoulders and solve their problem, even when their own lives hang in the balance. But alas, Johnny Lyncook is not most fathers. He’s not a particularly nice man. As one of our characters will observe later, “A shit is a shit, young or old.”
Covey escapes on her wedding day (at which Black Cake, similar to fruitcake, is traditionally served), and her experiences from that time forward will form the foundation of her own life, her (future) husband’s, and their children and other loved ones.
The story is told in the third person omniscient, with the point of view changing by chapter, along with the time period. Readers will find themselves wretchedly confused if they fail to note the chapter titles, which are the key to everything that follows. The result is a story that is assembled like building blocks, and although it works out in the end, with everything coming together for a satisfactory resolution, I am frustrated at times, because just as a character begins to take shape for me, we leave them and join someone else.
I would have enjoyed more integration and perhaps a wee bit of streamlining. For example: we learn that Johnny, Elly/Covey’s father, is ethnically Chinese, and that there are a lot of them in the Caribbean, but there appears to be no reason whatsoever to include this. It is as if Wilkerson wants to include every interesting fact about life in the Caribbean, and so there are components her that add nothing to the narrative. It’s a distraction. The story is complex enough without tidbits thrown in for no benefit. There are some small credibility issues as well. Two people within the story become famous enough to be recognized on the street, and receive breaks that they ordinarily wouldn’t; one is a distance swimmer, and the other an oceanographer. I can imagine how one or the other might be charismatic and photogenic enough to achieve this, but two? Name a famous oceanographer. Name a famous distance swimmer. See what I mean?
Nevertheless, this is in many ways a story for our time, and as such, it will make meaty discussion material in book clubs and in classrooms. When is a person black enough, and must a biracial person choose one side of their heritage over the other? How much information do adoptive parents owe their child, and when should they provide it? What about biological parents? When is it acceptable to keep secrets related to their children’s heritage, and when not? There are MeToo and other women’s issues at play, and there are issues of race. You could probably read this thing three or four times and still come away with observations, ideas, and questions that you hadn’t found the other times.
I am grateful that this story never devolves into a cookbook.
As debuts go, this is a strong one, and I look forward to seeing what else Wilkerson publishes. I recommend this novel as a welcome distraction from the stormy months ahead.