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Perhaps a bit unorthodox, but I need to start this review off by thanking my local library and Inter Library Loan system. First published in 1978 as an entry to the Patternist series, [b:Survivor|256890|Survivor|Octavia E. Butler|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1186985614l/256890._SY75_.jpg|3346577] was Butler’s least favorite work and she subsequently opted to not have it reprinted. Being a completionist, I still really wanted to read it (without paying hundreds of dollars for a rare copy), so that is when my library came to the rescue—they have all of my nerd gratitude.
Now having read Survivor, I can see why Butler hated it. Compared to her other work, it really does stand out as it lacks her classic polish and narrative flow. In general, Butler’s stories are brilliantly paced with a smooth feel as they unfold; her dialogue often reveals key facts about the character, world, relationships, all while moving the plot along in interesting ways. As Survivor initially follows a group of humans (Missionaries) who have escaped a chaotic earth dealing with the Clayark plague and public emergence of Patternists, only to land on a planet during a dangerous conflict between the surprisingly anthropomorphic aliens called Tehkohn and Garkohn—there are simply too many sci-fi elements in too short a book (180 pages) to fully and seamlessly flesh out these different narrative ideas. This ultimately resulted in more “tell” than “show,” with dialogue often existing to provide convoluted exposition—I can see why Butler called this “my Star Trek novel.”
In this scenario, Butler has to lay down the rules of three distinct cultures, which we largely see through the eyes of Alanna—the titular “survivor”—who struggles to navigate all three. While not the first of Butler’s work to play with the concepts of consent amidst alien conflict and interspecies procreation (the Xenogenesis series does this really well), in Survivor these concepts devolve into a bizarre Stockholm syndrome as we follow Alanna’s storyline. She is not the strongest protagonist to begin with, but the way she jumps hoops of mental gymnastics to sympathize with a given captor would indicate more psychological malleability than adaptability. Some of these parts were really hard to read, but I digress.
So those are some criticisms, but all said and done I would be lying if I said I did not like this book (admittedly I do not think I could ever truly dislike anything Octavia Butler wrote, I stan far too much, as the kids say). The main reason I enjoyed this book was that Survivor, with its clunky over-expositioning, really does an excellent job of tying the events of [b:Wild Seed|52318|Wild Seed (Patternmaster, #1)|Octavia E. Butler|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388462753l/52318._SY75_.jpg|1330000], [b:Mind of My Mind|116254|Mind of My Mind (Patternmaster, #2)|Octavia E. Butler|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1389676159l/116254._SY75_.jpg|111957], [b:Clay's Ark|60933|Clay's Ark (Patternmaster, #3)|Octavia E. Butler|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1461533398l/60933._SY75_.jpg|1008173], and [b:Patternmaster|116256|Patternmaster (Patternmaster, #4)|Octavia E. Butler|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1389456750l/116256._SY75_.jpg|1119636] together. Also, I am a Trekkie, so while this was not Butler’s strongest work, it still works for me as a decent space story fueled by weird melodrama.
All in all, Survivor will not be for everyone, but I would still recommend it as I do with everything by Octavia Butler. That said, DO NOT pay hundreds of dollars for a copy; check your local library and if they do not have it you can put in an order through Inter Library Loan. Every library system is a part of a unique loaning network, so results may vary, but it is worth a try if you’re truly curious.
Now having read Survivor, I can see why Butler hated it. Compared to her other work, it really does stand out as it lacks her classic polish and narrative flow. In general, Butler’s stories are brilliantly paced with a smooth feel as they unfold; her dialogue often reveals key facts about the character, world, relationships, all while moving the plot along in interesting ways. As Survivor initially follows a group of humans (Missionaries) who have escaped a chaotic earth dealing with the Clayark plague and public emergence of Patternists, only to land on a planet during a dangerous conflict between the surprisingly anthropomorphic aliens called Tehkohn and Garkohn—there are simply too many sci-fi elements in too short a book (180 pages) to fully and seamlessly flesh out these different narrative ideas. This ultimately resulted in more “tell” than “show,” with dialogue often existing to provide convoluted exposition—I can see why Butler called this “my Star Trek novel.”
In this scenario, Butler has to lay down the rules of three distinct cultures, which we largely see through the eyes of Alanna—the titular “survivor”—who struggles to navigate all three. While not the first of Butler’s work to play with the concepts of consent amidst alien conflict and interspecies procreation (the Xenogenesis series does this really well), in Survivor these concepts devolve into a bizarre Stockholm syndrome as we follow Alanna’s storyline. She is not the strongest protagonist to begin with, but the way she jumps hoops of mental gymnastics to sympathize with a given captor would indicate more psychological malleability than adaptability. Some of these parts were really hard to read, but I digress.
So those are some criticisms, but all said and done I would be lying if I said I did not like this book (admittedly I do not think I could ever truly dislike anything Octavia Butler wrote, I stan far too much, as the kids say). The main reason I enjoyed this book was that Survivor, with its clunky over-expositioning, really does an excellent job of tying the events of [b:Wild Seed|52318|Wild Seed (Patternmaster, #1)|Octavia E. Butler|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388462753l/52318._SY75_.jpg|1330000], [b:Mind of My Mind|116254|Mind of My Mind (Patternmaster, #2)|Octavia E. Butler|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1389676159l/116254._SY75_.jpg|111957], [b:Clay's Ark|60933|Clay's Ark (Patternmaster, #3)|Octavia E. Butler|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1461533398l/60933._SY75_.jpg|1008173], and [b:Patternmaster|116256|Patternmaster (Patternmaster, #4)|Octavia E. Butler|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1389456750l/116256._SY75_.jpg|1119636] together. Also, I am a Trekkie, so while this was not Butler’s strongest work, it still works for me as a decent space story fueled by weird melodrama.
All in all, Survivor will not be for everyone, but I would still recommend it as I do with everything by Octavia Butler. That said, DO NOT pay hundreds of dollars for a copy; check your local library and if they do not have it you can put in an order through Inter Library Loan. Every library system is a part of a unique loaning network, so results may vary, but it is worth a try if you’re truly curious.
This book mysteriously appeared in my family’s house when I was in middle school, and I remember liking it as a kid so decided to give it a second read as I look through my old books and try to get rid of things. Now I can say that while it can be unintentionally funny, [b:The Ghosts of Now|480606|The Ghosts of Now|Joan Lowery Nixon|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1320452142l/480606._SY75_.jpg|468984] is an objectively bad book. For starters, while it markets itself as a horror, it is actually a middle school who dunnit, which is tedious. Second, every character including Angie Dupree is horrifically insufferable—I was rooting against everyone. This relic is definitely a product of its time (the 80s) and honestly that is probably where it should remain.
Considered the spiritual sequel to [b:Beloved|6149|Beloved|Toni Morrison|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347984578l/6149._SY75_.jpg|736076], [b:Jazz|37398|Jazz|Toni Morrison|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1317531331l/37398._SX50_.jpg|1135883] follows the (unreliable) narratives of deeply flawed characters, including at least one who has committed grave sins. If the goal was to make a murderer sympathetic or to understand them as something more than heartless, I would say Beloved is more successful. That said, while Morrison writes characters to be seen, I’m not entirely convinced that she needs them to be understood, especially when they do not understand themselves.
Rather, I feel Morrison writes narratives to better comprehend social context. Instead of condemning a sinner, Morrison seeks to understand the situation that leads to the major moral failing surrounding the individual’s tragedy. As with all her work, she renders hyper realistic people in surreal settings to pull forth a greater understanding of the human condition, specifically as it is in times of conflict. Morrison’s focus here centers on the Harlem Renaissance of the 1920s, a time that rendered beautiful art, but one that was not without strife.
Beyond narrative, my favorite elements of Jazz are the stylistic choices woven into the prose that mimic the rhythm of actual jazz. This flow is what carries the characters through the moving urban landscape. At times even the storylines meander, almost feeling improvisational in nature, and this includes movement between different character viewpoints, timelines, and even past places south of the city. This is what allows the City to come alive as something more than just a setting.
If you are someone who prefers neat retribution for victims or the swift condemnation of criminals, this will not be the book for you. The very world this story takes place in prevents either from ever truly maturing. However, if you are seeking something a little more nuanced that captures the authenticity of a bygone time and place, then Jazz is a pretty solid choice.
Rather, I feel Morrison writes narratives to better comprehend social context. Instead of condemning a sinner, Morrison seeks to understand the situation that leads to the major moral failing surrounding the individual’s tragedy. As with all her work, she renders hyper realistic people in surreal settings to pull forth a greater understanding of the human condition, specifically as it is in times of conflict. Morrison’s focus here centers on the Harlem Renaissance of the 1920s, a time that rendered beautiful art, but one that was not without strife.
Beyond narrative, my favorite elements of Jazz are the stylistic choices woven into the prose that mimic the rhythm of actual jazz. This flow is what carries the characters through the moving urban landscape. At times even the storylines meander, almost feeling improvisational in nature, and this includes movement between different character viewpoints, timelines, and even past places south of the city. This is what allows the City to come alive as something more than just a setting.
If you are someone who prefers neat retribution for victims or the swift condemnation of criminals, this will not be the book for you. The very world this story takes place in prevents either from ever truly maturing. However, if you are seeking something a little more nuanced that captures the authenticity of a bygone time and place, then Jazz is a pretty solid choice.
If you have an interest in learning about the 19th Amendment, then I can recommend the [b:Women Making History: The 19th Amendment|53282953|Women Making History The 19th Amendment|Tamara Gaskell|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1587990386l/53282953._SY75_.jpg|81112248]. Created by Eastern National, this reference is available as one of America’s National Parks’ Book of the Week.
This year marks the centennial of the passing of the 19th Amendment, and the NPS/partners have been putting out a great deal of content to help commemorate this milestone. This Official National Park Service Handbook has a lot of really well-researched information pertaining the topic at hand. Notably, it contains an in-depth timeline, bios of key players, an overview of different groups/stakeholders related to the movement, a break-down of regional approaches throughout the United States, as well as a list of related NPS sites that are a part of this history.
Overall, this volume is pretty comprehensive and handy. If women’s suffrage, or more specifically, the 19th Amendment is something you are interested in studying, then this book is definitely a useful historical reference.
This year marks the centennial of the passing of the 19th Amendment, and the NPS/partners have been putting out a great deal of content to help commemorate this milestone. This Official National Park Service Handbook has a lot of really well-researched information pertaining the topic at hand. Notably, it contains an in-depth timeline, bios of key players, an overview of different groups/stakeholders related to the movement, a break-down of regional approaches throughout the United States, as well as a list of related NPS sites that are a part of this history.
Overall, this volume is pretty comprehensive and handy. If women’s suffrage, or more specifically, the 19th Amendment is something you are interested in studying, then this book is definitely a useful historical reference.
So, if you specifically happen to be a third or fourth generation Italian American who grew up in the New York tristate area, then Maria Laurino’s [b:Were You Always an Italian?: Ancestors and Other Icons of Italian America|725923|Were You Always an Italian? Ancestors and Other Icons of Italian America|Maria Laurino|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347645929l/725923._SY75_.jpg|712139] is a book I would most certainly recommend. My father, a third generation Italian American from the Bronx insisted I read it, and he has yet to give me a bad reading recommendation yet.
This book will appeal especially to anyone with Southern Italian heritage, which admittedly is the background of most Italians who left Italy for America. The struggles of that harsh pastoral land were enough to propel an entire generation to seek new opportunities abroad. Movement is at the heart of Italian America lore, a culture that is ever in flux. This was true for my family as well.
When my great-grandfather Dominico emigrated from Reggio Calabria, Italy to the United States in 1894, to say he had a hard time would be an understatement. He was cheated of all his money and stranded in Albany, having to hitchhike his way back to NYC. A generation later, his son (my grandfather) was nearly denied the ability to buy property in Westchester in the early 1900s because the seller was distrusting of the scary new Italian immigrants. But they kept moving forward (and in my grandpa’s case, presented the angry woman with his new baby boy who allegedly melted her bigoted heart).
At this point, it is absolutely worth noting that as the years changed, Italians began to “assimilate” in America. More than speaking “proper” English or dropping the vowels from their names, Dr. Nell Irvin Painter describes this change as an absorption into American whiteness in her book [b:The History of White People|6919721|The History of White People|Nell Irvin Painter|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1349005576l/6919721._SY75_.jpg|7147568]. The “darkest” or “most ethnic” of white Europeans, Italians were still able to be absorbed into this racial category in ways that other immigrant groups simply were not.
So, what Maria Laurino offers with her book, is the unique perspective of someone who witnessed these key cultural shifts. She can remember the bigotry she experienced as being “ethnic” when she grew up, but then later vents her frustrations at how Italian Americans could then turn around and participate in racism themselves. She is also frustrated with the negative stereotypes of Italians that present the more “ethnic” components of our culture as dangerous, and blames this for why people have distanced themselves from some of the more authentic components of our heritage.
“Is it possible for Italian-Americans to see the past through a different lens, uncolored by the preconceptions and political agendas of others—but also freed from a false romanticism? Why do so many Italian-Americans insist on hearing only ‘nice stories’ about our heritage when the majority of our ancestors came from a land plagued by misery and sadness—in modern language, a dysfunctional past? Perhaps the pace of this ethnic group’s assimilation, which has been quicker than that of darker-skinned ‘others’ like Latinos and African-Americans, has led to an abandonment of the kind of acute intellectual reflection that these groups have engaged in as they attempt to understand their relationship to the past and their place within the larger culture.”
When writing about racial strife in Bensonhurst she also expands, “Residents don’t blame the Italian-American construction companies for demanding the cheapest labor; instead they bitterly complain that ‘the Mexicans’ are stealing their jobs.” It is as if the shame of being perceived as “weak” or “other” can prevent people from being able to empathize with their neighbors, preferring to identify with those they perceive as strong, even if those very exploitative forces are the true cause of their own injustice.
Overall, I think if you come from a background of struggle (and most every American does if you go back far enough) you ought to use your (or your family's) experiences to empathize with others currently facing injustice. I’ll never forget the day I found my grandma crying in her kitchen because she had heard another Italian American use a negative racial slur against a black person. Her shame at this person’s ignorance and lack of empathy was so startling and upsetting to her, that she had a hard time even processing it. She never forgot where she came from, and all I can do is continue to remember as well.
Reading this book brought back so many memories for me, I just couldn’t not recommend it.
This book will appeal especially to anyone with Southern Italian heritage, which admittedly is the background of most Italians who left Italy for America. The struggles of that harsh pastoral land were enough to propel an entire generation to seek new opportunities abroad. Movement is at the heart of Italian America lore, a culture that is ever in flux. This was true for my family as well.
When my great-grandfather Dominico emigrated from Reggio Calabria, Italy to the United States in 1894, to say he had a hard time would be an understatement. He was cheated of all his money and stranded in Albany, having to hitchhike his way back to NYC. A generation later, his son (my grandfather) was nearly denied the ability to buy property in Westchester in the early 1900s because the seller was distrusting of the scary new Italian immigrants. But they kept moving forward (and in my grandpa’s case, presented the angry woman with his new baby boy who allegedly melted her bigoted heart).
At this point, it is absolutely worth noting that as the years changed, Italians began to “assimilate” in America. More than speaking “proper” English or dropping the vowels from their names, Dr. Nell Irvin Painter describes this change as an absorption into American whiteness in her book [b:The History of White People|6919721|The History of White People|Nell Irvin Painter|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1349005576l/6919721._SY75_.jpg|7147568]. The “darkest” or “most ethnic” of white Europeans, Italians were still able to be absorbed into this racial category in ways that other immigrant groups simply were not.
So, what Maria Laurino offers with her book, is the unique perspective of someone who witnessed these key cultural shifts. She can remember the bigotry she experienced as being “ethnic” when she grew up, but then later vents her frustrations at how Italian Americans could then turn around and participate in racism themselves. She is also frustrated with the negative stereotypes of Italians that present the more “ethnic” components of our culture as dangerous, and blames this for why people have distanced themselves from some of the more authentic components of our heritage.
“Is it possible for Italian-Americans to see the past through a different lens, uncolored by the preconceptions and political agendas of others—but also freed from a false romanticism? Why do so many Italian-Americans insist on hearing only ‘nice stories’ about our heritage when the majority of our ancestors came from a land plagued by misery and sadness—in modern language, a dysfunctional past? Perhaps the pace of this ethnic group’s assimilation, which has been quicker than that of darker-skinned ‘others’ like Latinos and African-Americans, has led to an abandonment of the kind of acute intellectual reflection that these groups have engaged in as they attempt to understand their relationship to the past and their place within the larger culture.”
When writing about racial strife in Bensonhurst she also expands, “Residents don’t blame the Italian-American construction companies for demanding the cheapest labor; instead they bitterly complain that ‘the Mexicans’ are stealing their jobs.” It is as if the shame of being perceived as “weak” or “other” can prevent people from being able to empathize with their neighbors, preferring to identify with those they perceive as strong, even if those very exploitative forces are the true cause of their own injustice.
Overall, I think if you come from a background of struggle (and most every American does if you go back far enough) you ought to use your (or your family's) experiences to empathize with others currently facing injustice. I’ll never forget the day I found my grandma crying in her kitchen because she had heard another Italian American use a negative racial slur against a black person. Her shame at this person’s ignorance and lack of empathy was so startling and upsetting to her, that she had a hard time even processing it. She never forgot where she came from, and all I can do is continue to remember as well.
Reading this book brought back so many memories for me, I just couldn’t not recommend it.
