A Small Place
by Jamaica Kincaid
from Farrar, Straus and Giroux
"If you go to Antigua as a tourist, this is what you will see. If you come by aeroplane, you will land at the V. C. Bird International Airport. Vere Cornwall (V. C.) Bird is the Prime Minister of Antigua. You may be the sort of tourist who would wonder why a Prime Minister would want an airport named after him--why not a school, why not a hospital, why not some great public monument. You are a tourist and you have not yet seen . . ."
So begins Jamaica Kincaid's expansive essay, which shows us what we have not yet seen of the ten-by-twelve-mile island in the British West Indies where she grew up.
Lyrical, sardonic, and forthright by turns, in a Swiftian mode, A Small Place cannot help but amplify our vision of one small place and all that it signifies.
Annie John: A Novel
by Jamaica Kincaid
from Farrar, Straus and Giroux
Jamaica Kincaid beautifully delineates hatred and fear, because she knows they are often a step away from love and obsession. At the start of Annie John, her 10-year-old heroine is engulfed in family happiness and safety. Though Annie loves her father, she is all eyes for her mother. When she is almost 12, however, the idyll ends and she falls into deep disfavor. This inexplicable loss mars both lives, as each grows adept at public falsity and silent betrayal. The pattern is set, and extended: "And now I started a new series of betrayals of people and things I would have sworn only minutes before to die for." In front of Annie's father and the world, "We were politeness and kindness and love and laughter." Alone they are linked in loathing. Annie tries to imagine herself as someone in a book--an orphan or a girl with a wicked stepmother. The trouble is, she finds, those characters' lives always end happily. Luckily for us, though not perhaps for her alter ego, Kincaid is too truthful a writer to provide such a finale.
An adored only child, Annie has until recently lived an idyllic life. She is inseparable from her beautiful mother, a powerful presence, who is the very center of the little girl’s existence. Loved and cherished, Annie grows and thrives within her mother’s benign shadow. Looking back on her childhood, she reflects, “It was in such a paradise that I lived.” When she turns twelve, however, Annie’s life changes, in ways that are often mysterious to her. She begins to question the cultural assumptions of her island world; at school she instinctively rebels against authority; and most frighteningly, her mother, seeing Annie as a “young lady,” ceases to be the source of unconditional adoration and takes on the new and unfamiliar guise of adversary. At the end of her school years, Annie decides to leave Antigua and her family, but not without a measure of sorrow, especially for the mother she once knew and never ceases to mourn. “For I could not be sure,” she reflects, “whether for the rest of my life I would be able to tell when it was really my mother and when it was really her shadow standing between me and the rest of the world."
Lucy: A Novel
by Jamaica Kincaid
from Farrar, Straus and Giroux
Lucy, a teenage girl from the West Indies, comes to North America to work as an au pair for Lewis and Mariah and their four children. Lewis and Mariah are a thrice-blessed couple--handsome, rich, and seemingly happy. Yet, alomst at once, Lucy begins to notice cracks in their beautiful facade. With mingled anger and compassion, Lucy scrutinizes the assumptions and verities of her employers' world and compares them with the vivid realities of her native place. Lucy has no illusions about her own past, but neither is she prepared to be deceived about where she presently is.
At the same time that Lucy is coming to terms with Lewis's and Mariah's lives, she is also unravelling the mysteries of her own sexuality. Gradually a new person unfolds: passionate, forthright, and disarmingly honest. In Lucy, Jamaica Kincaid has created a startling new character possessed with adamantine clearsightedness and ferocious integrity--a captivating heroine for our time.
At the Bottom of the River
by Jamaica Kincaid
from Farrar, Straus and Giroux
Reading Jamaica Kincaid is to plunge, gently, into another way of seeing both the physical world and its elusive inhabitants. Her voice is, by turns, naively whimsical and biblical in its assurance, and it speaks of what is partially remembered partly divined. The memories often concern a childhood in the Caribbean--family, manners, and landscape--as distilled and transformed by Kincaid's special style and vision.
Kincaid leads her readers to consider, as if for the first time, the powerful ties between mother and child; the beauty and destructiveness of nature; the gulf between the masculine and the feminine; the significance of familiar things--a house, a cup, a pen. Transfiguring our human form and our surroundings--shedding skin, darkening an afternoon, painting a perfect place--these stories tell us something we didn't know, in a way we hadn't expected.
My Garden (Book)
by Jamaica Kincaid
from Farrar, Straus and Giroux
Georges (Modern Library Classics)
by Alexandre Dumas
from Modern Library
Long out of print in America, Alexandre Dumas’s most daring narrative is now available in this major new translation by Tina A. Kover. Filled with intrigue, romance, and deadly vengeance, Georges is the story of a wealthy mulatto boy who is driven from his island home by racist landowners. Returning to Mauritius as an accomplished young man, Georges pits his strength against a powerful plantation owner, leading a dramatic slave uprising and claiming the heart of a beautiful white woman. Georges stands apart as the only book by Dumas that explores the potent subject of race.
Praise for Georges:
“A rousing and vivid adventure . . . packed with action and atmosphere.”
–The Columbus Dispatch
“A remarkable discovery . . . We are indebted to Werner Sollors and Jamaica Kincaid for providing us with a critical lens for the journey Dumas has created out of his own generous and expansive imagination.”
–Rudolph P. Byrd, Emory University
“As compelling and relevant today as it was back in the 1840s, when it was first published.”
–Adrienne Kennedy, author of Funnyhouse of a Negro
Autobiography of My Mother
by Jamaica Kincaid
from Plume
"My mother died at the moment I was born, and so for my whole life there was nothing standing between myself and eternity," writes Jamaica Kincaid in this disturbing, compelling novel set on the island of Dominica. Born to a doomed Carib woman and a Scottish African policeman of increasing swagger and wealth, narrator Xuela spends a lifetime unanchored by family or love. She disdains the web of small and big lies that link others, allowing only pungent, earthy sensuality--a mix of blood and dirt and sex--to move her. Even answering its siren call, though, Xuela never loses sight of the sharp loss that launched her into the world and the doors through which she will take her leave.
Mr. Potter: A Novel
by Jamaica Kincaid
from Farrar, Straus and Giroux
The refrain of Jamaica Kincaid's clear-sighted, poetic novel Mr. Potter is that reading and writing are incomparable prizes: it is literacy that separates us--not without pain--from the natural world. Kincaid's title character, a chauffeur, spends his life in the bright, unchanging sun of Antigua. Each day his father fruitlessly lowers his fishing pots and his net into the waters of the surrounding ocean, finally cursing God for his bad luck. These are ordinary men, as trapped and elevated by circumstance as any of us, except that without the split in consciousness that reading gives, they cannot see any context for what happens to them. Only the writer--and in this case the narrator, Mr. Potter's grown daughter, a true lover of words--can provide context for such characters, dipping back into history, stepping close to read the men's thoughts, drawing further away to take in politics and social movements. Kincaid's looping, deceptively simple style draws on the work of female modernists like Virginia Woolf and Gertrude Stein to stitch together the story of Mr. Potter. After a few stiff paragraphs at the opening, the effect is spellbinding. Readers familiar with Kincaid will recognize her preoccupation with family (as seen in My Brother) and her unsentimental assertion that in a world dominated by practical concerns, blood connections matter, even if love does not always follow the bloodline. --Regina Marler
Jamaica Kincaid’s first obssession, the island of Antigua, comes vibrantly to life under the gaze of Mr. Potter, an illiterate taxi chauffeur who makes his living along the roads that pass through the only towns he has ever seen and the graveyard where he will be buried. The sun shines squarely overhead, the ocean lies on every side, and suppressed passion fills the air.
Ignoring the legacy of his father, a poor fisherman, and his mother, who committed suicide, Mr. Potter struggles to live at ease amid his surroundings: to purchase a car, to have girlfriends, and to shake off the encumbrance of his daughters—one of whom will return to Antigua after he dies and tell his story with equal measures of distance and sympathy.
In Mr. Potter, Kincaid breathes life into a figure unlike any other in contemporary fiction, an individual consciousness emerging gloriously out of an unexamined life.
Kincaid breathes life into a figure unlike any in contemporary fiction in a story which captures the slow, unsullied pace of life in Antigua.
My Mother's Garden
by Dominique Browning
from Chamberlain Bros.
The beauty of a flower, and the beauty of a family.
A garden and a child-the similarities between the two can be striking. Both require time and patience. Both call for a very special person to look after their needs and to consider their futures. And both will blossom when tended with a mother's love. This heartwarming collection of essays and stories-from beloved classics and modern favorites, authored by writing gardeners and gardening writers alike-celebrates the role of a mother's love in helping her garden and her children grow. Featuring selections from previously published material by noted garden essayists, as well as compelling excerpts from novels and memoirs, this volume is a touching tribute to mothers everywhere, whose perennial gifts of attention and care allow those they love to truly bloom.
Talk Stories
by Jamaica Kincaid
from Farrar Straus Giroux
Restraint, it turns out, is a highly effective critical strategy. In Talk Stories, her collection of New Yorker "Talk of the Town" pieces dating from 1974 to 1983, Jamaica Kincaid writes prose as bare and bright as a light bulb. Her sentences are so clean that she seems to know exactly what she's talking about. And that's what allows these morsels of reportage to transcend their genre and become small, pointed, thrilling judgments on the world. In "Romance," a piece on a conference of Harlequin romance writers, Kincaid writes, "The women, each of whom looked freshly coiffed, sat at tables in the middle of which were large bowls of yellow and gold chrysanthemums. The women seemed very excited." There we have subjectivity in the cool guise of objectivity. On the other hand, when Kincaid is for something, she comes right out and says it. The oddity is where these hosannas land. A knitting shop in Connecticut, for example, is "perhaps the nicest store in the world, because it is run and owned by perhaps one of the nicest women in the world--a woman named Beatrice Morse Davenport."
In her introduction, Kincaid writes: "All sentences, all paragraphs about this part of my life, my life as a writer, must begin with George Trow." The latter, who discovered Kincaid, wrote the kind of dry, clever occasional prose that flourished in the New Yorker in the 1970s and 1980s. Kincaid's Trow-like writing is the weakest, most attention-hungry in the book. "Party" is written in the style of a Nancy Drew mystery, "Two Book Parties" is written as a quiz, and "Expense Account" is just that--an expense account of a press breakfast, including the coy entry, "Cost of clothes other reporters wore to press breakfast (too complicated to make even a wild guess)." These pieces too closely resemble her mentor's work--clever but not actually, you know, funny. The structural fanciness seems cheap next to Kincaid's fine, goofily opinionated reporting. Still, after these wobbly forays into experimentation, she began to write the fiction that made her famous, so her fooling around seems to have paid off in the end. --Claire Dederer
Talk Stories is a collection of Jamaica Kincaid's original writing for The New Yorker's "Talk of the Town," composed during the time when she first came to the United States from Antigua, from 1978 to 1983. Kincaid found a unique voice, at once in sync with William Shawn's tone for the quintessential elite insider's magazine, and (though unsigned) all her own-wonderingly alive to the ironies and screwball details that characterized her adopted city. She meets Miss Jamaica, visiting from Kingston, and watches Tammy Wynette autograph a copy of Lattimore's Odyssey; she learns the worlds of publishing and partying, of fashion and popular music, and how to call cauliflower a crudité. The book also records Kincaid's development as a young writer-the newcomer who sensitively records her impressions here takes root to become one of our most respected authors.
*Talk Stories* is a collection of Jamaica Kincaid's original writing for *The New Yorker's* "Talk of the Town", composed during the years after she first arrived in the United States from Antigua, from 1978 to 1983. It is also a record of Kincaid's development as a young writer -- the newcomer who sensitively records her impressions in this book takes root to become one of our most respected authors.
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