PositiveBookforum... assiduously translated ... One of NDiaye’s early texts, it serves as a site of play for the writer’s longtime interests, from class mobility and assimiliation to power and control, and offers an opportunity to survey the development of a writer whose enviably imagined and intelligently executed stories have propelled her into the international spotlight ... shows us an earlier NDiaye, one who is still figuring out what she wants to do. Instead of committing to a single theme, she flirts with several ideas ... NDiaye plays with race here and through the rest of the novel in a way that piques interest, and her language, taut and specific, invites multiple interpretations of its meaning. Are Herman and Alfred using different senses of the word? Rather than being restricted to a particular identity, race becomes a stand-in for difference itself ... There are many points at which it is clear That Time of Year is an early work. The narrative gaps feel less intentional, more clumsy than they do in NDiaye’s later novels. Such moments don’t completely distract from this eerie novel, which is part ghost story and part allegory of class and racial difference. And in the end, the narrative, even with its flaws, delivers a haunting lesson about the ease with which a panicked outsider can be lulled into complacency and inaction.
RaveThe NationIn her second novel, Transcendent Kingdom, Gyasi returns more forthrightly to her original subject of mothers and daughters, using that relationship to explore the intersection of faith, culture, and science ... a sensitive and propulsive story that reveals how differently individuals, even those in the same family, seek salvation ... At times, Transcendent Kingdom leans heavily on expository writing, not fully trusting its readers to connect the details in Gifty’s life to the novel’s themes ... The novel encouraged, at least for me, a personal reckoning ... Sometimes the strength of a novel is found in more than just its artful execution or its formalist experiment; it’s found in how it helps you articulate a feeling that you’ve held in your chest for years
PositiveThe AtlanticThere are no perfect Black women in Raven Leilani’s debut novel, Luster, and that is by design ... Through Edie, her 23-year-old protagonist, Leilani tries to liberate the Black woman figure’s range of behaviors, thoughts, and feelings from an inherent virtuousness or exceptionalism. This choice challenges readers to recognize Edie’s agency and see her as a young Black woman in progress ... Edie’s matter-of-fact confessions, underscored by Leilani’s caustic prose, are on-brand for Millennial literature of the past few years ... The most interesting moments in Luster are those between Edie and other Black women and girls, especially Akila, because they subvert expectations of what Black women should mean to one another.
Sarah M. Broom
RaveThe NationMore than just a narrative about a family, it is a masterpiece of personal and social history, examining the devastating consequences of decades of government neglect and revealing the very weak foundations on which the American dream rests. Using oral history, forgotten pieces of journalism, photographs, deeds, and other artifacts, The Yellow House helps to fill in those painful \'silent leaps,\' as Broom puts it, that fragment the history of her family and her home of New Orleans East ... By giving her family members space to tell their stories, Broom does far more than help knit this history back together ... Broom’s strengths as a writer are most obvious when she uses the story of the Yellow House not only to examine her family but also to analyze the history of black Americans in New Orleans. Her method reflects Trouillot’s observations about the role of structures in history making ... Broom’s intimate relationship with New Orleans only amplifies her sense of the importance of her role as a documentarian ... The power of [Broom\'s] book comes from just how successfully she navigates what it means to assert that claim and own a narrative at once unique to her family and yet common to many others in New Orleans. Sometimes her narrative deviates from its main story to the author’s existential questions and self-development in ways that can feel jarring. But that, too, is part of the point. One cannot write a memoir without a thorough, if sometimes awkward, self-interrogation. And throughout, Broom makes sure that we keep our eye on the book’s true protagonist: the yellow house.
RaveThe New York TimesAlways Another Country, a graceful memoir by Sisonke Msimang, is a welcome novelty. Msimang, a South African writer and political analyst, charts an alternate course to the now familiar conclusion that home is not always a place on a map.
MixedThe New York Times Book Review...an earnest — though at times frustratingly frenetic — portrait of Nigeria’s sprawling metropolis ... Unfortunately, in the second half of the book, Onuzo sacrifices meditative sketches of the city to narrative momentum ... As Onuzo attempts to juggle the stories of these individuals (and many others), the novel abandons its portrait of Lagos in favor of fast-paced comedy ... But despite the blunders, missteps and excessive plot twists of Welcome to Lagos, its dialogue rings true. Conversations between Onuzo’s characters move fluidly between Igbo, Yoruba, pidgin and English, demonstrating her skilled ear ... Navigating these urban landscapes requires a willingness to experiment with the delicate interplay of individual stories while preserving the city’s character. Welcome to Lagos starts this way, but by the end Onuzo has split her narrative into too many parts.
Patrisse Khan-Cullors and Asha Bandele
PositiveThe New York Times Book ReviewWhile Khan-Cullors outlines the reasons for some of Black Lives Matter’s tactics, particularly its emphasis on inclusivity and a decentralized organization, readers won’t find Situation Room-style play-by-plays here ... While its importance will not be in doubt, for the significance of Black Lives Matter cannot be overstated, the book’s necessity comes from its other subject. 'I am Patrisse Marie Khan-Cullors Brignac,' its author writes in her introduction. And indeed, between the moments spent serving everyone else, the rest of the book — chronicling her evolving sexual identity, her radical redefinition of love, her relationships and eventually the birth of her child — uncovers just who she is.
PositiveThe New RepublicThe Givers benefits from Callahan’s relationship with the faces of philanthropy. He is the founder and editor of the watchdog site Inside Philanthropy, whose goal is to 'pull back the curtain on one of the most powerful and dynamic forces shaping society.' Through interviews with wealthy donors like John Arnold and Eli Broad, Callahan provides a measured take on this issue. He does not condemn the actors; instead, he criticizes the system they operate within. Philanthropy is neither inherently good nor inherently evil. The problem lies in inequality itself, and the opacity surrounding the giving process ... Depending on where one’s politics fall, Callahan’s solutions can read either too optimistic or too critical of the benevolence of the one percent. Regardless, The Givers at least attempts to think through solutions for this issue.