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Chargement... The Office of Historical Corrections: A Novella and Stories (édition 2020)par Danielle Evans (Auteur)
Information sur l'oeuvreThe Office of Historical Corrections: A Novella and Stories par Danielle Evans
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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"-- Aucune description trouvée dans une bibliothèque |
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Google Books — Chargement... GenresClassification décimale de Melvil (CDD)813.6Literature English (North America) American fiction 21st CenturyClassification de la Bibliothèque du CongrèsÉvaluationMoyenne:
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“Why Won’t Women Just Say What They Want” is a strange tale about an artist who treated the women in his life terribly and later goes about apologizing to each of them in a big way. But every story after that improved for me, and I especially loved the story “Alcatraz” and the novella at the that gave the book its name, “The Office of Historical Corrections.” The latter is about a historian, Cassie, who leaves her tenure-track professorship to work for a new (fictional, a little creepy, but certainly plausible) federal government departing, the Institute for Public History, jokingly referred to as the Office of Historical Corrections. The people who work for the Institute are charged with leaving notes that clarify inaccurate historical facts on display throughout the country, from souvenirs to commemorative plaques.
The threads running these stories are atonement, loss, and race, and they are often told with subtlety and wry humor. I would have given five stars if the first few stories had not caused me some difficulty, but the novella itself would have earned five stars, as well as some of the other stories. ( )