Michael Eric Dyson
Read By: The Author
In the wake of yet another set of police killings of black men, Michael Eric Dyson wrote a tell-it-straight, no-holds-barred piece for the NYT on Sunday, July 7: “Death in Black and White” (it was updated within a day to acknowledge the killing of police officers in Dallas). The response has been overwhelming. Beyoncé and Isabel Wilkerson tweeted it; JJ Abrams, among many other prominent people, wrote him a long fan letter. The NYT closed the comments section after 2,500 responses, and Dyson has been on NPR, BBC, and CNN nonstop since then.
Fifty years ago Malcolm X told a white woman who asked what she could do for the cause, “Nothing.” Dyson believes he was wrong. In Tears We Cannot Stop, he responds to that question. If we are to make real racial progress, we must face difficult truths, including being honest about how black grievance has been ignored, dismissed, or discounted. As Dyson writes, “At birth you are given a pair of binoculars that see black life from a distance, never with the texture of intimacy. Those binoculars are privilege; they are status, regardless of your class. In fact the greatest privilege that exists is for white folk to get stopped by a cop and not end up dead…. The problem is you do not want to know anything different from what you think you know…. You think we have been handed everything because we fought your selfish insistence that the world, all of it – all its resources, all its riches, all its bounty, all its grace – should be yours first and foremost, and if there’s anything left, why then we can have some, but only if we ask politely and behave gratefully.”
In the tradition of The Fire Next Time (Baldwin), short, emotional, literary, powerful, this is the book that all Americans who care about the current and long-burning crisis in race relations need to hear.
Read By: All-star Ensemble Cast
(Feat. Nick Offerman, David Sedaris, MORE)
Winner of the 2017 Man Booker Prize
The long-awaited first novel from the author of Tenth of December: a moving and original father-son story featuring none other than Abraham Lincoln, as well as an unforgettable cast of supporting characters, living and dead, historical and invented.
February 1862. The Civil War is less than one year old. The fighting has begun in earnest, and the nation has begun to realize it is in for a long, bloody struggle. Meanwhile, President Lincoln’s beloved eleven-year-old son, Willie, lies upstairs in the White House, gravely ill. In a matter of days, despite predictions of a recovery, Willie dies and is laid to rest in a Georgetown cemetery. “My poor boy, he was too good for this earth,” the president says at the time. “God has called him home.” Newspapers report that a grief-stricken Lincoln returns, alone, to the crypt several times to hold his boy’s body.
From that seed of historical truth, George Saunders spins an unforgettable story of familial love and loss that breaks free of its realistic, historical framework into a supernatural realm both hilarious and terrifying. Willie Lincoln finds himself in a strange purgatory where ghosts mingle, gripe, commiserate, quarrel, and enact bizarre acts of penance. Within this transitional state-called, in the Tibetan tradition, the bardo-a monumental struggle erupts over young Willie’s soul.
Lincoln in the Bardo is an astonishing feat of imagination and a bold step forward from one of the most important and influential writers of his generation. Formally daring, generous in spirit, deeply concerned with matters of the heart, it is a testament to fiction’s ability to speak honestly and powerfully to the things that really matter to us. Saunders has invented a thrilling new form that deploys a kaleidoscopic, theatrical panorama of voices to ask a timeless, profound question: How do we live and love when we know that everything we love must end?