A meaty selection from Gates’ large-bodied work.
Omnibus of writings on race discourse and genealogy over three decades by the eminent Harvard professor.
Most notably in the academic world, Gates (Life Upon These Shores: Looking at African American History, 1513–2008, 2011, etc.) excavated and promoted the significant original mid-19th-century African-American women’s narratives Our Nig by Harriet E. Wilson (rediscovered in 1982) and The Bondwoman’s Narrative by Hannah Crafts (first published in 2002). The author’s insightful introductions to both works are reproduced here. He has been instrumental in reinvigorating the African-American literary tradition by drawing on these and other little-known or otherwise lost contributions—e.g., work by early poet Phillis Wheatley, who was writing at a time when the absence of black writing proved to many the inferiority of the race. Yet for Gates these long-lost writings proved both their “certificate of humanity,” by embracing the European tradition, and their utter distinctness, especially in terms of language. As director of the W.E.B. Du Bois Institute for African and African American Research at Harvard, he has co-edited important volumes dear to the legacy of Du Bois such as African America Lives and Africana: The Encyclopedia of African and African American Experience, the prefaces to which also appear here. In his persistent delving into genealogical research of his own family and those of famous others such as Oprah Winfrey, he has made some fascinating and troubling disclosures—e.g., outing Anatole Broyard and Jean Toomer for “passing” for white. Finally, he demonstrates in numerous journalistic pieces that he is an engaging and accessible writer, especially in interviews with Josephine Baker and James Baldwin and with Condoleezza Rice.
A meaty selection from Gates’ large-bodied work.Pub Date: May 1, 2012
ISBN: 978-0-465-02831-3
Page Count: 656
Publisher: Basic Civitas
Review Posted Online: Feb. 28, 2012
Kirkus Reviews Issue: March 15, 2012
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Sedaris at his darkest—and his best.
In which the veteran humorist enters middle age with fine snark but some trepidation as well.
Mortality is weighing on Sedaris (Theft by Finding: Diaries 1977-2002, 2017, etc.), much of it his own, professional narcissist that he is. Watching an elderly man have a bowel accident on a plane, he dreaded the day when he would be the target of teenagers’ jokes “as they raise their phones to take my picture from behind.” A skin tumor troubled him, but so did the doctor who told him he couldn’t keep it once it was removed. “But it’s my tumor,” he insisted. “I made it.” (Eventually, he found a semitrained doctor to remove and give him the lipoma, which he proceeded to feed to a turtle.) The deaths of others are much on the author’s mind as well: He contemplates the suicide of his sister Tiffany, his alcoholic mother’s death, and his cantankerous father’s erratic behavior. His contemplation of his mother’s drinking—and his family’s denial of it—makes for some of the most poignant writing in the book: The sound of her putting ice in a rocks glass increasingly sounded “like a trigger being cocked.” Despite the gloom, however, frivolity still abides in the Sedaris clan. His summer home on the Carolina coast, which he dubbed the Sea Section, overspills with irreverent bantering between him and his siblings as his long-suffering partner, Hugh, looks on. Sedaris hasn’t lost his capacity for bemused observations of the people he encounters. For example, cashiers who say “have a blessed day” make him feel “like you’ve been sprayed against your will with God cologne.” But bad news has sharpened the author’s humor, and this book is defined by a persistent, engaging bafflement over how seriously or unseriously to take life when it’s increasingly filled with Trump and funerals.
Sedaris at his darkest—and his best.Pub Date: May 29, 2018
ISBN: 978-0-316-39238-9
Page Count: 288
Publisher: Little, Brown
Review Posted Online: Feb. 19, 2018
Kirkus Reviews Issue: March 1, 2018
PROFILES
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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