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Search resuls for: "Ayana Mathis"


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☆ Does It Seem Like the End Times Are Here? These Novels Know Better.
  + stars: | 2024-04-11 | by ( Ayana Mathis | ) www.nytimes.com   time to read: +1 min
On the day my mother died, I sat by her bedside and read the Psalms. The room was quiet — the need for machines had passed — save for the sound of my voice and my mother’s labored breathing. Outside her room, the hospital went about its business: Lunch trays were delivered, nurses conferred, a television played too loudly down the corridor. In her room, my mother and I had stepped off time’s familiar track. When she died hours later, I knew that on the other side of her hospital room door there awaited, at least for me, an altered world.
Persons: gunning
☆ Why Do Evil and Suffering Exist? Religion Has One Answer, Literature Another.
  + stars: | 2023-11-19 | by ( Ayana Mathis | ) www.nytimes.com   time to read: +3 min
After a few months in fly-infested stables converted to bunkhouses, they are herded onto trains that take them to a remote part of Utah. The America the family sees from the window — their country — is exceedingly beautiful, a counterpoint to their grim situation. Late at night, the woman in the family recites the Lord’s Prayer. In Genesis, after Ham sees Noah naked, Noah curses Ham’s son Canaan — falsely identified by later interpreters as a progenitor of Egyptians and other dark-skinned people: “Cursed be Canaan! Today, we are once again witness to mothers wailing over their children’s dead bodies, bombed hospitals — violence and suffering so vast it is unfathomable.
Persons: Shawn Copeland, Ham, Noah, Ham’s, Canaan —, Copeland, ” Organizations: ” Locations: ”, Utah, America
☆ In Her Fiction, Ayana Mathis Refuses to Ignore Black History
  + stars: | 2023-09-25 | by ( Honorée Fanonne Jeffers | ) www.nytimes.com   time to read: +2 min
I, for one, submit that Black history will always hover over American literature, whether or not the author intends it to. Why is the boy running toward instead of away from Alabama, as so many Black folks have done since the Great Migration? — before jumping back a few years, to 1985, when Ava drags 10-year-old Toussaint into a homeless shelter in Philadelphia. The mother and son have been thrown out of the home they shared with Abemi, Ava’s abusive husband and Toussaint’s stepfather, in New Jersey. Mathis renders Ava and Toussaint’s time in the shelter in poignant, heartbreaking detail.
Persons: Ayana Mathis, I’m, Toni Morrison, ” Ayana, “, Hattie ” —, Mathis, Ava, Toussaint, Toussaint’s, Cass Organizations: Black Locations: Philadelphia, Dutchess, Ava’s, Alabama, Bonaparte, Ala, Ava, New Jersey
☆ What Can Literature Teach Us About Forgiveness?
  + stars: | 2023-08-24 | by ( Ayana Mathis | ) www.nytimes.com   time to read: +4 min
Narratives about prodigal children generally have reconciliation as their goal; this typically involves repentance followed by unconditional forgiveness. In Berriault’s hands, such forgiveness isn’t on the table. “What the hell else did you do with your life?” Eli’s father wants to know. “Could be you’re being punished for wrecking your life.” He has nothing to offer his son, no comfort, no wisdom. By the end of the story, Eli is, in a sense, reconciled with his mother and father, seeing them as objects of love and sorrow.
Persons: isn’t, ”, ” Eli, “, Eli, he’s, “ He’d, he’d, she’d, bafflement, Celie, Jim Crow Locations: ”, Seattle
☆ Legendary Female Artists on the Younger Women Who Inspire Them
  + stars: | 2023-04-20 | by ( ) www.nytimes.com   time to read: +20 min
The Artist’s Mind What it feels like for female artists to wrestle with ambition, ego, ambivalence and inheritance. That isolation has, historically, been especially true for women artists, some of the most celebrated of whom have seen “writer” or “painter” or “filmmaker” treated as a secondary part of their identity. For this issue, we asked legendary female artists to tell us about a younger woman whose work excites them and gives them hope. But for the current generation of women artists, who have come of age with models who more closely resemble them, identity seems more like a source of community than a trap. Women artists, born into a Babylon of exclusion and possibility, reveal that creative inheritance is as promiscuous as legal inheritance is strict.
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