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WELL-READ BLACK GIRL

Name: WELL-READ BLACK GIRL
Author: Glory Edim
ISBN: 978-0-525-61977-2

FINDING OUR STORIES, DISCOVERING OURSELVES

edited by Glory Edim ‧ RELEASE DATE: Oct. 30, 2018

An eloquently provocative anthology.

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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

Categories:

GENERAL NONFICTION

- SEEN & HEARD
Glory Edim Launches Well-Read Black Girl Series

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.