If this isn’t the Great American Novel, it's a mighty attempt at achieving one.
A sprawling, ambitious debut novel that is as impassioned in promoting Black women’s autonomy as it is insistent on acknowledging our common humanity.
Ailey Pearl Garfield, the protagonist of this epochal saga, is a compelling mélange of intellectual curiosity, scathing observation, and volatile emotion. Though her grandmother may have preferred that she join the parade of medical doctors in their family, Ailey is destined to become a historian. Her journey toward that goal, fraught with heartache, upheaval, and conflict from her childhood through adolescence and collegiate years, is interwoven with the results of her inquiry into her family history. That history is deeply rooted in the Georgia town of Chicasetta, where Ailey’s Black ancestors were enslaved and exploited by a “White Man with Strange Eyes” named Samuel Pinchard, who not only brutalized and demeaned his slaves, but also haphazardly procreated with them over the decades before the Civil War. The “songs” interspersed throughout the book, chronicling in vivid, sometimes-graphic detail the antebellum lives of Ailey’s forbears, are bridges linking Ailey’s own coming-of-age travails in what is referred to only as the City. Precocious, outspoken, and sensitive, Ailey often tests the patience of the grown-ups in her life, especially her parents, Geoff and Belle, whose own arduous passage to love and marriage through the 1950s and '60s is among the many subplots crowding this capacious, time-traversing narrative. The story always swerves back to Chicasetta, where Ailey spends her summers, and her encounters with friends and relations, the most notable of whom is her beloved Uncle Root, a retired professor at a historically Black college where he’d first made the acquaintance of the novel’s eponymous scholar/activist. In her first novel, Jeffers, a celebrated poet, manages the difficult task of blending the sweeping with the intimate, and, as in most big books, she risks stress-testing some of her own narrative threads. Still, the sturdiest of those threads can throb with haunting poignancy, as in the account of Ailey’s promising-but-troubled sister, Lydia, which can stand alone as a masterful deconstruction of addiction’s origins and outcomes.
If this isn’t the Great American Novel, it's a mighty attempt at achieving one.Pub Date: Aug. 24, 2021
ISBN: 978-0-06-294-293-7
Page Count: 816
Publisher: Harper/HarperCollins
Review Posted Online: May 4, 2021
Kirkus Reviews Issue: May 15, 2021
BOOK REVIEW
PERSPECTIVES
PERSPECTIVES
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
A masterpiece.
Two young Indian writers discover their conjoined destinies by leaving home, coming back, connecting, disconnecting, and swimming in the ocean at Goa.
Sonia’s grandfather, the lawyer, and his friend, the Colonel, are connected by a weekly chess game and a local tradition of families sharing food, “paraded through the neighborhood in tiffin carriers, in thermos flasks, upon plates covered in napkins tied in rabbit ears.” Shortly after Desai’s magnificent third novel opens, the two families are also connected by a marriage proposal. Upon hearing that Sonia is feeling lonely at college in Vermont—loneliness? Is there anything more un-Indian?—and unaware that she is romantically involved with a famous, much older painter, her elders deliver a hilariously lukewarm letter proposing that she be introduced to Sonny, the Colonel’s grandson. Sonny is living in New York working as a copy editor at The Associated Press, and he, too, has a partner no one knows about. Sonny’s family feels they are being asked to give up their son to balance out some long-ago bad investment advice from the Colonel; on the other hand, they would very much like to get the other family’s kebab recipe. The fate of this half-hearted setup unfurls over many years and almost 700 delicious pages that the author has apparently been working on since the publication of The Inheritance of Loss (2006), which won the Booker Prize and National Book Critics Circle Award. You can almost feel the decades passing as the novel becomes increasingly concerned with the process of novel-writing; toward the end, Sonia can’t stop thinking about whether, if she writes all the stories she knows, “these stories [would] intersect and make a book? How would they hold together?” Desai’s trust in her own process pays off, as vignettes of just a page or two (Sonia’s head-spinning tour of a museum with the great artist; Sonny’s lightning-strike theory that only people who have cleaned their own toilet can appreciate reading novels) intersect with the novel’s central obsessions—love, family, writing, the role of the U.S. in the Indian imagination, the dangers faced by a woman on her own—and come to a perfectly satisfying close.
A masterpiece.Pub Date: Sept. 23, 2025
ISBN: 9780307700155
Page Count: 704
Publisher: Hogarth
Review Posted Online: June 6, 2025
Kirkus Reviews Issue: July 15, 2025
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
PERSPECTIVES
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