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The Office of Historical Corrections av…
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The Office of Historical Corrections (utgåvan 2020)

av Danielle Evans

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
2331388,261 (4.17)18
"The award-winning author of Before You Suffocate Your Own Fool Self brings her signature voice and insight to the subjects of race, grief, apology, and American history. Danielle Evans is widely acclaimed for her blisteringly smart voice and x-ray insights into the complex human relationships. With The Office of Historical Corrections, Evans zooms in on particular moments and relationships in her characters' lives in a way that allows them to speak to larger issues of race, culture, and history. She introduces us to Black and multi-racial characters who are experiencing the universal confusions of lust and love, and getting walloped by grief--all while exploring how history haunts us, personally and collectively. Ultimately, she provokes us to think about the truths of American history - about who gets to tell them, and the cost of setting the record straight. In "Boys Go to Jupiter" a white college student tries to reinvent herself after a photo of her in a confederate flag bikini goes viral. In "Richard of York Gave Battle in Vain" a photojournalist is forced to confront her own losses while attending an old friend's unexpectedly dramatic wedding. And in the eye-opening title novella, a black scholar from Washington DC is drawn into a complex historical mystery that spans generations and puts her job, her love life, and her oldest friendship at risk"--… (mer)
Medlem:nancyjean19
Titel:The Office of Historical Corrections
Författare:Danielle Evans
Info:Riverhead Books, Hardcover, 288 pages
Samlingar:Ditt bibliotek
Betyg:
Taggar:to-read

Verkdetaljer

The Office of Historical Corrections: A Novella and Stories av Danielle Evans

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» Se även 18 omnämnanden

Visa 1-5 av 13 (nästa | visa alla)
Danielle Evans has an intriguing perspective in her stories. With this perspective she displays the misalignment that is part of being a black person in America without making accusations or even being particularly political. On the face of it, most of the stories don't seem especially memorable, but nevertheless certain aspects stay with you long after you finish the text. In this sense, her writing reminds me a little of Chekhov. ( )
  Marse | Jun 19, 2021 |
A great collections of stories about race in the U.S. I love when a plot isn't tied up in a nice bow at the end of a book, and this one had many. Not everyone enjoys that type of ending, but I found Evan's endings superb. The stories all have strong female characters. One minute I'd be laughing, then I'd gasp. Amazing writing. ( )
  Beth.Clarke | Jun 12, 2021 |
This was a bookclub read but did double duty as a short story collection for a CAT. Included are 6 short stories and a novella. The author is very good though as with most short story collections I liked some better than others. I'm not a big short story fan so it's not surprising I liked the novella best of all. The author is in her thirties and has won numerous major awards, primarily for short stories, and I look forward to following her. ( )
  clue | May 30, 2021 |
My favorite stories are: Alcatraz, Anything Could Disappear, The Office of Historical Corrections. The writing and descriptions, and characters are well drawn. The stories are complete, although I wish there was a continuation of the stories. ( )
  mstruck | Apr 24, 2021 |
A stunning, immersive series of stories (and a novella). In "Boys Go to Jupiter," college freshman Claire is photographed in a Confederate flag bikini purchased by the boy she's dating to annoy her stepmother; when a photo on social media riles her campus, Claire doubles down instead of apologizing; but behind Claire's floundering is her grief over her own dead mother, and the loss, through estrangement, of her "second mother," her best friend's mother who also battled cancer, but survived. In "Anything Could Disappear," Vera is on a bus to New York to help her former employer with a drug deal when a woman leaves one of her children on the bus with Vera; after a halfhearted attempt to see if anyone is looking for the boy, Vera takes care of him for several months, before searching again and returning him to his father, then disappearing again. In "Why Won't Women Just Say What They Want," a male artist leaves public apologies for all of the women he has wronged. And in "The Office of Historical Corrections," Cassie works at the Institute for Public History, and is sent to correct a correction made by her former colleague and lifelong friend/competition, Genevieve. In Wisconsin, the women discover there is more to the story - including, likely, a Black woman who passed as white, whose grandson is a violent white supremacist.

Epigraphs: James Baldwin and Lucille Clifton

"Happily Ever After"
...sometimes all it took to become something was to want it. (12)

"Alcatraz"
...wonder what she wanted me to do with a cautionary tale in which the caution was against growing up. (87)

"They're still your family," I insisted.
"They are NOT my family," my mother said. "We're just related." (92)

...you take nothing for granted when the price of it is etched across the face of the person you love the most, when you are born into a series of loans and know you will never by up to the cost of the debt. (95)

Here is what you have to understand about my mother's childhood: it wasn't one. (99)

"Anything Could Disappear"
Vera got good at pretending not to notice people who didn't want to be seen. (139)

"The Office of Historical Corrections"
She thought the insistence on victims without wrongdoers was at the base of the whole American problem, the lie that supported all the others. (186)

Midwest nice was a steady, polite gaslighting I found sinister, a forced humility that prevented anyone from speaking up when they'd been diminished or disrespected, lest they be labeled an outsider. (194)

Things started quickly between us but then didn't seem to know where to go. (200)

"...because you know how white people love their history right up until it's true." (Genie to Cassie, 222)

"You know how to be careful and you know how to do the right thing, but you've never known how to do both." (Genevieve to Cassie, 223)

I left...with the anticlimactic sense that my job was both done and forever undoable, a simple matter of reconciling the record books and an impossible matter of making any kind of actual repair. (239)

...the loop of history that was always a noose if you looked at it long enough. (249)

"The beauty of motherhood is that all the choices are wrong." (Genevieve, 258)

"People can convince themselves of anything if they want badly enough to believe it."
"Why are you doing any of this then? If you don't think telling people the truth makes a difference?" (259) ( )
  JennyArch | Apr 8, 2021 |
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» Lägg till fler författare

Författarens namnRollTyp av författareVerk?Status
Evans, Danielleprimär författarealla utgåvorbekräftat
Abbott-Pratt, JonieceBerättaremedförfattarevissa utgåvorbekräftat
Edwards, JaninaBerättaremedförfattarevissa utgåvorbekräftat
LaVoy, JanuaryBerättaremedförfattarevissa utgåvorbekräftat
Lewis, NicoleBerättaremedförfattarevissa utgåvorbekräftat
Ojo, AdenreleBerättaremedförfattarevissa utgåvorbekräftat
Pressley, BrittanyBerättaremedförfattarevissa utgåvorbekräftat
Small, ShaynaBerättaremedförfattarevissa utgåvorbekräftat
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"The award-winning author of Before You Suffocate Your Own Fool Self brings her signature voice and insight to the subjects of race, grief, apology, and American history. Danielle Evans is widely acclaimed for her blisteringly smart voice and x-ray insights into the complex human relationships. With The Office of Historical Corrections, Evans zooms in on particular moments and relationships in her characters' lives in a way that allows them to speak to larger issues of race, culture, and history. She introduces us to Black and multi-racial characters who are experiencing the universal confusions of lust and love, and getting walloped by grief--all while exploring how history haunts us, personally and collectively. Ultimately, she provokes us to think about the truths of American history - about who gets to tell them, and the cost of setting the record straight. In "Boys Go to Jupiter" a white college student tries to reinvent herself after a photo of her in a confederate flag bikini goes viral. In "Richard of York Gave Battle in Vain" a photojournalist is forced to confront her own losses while attending an old friend's unexpectedly dramatic wedding. And in the eye-opening title novella, a black scholar from Washington DC is drawn into a complex historical mystery that spans generations and puts her job, her love life, and her oldest friendship at risk"--

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