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Book Review: ‘Good Dirt,’ by Charmaine Wilkerson

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Book Review: ‘Good Dirt,’ by Charmaine Wilkerson

GOOD DIRT, by Charmaine Wilkerson


“Good Dirt,” like Charmaine Wilkerson’s 2022 best-selling debut, “Black Cake,” is an engrossing epic that explores how intergenerational trauma shapes and complicates family legacies and bonds. At the heart of the novel is 29-year-old Ebony “Ebby” Freeman, the daughter of one of the few Black families in a wealthy New England enclave. She’s engaged to marry a white man, Henry Pepper, the “rising young star of an old banking family.” Ebby and her parents, Soh and Ed, hope her wedding will eclipse the tragedy that thrust her into the spotlight two decades earlier.

When Ebby was 10, she found her 14-year-old brother, Baz, dead on the floor of her father’s study, shot by intruders who were never caught. Lying next to his body were the shattered pieces of a family heirloom nicknamed “Old Mo”: a 20-gallon stoneware jar crafted by an enslaved potter in the mid-1800s. The crime remained unsolved and made headlines. A photograph of young Ebony in bloodied clothing won an international award, and the media has kept an eye on “the little Black girl who had survived a suburban tragedy” ever since. Grief-stricken, Soh and Ed have remained deeply protective of their only living child well into her adulthood.

Now, the media’s interest is revived when Ebby’s relationship with Henry ends in a devastating, and very public, fashion. Furious with Henry for having “shown the world that Ebony Freeman, try as she might, could not escape the mantle of misfortune that had settled over her,” Ebby flees Connecticut for the French countryside, where she hopes to “stay away for a good long while.” But when her troubles follow her there, Ebby finds a different kind of solace in writing her family’s history, based on the cherished stories about Old Mo her parents and grandparents told her and Baz as they were growing up.

Wilkerson deftly employs a broad chorus of perspectives throughout, with chapters told from the points of view of six generations in Ebby’s family, both enslaved and free; and others in the Freemans’ orbit. Even the treasured jar gets a turn.

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We learn that Old Mo’s maker, Moses, carved the initials “MO” under the lip of the jar, presumably in reference to his owner, Martin Oldham, who owned a pottery and brickworks in South Carolina. Oldham looked the other way as the people he enslaved taught one another to read and write, at a time when their literacy was punishable by death. But Oldham is no savior; Moses is not spared slavery’s cruelty or brutality. Still, the Freemans read the “MO” as Moses’ “veiled reference to himself.”

Inspired by a hidden message Moses inscribed on the bottom of Old Mo, his fellow laborer Edward “Willis” Freeman (Ebby’s great-great-great-grandfather) carried the jar with him on his dangerous escape to freedom. In the home Willis later made with his wife and children in Massachusetts, Old Mo became a community repository for secret messages among free and enslaved people — and offered generations of Freemans the reassurance that “good could come of bad, that comfort could follow strife, that looking at their past could help to guide their future.”

In the canon of slavery narratives, which typically take place in agricultural settings, craftspeople are rarely the focus. And yet, as Wilkerson writes in an author’s note, “the mass production of pottery in the American South” was an area of labor that “regularly relied on both enslaved and free Black people.”

Wilkerson also forgoes the familiar in her characterizations of the two Black lineages in the novel: Both the Freemans and the Blisses (Ebby’s mother’s family) have owned land in Massachusetts since the 1600s, and include pioneers in their fields as “farmers, craftsmen, teachers, doctors, lawyers, politicians and investors.” Unlike the Black bourgeoisie of Stephen L. Carter’s novel “The Emperor of Ocean Park,” or the real-life elites in Lawrence Otis Graham’s “Our Kind of People,” Ebby’s people derive their pride from resilience in the face of adversity, not in their exceptionalism or proximity to whiteness.

“This is what it means to be Isabella ‘Sojourner’ Bliss Freeman,” Wilkerson writes after Henry has jilted Ebby on their wedding day:

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Daughter of one of New England’s oldest and wealthiest African American families. Top honors at both universities. Attorney and mother. Lifelong volunteer. Champion fund-raiser. Still the only Black woman in her neighborhood, after all these years, with all that this unfortunate statistic has entailed. Alas, Soh needs to be above slapping that superficial fool in his face, because there are people who are just waiting for a sign that a woman like Soh is beneath them.

Ebby likewise is keenly aware of how she’s perceived, the too-fine line between her private life and the public spectacle muddling her grief for both her brother and Henry: “Love leaves a memory in the heart,” she thinks, “even when your head tells you it shouldn’t.”

Wilkerson masterfully weaves these threads of love, loss and legacy through Old Mo’s journey as well as the ongoing mystery of Baz’s murder. The result is a thoroughly researched and beautifully imagined family saga, with a moving and hopeful ending.


GOOD DIRT | By Charmaine Wilkerson | Ballantine | 352 pp. | $30

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Can You Match the Places These Authors Lived With Settings in Their Books?

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Can You Match the Places These Authors Lived With Settings in Their Books?

A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the works if you’d like to do further reading.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.


For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.

In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.

If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”

Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”

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It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.

Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.

The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”

By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.

A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”

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Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.

Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.


AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31

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Summer’s Best Beach Reads

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Summer’s Best Beach Reads

Moore is a dependable ingredient in any summer reading soufflé. Her airy novels accomplish what they came to do: entertain and transport, without the pyrotechnics of, say, books that eschew quotation marks. In “Down With the Shipmans,” three sisters, laden with baggage, converge on their late mother’s beach cottage, only to learn that their father and his much younger wife are planning to sell the place.

The stakes are high, the drama is juicy and the views are sublime. Moore even provides two beach dogs — Leo (an unruly pit bull mix) and Cinnamon (“golden retriever, red bandanna, long pink tongue”) — to keep things lively. (Comes out June 2)

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