In the mid-1950s, the town of Lacey in the Mississippi hill country is a place where the lives of blacks and whites, though seemingly separate, are in fact historically and inevitably intertwined. When Lacey's fair-haired boy, Duncan Harper, is appointed interim sheriff, he makes public his private convictions about the equality of blacks before the law, and the combined threat and promise he represents to the understood order of things in Lacey affects almost every member of the community. In the end, Harper succeeds in pointing the way for individuals, both black and white, to find a more harmonious coexistence, but at a sacrifice all must come to regret.
In The Voice at the Back Door, Mississippi native Elizabeth Spencer gives form to the many voices that shaped her view of race relations while growing up, and at the same time discovers her own voice -- one of hope. Employing her extraordinary literary powers -- finely honed narrative techniques, insight into a rich, diverse cast of characters, and an unerring ear for dialect -- Spencer makes palpable the psychological milieu of a small southern town hobbled by tradition but lurching toward the dawn of the civil rights movement. First published in 1956, The Voice at the Back Door is Spencer's most highly praised novel yet, and her last to treat small-town life in Mississippi.
"An excitement and a wonder: strange, crazed, urgent and funny...The wildly talented Adjei-Brenyah has made these edgy tales immensely charming, via his resolute, heartful, immensely likeable narrators, capable of seeing the world as blessed and cursed at once." -- George Saunders
"This book is dark and captivating and essential...A call to arms and a condemnation. Adjei-Brenyah offers powerful prose as parable. The writing in this outstanding collection will make you hurt and demand your hope. Read this book." -- Roxane Gay
A piercingly raw debut story collection from a young writer with an explosive voice; a treacherously surreal, and, at times, heartbreakingly satirical look at what it's like to be young and black in America. From the start of this extraordinary debut, Nana Kwame Adjei-Brenyah's writing will grab you, haunt you, enrage and invigorate you. By placing ordinary characters in extraordinary situations, Adjei-Brenyah reveals the violence, injustice, and painful absurdities that black men and women contend with every day in this country. These stories tackle urgent instances of racism and cultural unrest, and explore the many ways we fight for humanity in an unforgiving world. In "The Finkelstein Five," Adjei-Brenyah gives us an unforgettable reckoning of the brutal prejudice of our justice system. In "Zimmer Land," we see a far-too-easy-to-believe imagining of racism as sport. And "Friday Black" and "How to Sell a Jacket as Told by Ice King" show the horrors of consumerism and the toll it takes on us all. Entirely fresh in its style and perspective, and sure to appeal to fans of Colson Whitehead, Marlon James, and George Saunders, Friday Black confronts readers with a complicated, insistent, wrenching chorus of emotions, the final note of which, remarkably, is hope.
A treacherously surreal, and, at times, heartbreakingly satirical look at what it's like to be young and black in America. By placing ordinary characters in extraordinary situations, Adjei-Brenyah reveals the violence, injustice, and painful absurdities that black men and women contend with every day in this country. Readers are left with a complicated, insistent, wrenching chorus of emotions, the final note of which, remarkably, is hope." -- adapted from info provided