The author of Peaches for Father Francis talks about her new book, about revisiting Lansquenet, about the nature of serials, about food writing, about magical realism and how it works in her books, about her character Vianne Rocher, about what…
A review of Asleep Without Dreaming by Barbara Forte Abate
Dramatic tension and reader interest are stirred by revelations about Stella. In flashbacks and in the present action of the novel, she emerges as a self-centred, bitter, thieving whore who hates her own daughter. She parallels another horrible parent in the story. Jesse urges Willa not to waste emotional energy trying to understand her, as some things in life just can’t be understood.
A review of The Book Club Cook Book by Judy Gelman and Vicki Levy Krupp
For dinner rolls, “Black-Eyed Pea Cakes with Jalapeno Avocado Salsa,” a Caribbean theme selection based on character Janie Crawford’s black-eyed peas in the story “Their Eyes were Watching God” by Zora Neale Hurston. Picked by the Denver Read and Feed members Frank Blaha and his wife Barb Warden because the book fascinated their group and provided an introduction to the Harlem Renaissance.
A review of Peaches for Father Francis by Joanne Harris
Peaches for Father Frances is a delicately written, and absolutely engaging story that centres around Vianne’s return to Lansquenet, and her special ability to transcend people’s appearances and cultural trappings, and see into the heart of who they are. This is a beautifully written novel, full of mystery, character growth and excitement with a broad range of appeal.
The Cosmopolitan View of a Country Girl: Another Country by Cassandra Wilson with Fabrizio Sotti
Cassandra Wilson has explored a lot of experiences, a lot of music, and that is testament to her curiosity, imagination, and intellect; and her album Another Country, created in collaboration with Fabrizio Sotti, has an elegance that is thoughtful and timeless.
Masculine, Direct, Romantic, Swooning: the Greatest Hits of Johnny Mathis’s Early Career
His work transcended the cultural barriers of the time. In “Wonderful, Wonderful,” the verses seem to have an Asian, specifically Chinese, rhythm, although the refrain is exultantly western. It is amusing to be reminded of how cultures are always gesturing across borders, and even oceans.
The Young Master: Usher Terry Raymond IV’s album Looking 4 Myself
It has a rampaging rhythm that is both artificial and dominating. Yet, in a masterful composition about separation from a lover and loneliness, “Climax,” Usher uses a beautiful falsetto voice that defies the clichés of masculinity and ugliness dominant in much contemporary music. That song is a work of excellence.
The Solace of Quiet Beauty: kora player Ablaye Cissoko and trumpeter Volker Goetze’s collaboration, Amanké Dionti
The quality of Ablaye Cissoko’s voice is at once light and wise, with a timeless sensitivity, and the soft rhythm of his singing in “Amanké Dionti” sounds like the invocation of a ritual amid a bare, dusty landscape, though one imagines that now such music can be made in a teeming city, the music merely the remnant of an older civilization.
The Work of a Writer and Musician of Expansive Vision: Channel Orange by Frank Ocean
Frank Ocean moves from high life to low life. “I ain’t been touched in a while,” claims the singer-songwriter’s narrator in “Pilot Jones,” and its continuing lyrics point to alienation, slovenliness, and addiction as part of the atmosphere. It is free lyric association regarding an indulgent state that seems more troubled than liberated. FrankOcean, through language, through the texture of music, has found a way to suggest how deep, how mundane, and how overwhelming experience can be.
A review of Face of the Enemy by Joanne Dobson and Beverle Graves Myers
A minor character speaks of seeing Duke Ellington at the Cotton Club, but we readers never get to go there and see him perform. Perhaps I’m spoiled, with too high expectations, because so many creative artists, from Thomas Wolfe to Woody Allen, have already brilliantly evoked New York.