“Straight’s portrayal of a black woman’s life is nearly miraculous in its astonishing richness of detail, its emotional honesty and its breadth of human thought and feeling.” —USA Today Evoking the Gullah–speaking 1950s community of Pine Gardens, South Carolina, I Been in Sorrow’s Kitchen and Licked Out All the Pots follows Marietta Cook, a maid with a growing interest in the civil rights movement, as she raises talented twin boys destined for pro football glory and comes to find peace in an often unjust world. Imbued with extraordinary resilience and joy, Susan Straight’s debut is a celebration of an extraordinary soul and a novel with a beautifully vivid sense of place.
Once described as "the best crime writer you've never heard of," James Sallis is a largely underexplored figure in contemporary American literature. Best known for his thriller novel Drive--later adapted into the acclaimed 2011 movie of the same name starring Ryan Gosling and Carey Mulligan--Sallis has written across a range of genres and forms, including short fiction, poetry, musicology, science fiction, biography, nonfiction essays, literary reviews, and criticism. This companion, the first comprehensive examination of Sallis' writings, locates him as a vital voice within mystery fiction. In addition to an alphabetized analysis of his works, it includes a biography, career chronology, and an interview with the author. Readers will gain a deeper understanding of Sallis' extraordinary life and career, as well as insight into the recurrent themes and motifs of his rich and varied writings. This book is both an introduction to Sallis' work for new readers and a thorough reference guide for established fans and scholars.
Pottery has become one of the major categories of artifact that is used in reconstructing the lives and habits of prehistoric people. In these 14 papers, members of the Prehistoric Ceramics Research Group discuss the many ways in which pottery is used to study chronology, behavioral changes, interrelationships between people and between people and their environment, technology and production, exchange, settlement organization, cultural expression, style and symbolism.
One of NPR's Best Books of the Year “Straight’s memoir is a lyric social history of her multiracial clan in Riverside that explores the bonds of love and survival that bind them, with a particular emphasis on the women’s stories . . . The aftereffect of all these disparate stories juxtaposed in a single epic is remarkable. Its resonance lingers for days after reading.” —San Francisco Chronicle In the Country of Women is a valuable social history and a personal narrative that reads like a love song to America and indomitable women. In inland Southern California, near the desert and the Mexican border, Susan Straight, a self–proclaimed book nerd, and Dwayne Sims, an African American basketball player, started dating in high school. After college, they married and drove to Amherst, Massachusetts, where Straight met her teacher and mentor, James Baldwin, who encouraged her to write. Once back in Riverside, at driveway barbecues and fish fries with the large, close–knit Sims family, Straight—and eventually her three daughters—heard for decades the stories of Dwayne’s female ancestors. Some women escaped violence in post–slavery Tennessee, some escaped murder in Jim Crow Mississippi, and some fled abusive men. Straight’s mother–in–law, Alberta Sims, is the descendant at the heart of this memoir. Susan’s family, too, reflects the hardship and resilience of women pushing onward—from Switzerland, Canada, and the Colorado Rockies to California. A Pakistani word, biraderi, is one Straight uses to define a complex system of kinship and clan—those who become your family. An entire community helped raise her daughters. Of her three girls, now grown and working in museums and the entertainment industry, Straight writes, “The daughters of our ancestors carry in their blood at least three continents. We are not about borders. We are about love and survival.” “Certain books give off the sense that you won’t want them to end, so splendid the writing, so lyrical the stories. Such is the case with Southern California novelist Susan Straight’s new memoir, In the Country of Women . . . Her vibrant pages are filled with people of churned–together blood culled from scattered immigrants and native peoples, indomitable women and their babies. Yet they never succumb . . . Straight gives us permission to remember what went before with passion and attachment.” ––Los Angeles Times
From America’s most beloved superstar and #1 New York Times bestselling author James Patterson comes a thriller about a young singer-songwriter on the rise—and on the run—and determined to do whatever it takes to survive. Every song tells a story. She’s a star on the rise, singing about the hard life behind her. She’s also on the run. Find a future, lose a past. Nashville is where she’s come to claim her destiny. It’s also where the darkness she’s fled might find her. And destroy her. Run, Rose, Run is a novel glittering with danger and desire—a story that only America’s #1 beloved entertainer and its #1 bestselling author could have created.
This new biography takes into account the whole woman—not just the prolific author of such great works as Their Eyes Were Watching God , Moses, Man of the Mountain, Jonah's Gourd Vine, Mules and Men, as well as essays, folklore, short stories, and poetry—but the philosopher and the spiritual soul, examining how each is reflected in her career, fiction and nonfiction publications, social and political activity, and, ultimately, her death. When we ask what animated the woman who achieved all that she did, we must necessarily probe further. Not one of the other existing biographies discusses or analyzes Hurston's spirituality in any sustained sense, even though this spirituality played a significant role in her life and works. As author Deborah G. Plant shows, Zora Neale Hurston's ability to achieve and to endure all she did came from the courage of her convictions—a belief in self that was profoundly centered and anchored in spirituality.
“Aquaboogie is a love story in fragments . . . A book by a writer whose love for her characters infuses her work with the dignity and urgency they so clearly deserve.” —The New York Times Book Review Full of defiance and tenderness, Aquaboogie chronicles the triumphs and tragedies of the residents of Rio Seco. In “Aquaboogie,” art student Nacho finances his class out East by working as a janitor, subject to torment by his white coworkers. In “Back,” elderly Pashion sleeps wrapped around the body of her dying husband L. C., all the while recalling their 49 years of marriage and thinking about the sleeping pills she has secreted away for when life becomes unbearable. In “The Box,” Shawan carries her radio everywhere; since her best friend was gunned down, music is the only thing that can get her through the day. In these and other stories in this powerful collection, the author gives voice to those on the margins while demonstrating her great affection for her characters.
Zora Neale Hurston is a controversial figure, equally praised and criticized for her representation of African-Americans; while some critics emphasize her ebullience and celebration of Black culture, others call her fiction stereotypical and essentialist. Observing the workings of the recurrent humor in her works helps explode this critical binary opposition. Specifically, the carnivalesque and the heteroglossia often subvert essentialist notions of (Black) identity. Jonah's Gourd Vine's protagonist, the preacher-womanizer John Pearson, can be seen as an African rather than an African-American trickster figure, i.e. as a mobile character whose liminality helps him fight essentialist definitions imposed on him by both the white establishment and his own community. Janie's romantic search for self-fulfillment in Their Eyes Were Watching God is undermined by the humor and the carnival, which emphasize her shifting and multiply defined identity. Finally, the African-Americanized story of Moses and the Hebrews shows the conflicts involved in their search for a unified national and cultural identity. In these three novels, Hurston appears as a subversive presence whose manipulation of humor underscores a complex political vision.
