A welcome reintroduction to the pioneering African-American writer's most memorable fictional character. Already a popular poet, playwright, novelist, and key figure in the Harlem Renaissance, Hughes (1902-67) introduced Jesse B. Semple (``Simple'') to readers in 1942 in his Chicago Defender column, ``From Here to Yonder,'' as a way to convince black Americans to support the US war effort. From his familiar perch in a fictional Harlem bar, Simple held forth on a variety of subjects in his own inimitable, folksy way, and over the next 23 years his musings were collected in five volumes. The Return of Simple brings together mostly uncollected columns as well as a few favorites from previous collections. Simple's sometimes tall tales of growing up in the South and migrating to Harlem are timeless. Race riots, low wages, interracial marriages, adopting an African name, and birth control are some of the subjects on which he expounds to his erudite, educated fellow barfly, who always acts the straight man. Then there is Simple's favorite subject—``womens,'' including his wild cousin Minnie (``The Lord, I reckon, gave her them ball- bearing hips, but the Devil must of taught her how to use them''); Zarita, who is always ``drinking him up''; and his second wife, Joyce (``Eve in the garden could not be no better, because Eve had no stove on which to cook''). Simple speaks with a poetic and easy logic (``It is better to be wore out from living than to be worn out from worry'') in a voice that comes straight out of the African-American folk tradition, but Hughes's slices of urban black life belong also to the larger continuum of great American humor, from Mark Twain to Armistead Maupin. Quite simply, an indispensable part of our cultural heritage.
Pub Date: July 1, 1994
ISBN: 0-8090-8676-X
Page Count: 256
Publisher: Hill and Wang/Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1994
BOOK REVIEW
BOOK REVIEW
It's being called a novel, but it is more a hybrid: short-stories/essays/confessions about the Vietnam War—the subject that O'Brien reasonably comes back to with every book. Some of these stories/memoirs are very good in their starkness and factualness: the title piece, about what a foot soldier actually has on him (weights included) at any given time, lends a palpability that makes the emotional freight (fear, horror, guilt) correspond superbly. Maybe the most moving piece here is "On The Rainy River," about a draftee's ambivalence about going, and how he decided to go: "I would go to war—I would kill and maybe die—because I was embarrassed not to." But so much else is so structurally coy that real effects are muted and disadvantaged: O'Brien is writing a book more about earnestness than about war, and the peekaboos of this isn't really me but of course it truly is serve no true purpose. They make this an annoyingly arty book, hiding more than not behind Hemingwayesque time-signatures and puerile repetitions about war (and memory and everything else, for that matter) being hell and heaven both. A disappointment.
Pub Date: March 28, 1990
ISBN: 0618706410
Page Count: 256
Publisher: Houghton Mifflin
Review Posted Online: Oct. 2, 2011
Kirkus Reviews Issue: Feb. 15, 1990
SEEN & HEARD
IN THE NEWS
SEEN & HEARD
Told through the points of view of the four Garcia sisters- Carla, Sandi, Yolanda and Sofia-this perceptive first novel by poet Alvarez tells of a wealthy family exiled from the Dominican Republic after a failed coup, and how the daughters come of age, weathering the cultural and class transitions from privileged Dominicans to New York Hispanic immigrants. Brought up under strict social mores, the move to the States provides the girls a welcome escape from the pampered, overbearingly protective society in which they were raised, although subjecting them to other types of discrimination. Each rises to the challenge in her own way, as do their parents, Mami (Laura) and Papi (Carlos). The novel unfolds back through time, a complete picture accruing gradually as a series of stories recounts various incidents, beginning with ``Antojos'' (roughly translated ``cravings''), about Yolanda's return to the island after an absence of five years. Against the advice of her relatives, who fear for the safety of a young woman traveling the countryside alone, Yolanda heads out in a borrowed car in pursuit of some guavas and returns with a renewed understanding of stringent class differences. ``The Kiss,'' one of Sofia's stories, tells how she, married against her father's wishes, tries to keep family ties open by visiting yearly on her father's birthday with her young son. And in ``Trespass,'' Carla finds herself the victim of ignorance and prejudice a year after the Garcias have arrived in America, culminating with a pervert trying to lure her into his car. In perhaps one of the most deft and magical stories, ``Still Lives,'' young Sandi has an extraordinary first art lesson and becomes the inspiration for a statue of the Virgin: ``Dona Charito took the lot of us native children in hand Saturday mornings nine to twelve to put Art into us like Jesus into the heathen.'' The tradition and safety of the Old World are just part of the tradeoff that comes with the freedom and choice in the New. Alvarez manages to bring to attention many of the issues-serious and light-that immigrant families face, portraying them with sensitivity and, at times, an enjoyable, mischievous sense.
Pub Date: May 1, 1991
ISBN: 0-945575-57-2
Page Count: 308
Publisher: Algonquin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1991
PROFILES
APPRECIATIONS
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