In 1975 Genna Hewett-Meade's college roommate died a mysterious, violent death partway through their freshman year. Minette Swift had been assertive, fiercely individualistic, and one of the few black girls at their exclusive, "enlightened" college—and Genna, daughter of a prominent civil defense lawyer, felt duty-bound to protect her at all costs. But fifteen years later, while reconstructing Minette's tragic death, Genna is forced to painfully confront her own past life and identity. . . and her deepest beliefs about social obligation in a morally gray world.
Black Girl / White Girl is a searing double portrait of race and civil rights in post–Vietnam America, captured by one of the most important literary voices of our time.
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Joyce Carol Oates is a recipient of the National Medal of Humanities, the National Book Critics Circle Ivan Sandrof Lifetime Achievement Award, the National Book Award, and the PEN/Malamud Award for Excellence in Short Fiction, and has been several times nominated for the Pulitzer Prize. She has written some of the most enduring fiction of our time, including the national bestsellers We Were the Mulvaneys, Blonde, which was nominated for the National Book Award, and the New York Times bestseller The Falls, which won the 2005 Prix Femina. Her most recent novel is A Book of American Martyrs. She is the Roger S. Berlind Distinguished Professor of the Humanities at Princeton University and has been a member of the American Academy of Arts and Letters since 1978.
A white woman recalls her prickly black college roommate of 15 years previous, who died under mysterious circumstances. In the 1970s, Genna, the well-to-do daughter of a "radiclib" attorney and a former hippie, championed and endured the underprivileged preacher's daughter at a predominantly white institution, where racial tensions ran high. Not a murder mystery this, but the kind of social and psychological probing one expects from this provocative author. Anna Fields reads with the same sort of intelligence and precision that Oates gives her writing. But the first-person narrative seems to demand personalization, a deep immersion into the character and her emotions. Fields only reads--sounding accurate but detached. Y.R. © AudioFile 2007, Portland, Maine-- Copyright © AudioFile, Portland, Maine
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