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To Read, or Not to Read (April 2024)

(Photo: Canva)

As April comes to a conclusion and with Independent Bookstore Day tomorrow (Saturday, April 27th), it’s time for our favorite local booksellers to share their recommendations for what to read — because who else knows better?

There’s Always This Year: On Basketball and Ascension, Hanif Abdurraqib

“This week was my first time reading the work of the celebrated author Hanif Abdurraquib, beloved son of Columbus, Ohio. This book is a treasure trove of longing, hope, and the author’s personal quest to define what really makes a place ‘home.’ Abdurraquib once described his love for Columbus, Ohio, like this: ‘I’m not in love with the bridges. I’m in love with the people. The people are the architecture of the place.’ As a Memphian consuming this mind-bending and beautiful book in three days, I could relate. His affection for his gritty hometown will resonate with many local readers who see the soul of a city as more than just a skyline.” — Angie Doherty, Novel

“Every time I open a new book from Hanif Abdurraqib, I think I’m ready. I never am. His latest masterpiece is definitely a book about basketball, but also about life, and love, and home, and hope, and anything and everything not even basketball at all. There is not a word wasted, and the way he observes the world, unpacks it, then sharply and tenderly delivers it back to us always manages to crack my heart and my mind wide open. Hanif is a brilliant poet, and just seems to see the world differently. I encourage everyone to take a moment to sit with him and see things differently, too.” — Nicole Yasinsky, Novel

Doppelgänger: A Trip Into the Mirror World, Naomi Klein

“Naomi Klein’s Doppelgänger: A Trip Into the Mirror World navigates our polarized society with sensitivity and depth. Using the mix-up between herself and former third-wave feminist turned far-right darling Naomi Wolf as a launching point, Klein delves into contentious topics such as vaccines, climate change, and the Israel-Palestine conflict. The narrative is both captivating and witty, weaving together personal and cultural anecdotes of mistaken identity. Klein’s analysis compellingly argues for acknowledging our collective responsibility in today’s dysfunctional political climate and striving to enact positive change. This book is a must-read, skillfully combining scholarship and storytelling.” — Alexandra Farmer, Novel

Ramona the Brave, Beverly Cleary

“Ramona Quimby is a hot mess. She has family problems, friendship issues, and troubles at school, but she manages to work through whatever life unexpectedly throws her way with her spunk and pluckiness. All books about Ramona were written by librarian Beverly Cleary who passed away in 2021 at the age of 104.” — Sheri Bancroft, Novel 

The American Daughters, Maurice Carlos Ruffin

“It is a historical novel based in New Orleans (one of my favorite cities) centered around a spirited young woman who joins a sisterhood. This story highlights the sisterhood and community of Black women whose efforts played a significant role in the Civil War.” — Jasmine Settles, Cafe Noir 

The Heaven and Earth Grocery Store, James McBride

“A mystery of master storytelling. Questioning faith and newly discovered skeleton bones. When the truth is finally revealed about what happened on Chicken Hill and the part the town’s white establishment played in it, McBride shows us that even in dark times, it is love and community — heaven and earth — that sustain us.” — Jasmine Settles, Cafe Noir 

Another Word for Love, Carvell Wallace 

“Keep an eye out for the release on May 14th. ‘To return, to be made whole again. This is another word for love,’ writes Carvell Wallace. In Another Word for Love, Wallace excavates layers of his own history, situated in the struggles and beauty of growing up Black and queer in America.” — Jasmine Settles, Cafe Noir 

Radiant: The Life and Line of Keith Haring, Brad Gooch

“I typically am a 99 percent fiction reader but lately have been immersed in reading about art and artists (both fiction and nonfiction). I am currently reading the new biography of Keith Haring by Brad Gooch, Radiant: The Life and Line of Keith Haring. It’s a wonderful overview of his short time in the art world as well as a vivid snapshot of New York City in the 1980s. I am also reading the Keith Haring Journals, which adds an extra layer to his life and art. A bit of trivia I learned: Haring’s father attended the Aviation Electronic Technician School in Memphis in 1957, where he stayed for six months. The high point of his stay was spotting Elvis joyriding around town in his white Lincoln. — Cheryl Mesler, Burke’s Book Store

Jeremee DeMoir, owner of Demoir Books & Things, has four books of poetry in mind for National Poetry Month. He’s broken them down into age categories for us:

  • Children’s — Exquisite: The Poetry and Life of Gwendolyn Brooks by Suzanne Slade: A picture book biography about Gwendolyn Brooks, the influential poet and the first African American to win a Pulitzer Prize.
  • YA — Black Girl Evolving by Diana Townsend (a Memphian): Black Girl Evolving is a powerful and evocative poetry collection that delves into the complexities of the Black community, mental health, and the vital role of Black women in society.
  • YA — Call Us What We Carry by Amanda Gorman: Amanda Gorman’s remarkable new collection reveals an energizing and unforgettable voice in American poetry.
  • Adult — Counting Descent by Clint Smith: Clint Smith’s debut poetry collection, Counting Descent, is a coming-of-age story that seeks to complicate our conception of lineage and tradition.

All books mentioned can be purchased at the respective bookstore locations. For upcoming book events, including book clubs and author signings, visit the Flyer’s event calendar.

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Book Features Books

1666: A Story of Survival

One of the most intriguing aspects of Lora Chilton’s historical novel 1666 may be the task of keeping the phonetically spelled names of people and places straight.

The story, based on a combination of what author Chilton refers to as “historical records and oral tradition,” is an inspired imagining of the struggle for survival of two members of the Indigenous Patawomeck (PaTow’O’Mek) tribe of Virginia (TseNaCoMoCo) following the attempted annihilation of the tribe by white colonial authorities in the year indicated by the novel’s title.

The primary characters, based on two women who may actually have existed, do indeed survive (though just barely), as, in the long run of history, has the tribe itself via surviving descendants, one of whom is Chilton herself. Her fellow Memphians may recall her as a prominent school board member and political activist (as Lora Jobe) of a few seasons back.

The aforementioned matter of phonetic spellings is really no obstacle to an immersion in the tale, functioning rather to ground one in a gripping sense of Being There in a present-tense reality. (And there are welcome recognitions, as when one of the story’s ultimate locations turns out to be a teeming place called MaNaHahTaAn (Manhattan).)

The main characters themselves have a variety of names. Ah’SaWei (Golden Fawn) is also Twenty-nine (her number as a freshly enslaved prisoner) and Rebecca (while serving in a Barnados household). And, similarly, NePaWeXo (Shining Moon) is Eighty-five and Leah.

To repeat, none of this gets in the way. For each of the characters, the identities are both discrete and overlapping. Each stands for a different phase of the characters’ destinies — Alternately horrific, heroic, and (relatively) mundane.

Those destinies occur within a meticulously outlined span of historical time in which the terrors and atrocities of the colonial era, described unblinkingly, are a basic part of the background and essentially define the course of events. But so, too, are the natural circumstances of life — love and sex prominently among them.

What did people of that milieu eat and how did they cultivate it? In what ways were their domestic tensions, coupling rituals, and emotional realities like or unlike our own? Chilton has researched it all and knows it in depth and can tell you.

And she does so with a dramatic, thriller-like sense of urgency that has us turning pages compulsively.

Some advance readers of the novel, whose blurbs are included with the text, focus on the story as “tragedy.” That’s a way of saying that terrible things happen and are accounted for graphically.

But what the story really is about is humanity’s unquenchable spirit and, as such, is the furthest thing imaginable from being a downer.

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Book Features Books

While We Were Burning

Sara Koffi (Photo: CPearce Photography)

Sara Koffi began her novel in the summer of 2020. It wasn’t a pandemic project, born out of boredom, but rather seeded from the racial reckoning that stemmed from the police killings of George Floyd and Breonna Taylor.

“It was a concern about if these people and their families will actually achieve justice. A stress that these cases weren’t going to have a resolution that matched the justice needed,” she says. “And I kind of took the seed of that paranoia and put it toward the book essentially — that was like the seed of the beginning of While We Were Burning.”

The novel, Koffi says, is “first and foremost fun — fun is not the right word — but it is a fun, fast-paced, twisty read. And then secondly it’s exploring important themes.”

For her debut novel, Koffi puts two women’s stories into counterpoint: Elizabeth, a woman on a downward spiral as she questions the mysterious circumstances surrounding her friend’s death, and Briana, who is hired as Elizabeth’s personal assistant to help her pick up the pieces.

But Briana has questions of her own. The Memphis police have killed her son, and now she’s on the search for who called the cops on her child on that fateful day that took him away.

Together the women rush towards finding their answers as their relationship blurs the line between employer and friend, predator and prey.

“The thriller genre is very good about exploring justice outside of the usual justice system,” Koffi says. “So I thought for a story like this, it’d be fitting.”

The story begins in Elizabeth’s first-person perspective, which switches with Briana’s third-person narrative throughout the novel. “I often joke that Elizabeth thinks she’s the main character. She’s like, ‘This is my story.’ And then Briana, who arguably is actually the main character, does not center herself the same way.”

Even so, the prologue depicts Elizabeth lamenting her crumbling marriage. “She doesn’t know what book she’s in,” Koffi says. “She cannot conceive of Briana entering into her life. You know, this woman’s very concerned, kind of a borderline obsessed with her husband, like a domestic thriller trope. And then you keep reading. You’re like, ‘Oh, I think that’s a different book. That’s not what’s actually going to happen.’

“That was the first thing I wrote,” Koffi adds of the prologue, “and it has not changed from editing, drafting, to now. That has remained the same, untouched. … Once I got a good grasp of [Elizabeth], it’s like the story started to unfold.”

And, always, Koffi knew, this story was going to unfold in Memphis, the city where she grew up. “I also know about the city’s history, its involvement in the NAACP and Civil Rights Movement as well. And I thought it was interesting because the city also has a history of seeking justice on its own, so that was an interesting parallel to what’s happening in the story.

“For me personally,” Koffi says, “to have a book set in Memphis be the first book I put out, it feels like a major responsibility. But it’s a good one because I’m gonna have a lot of readers who have not been to the city and this book is gonna be their gateway to what the city is like without actually having visited there. I’m hoping — outside of the thriller background — that I capture the city. This is a good city. [Elizabeth and Briana are] having some drama, but the city itself is fine.”

But Koffi doesn’t just want to promote Memphis. She wants to create “a thoughtful moment for the reader as well. For me, I want that moment to kind of be a reflection on, like, are there are other things that I’m doing without thinking about it? That might be affecting other people? Do I have my own blinders on when it comes to certain things in my life, and may that be affecting other things?”

Sara Koffi celebrates the launch of While We Were Burning at Novel on Tuesday, April 16, 6 p.m., in conversation with Kristen R. Lee.

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Blurb Book Features Books

To Read, or Not to Read? (March 2024)

Once again, the Memphis Flyer has taken to the streets (read: email) to ask Memphis’ booksellers what on Earth we should be reading this month. And, thank goodness, they’ve answered with recommendations that’ll fit on anyone’s bookshelf. Check them out below.

Black Roses: Odes Celebrating Powerful Black Women, Harold Green III
Black Roses is a beautiful collection of odes crafted by poet Harold Green III and pays tribute to all Black women by focusing on visionaries and leaders who are making history right now, including Ava DuVernay, Janelle Monae, Kamala Harris, Misty Copeland, Nikole Hannah-Jones, Robin Roberts, Roxane Gay, Simone Biles, and many others. The collection features full-color illustrations by Melissa Koby. We recommend this book because it’s a powerful expression of love for women during Women’s History Month!
— Jeremee DeMoir, owner at DeMoir Books & Things

Dance of Thieves, Mary E. Pearson
Dance of Thieves is a fantasy duology with a strong female main character. The book contains enemies to lovers, forced proximity, found family, and multiple plot twists. It is masterfully written as the reader is entirely captured by the plot and never bored with what is happening. Although it is set in a fictional world, it is an easily followed story and the characters are realistic. This duology is similar to Six of Crows by Leigh Bardugo, and I would definitely recommend it to any fantasy readers. — Maya Zelinski, bookseller and co-founder/co-leader of the Teen Writing Group at Novel

James, Percival Everett 
I only discovered Percival Everett last year and I’m now trying to catch up and read everything. He’s one of our finest and most versatile writers, and this new one is one of his best. Witty, wise, joyful, painful, important, and highly readable. I predict this will finally win him the Pulitzer. — Corey Mesler, owner at Burke’s Book Store

The Other Valley, Scott Alexander Howard
The Other Valley by Scott Alexander Howard came out in February to glowing reviews, but hasn’t gotten nearly enough attention at the store if you ask me! Never Let Me Go by Ishiguro is an obvious and faithful comp, but while I have started NLMG more times than I can count and could never finish, I fell for this one immediately. It’s speculative fiction, sort of literary sci-fi, set in a world made up of a series of valleys — the same place, with the same people, duplicated over and over 20 years ahead of or behind the next, depending on whether you’re going west or east. Does this sound convoluted? I hear it, too. But trust me when I say it does not require any kind of mental mastery of its bent laws of physics to enjoy. The writing is so good I found myself rereading some sentences three or four times, just to soak them in. It’s a quiet, atmospheric novel full of big ideas that manages to double as a page-turner. Basically, my favorite kind of book. — Kat Leache, Social Media & Promotions at Novel

Thicker Than Water: A Memoir, Kerry Washington 
Award-winning actor, director, producer, and activist Kerry Washington shares the journey of her life so far in this bravely intimate story of discovering her truth. We selected this as it comes from the woman who changed television. Best known for portraying Olivia Pope on the ABC hit Scandal, when it premiered, a Black woman hadn’t had the lead role in a network drama for nearly 40 years. Kerry Washington changed the game and Scandal decimated the idea that a Black female lead would alienate audiences, proving, instead, that it would energize them. Why not celebrate such a powerful figure and share this powerful book during Women’s History Month? — Jeremee DeMoir, owner at DeMoir Books & Things

All books mentioned can be purchased at the respective bookstore locations. Support indie and support local. For upcoming book events, including book clubs and author signings, visit the Flyer’s event calendar.

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Blurb Book Features Books

To Read, or Not to Read?

Photo: Canva

I don’t know about you, but my TBR (“to be read,” for those not keeping up with the lingo) list keeps on growing and growing and growing, and yet I’m out here acting like I just don’t know what to read. Because I don’t. There are just too many choices. So, like any good journalist, I took advantage of my power, wielded my press badge (which doesn’t exist), and went to the source (Memphis’ booksellers) to ask the age-old question, “What should I read?”, and have someone else make the choice for me. It’s important work, I know. And I don’t do it just for me. I do it for the people. For you. 

Jasmine Settles, owner of Cafe Noir, whose brick and mortar is slated to open at the end of this month, has two suggestions for me — I mean, us — The Mayor of Maxwell Street by Avery Cunningham and Tenderheaded by Olatunde Osinaike. Of Tenderheaded, she says, “That was actually selected as a winner of the [2022] National Poetry Series. The book focuses on masculinity, Black male identity. And I love how the work is so gentle, but it has also kind of like a music rhythm to it. Just like how his work kind of expands with language and he will take a word and kind of build around it. And he is a coder, like a computer coder. I truly, really admire his work and his style.”

“I think The Mayor of Maxwell Street is a really good one as well,” Settles says. “[The author] is from Memphis. I think her work is brilliant.”  Within The Mayor of Maxwell Street, the daughter of the “wealthiest Negro in America,” Nelly Sawyer, finds herself the premier debutante of Black society after the sudden death of her only brother, and immediately, she is whisked off to a number of social engagements as part of her coming-out, much to her chagrin. She has her secrets, though — for the past year, she’s written as an undercover investigative journalist, reporting “the achievements and tribulations of everyday Black people living in the shadow of Jim Crow.” Nelly’s latest assignment: to identify the head of an underground crime syndicate, the so-called Mayor of Maxwell Street. Soon, she enlists the help of the mysterious low-level speakeasy manager, Jay Shorey.

Settles isn’t the only one recommending Cunningham’s debut novel; so is Jeremee DeMoir of DeMoir Books & Things. For younger readers, though, he recommends Jason Reynolds’ Stuntboy (Children’s) and  Keith F. Miller Jr.’s Pritty (YA). And for a more classic read, DeMoir has been reading Giovanni’s Room by James Baldwin.

“He’s just a classic author, with a really amazing touch,” the online bookstore owner says. “He breathes fresh life into a romantic mystery. Giovanni’s Room is a classic queer novel that follows two characters in Paris as they’re going through discovering their identity within the queer community in Paris in the 1950s. So it’s a book definitely ahead of its time, but super refreshing and super current despite being written in the 20th century.”

Lastly, Corey Mesler of Burke’s Book Store gives his two cents on what’s in this month: “Claire Keegan’s outsize bandwagon is worth jumping on. I don’t mind being the hundred-thousandth reader to marvel at her spare, shimmering prose, and recommend her to all and sundry. Her latest, So Late in the Day, a collection of three short stories (two appeared in previous books) is more evidence that she is one of our best writers, despite her limited output. Quality over quantity. My favorite is her novel, Small Things Like These (the title might be a statement of purpose). You can read it in one sitting but you will savor its reverberations long after setting it down.”

All books mentioned can be purchased at the respective bookstore locations. Support indie and support local. For upcoming book events, including book clubs and author signings, visit the Flyer’s event calendar.

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Book Features Books

Paperboy Trilogy

I worked with Vince Vawter at the old Memphis Press-Scimitar when it was in the now-demolished Memphis Publishing Co. building (what we veterans still call “the old building”) at 495 Union Avenue.

It looked like those old newsrooms in the movies of the 1930s and ’40s. And it was full of characters that rivaled any character actors in those old newspaper movies.

Vawter brings that old newsroom — and the Memphis of another era — to life as part of the background of his latest book, Manboy, which is part three of his Paperboy Trilogy.

Vawter’s 40-year career in newspapers includes publisher and president of the Evansville Courier & Press, managing editor of The Knoxville News Sentinel, and news editor of the Memphis Press-Scimitar.

Vawter, who lives in Louisville, Tennessee, will be at a book signing at 2 p.m. on February 10th at Novel.

I recently asked Vawter some questions about the book.

Vince Vawter at the Blount County Public Library (Photo: Betty Vawter)

Memphis Flyer: Were you ever a copy boy? I seem to remember you telling me you weren’t.

Vince Vawter: I was never a copy clerk. I started my newspaper career as a sportswriter at the Pine Bluff Commercial in Arkansas. My first job at The Press-Scimitar was on the copy desk. I thought that placing the protagonist, Victor Vollmer, as a copy clerk was a good way for him to enter the newspaper business, just like somebody else I know.

What was it about the old Memphis Publishing building that made it so special?

The Memphis Publishing Company building was once owned by the Ford Motor Company and was re-adapted for newspaper publishing. It had the openness and feel of a newsroom with its 20-foot ceilings and desks jammed together with pneumatic tubes running hither and yon. I liked to feel the concrete floors rumble when the giant presses would crank up to full speed. I wanted readers to experience the feel of a genuine newsroom in the heyday of newspapers and explain how a newspaper was actually produced on deadline. All the newspaper headlines in Manboy are verbatim from The Press-Scimitar and The Commercial Appeal.

How much of your lead character is like you?

Victor Vollmer is certainly based on my early life in all three books of the trilogy, especially the portions dealing with my stutter. … Some readers question the naivete of the protagonist, but you have to remember this was the ’60s and another world from what we have now.

I love all the history of Memphis that I can relate to because I grew up in the ’50s and ’60s.

Of the three books in the trilogy, this is the one that treats the city of Memphis as almost a character in itself. When Dr. Martin Luther King was assassinated, I rushed back to Memphis from Pine Bluff, Arkansas.

I spent that weekend in April 1968 just watching the city and listening. I remember those four days like it was yesterday. My most vivid memory is watching the Downtown march on that Monday after the assassination and then being swept up in it. I can still hear one of the parade marshals telling everyone “not to chew gum” while they were marching. The march was orderly and personally inspiring.

Will there be another one of these? Maybe the lead character becomes a newspaper reporter or an editor.

Paperboy introduces Vic when he is 11. In Copyboy, Vic is 17. He is 21 in Manboy. I envisioned the trilogy after the publication of Paperboy when literally hundreds of readers emailed me questions wanting to know what happened to the characters in the book. I decided to bring readers along on the complete journey. I doubt there will be another Paperboy book because a four-book set is known as a “tetralogy,” which seems a little off-putting and Jurassic.

What kind of feedback do you get from readers of these three books?

Readers say they appreciate that I shared the entire journey from adolescence to adulthood with them. This is rarely done in literature these days. Although most of my readers seem to be older than the “young adult” label, I did want the narrative to grow along with my readers.

The books were published over a 10-year period, just as the narrative encompasses 10 years of Vic’s life. Close readers, especially speech-language pathologists, say they admire how Vic’s attitudes about his stutter change over the 10-year period. After the success of Paperboy [Newbery Honor, quarter-million in sales, translated into 18 languages], I was a little taken aback that Penguin Random House chose not to continue with the story. The reason given was that the publisher did not like popular protagonists to grow older. That’s not life, I said, and my books are my life. My publisher said that it may not be life, but it’s publishing.

Any news on the musical made from Paperboy? Anything else happening? A movie maybe?

The musical’s creative team entered Paperboy and its 22 original songs in two musical theater competitions this spring in New York City. We hope that this will result in another production besides the one we had at the Manhattan School of Music last year. We continue to hear rumblings from movie types, but nothing to report so far. I think the trilogy itself and the boy’s 10-year journey would make a more complete movie narrative and satisfy more viewers, but we’ll just bide our time.

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Book Features Books Music Music Blog Music Features

Inside John Michael McCarthy’s Teenage Tupelo

Over the past 30 years, Memphis comic book artist, sculptor, and filmmaker John Michael McCarthy, aka Mike McCarthy, has taken self-mythologizing to a level few others have matched, often weaving elements of his compelling personal history into fantastic scenarios drawn from the B movies, comics, and pop icons of his youth. That’s especially true of what’s arguably McCarthy’s greatest work, the film Teenage Tupelo, released in 1995 by Something Weird Video. 

Ostensibly telling the tale of a young, buxom single mother’s odyssey through Tupelo’s underground, circa 1962, as she comes to terms with an unwanted pregnancy, it’s chiefly an homage to the low-budget flicks (think Roger Corman or Russ Meyer) that captivated young McCarthy as he grew up in Elvis Presley’s hometown, echoing those films’ visceral impact via Darin Ipema’s pitch-perfect, mostly black-and-white cinematography and a sizzling soundtrack by surf rock-crime jazz kings Impala. 

The film became a cult favorite in the ’90s, championing the burgeoning garage aesthetic of that era. No prior knowledge of McCarthy’s personal history was needed to savor the raw shock of the film’s visuals and sounds. Its staying power was confirmed in 2020 when Portugal’s Chaputa Records revived Impala’s soundtrack on vinyl, then again last May when the film was remastered and released on Blu-ray. But if the latter’s bonus director’s commentary hinted at the many layers of influences behind the film, that was nothing compared to what came next: a coffee table tome which publisher Fantagraphics Books describes as “a mammoth volume dedicated to one of the last underground sexploitation films of the 20th Century.”

With more than 300 generously illustrated pages, this would be a monumental tribute to any film, yet in this case, beyond honoring McCarthy’s vision, it’s a tribute to the entire Memphis scene of the ’90s. The fact that it’s a compendium of “essays, reviews, articles, and interviews” rather than a single narrative is actually a strength, as the book offers many voices, some from the era, some looking back in hindsight. Impala’s Scott Bomar, for instance, writes movingly of recording with the legendary Roland Janes. There are also reminiscences by the star of the film, D’Lana Tunnell of Texas, and the three supporting actors from Memphis, Kristen Hobbs, Sophie Couch (Christine Gladney), and Dawn Ashcraft (who most Memphians know as McCarthy’s wife at the time, Kimberly Ashcraft). These essays — and accompanying photos — are especially “revealing” as the four women describe McCarthy cajoling them into performing topless, and the spirit of gonzo transgression in which they did so. One might thus consider both the film and this book as bold shots across the bow in the “free the nipple” movement. 

The introduction by the Commercial Appeal’s John Beifuss sets the context perfectly, and the Memphis Flyer is well-represented with writings by Greg Akers, Chris Davis, Susan Ellis, John Floyd, Andria Lisle, and yours truly. Also on display is a letter by McCarthy’s biological father, Terry Blair Carr, published by the Flyer in 2008, though no one knew of that connection at the time. 

And that is where the personal, emotional heart of the book resides. Most of the essays are by McCarthy himself, and while many of them, bursting with wordplay, concern the process of indie filmmaking, the director, an adopted child, also delves deeply into the private family history that obliquely inspired the film. As he ruminates on the parents who raised him as well as his search for his biological parents, the book becomes a profoundly moving detective story. A further essay by Tunnell, in which she reveals that she too was adopted, resonates with this, marking both the book and the film as expressions of very heartfelt histories. 

Part of the mystery and allure of these histories is where they overlapped with the mythic realm of Elvis Presley, and his presence throughout the book lends the proceedings an epic glow. The result is a rich tapestry woven from the families, friendships, fetishes, and fandom of the last century in the land that McCarthy calls “Mythissippi,” but also in Memphis itself. And, as a celebration of the latter, the milieu in which McCarthy’s vision took root, this volume is unparalleled. Far from being mere vanity projects, the film and the book are emblematic of an evolving community. As Bomar writes, “if I were to stumble upon a time machine, I would dial in Mike McCarthy’s Memphis, TN, in the ’90s.” 

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Roaring Back into the ’20s

Memphian Avery Cunningham debuts her novel at the end of January. (Photo: Andrea Fenise)

Avery Cunningham was destined to be a storyteller. Even at a young age, she would stand on a stepping stool in her childhood kitchen in Jackson, Tennessee, and just orate what she now calls “stream of consciousness tales.” People would filter in and out, and Cunningham would keep telling her stories. “I would do this for hours,” she says. “And I guess that’s the clearest representation of the type of person I am and how I’ve always been this person who wanted to tell stories even if no one was listening.”

Except people are ready to listen to Cunningham’s stories. At the beginning of 2022, she sold her debut novel to Hyperion Avenue on proposal, a rare feat for a debut author but, as Cunningham assures, more common than one might think. “I honestly wish that more people talked openly about it, so writers don’t feel this incredible pressure to have written the perfect book right out of the gate,” she says.

She didn’t have years to sit and ponder. She had a deadline, and a full-time job at Southern College of Optometry’s student services. There were late nights with “big dead eyes” stretched open to the glare of the computer screen. There were two-hour-long walks with her Bernese mountain dog, Grizzly, while she devised her story’s structure. And there were visits to Memphis coffee shops and hotel lobbies where she wrote and wrote and wrote, and occasionally looked up to watch those around her, the way they moved, the sound of their voice, could they fit a character’s description?

“They don’t tell you when you’re in a writing program where you have all of this time built in to discover your craft that the challenge is working on this incredible craft and art — these really soul- and time-eating pursuits — while also trying to be a constructive member of society,” Cunningham says. “And that’s a challenge but also that’s part of what it means to be a working novelist right now. … I love that part. I didn’t love it at the time when I was up at one o’clock in the morning, but I love that part of the writing experience and it helps it feel a bit more real.”

This was, after all, what Cunningham had been working towards, what she’d gone to undergraduate and graduate school for at DePaul University in Chicago, and on January 30th, she will celebrate the launch of her novel The Mayor of Maxwell Street, a historical drama about the Black elite in 1920s Chicago.

Cunningham frequented coffee shops and hotel lobbies to write and observe passersby in the making of her novel. (Photo: Andrea Fenise)

ON MAXWELL STREET

Avery Cunningham’s book doesn’t open with the glitz and glamor you’d expect from a 1920s drama — that comes later. Instead, a prologue settles the reader in a dilapidated plantation in Alabama, a sign of the Old South, where a white woman falsely and maliciously accuses a Black man of rape, a tragedy that history is all too familiar with. Yet, this is not the story at the center of Cunningham’s novel, though it’ll reveal its relevance as the plot unravels. The prologue, ultimately, serves as context, a contrast for the unfamiliar yet vibrant aspect of American history that has seldom been honored or explored in media.

Within The Mayor of Maxwell Street, the daughter of the “wealthiest Negro in America,” Nelly Sawyer, finds herself the premier debutante of Black society after the sudden death of her only brother, and immediately, she is whisked off to a number of social engagements as part of her coming-out, much to her chagrin. She has her secrets, though — for the past year, she’s written as an undercover investigative journalist, reporting “the achievements and tribulations of everyday Black people living in the shadow of Jim Crow.” Nelly’s latest assignment: to identify the head of an underground crime syndicate, the so-called Mayor of Maxwell Street. Soon, she enlists the help of the mysterious low-level speakeasy manager, Jay Shorey.

So, yes, there’s glitz and glamor, guns and gangsters, speakeasies and soirees in this novel that seeks out life’s contradictions and doesn’t shy away from its harsh realities. At once Cunningham’s Chicago is alluring, dazzling even, yet its underbelly is foreboding, her characters under the pressure of “the monolith of Jim Crow, the inflexible world of the Black upper class, and the violence of Prohibition-era Chicago.”

“I wanted to honor that era,” Cunningham says. “And I tried to be as historically accurate or representative of the place and the time and the people as I could. But of course, I also didn’t want to attempt to match Fitzgerald’s style or [Nella] Larsen’s style or any writers that were really prevalent during the ’20s. Because it was a different time, a different place, and different readers. So I just hope that my own voice kind of came through but also still managed to honor as much of the historical accuracy as possible.”

THE MAKING OF THE BOOK

“I’ve called myself a writer for pretty much as long as I’ve been aware of written language,” Cunningham says. “And historical fiction has always been what I’ve enjoyed. … One of my first novels ever, or technically a novel — it’s buried somewhere in a box from when I was 13 years old — but even that first experience of novel writing was set in medieval France. And so I love the research aspect of historical fiction. I love how history is so often stranger than fiction or stranger than what we think reality might be. And there are already so many amazing stories nestled in the past. And through historical fiction writers can really bring all of that to light and expose new readers and new people to the stories and kind of really honor the lives of the past.”

In 2020 and 2021, mainstream media began to incorporate people of color in historical settings that traditionally excluded them, Cunningham says. The Netflix series Bridgerton, for instance, cast Black men and women in roles of British aristocracy during a period when slavery was central to Britain’s economy. “I think that there was a hunger with stories like Bridgerton — that yes, thank you for the representation, but also let’s not pretend that this didn’t already exist in its own community,” Cunningham says. “Instead of trying to rewrite a history that never tried to include us in the first place, maybe acknowledge the history that really did exist at the time and all of its seriousness and all of its wealth and joy and happiness. … I was really hungry for a story that made Black Americans the primary narrative.”

Through books like The Original Black Elite by Elizabeth Dowling Taylor, The Warmth of Other Suns by Isabel Wilkerson, and Our Kind of People by Lawrence Otis Graham, Cunningham says she was awakened to the truth of Black wealth and all the facets of Black history in this country. Some of the historical figures she read about during her research even make appearances in her novel. “I wanted to make sure that people could read this book and know that these people could exist,” Cunningham says. “This is not is not a fantasy. This is not someone trying to create some kind of alternate history. These individuals, even though they may have not gone through the specific trials or the experiences, existed in this world. And my hope is that people might [look up] Robert Pelham [a journalist] or The Chicago Defender [the African-American paper Nelly writes for] … and learn about this whole different side of life they may not have realized existed in the first place.”

At the time of her research, Cunningham also happened to be reading The Great Gatsby. “It really is such a fascinating tale of wealth and intrigue and kind of the corruption and the artifice of the American dream. And I thought that was a narrative that was really prime to the Black experience, one never really seen through any kind of diverse perspective.”

Cunningham’s novel was almost a Gatsby retelling, she admits, but as her story took shape, it became less and less like it. “Over the course of the writing process, it became … [about], more than anything, the kind of the sacrifices that people were forced to make when challenging the status quo in this country, especially during times when that status quo is changing,” she says. “And we’re living in a very similar time where the status quo not only in this country but truly across the world is shifting dramatically, and still to this day people who seek to challenge that status quo … are facing terrible backlash. So I felt like it was truly reflective of the times that we’re living in now and that we might be living in future years.”

“Everything informs everything else,” Cunningham adds. “That’s one of the fascinating things about historical fiction, that you may be researching a certain time or certain place, but everything that you’ve learned or absorbed from every time period or past experience is informing that time or that place because people change, people move around, people who represent different communities relocate and change that community.”

In fact, prior to working on The Mayor of Maxwell Street, Cunningham had been working on a novel centered around Memphis hoodoo. “So this city was very much still in the back of my mind because of all that research and work I’ve done on Memphis during the 1920s,” she says. “And it did feel like, as I did more research, there were so many similarities between the two cities and the experiences of the two cities that just rounded it out in a way that I really hadn’t anticipated. … So, I think living here and writing this story really informed the entire process and gave the entire soul of the book something more rich and meaningful.”

Cunningham called Grizzly a “great writing partner.” (Photo: Avery Cunningham via Instagram)

TO DEBUT

Today, Cunningham revels in “all of the emotions, every emotion that one could ever possibly feel” as the launch of her debut approaches. “It’s strange,” she says. “And I talked to a lot of writers who go through a similar feeling that even though you’ve put so much work and time into a story or a book — it’s something that you really love and believe in and are passionate about — there’s still this sense of almost like an impostor syndrome. Like, how am I worthy of being the one to tell this story? Am I the appropriate person to tell this? Should someone else who’s more educated, who’s more experienced, who has more talent — should they be the ones to honor these characters?

“It is super exciting, and I’m so honored that this story gets to be kind of my start in this career professionally. And I think it was a professor of mine who I was talking to and they said that every person’s individual experience is important and that every story that is told is important. Even if someone else tells a similar story to The Mayor of Maxwell Street, it’s still incredibly valid because it would be derived from their experience. So it does kind of uplift you to think that because of who I am, who my parents are, who my family is going back 300 years, that makes this book particular and specific and unique. So it’s not a question of am I worthy to tell this story? It’s bigger than just me.”

Cunningham continues, “The wonderful thing also about art is that you will find your audience that really sees themselves in your stories and you eventually learn and accept and really revel in the fact that you’re writing for them. You’re not writing for the world. You’re writing for the people who maybe need this more than even you do.”

But two readers’ opinions have mattered more than others’: those of her parents. “They both were very supportive and they said they really liked it. That’s it. As long as they think it’s good, then it doesn’t matter.”

The Mayor of Maxwell Street is available in hardcover and paperback for preorder wherever you buy your books. Avery Cunningham will celebrate the launch of her novel with a “Meet the Author” event at Novel in conversation with Tara Stringfellow, author of Memphis, on Tuesday, January 30th, 6 p.m.

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George Floyd Book Event at Whitehaven High Squeezed By Tennessee Law

Students at Whitehaven High School in Memphis attended an assembly with the authors of “His Name Is George Floyd,” but restrictions associated with Tennessee law prevented them from hearing excerpts of the book. (Courtesy of Memphis Shelby County Schools)

Students at Memphis’ Whitehaven High School got a chance last month to hear from journalists Robert Samuels and Toluse Olorunnipa, authors of the Pulitzer Prize-winning book on George Floyd — his life, his brutal killing by police in 2020, and its aftermath. 

But the students didn’t get to hear any excerpts from His Name Is George Floyd, and they weren’t allowed to take home copies of the book from school. The authors had to give their presentation without going too deep into the book’s main theme of systemic racism. 

Who determined the restrictions and why is unclear. The organizers of the event, a local partnership called Memphis Reads, said their instructions to the authors were based on guidance from the school district on complying with Tennessee law that requires that books used in school be “age appropriate.”

Memphis-Shelby County Schools officials disputed their account, but repeatedly declined to answer questions about what they told the organizers or how they interpreted the law. In an email to the authors after the event, district communications chief Cathryn Stout said MSCS did not run the book through its review process before the visit. 

In the end, the authors told Chalkbeat, the students who gathered at Whitehaven that day were shortchanged by restricted access to the book and a censored experience. 

“Neither Tolu nor I know who to cast blame on,” Samuels said. “I’m not sure we could, or we should.”

But the ambiguous restrictions in this and other Tennessee laws have caused concern at the local level about compliance, Samuels said, resulting in “messy, potentially explosive debates between entities that usually get along.”

Floyd was killed during an arrest in May 2020, when a Minneapolis police officer pressed his knee onto Floyd’s neck for several minutes. An onlooker’s video recording of the event went public, triggering a huge outcry and calls for and policing reform. The officer was ultimately convicted of second-degree murder.

Samuels and Olonnuripa’s book, written while both were reporters at the Washington Post, looks not just at the incident but also at how pervasive racism in education, criminal justice, housing, and health care systems shaped Floyd’s life. “We learned about the man himself … and much more than how he died,” Samuels said during a forum at Rhodes College.

They also wrote about what happened afterward: a season of demonstrations, dialogue, and unrest during the early months of the COVID-19 pandemic, followed by what they call a “burgeoning backlash” to the racial justice movement, resulting in state laws across the country that stifled classroom discussions on race.

Tennessee was among the first states to legislate what public school students can — and cannot — be taught about race, gender, and bias. And the penalties are steep. Educators who violate the law may have their teaching licenses suspended or revoked. Districts can be fined for repeat offenses.

MSCS officials and the Memphis Reads organizers did not specifically cite this law as a factor in what ultimately happened at Whitehaven, but the law nonetheless hangs over educators’ decisions about what topics are appropriate for classroom discussion. Two Memphis teachers are among five in Tennessee challenging the law in federal court.

Tennessee’s Age Appropriate Materials Act, meanwhile, requires schools to publish a list of what’s in their library collections online and develop policies to review and remove books that aren’t appropriate — a term that the law leaves undefined. 

MSCS has leeway to interpret this law, but longstanding tensions between the majority-Black, Democratic-led city and the mostly white, GOP-dominated state government mean the district can ill afford to risk a fight with the state over the nuances of race and books.

Christian Brothers University runs the Memphis Reads program in partnership with other community groups. In communication with Chalkbeat, CBU cited the Age Appropriate Materials law as the reason it understood that books and materials couldn’t be distributed at the Whitehaven event and said that the guidance came from the Memphis school district.

CBU and other Memphis Reads partners “were under the instruction of MSCS leadership when completing the formatting and regulations concerning the Age-Appropriate Materials Act,” Justin Brooks, the CBU community engagement director who heads Memphis Reads, wrote in an email to Chalkbeat. 

MSCS officials wouldn’t confirm that to Chalkbeat, or explain whether Tennessee’s law regulating classroom conversations about race influenced any restrictions.  

In the email to the authors after the event, shared later with Chalkbeat, Stout wrote that time constraints prevented the district from going through its own process to approve the book. Stout wrote that the district regretted that their “experience was anything less than welcoming.”

“Given the new, more detailed process, it will take some time to coordinate, but please know that ‘His Name Is George Floyd’ is now under consideration to be added to the Whitehaven High School library collection,” Stout wrote to the authors, “and we look forward to having conversations with other school communities as requests arise.”

Separately, Stout shared with Chalkbeat a copy of a description from library book distributor Baker & Taylor that categorizes the book as “adult” and among the American Library Association’s “Notable Books for Adults.”

Stout also wrote in a public social media comment explaining the district’s position that the American Library Association labeled His Name is George Floyd as “adult literature (18 and older).”

ALA spokesperson Raymond Garcia told Chalkbeat that the group “does not rate books” for age appropriateness. 

Booklist, a book review magazine published by the ALA — and listed among resources for librarians in an MSCS manual — uses its “adult” label not to be restrictive but to signal that a book would be of interest primarily to adults, Garcia said. 

His Name is George Floyd is also categorized as “nonfiction” and “social sciences.” 

If the label was a factor in the decision not to allow Memphis Reads to distribute the books at Whitehaven, then that’s an “inaccurate understanding” of the purpose of such book labels, said Deborah Caldwell-Stone, the director of the Office for Intellectual Freedom at the American Library Association.  

“We can think of any kinds of works of literature that would have been originally rated as of interest to an adult reader that are absolutely fine for young people to read, and it’s not too controversial,” Caldwell-Stone told Chalkbeat, citing “To Kill a Mockingbird” as an example.

Nonetheless, the ambiguity in Tennessee’s standard of “appropriateness” creates gray areas and heightens the stakes for local districts concerned about avoiding a violation, Caldwell-Stone said. 

If a person or district cannot risk breaking the law, “then you’re going to be very thoughtful about what books you offer,” she said, “and thereby limit the opportunities to learn and engage with all kinds of ideas, even controversial or difficult ideas.”

A spokesperson for the Tennessee Department of Education says MSCS did not reach out to the state for guidance, and MSCS didn’t respond to a question from Chalkbeat about that issue.

Thanks to a donation from the publisher, Viking Books, students who want a free copy of the book will be able to get one from Respect the Haven, a community development group in Whitehaven that’s part of Memphis Reads.

Whitehaven High School serves some 1,500 students and is known among Memphis for its school pride and focus on students’ post-secondary scholarship achievements. Almost all of its students are Black, and about half of them are from low-income families.

“This event basically got censored out of fear of violating some law,” said Jason Sharif, head of Respect the Haven. “With us being a predominantly Black city, a predominantly Black school district, you cannot keep books like this or stories like this from being told to Black students.”

By the time Samuels and Olorunnipa arrived at Whitehaven High School for the event on Oct. 26, they knew some of the restrictions they would have to operate under. The two reporters were prepared to tell students about the journalistic work that went into writing the book, but to avoid going into depth about many of the issues it raised.

Brooks, from Memphis Reads, had told them they wouldn’t be able to read directly from the book, or talk about the book’s discussion of how systemic racism created many barriers for Floyd, long before his arrest and killing. MSCS was involved in setting these restrictions, Brooks said. The district did not comment on its role. 

Instead of an open question-and-answer period, five students were pre-selected to ask Samuels and Olorunnipa prepared questions, which was different from the open conversations at the two other panels that Memphis Reads organized. This was in line with MSCS protocol for events, Brooks said.

Brooks said it was CBU’s call to keep the event closed to media, out of concern for student safety. A Chalkbeat reporter attended two similar events at the college level.

Stout said Brooks and Sharif had created a narrative about the event that is “inconsistent” with the district’s point of view and its own initiatives. She highlighted a Memphis school integration curriculum and a social emotional learning curriculum involving the death of Tyre Nichols, a Black man who was fatally injured by Memphis police after a traffic stop in early 2023. 

MSCS told Chalkbeat that it was glad Whitehaven students had the opportunity to hear the journalists speak, as did CBU in its own communication. 

And Samuels and Olorunnipa, who had early doubts about being part of an event with restrictions on their speech, said they were grateful for the opportunity, too. They were approached at the end of the event by a Whitehaven high schooler with a notebook full of questions who said he wanted to be a journalist. The authors relished the chance to expand what the student imagined for his future. 

“Even through this period of backlash, we think it’s important to continue to push forward and continue to make a pathway for people who are caught up in the back and forth,” Olorunnipa said during another forum. 

“A lot of these kids have nothing to do with the politics,” Olorunnipa added. “They are just trying to make it. They’re just trying to live their best lives. And sometimes they become pawns in our political fights.” 

Laura Testino covers Memphis-Shelby County Schools for Chalkbeat Tennessee. Reach Laura at LTestino@chalkbeat.org.

Chalkbeat is a nonprofit news site covering educational change in public schools.

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Skol-astic Adult Book Fair

Special bookmarks in the style of the event poster will also be for sale.

If you like beer, books, and nostalgia, you better book it to Soul & Spirits Brewery this Saturday for the brewery’s first-ever Skol-astic Adult Book Fair.

In case you didn’t catch on to the pun there, Skol-astic is a nod to those Scholastic book fairs from childhood, with the “skol” part being the Scandinavian word for “cheers.” “We wanted to recreate that feeling of being so excited to buy new books, but with beer,” says Blair Perry, who planned the whole shebang with her friend Mandy Martin. “We wanted to create an event that is very different than any other event in town and that is geared towards people who love books because a lot of times readers are kind of introverted” — and sometimes introverts want to be social, too.

For the day, Martin and Perry were able to get all the bookstores and book vendors in town to set up shop at the brewery, with each focusing on a “niche style of book,” says Perry. Friends of the Library, the nonprofit that supports Memphis Public Libraries, will sell used books; Novel will bring bestselling contemporary fiction while Burke’s Book Store will bring books by Memphis authors and a classics collection. Online vendors Cafe Noir (which is set to open a brick-and-mortar location later this year) and DeMoir Books & Things will sell BIPOC classics and Afrofuturism books, respectively. Plus, South Main Book Juggler will bring children’s books and YA novels.

“For every $10 that you spend [on books], you’re going to get to pick from the little freebie bags like you did as a kid,” says Perry, adding that every time you purchase a beer, you’ll also get entered into a raffle for a bigger prize. “Every 30-ish minutes, we’re going to be drawing a ticket for a free prize that our vendors have donated.”

The brewery is also releasing a special beer for the book fair. “It’s a surprise,” says Perry, “but I’ll say that it’s bookish-related, so something that you would enjoy drinking while you’re reading.”

Perry and Martin have also partnered with Amy Dobbins of Mint Cream Market, who has recruited literary-themed vendors and local authors to discuss and sign their books, while Paper Plate Pavilion and Tacos Mondragon will have food available for purchase.

And, don’t worry, there will be a quiet space for those who want to read (and drink) in peace in the Low Tones Room, which also happens to be where the brewery hosts its Beers and Books Club every first Friday of the month. “We don’t tell you what book to read,” Perry says of the club. “We just provide a quiet space for a couple of hours for anybody to come in and read.”

Skol-astic Adult Book Fair, Soul & Spirits Brewery, Saturday, August 12, 1-7 p.m.