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<!-- END OF LIVEINTENT SAFERTB -->
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<h1 style="margin:0;color:#000;direction:ltr;font-family:'Helvetica Neue',Helvetica,Arial,sans-serif;font-size:15px;font-weight:700;letter-spacing:normal;line-height:1.2;text-align:center;margin-top:0;margin-bottom:0;mso-line-height-alt:18px">
<strong>
PROLOGUE
</strong>
</h1>
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<td class="column column-1" style="mso-table-lspace:0;mso-table-rspace:0;font-weight:400;text-align:left;padding-top:5px;vertical-align:top" width="33.333333333333336%">
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<h1 style="margin:0;color:#555;direction:ltr;font-family:'Helvetica Neue',Helvetica,Arial,sans-serif;font-size:11px;font-weight:700;letter-spacing:normal;line-height:1.2;text-align:left;margin-top:0;margin-bottom:0;mso-line-height-alt:13px">
<span style="word-break: break-word; color: #000000;">
KAITLYN GREENIDGE
</span>
</h1>
</td>
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</table>
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<h1 style="margin:0;color:#000;direction:ltr;font-family:'Helvetica Neue',Helvetica,Arial,sans-serif;font-size:13px;font-weight:400;letter-spacing:normal;line-height:1.2;text-align:left;margin-top:0;margin-bottom:0;mso-line-height-alt:16px">
<span class="tinyMce-placeholder" style="word-break: break-word;">
Features Director
</span>
</h1>
</td>
</tr>
</table>
</td>
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<table border="0" cellpadding="0" cellspacing="0" class="text_block block-1 desktop_hide" role="presentation" style="mso-table-lspace:0;mso-table-rspace:0;mso-hide:all;display:none;max-height:0;overflow:hidden;word-break:break-word" width="100%">
<tr>
<td class="pad" style="padding-right:40px;padding-top:5px">
<div style="font-family:'Times New Roman',Georgia,serif">
<div class="" style="font-size:14px;font-family:TimesNewRoman,'Times New Roman',Times,Beskerville,Georgia,serif;mso-line-height-alt:21px;color:#1a1a1a;line-height:1.5">
<p style="margin:0;mso-line-height-alt:24px;letter-spacing:normal">
<span style="word-break: break-word; font-size: 16px;">
<em>
A few months ago, I was at my cousins’ house for their daughter’s birthday party. I used to babysit this child when I first moved to New York 20 years ago—and now I was at a party for her with a signature cocktail.
</em>
</span>
</p>
<p style="margin:0;mso-line-height-alt:21px;letter-spacing:normal">
</p>
<p style="margin:0;mso-line-height-alt:24px;letter-spacing:normal">
<span style="word-break: break-word; font-size: 16px;">
<em>
At this particular party, my cousin stopped to tell his friends about me. “My baby cousin is a writer,” he said. He keeps my novels on the bookshelf behind the bar in the front parlor of his brownstone. It still feels as though my cousin is the big kid of the family, the one in charge, even though I am well into my 40s, so to be recommended to his friends feels like an honor.
<br/>
<br/>
One of the people there stared and stared and stared at me without smiling and then said, suddenly, very serious, “I’ve read your book.”
<br/>
<br/>
“...Oh?” I said.
<br/>
<br/>
“It’s good,” she said, still without cracking a smile. And then she turned and described the whole thing to the man beside her.
<br/>
<br/>
“I think,” my boyfriend joked as we were walking home, “all West Indians are maybe a little autistic.”
</em>
</span>
</p>
<p style="margin:0;mso-line-height-alt:21px;letter-spacing:normal">
</p>
<p style="margin:0;mso-line-height-alt:24px;letter-spacing:normal">
<span style="word-break: break-word; font-size: 16px;">
<em>
This has become a dark joke to my sisters and me. The neurodivergent strain survived enslavement on the plantations of the Caribbean because of our pattern recognition, I say. They tell me, in that way that you don’t mean it, to stop. But maybe there is something to it. I remember when my sister found a branch of the family tree on Facebook—people with different last names, but clearly part of our clan because of the way they all texted—quickly, with many asides and roundabouts of logic and allusions to generational in-jokes. Hyperverbal kings and queens, the lot of them.
<br/>
</em>
</span>
</p>
</div>
</div>
</td>
</tr>
</table>
<table border="0" cellpadding="0" cellspacing="0" class="image_block block-2 desktop_hide" role="presentation" style="mso-table-lspace:0;mso-table-rspace:0;mso-hide:all;display:none;max-height:0;overflow:hidden" width="100%">
<tr>
<td class="pad" style="width:100%;padding-right:0;padding-left:0">
<div align="center" class="alignment">
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</a>
</div>
</div>
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</table>
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<tr>
<td class="pad" style="padding-right:40px;padding-top:5px">
<div style="font-family:'Times New Roman',Georgia,serif">
<div class="" style="font-size:14px;font-family:TimesNewRoman,'Times New Roman',Times,Beskerville,Georgia,serif;mso-line-height-alt:21px;color:#1a1a1a;line-height:1.5">
<p style="margin:0;mso-line-height-alt:24px;letter-spacing:normal">
<span style="word-break: break-word; font-size: 16px;">
<em>
I was reminded of this cultural penchant for language and play when I read Andie Davis’s very sharp satire
</em>
<a rel="noopener" style="text-decoration: underline; color: #0068A5;" target="_blank">
Let Me Liberate You
</a>
.
<em>
The book came out in 2024 and is about Sabre Cumberbatch, a beautiful Black artist who isn’t sure if she is genuinely talented or just especially marketable in the pre-Trump American art world of the 2020s. Confused and unsure, she returns home to Barbados, where she witnesses her aunt, a local attorney and high-society figure, berate a household employee. Suddenly, Sabre has a purpose, a place to channel her confusion. She decides to call out the economic and class injustice she sees on the island. What follows is a very funny exploration of class and identity politics, from a refreshing standpoint. It reminded me of Claude McKay’s
</em>
<a rel="noopener" style="text-decoration: underline; color: #0068A5;" target="_blank">
Amiable With Big Teeth
</a>
,
<em>
a 1930s satire rediscovered in 2009, about the Black intelligentsia of Harlem organizing to stop the Italian fascist occupation of Ethiopia. Like the best satires,
</em>
Let Me Liberate You
<em>
draws its humor from skewering a world we wish could be better.
</em>
</span>
</p>
</div>
</div>
</td>
</tr>
</table>
<table border="0" cellpadding="0" cellspacing="0" class="text_block block-4 mobile_hide" role="presentation" style="mso-table-lspace:0;mso-table-rspace:0;word-break:break-word" width="100%">
<tr>
<td class="pad" style="padding-right:5px;padding-top:20px">
<div style="font-family:'Times New Roman',Georgia,serif">
<div class="" style="font-size:14px;font-family:TimesNewRoman,'Times New Roman',Times,Beskerville,Georgia,serif;mso-line-height-alt:21px;color:#1a1a1a;line-height:1.5">
<p style="margin:0;mso-line-height-alt:24px;letter-spacing:normal">
<span style="word-break: break-word; font-size: 16px;">
<em>
A few months ago, I was at my cousins’ house for their daughter’s birthday party. I used to babysit this child when I first moved to New York 20 years ago—and now I was at a party for her with a signature cocktail.
</em>
</span>
</p>
<p style="margin:0;mso-line-height-alt:21px;letter-spacing:normal">
</p>
<p style="margin:0;mso-line-height-alt:24px;letter-spacing:normal">
<span style="word-break: break-word; font-size: 16px;">
<em>
At this particular party, my cousin stopped to tell his friends about me. “My baby cousin is a writer,” he said. He keeps my novels on the bookshelf behind the bar in the front parlor of his brownstone. It still feels as though my cousin is the big
<br/>
</em>
</span>
</p>
</div>
</div>
</td>
</tr>
</table>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
</tbody>
</table>
<table align="center" border="0" cellpadding="0" cellspacing="0" class="row row-5" role="presentation" style="mso-table-lspace:0;mso-table-rspace:0;background-color:#fff" width="100%">
<tbody>
<tr>
<td>
<table align="center" border="0" cellpadding="0" cellspacing="0" class="row-content stack" role="presentation" style="mso-table-lspace:0;mso-table-rspace:0;background-color:#fff;border-radius:0;color:#000;width:600px;margin:0 auto" width="600">
<tbody>
<tr>
<td class="column column-1" style="mso-table-lspace:0;mso-table-rspace:0;font-weight:400;text-align:left;padding-bottom:5px;vertical-align:top" width="100%">
<table border="0" cellpadding="0" cellspacing="0" class="text_block block-1 mobile_hide" role="presentation" style="mso-table-lspace:0;mso-table-rspace:0;word-break:break-word" width="100%">
<tr>
<td class="pad" style="padding-bottom:10px;padding-left:45px;padding-right:25px">
<div style="font-family:'Times New Roman',Georgia,serif">
<div class="" style="font-size:14px;font-family:TimesNewRoman,'Times New Roman',Times,Beskerville,Georgia,serif;mso-line-height-alt:21px;color:#1a1a1a;line-height:1.5">
<p style="margin:0;mso-line-height-alt:24px">
<span style="word-break: break-word; font-size: 16px;">
<em>
kid of the family, the one in charge, even though I am well into my 40s, so to be recommended to his friends feels like an honor.
</em>
</span>
</p>
<p style="margin:0;mso-line-height-alt:21px">
</p>
<p style="margin:0;mso-line-height-alt:24px">
<span style="word-break: break-word; font-size: 16px;">
<em>
One of the people there stared and stared and stared at me without smiling and then said, suddenly, very serious, “I’ve read your book.”
<br/>
<br/>
“...Oh?” I said.
<br/>
<br/>
“It’s good,” she said, still without cracking a smile. And then she turned and described the whole thing to the man beside her.
<br/>
</em>
</span>
</p>
<p style="margin:0;mso-line-height-alt:21px">
</p>
<p style="margin:0;mso-line-height-alt:24px">
<span style="word-break: break-word; font-size: 16px;">
<em>
“I think,” my boyfriend joked as we were walking home, “all West Indians are maybe a little autistic.”
<br/>
<br/>
This has become a dark joke to my sisters and me. The neurodivergent strain survived enslavement on the plantations of the Caribbean because of our pattern recognition, I say. They tell me, in that way that you don’t mean it, to stop. But maybe there is something to it. I remember when my sister found a branch of the family tree on Facebook—people with different last names, but clearly part of our clan because of the way they all texted—quickly, with many asides and roundabouts of logic and allusions to generational in-jokes. Hyperverbal kings and queens, the lot of them.
<br/>
</em>
</span>
</p>
</div>
</div>
</td>
</tr>
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<em>
I was reminded of this cultural penchant for language and play when I read Andie Davis’s very sharp satire
</em>
<a rel="noopener" style="text-decoration: underline; color: #0068A5;" target="_blank">
Let Me Liberate You
</a>
.
<em>
The book came out in 2024 and is about Sabre Cumberbatch, a beautiful Black artist who isn’t sure if she is genuinely talented or just especially marketable in the pre-Trump American art world of the 2020s. Confused and unsure, she returns home to Barbados, where she witnesses her aunt, a local attorney and high-society figure, berate a household employee. Suddenly, Sabre has a purpose, a place to channel her confusion. She decides to call out the economic and class injustice she sees on the island. What follows is a very funny exploration of class and identity politics, from a refreshing standpoint. It reminded me of Claude McKay’s
</em>
<a rel="noopener" style="text-decoration: underline; color: #0068A5;" target="_blank">
Amiable With Big Teeth
</a>
,
<em>
a 1930s satire rediscovered in 2009, about the Black intelligentsia of Harlem organizing to stop the Italian fascist occupation of Ethiopia. Like the best satires,
</em>
Let Me Liberate You
<em>
draws its humor from skewering a world we wish could be better.
</em>
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<strong>
MAIN TEXT
</strong>
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<span style="word-break: break-word; font-size: 16px;">
A few years back, I noticed a strange shift in the way people spoke about Black women writers. I can trace it to the first time I heard someone say “Mama Toni” in reference to Toni Morrison.
<em>
Oh,
</em>
I remember thinking.
<em>
I do NOT like that.
</em>
It felt strange to reduce a woman with as prickly an intelligence and as harsh a literary moralism as Morrison to “Mama.” But maybe, I thought, it was fair if it got people to read her books. But it still irks me, this desire for Black women speakers to adopt a maternal position whenever they speak in public life.
</span>
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<p style="margin:0;font-size:16px;mso-line-height-alt:19.2px">
<span style="word-break: break-word; font-size: 16px;">
<br/>
Jamaica Kincaid has resisted the Mama-fication of other Black women writers like Morrison and Alice Walker (another odd choice for maternal deification). I think it is, in part, because so much of her work is about the complication of mothers, of being a daughter. It’s hard to fall into odes to motherhood when reading Kincaid. In novels like
<em>
Lucy
</em>
and
<em>
Annie John
</em>
and of course
<em>
The Autobiography of My Mother,
</em>
she writes about relationships between Black women and their mothers in all their knotty, complicated, guilty glory. That willingness to always stay sharp is on display in her latest collection of nonfiction,
<em>
<a rel="noopener" style="text-decoration: underline; color: #0068A5;" target="_blank">
Putting Myself Together, Writing 1974–
</a>
.
</em>
<br/>
</span>
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The collection includes essays like her now classic “Last of the Black White Girls,” her 1976 review of a Diana Ross show. There, she writes about Ross, “It’s much easier for a white person to play at being black than it is for a black person to play at being white.… For a white person it becomes an exercise of the intellect.… But for the black person who has the most to lose in terms of cultural identity it’s deadly serious business.… Diana Ross, of course, did this when it was completely unfashionable, and even dangerous, to do.” I love this string of sentences because it is a compressed example of the best part of cultural criticism. It takes a cultural truism—Black people’s need to dissect which of our celebrities are really Black and which are spiritually, culturally white—and complicates it one step further, reminding us all of the drag on both sides.
</p>
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Diana Ross performs on stage. (1974)
</h1>
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<span class="tinyMce-placeholder" style="word-break: break-word;">
Diana Ross performs on stage. (1974)
</span>
</h1>
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<div class="" style="font-size:14px;font-family:'Helvetica Neue',Helvetica,Arial,sans-serif;mso-line-height-alt:16.8px;color:#000;line-height:1.2">
<p style="margin:0;font-size:16px;mso-line-height-alt:16.8px">
</p>
<p style="margin:0;font-size:16px;mso-line-height-alt:19.2px">
For Kincaid, nothing is sacred and nothing needs to be held up in reverence. It is a welcome departure from the cultural criticism of our time, when everything is bathed in either oily vitriol or empty platitudes about what is iconic. For Kincaid, neither of those things matter. It is only what is
<em>
interesting.
</em>
Kincaid operates with the secure unsentimentality of a Black artist who has grown up in a majority-Black environment. The most scathing essays here are her assessments of the deep corruption of her home country, Antigua. In her 1994 essay “An Antiguan Election Journal,” she writes, “I know all too well what really happened to the descendants of the slaves. Once freed, they proceeded to create for themselves their own moral abyss.”
</p>
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<span class="tinyMce-placeholder" style="word-break: break-word;">
Jamaica Kincaid at the King Edward hotel during a promotional visit for her novel
<em>
Mr. Potter.
</em>
(2010)
</span>
</h1>
</td>
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<span class="tinyMce-placeholder" style="word-break: break-word;">
Jamaica Kincaid at the King Edward hotel during a promotional visit for her novel
<em>
Mr. Potter.
</em>
</span>
</h1>
</td>
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</table>
</td>
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</td>
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</tbody>
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<tbody>
<tr>
<td>
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<tbody>
<tr>
<td class="column column-1" style="mso-table-lspace:0;mso-table-rspace:0;font-weight:400;text-align:left;padding-bottom:5px;vertical-align:top" width="100%">
<table border="0" cellpadding="0" cellspacing="0" class="text_block block-1" role="presentation" style="mso-table-lspace:0;mso-table-rspace:0;word-break:break-word" width="100%">
<tr>
<td class="pad" style="padding-bottom:10px;padding-left:45px;padding-right:25px;padding-top:5px">
<div style="font-family:Arial,sans-serif">
<div class="" style="font-size:14px;font-family:'Helvetica Neue',Helvetica,Arial,sans-serif;mso-line-height-alt:16.8px;color:#000;line-height:1.2">
<p style="margin:0;font-size:16px;mso-line-height-alt:16.8px">
</p>
<p style="margin:0;font-size:16px;mso-line-height-alt:19.2px">
The other thing I love about this collection is the craft of Kincaid’s sentences. In the essay “Those Words That Echo … Echo … Echo Through Life,” about writing her 2002 novel,
<em>
Mr. Potter,
</em>
Kincaid includes the sentence she is turning over in her mind: “Mr. Potter was my father’s name, my father’s name was Mr. Potter.” It has the simplicity of a children’s rhyme, but its statement of a fact with slightly different wording, and all that the wording implies, reads to me like a brief example of the legality of language, the question of inheritance and race and self that makes up what came to be called being Black in the Americas. When I read that sentence, I see Black codes and “the child takes the legal status of the mother” and the one-drop rule and a family tree. Perhaps I am reaching. But I don’t think I am. The rest of the essay is about Kincaid attempting to write about her father, who himself could not read, while she lives in Vermont while raising her children and dodging creditors and genuinely living an everyday life. It is the language that connects her, though—first to her father, then to history, then to the strange and lonely exercise of writing fiction. It is her command of language that allows her to write another sentence that mimics the flow of time and seasons on the page. “The days then rapidly grew thick into all darkness with only small spaces of light (that is autumn) and then remained solidly all darkness with only small patches of light (that is winter), and then the darkness slowly thinned out (that is spring), but the light was never as overwhelming in its way as the darkness was overwhelmingly dark in its way (that is summer).”
<br/>
<br/>
Sometimes I read this book and argue with Kincaid’s conclusions, and sometimes I read this book and feel my mind rearranged by the beauty here, but I never read this book and want to call Jamaica Kincaid “mother.”
</p>
</div>
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<td class="column column-1" style="mso-table-lspace:0;mso-table-rspace:0;font-weight:400;text-align:left;padding-bottom:5px;padding-top:5px;vertical-align:top" width="25%">
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<div style="max-width:120px">
<img alt="Editor Leah Chernikoff" height="auto" src="https://inboxflows.com/_/image/https%253A%252F%252Fmedia.sailthru.com%252Ffss%252Fehkfn8%252F7aadc441-69ae-4186-90b7-cd7fec1906b9%252FJamaicaK.jpg/?inbox_flows_img_sig=eyJwYXRoIjoiaHR0cHMlM0ElMkYlMkZtZWRpYS5zYWlsdCIsInRpbWUiOjE3NjE2NzI2NTMuMzkwMTM4fQ:1vDnX3:Ek_xh5Mw_lxNPw9mFhq3zBqeRuNeiQB-dHQkIX110nw" style="display:block;height:auto;border:0;width:100%" title="Editor Leah Chernikoff" width="120"/>
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<img alt="Editor Leah Chernikoff" height="auto" src="https://inboxflows.com/_/image/https%253A%252F%252Fmedia.sailthru.com%252Ffss%252Fehkfn8%252F7aadc441-69ae-4186-90b7-cd7fec1906b9%252FJamaicaK.jpg/?inbox_flows_img_sig=eyJwYXRoIjoiaHR0cHMlM0ElMkYlMkZtZWRpYS5zYWlsdCIsInRpbWUiOjE3NjE2NzI2NTMuMzkwMjI4NX0:1vDnX3:FYsUPeT0WViq7q_5Uz1UVjFfFXqx2h1RSWplCAK7riU" style="display:block;height:auto;border:0;width:100%" title="Editor Leah Chernikoff" width="120"/>
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<span style="word-break: break-word; color: #000000;">
AUTHOR
</span>
</h1>
</td>
</tr>
</table>
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<h1 style="margin:0;color:#000;direction:ltr;font-family:'Helvetica Neue',Helvetica,Arial,sans-serif;font-size:15px;font-weight:400;letter-spacing:normal;line-height:1.2;text-align:left;margin-top:0;margin-bottom:0;mso-line-height-alt:18px">
Jamaica Kincaid
</h1>
</td>
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<span style="word-break: break-word; color: #000000;">
AUTHOR
</span>
</h1>
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Jamaica Kincaid
</h1>
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<h1 style="margin:0;color:#000;direction:ltr;font-family:'Helvetica Neue',Helvetica,Arial,sans-serif;font-size:12px;font-weight:400;letter-spacing:normal;line-height:1.2;text-align:left;margin-top:0;margin-bottom:0;mso-line-height-alt:14px">
<span class="tinyMce-placeholder" style="word-break: break-word;">
Jamaica Kincaid was born in St. John’s, Antigua. Her books include
<em>
At the Bottom of the River, Annie John, Lucy, The Autobiography of My Mother, My Brother, Mr. Potter,
</em>
and
<em>
See Now Then.
</em>
She teaches at Harvard University and lives in Vermont.
</span>
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<h1 style="margin:0;color:#000;direction:ltr;font-family:'Helvetica Neue',Helvetica,Arial,sans-serif;font-size:15px;font-weight:700;letter-spacing:normal;line-height:1.2;text-align:center;margin-top:0;margin-bottom:0;mso-line-height-alt:18px">
<strong>
END NOTE
</strong>
</h1>
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<div class="" style="font-size:14px;font-family:TimesNewRoman,'Times New Roman',Times,Beskerville,Georgia,serif;mso-line-height-alt:16.8px;color:#000;line-height:1.2">
<p style="margin:0;text-align:left;mso-line-height-alt:16.8px">
<span style="word-break: break-word; font-size: 16px;">
<em>
For this newsletter, we will ask writers to share a space where they wrote something beautiful. It can be their regular writing spot or an unexpected place of inspiration. This week’s writer is Sasha Bonét, author of
</em>
<a rel="noopener" style="text-decoration: underline; color: #0068A5;" target="_blank">
The Waterbearers: A Memoir of Mothers and Daughters.
</a>
<em>
<br/>
</em>
</span>
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<div style="font-family:'Times New Roman',Georgia,serif">
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<p style="margin:0;font-size:16px;mso-line-height-alt:19.2px">
<span style="word-break: break-word; font-size: 16px;">
<strong>
Sasha Bonét:
</strong>
“I’ve never been more creative than when I rented a tiny room (away from my teenager) in a struggling office building in Manhattan. I painted it an awful pink and called it the Writer's Womb. I hung a pink
<a rel="noopener" style="text-decoration: underline; color: #0068A5;" target="_blank">
City of Women 2.0 map
</a>
. I made an altar board with photos of Baldwin, Morrison, and many women from my lineage. And every morning while writing
<em>
The Waterbearers,
</em>
I would sit with them and ask them to show me the way, ask them for courage, and thank them for the opportunity to serve. It was a room of my own, but I wasn’t there alone.”
<br/>
</span>
</p>
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10 months ago - harpersbazaar@newsletter.harpersbazaar.com
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