Eye on the Struggle: Ethel Payne, the First Lady of the Black Press by James McGrath Morris is the biography of a groundbreaking reporter who covered seminal events of the civil rights movement. Morris, a former journalist himself, writes about Payne’s work in journalism which forged a new path, as a woman and as an African American.
Ethel Payne, born in 1911, was raised in Chicago’s West Englewood area—one of the few enclaves in Chicago which permitted African-Americans to live outside the racially segregated “Black Belt” neighborhoods. By 30 years old, this granddaughter of slaves was reporting for one of the nation’s preeminent African American newspapers, the Chicago Defender. Her trajectory continued as Ms. Payne reported on civil rights issues domestically and abroad. She investigated the state of black soldiers stationed in Japan and interviewed Vietnam’s General Westmoreland about the treatment of black troops fighting in the war. As a member of the White House Press Corps, she won accolades from Clarence Mitchell after she questioned the Eisenhower administration about discriminatory practices. Payne was present for the signing of the 1964 Civil Rights Act, rubbed elbows with presidents (even entertaining Richard and Patricia Nixon in her home), met with foreign leaders and traveled with Winston Churchill in Africa. Her efforts to end apartheid allowed her a private audience with Nelson and Winnie Mandela. Eye on the Struggle chronicles Payne’s illustrious career, made all the more remarkable by Payne’s unswerving approach of recording events both important to and from the perspective of black Americans.
Detroit: in its heyday, it was the bustling host to Motown and the "Big Three" auto manufacturers. The city also served as a mecca for African Americans escaping Jim Crow and taking advantage of the jobs available in its thriving economy. Set in Detroit, Angela Flournoy’s debut novel, The Turner House, tells the story of husband and wife Francis and Viola Turner and their 13 children while exploring their ties to their family home in Detroit.
Oldest sibling Cha-Cha is the Turner family patriarch by default. At 62 years old, he is both accustomed to and tired of assuming the role of leader to his younger siblings. With his father’s passing and his mother’s deteriorating health, the family’s house on Yarrow Street, once an emblem of success in Black America, is vacant and crumbling and saddled with a mortgage 10 times the home’s current value. While the Turner children jockey with their differing views of what to do with the debt-ridden property, Cha-Cha is engaging in a mid-life retrospective, evaluating his relationships with his parents, his wife and his siblings. The narrative revealing how Francis and Viola each made their way to Michigan from rural Arkansas is especially poignant. Flournoy’s writing is gentle, pointed and witty as she explores if blood ties, shared memories or something else entirely creates family bonds. Fans of Anne Tyler or J. California Cooper will lose themselves in the thoughtful story of The Turner House.
For nearly 20 years, the Baileys Women’s Prize for Fiction has been honoring the contributions of women writers around the world for their extraordinary contributions to contemporary fiction. This year’s winner, announced on Wednesday, June 3, is How to be Both by Ali Smith.
Prize judges describe the winning book as a story of “grief, love, sexuality and shape-shifting identity.” Two separate narratives, entitled Camera and Eye, take place 500 years apart with a glorious painted fresco as the link to both. Camera is the story of George(ia), a contemporary English teen who is thinking over exchanges with her mother who has since died. Eye tells of Francescho, an Italian girl, also motherless, masquerading as a boy in order to gain entrance as a painter in the 15 century art world. Smith says her inspiration to write How to be Both came from viewing Renaissance artist Francesco del Cossa’s beautiful works.
The shortlist of nominees included beloved local author Anne Tyler’s A Spool of Blue Thread, which follows a Baltimore family as its younger generations cope with their aging parents. A God in Every Stone by Kamila Shamsie combines Ottoman Empire history, archaeology, a treasure hunt and romance against the backdrop of World War I. Rachel Cusk was nominated for Outline, a book of revelatory conversations between a woman and an assortment of people who cross her path while she is teaching a writing class in Greece. Rounding out the shortlist are two titles which appeared earlier on Between the Covers: The Bees by Laline Paull, which immerses the reader in an imaginative, totalitarian honeybee hive society; and Sarah Water’s The Paying Guest, which explores the effects of societal constraints on women, resulting in a crime of forbidden passion in post-World War II England.
There may be 50 ways to leave your lover, but for Anna Benz there is only one way to meet your lover…and that's by train. Jill Alexander Essbaum’s debut novel, Hausfrau, watches Anna’s downward spiral as she grasps at physical intimacies in an attempt to fill the gaping emotional void of her life.
Anna, an American living in a hamlet in Switzerland, is profoundly unhappy. She finds the Swiss — including her banker husband Bruno — remote, and her few friendships with expats are unfulfilling. Her struggles with the local Schwiizerdütsch dialect increase her feelings of alienation, even from her three children. The train leaving the village beckons Anna with an escape. She enrolls in a German class, but quickly finds herself in an extramarital affair with a classmate. Soon after, she drifts into another sexual relationship with a family friend.
Essbaum writes Anna as a passive woman with little will, or does she? Anna enters into liaisons readily, yet resists female friendship. Frustrated with her sadness, her husband suggests psychotherapy. As her Jungian analyst probes Anna’s psyche and interprets her dreams and her language teacher parses grammar, Anna holds back, refusing to fully participate in the very activities she’s chosen to allay her distress. Essbaum’s use of language is precise as she slowly reveals Anna’s story by cycling between past and present, illuminating the nature of her discontent as her decisions become increasingly reckless and self-destructive. Doktor Messerli tells Anna in a therapy session, “…there’s no need to seek out those mistakes. For now it is they who seek you.” Intense and disconcerting, Hausfrau is an unforgettable portrait of a desperate woman.
Short stories are usually read in a single sitting. Pick up either of these new collections, This House Is Not for Sale by E. C. Osondu or Stone Mattress: Nine Tales by Margaret Atwood, and find that sitting stretching out as one story leads to the next.
This House Is Not for Sale is set in a nameless African village. The main character of each story lives in Grandpa’s grand family house and so falls under his powerful, and perhaps corrupt, domain. Some of the stories feature ordinary problems, like Abule and his serially cheating wife or Uncle Currency’s workplace embezzlement. Other problems are more closely tied to African folklore, such as the soul-stealer who prevents Tata from carrying pregnancies to term. Conflicts are illuminated by anonymous villagers’ gossipy commentary reminiscent of a fragmented Greek chorus, and when necessary, the godfather-like Grandpa steps in to deliver a final judgment. Esondu, winner of the Caine Prize for African Writing, captures both the joy and pain of everyday life in these thoughtful vignettes.
Bitingly irreverent wit, an unsentimental use of aging protagonists and unpredictable plots mark the wonderful Stone Mattress. The first three stories form a sort of trilogy. In “Alphinland,” widowed Constance, author of a cult classic fantasy series, is guided through a blizzard by the blow-by-blow verbal instructions issued by her dead husband. At the same time, she is also remembering her first love, the pompous and ever-randy poet Gavin, who betrayed Constance with another woman. “Revenent” features Gavin, now an impotent curmudgeon married to his third, much younger wife who is heavily invested in preserving Gavin’s legacy, if not necessarily Gavin himself. Finally, in “Dark Lady,” all the players — including the “other woman” — meet again. Other stories revisit the friends from “The Robber Bride,” find a predatory widow meeting up with her rapist prom date of 50 years ago or track a one-trick pony author determined to snuff out old friends living off his royalties. Atwood is a master wordsmith and excels when revealing her characters’ internal dialogue. The only disappointment here is that by their nature, these stories are short so the pleasure of reading them ends too quickly.