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Stephanie Powell Watts

    Stephanie Powell Watts se adentra en la vida de los afroamericanos que navegan por el Sur de Estados Unidos después de la integración. Su aclamada ficción corta a menudo destaca a personajes que soportan trabajos exigentes en empleos de comida rápida y fábricas, o aquellos dedicados al ministerio puerta a puerta. Watts explora hábilmente temas de relaciones complejas y el anhelo de pertenencia, retratando con sensibilidad los desafíos sociales y económicos que enfrentan sus personajes. Sus novelas, inspiradas en la literatura clásica y ambientadas en la Carolina del Norte rural contemporánea, ofrecen una profunda visión de las aspiraciones y frustraciones de las comunidades marginadas.

    No One Is Coming to Save Us
    We Are Taking Only What We Need
    We Are Taking Only What We Need: Stories
    • We Are Taking Only What We Need: Stories

      • 305 páginas
      • 11 horas de lectura

      In these powerfully rendered, prizewinning stories, working-class African Americans across the South strive for meaning and search for direction in lives shaped by forces beyond their controlThe ten stories in this resonant collection deal with both the ties that bind and the gulf that separates generations, from children confronting the fallibility of their own parents for the first time to adults finding themselves forced to start over again and again.In "Highway 18" a young Jehovah's Witness going door to door with an expert field-service partner from up north is at a crossroads: will she go to college or continue to serve the church? "If You Hit Randall County, You've Gone Too Far" tells of a family trying to make it through a tense celebratory dinner for a son just out on bail. And in the collection's title story, a young girl experiences loss for the first time in the fallout from her father's relationship with her babysitter.Startling, intimate, and prescient on their own, these stories build to a kaleidoscopic understanding of both the individual and the collective black experience over the last fifty years in the American South. With We Are Taking Only What We Need, Stephanie Powell Watts has crafted an incredibly assured and emotionally affecting meditation on everything from the large institutional forces to the small interpersonal moments that impress upon us and direct our lives.

      We Are Taking Only What We Need: Stories
    • We Are Taking Only What We Need

      • 240 páginas
      • 9 horas de lectura

      In these powerfully rendered, prizewinning stories, working-class African Americans across the South strive for meaning and search for direction in lives shaped by forces beyond their control The ten stories in this resonant collection deal with both the ties that bind and the gulf that separates generations, from children confronting the fallibility of their own parents for the first time to adults finding themselves forced to start over again and again. In “Highway 18” a young Jehovah’s Witness going door to door with an expert field-service partner from up north is at a crossroads: will she go to college or continue to serve the church? “If You Hit Randall County, You’ve Gone Too Far” tells of a family trying to make it through a tense celebratory dinner for a son just out on bail. And in the collection’s title story, a young girl experiences loss for the first time in the fallout from her father’s relationship with her babysitter. Startling, intimate, and prescient on their own, these stories build to a kaleidoscopic understanding of both the individual and the collective black experience over the last fifty years in the American South. With We Are Taking Only What We Need, Stephanie Powell Watts has crafted an incredibly assured and emotionally affecting meditation on everything from the large institutional forces to the small interpersonal moments that impress upon us and direct our lives.

      We Are Taking Only What We Need
    • Returning to Pinewood, North Carolina, Jj Ferguson confronts a transformed landscape and the complexities of his past relationships. His high school sweetheart, Ava, is now married and struggling with infertility, while her husband, Henry, grapples with the economic decline of the furniture industry. The shadow of Jim Crow looms over the community, affecting the lives of those Jj once knew. Ava's mother, Sylvia, attempts to cope with the absence of her son by interfering in others' lives, highlighting the deep-seated changes in their small town.

      No One Is Coming to Save Us