A creative, rambling blend of memoir, fiction, and essay.

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HOOP ROOTS

Novelist Wideman (The Cattle Killing, 1996, etc.) uses basketball as a doorway through which to glimpse black manhood.

Probing his memories and childhood for a larger meaning, as he did in such previous memoirs as Fatheralong (1994), Wideman focuses on basketball as a thread that ties together his past and present. It’s his present-day decision to stop playing that takes author and readers back to the summer when he first learned the game. With his father absent and his grandfather dead, the boy went to the basketball court to find what his mother and grandmother could not provide. In his interpretation (thankfully free of the hokum baseball seems to inspire in writers), playground games were rites of passage: not only did players measure their physical growth against others, they established seniority and passed on rules and etiquette that became marks of belonging. This is not a conventional memoir. Wideman also includes a paradigmatic short story entitled “Who Invented the Jump Shot (A Fable)” about a black dimwit who invents CPR only to be hung for touching a white woman; an argument for basketball as folk art; and a call to rename his childhood playground for two local legends. The latter is a particularly effective piece: Wideman makes archetypal giants of men already born large enough to excel at basketball, and in calling for a new name he looks forward to a future with black-defined meaning while evoking the past of Frederick Douglass, Sojourner Truth, and Malcolm X. Each chapter displays Wideman’s range as a writer and gives the text a richness that the well-trod field of memoir could not provide alone. He takes a lot of risks, but not always successfully. At points the narrative is needlessly vague and staccato, and Wideman’s interpretations of basketball are sometimes clouded by his love of the game. Still, a few missed shots are acceptable in both basketball and books.

A creative, rambling blend of memoir, fiction, and essay.

Pub Date: Oct. 10, 2001

ISBN: 0-395-85731-7

Page Count: 224

Publisher: Houghton Mifflin

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 1, 2001

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Doyle offers another lucid, inspiring chronicle of female empowerment and the rewards of self-awareness and renewal.

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UNTAMED

More life reflections from the bestselling author on themes of societal captivity and the catharsis of personal freedom.

In her third book, Doyle (Love Warrior, 2016, etc.) begins with a life-changing event. “Four years ago,” she writes, “married to the father of my three children, I fell in love with a woman.” That woman, Abby Wambach, would become her wife. Emblematically arranged into three sections—“Caged,” “Keys,” “Freedom”—the narrative offers, among other elements, vignettes about the soulful author’s girlhood, when she was bulimic and felt like a zoo animal, a “caged girl made for wide-open skies.” She followed the path that seemed right and appropriate based on her Catholic upbringing and adolescent conditioning. After a downward spiral into “drinking, drugging, and purging,” Doyle found sobriety and the authentic self she’d been suppressing. Still, there was trouble: Straining an already troubled marriage was her husband’s infidelity, which eventually led to life-altering choices and the discovery of a love she’d never experienced before. Throughout the book, Doyle remains open and candid, whether she’s admitting to rigging a high school homecoming court election or denouncing the doting perfectionism of “cream cheese parenting,” which is about “giving your children the best of everything.” The author’s fears and concerns are often mirrored by real-world issues: gender roles and bias, white privilege, racism, and religion-fueled homophobia and hypocrisy. Some stories merely skim the surface of larger issues, but Doyle revisits them in later sections and digs deeper, using friends and familial references to personify their impact on her life, both past and present. Shorter pieces, some only a page in length, manage to effectively translate an emotional gut punch, as when Doyle’s therapist called her blooming extramarital lesbian love a “dangerous distraction.” Ultimately, the narrative is an in-depth look at a courageous woman eager to share the wealth of her experiences by embracing vulnerability and reclaiming her inner strength and resiliency.

Doyle offers another lucid, inspiring chronicle of female empowerment and the rewards of self-awareness and renewal.

Pub Date: March 10, 2020

ISBN: 978-1-9848-0125-8

Page Count: 352

Publisher: Dial

Review Posted Online: Dec. 22, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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MARTIN LUTHER KING, JR. AND THE MARCH ON WASHINGTON

This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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