Dorothy West - Böcker

With a new introduction by DIANA EVANS'Timelessly cinematic, with painterly visual descriptions and pitch-perfect dialogue that ranges across class, region, race, age, and gender' Emma Garman, Paris ReviewSet on a bucolic Martha's Vineyard in the 1950s, THE WEDDING tells the story of life in the Oval, a proud, insular community made up of the best and brightest of the East Coast's black bourgeoisie. Within this inner circle of 'blue-vein society', we witness the prominent Coles family gather for the wedding of their loveliest daughter, Shelby, who could have chosen from 'a whole area of eligible men of the right colors and the right professions.' Instead, she has fallen in love with and is about to be married to Mead Wyler, a white jazz musician from New York. A shock wave breaks over the Oval as its longtime members grapple with the changing face of its community.Not just the story of one wedding, but of many, this compelling story offers insights into issues of race, prejudice and identity while maintaining its firm belief in the compensatory power of love.Through a delicate interweaving of past and present, North and South, black and white, THE WEDDING unfolds outward from a single isolated time and place until it embraces five generations of an extraordinary American family. It is an audacious accomplishment, a monumental history of the rise of a black middle class, written by a writer who lived it. Wise, heartfelt, and shattering, it is Dorothy West's crowning achievement.

'A writer of huge compassion and acute observation, and also of dazzling style . . . Her work is more relevant than ever' DIANA EVANSAn incredible collection of writing - both essays and short stories - spanning the long career of Dorothy West. Includes a new introduction by Diana Evans.'West's work is timelessly cinematic, with painterly visual descriptions and pitch-perfect dialogue that ranges across class, region, race, age, and gender' Emma Garman, Paris Review The stories contained here are as American as jazz, and as wise and multifaceted as their writer. Dorothy West's metier is the unique crucible in which America places its black middle class, but her themes are universal: the daily misunderstandings between young and old, men and women, rich and poor that can lead to tragedy; and the ways in which bonds of family and community can bring us together, and tear us asunder. Dorothy West's autobiographical essays explore the poles of her remarkable life - from growing up black and middle-class in Boston to her near-mythic trip to Moscow in 1933 with Langston Hughes and other Harlem Renaissance writers to life on her beloved Martha's Vineyard. They cohere into a beautiful and poignant memoir of a singular American life, a memoir that communicates with her short stories in a host of fertile ways. Taken as a whole, The Richer, The Poorer is a triumphant celebration of the long life and work of one of America's genuine treasures.

INTRODUCED BY DIANA EVANS 'A writer of huge compassion and acute observation, and also of dazzling style . . . Her work is more relevant than ever' DIANA EVANS'Timelessly cinematic, with painterly visual descriptions and pitch-perfect dialogue that ranges across class, region, race, age, and gender' EMMA GARMAN, PARIS REVIEW'It's as though we've been invited not so much to a wedding as to a full-scale opera . . . She brings down the house' NEW YORK TIMESYou're on the brink of turning your back on your family, your community, your race, all for some white-bread fantasy you don't half understand.On a summer weekend in 1953, the residents of the Oval - an exclusive middle-class Black community on Martha's Vineyard - are gathering for the wedding of Shelby Coles. The loveliest daughter of the Oval's most prestigious family, Shelby could have chosen any number of eligible men 'of the right colours and the right professions'. Instead she has fallen in love with a white jazz musician from New York - creating a shockwave that ripples across five generations of family history.Weaving together past and present, North and South, black and white, The Wedding is an audacious, wise and shattering portrait of American identity.

The first book-length study of Dorothy West, now with new writings and insights  Originally published in 2005, WheretheWildGrapeGrows:SelectedWritings, 1930–1950 was the first book-length study of Dorothy West's work, providing a rich and insightful profile of one of the last surviving members of the Harlem Renaissance.  Although West (1907–1998) is often remembered for her novels of Boston's African American community and her lifelong ties to Martha's Vineyard, her career was also shaped by her formative years in New York, where she moved among the era's most influential writers, artists, and political figures, including Langston Hughes, Zora Neale Hurston, Richard Wright, and many others. Cynthia Davis and Verner D. Mitchell document these early decades with care, recovering out-of-print, little-known, and unpublished works, alongside evocative family photographs, to illuminate West's distinctive voice and vision.  This expanded second edition includes three important pieces not featured in the first edition: West's story "Cook," which foreshadows tropes of racial and gendered double consciousness and geographic mobility later developed in her novels; and her two Russian texts, "Room in Red Square" and "Russian Correspondence." This new edition situates West's writings within the larger history of African American artists' fascination with and ambivalence toward the U.S.S.R. The editors also extend their analysis beyond West's early life to consider her final three decades, a period of renewed creativity and recognition.  With a revised, enhanced introduction and a richer selection of West's writings, this updated second edition is an indispensable resource for understanding the full scope of Dorothy West's life, art, and enduring legacy.

When Where the Wild Grape Grows was published in 2005 by the University of Massachusetts Press, it was the first book-length critical study of Dorothy West. Since then, the publication of more volumes on West and her circle testify to popular and academic interest in under-represented artists of the Harlem Renaissance, many of whom appeared first in West’s literary magazine, Challenge (1934-1937). Challenge included poems by West’s cousin Helene Johnson as well as by her friends Lucia Mae Pitts, Waring Cuney, Pauli Murray, Grace Walker, Mae Cowdery, Marcia Prendergast, and Bessie Calhoun Bird. West also published work by her romantic partner Marian Minus and by Juanita DeShields (the first Black Canadian graduate of McGill University) and the Trinidadian author Alfred Mendes. She included artwork by Mildred Jones and journalism by Eslanda Robeson and Dorothy Peterson. In addition to her editorial activities, West corresponded with important African American musicians including Maud Cuney Hare, Alberta Hunter, and Henry T. Burleigh, and with sculptors Augusta Savage and Richmond BarthÉ. Just as West mentored others, she was encouraged by such academic luminaries as Columbia Professors Blanche Colton Williams and Dorothy Scarborough, and by the controversial novelist Erskine Caldwell. The new Introduction to Wild Grape will include fresh research on these individuals, many of whom formed part of West’s social and artistic circle. Lucia Pitts, for example, was a poet who served in the famous WAC (Women’s Army Corps) 6888th Battalion. The work of Marian Minus and Mae Cowdery has received critical attention recently and they also merit closer investigation. The Boston writer and musicologist Maud Cuney Hare was an artistic mentor to West; her cousin Waring Cuney was a close friend: both will receive more attention in the paperback edition. The artist Mildred Jones accompanied West and twenty other young African Americans to Russia in 1932 as participants in an ultimately aborted propaganda film on race relations in America; Jones studied with the important Russian Modernist painter Aleksandr Deyneka. The original edition of Wild Grape cites two stories about West’s Russian experiences (penned under the pseudonym Mary Christopher in 1934), “Room in Red Square” and “Russian Correspondence,” but the volume does not include the actual stories. The stories are interesting because they shed light on West’s unrequited romance with Langston Hughes and her relationships with other members of the group, and they offer a unique perspective on daily life in the U.S.S.R. Both stories will be published in the new edition, along with a detailed discussion of new research about West’s visit to Russia. A third uncollected story, “Cook” (1934), written by West under the pseudonym Jane Isaac will also be included. This story is extremely important to West’s oeuvre and her artistic development; it includes characters, themes, tropes, and plot lines that she expanded and developed in her two novels, The Living Is Easy (1948) and The Wedding (1995). Since 2005, new material has been added to the West archive in Harvard’s Schlesinger Library. The section of Wild Grape devoted to West’s correspondence will include additional unpublished letters which underscore West’s dedication to African American art and culture. The book includes the Benson-West family tree in Appendix II. Several scholars have expressed appreciation for this information which has not been published elsewhere; the chart will be updated to include the birth of several of West’s descendants.