Fans pick 100 books like Hue and Cry

Everybody loves this book because it, of course, has become an international classic of literature and one of the best works F. Scott Fitzgerald wrote, which takes the reader on a time-traveling secretive world of the upper-class set in New England life in the 1920s.

In F. Scott's work, we are casually and comfortably introduced to an America where new money met old money, and the tender tightrope one had to walk in order to vie for position, marriage, and peer acceptance in a world founded on wealth and prestige.    

I might not have written my own family history without the example of this book. I was enthralled when I read this compelling, well-researched, and well-written “family memoir” (as Murray calls it) years ago.

Everything about it drew me in, Murray’s compelling voice, the depth of her research, her descriptions of her relatives, and the vanished world they inhabited. Magisterial in every sense of the word, this is family history as American history, by a woman who was a lawyer, activist, and, in 1977, at age 67, the first black woman ordained an Episcopal priest.

Her book continues to inspire me to strive to meet her example.

Though I never met him, Ralph Ellison has been my guide and literary mentor since I first read Shadow and Act, his first collection of essays. (It’s included here.) Countless times, I’ve written a sentence or come up with an idea I thought was original. And countless times, I've discovered Ellison got there first, years and years before.

The thread connecting this potpourri of reviews, criticism, meditative essays, and interviews is Ellison’s insistence on the centrality of the African-American experience to the American experience and his refusal to countenance the idea of black victimhood. “I recognize no American culture which is not the partial creation of black people,” he said. “I recognize no American style in literature, in dance, in music, . . . which does not bear the mark of the American Negro.”

The enduring sense of possibilities these words inspire is the reason I often describe myself… show more.

James Alan McPherson, a writer I’d long admired and my teacher at the University of Iowa, introduced me to The Hero and the Blues. Murray and Ralph Ellison were friends and intellectual sparring partners who worked out their ideas in conversation, and in letters to one another, so it’s not surprising that many of the same ideas occur in their work.

Here, Murray argues that the hallmark of great artists, Shakespeare, Duke Ellington, and Thomas Mann, is their ability to improvise; that is, to take what they’ve learned through formal study and come up with something new. More than that, Murray writes convincingly, the blues has been essential in affirming the humanity of black Americans despite challenges complicated by the particularities of our situation.

As with Ellison, I keep coming back to Murray, again and again, for inspiration and affirmation.

When I studied with James Alan McPherson at the Iowa Writers’ Workshop over twenty years ago, he played stand-up records from the 1970s and asked students to read ancient drama translated from Latin.

He was teaching us how comedy works, and he had a long gaze. His collection Elbow Room is similarly expansive. The past bubbles into the present abruptly, as in the story “A Loaf of Bread,” where “older people began grabbing, as if the secret lusts of a lifetime had suddenly seized command of their arms and eyes.” 

While the origins of northern police in this country were rooted in the development of a new set of class relations among white people, discussions of policing today cannot be untangled from the history of African Americans.

Trotter shows that Black people have always been a crucial part of this country’s workforce. Racism itself is rooted in the ways that Black workers’ position has been shaped by capitalists, non-black workers, and Black workers themselves, and this has been true since the dawn of slavery.

In his last chapters, Trotter brilliantly illustrates how the problems created for the entire working class by the end of the post-World War II economic boom were inflicted out of all proportion on the Black population. In other words, the relatively well-paying jobs were destroyed, and it was Black workers in particular who lost them.

The rise of mass incarceration since the 1970s and the violent… show more.

The name “Detroit” too often conjures images of poverty-porn: gorgeously crumbling buildings, post-apocalyptic urban decay, lost souls wandering cracked streets. Detroit: I Do Mind Dying shatters this image with unfettered energy. It chronicles the League of Revolutionary Black Workers in the auto plants of the 1960s-1970s, a refreshing reminder of the power of intersectional labor organizing; a raw look at the racism of the mainstream labor movement; and a very human chronicle of the struggles and flaws of courageous everyday workers at this critical time and place in history.

Weaving in her own ancestral history, Kelley knits an extraordinary journey of the Black working class from slavery to our contemporary world—from Georgia to Philadelphia, Florida to Chicago, Texas to Oakland, we engage generations of mostly unheralded workers whose radical genius shaped our labor history and forged nourishing and joyful lives out-of-view of most white accounts of the working class.

Kelley’s prose celebrates and brings to the surface the hidden lives that improved our contemporary world. 

The novel tells the story of a group of friends who have taken it upon themselves to carry out the “last orders” of their drinking partner, Jack Dodds, to deliver his ashes to the grey seas of Margate. As they drive to the coast, their errand becomes a poignant journey into their collective pasts.

Swift described it as an homage to William Faulkner’s As I Lay Dying, and it follows a similar narrative structure, with chapters titled with the names of the seven key characters, with a shifting narrative perspective to follow the story from each of their eyes.

As a reader, you naturally find your favourite narrative viewpoint. For me, it was Ray, “Lucky Ray,” the obsessive gambler, which for me was the real centre of the novel.

I first came across this book as an undergraduate student many years ago. I was drawn to the book because it covered a topic that was not very common at the time, namely the Egyptian working class. Beinin and Lockman’s study of how the working class navigated the three major intellectual currents of the late nineteenth and early twentieth centuries—nationalism, religion, and Communism—opened my eyes to social history as no other book had done. Workers on the Nile analyses how Egypt brutally is drawn into the global capitalist system in the nineteenth century and how this process produced a native working class (alongside a large community of European ex-pat workers). Gradually the working class comes of age by organising its labour, and eventually, this gives rise to more radical politics in the shape of Communism, Islamic activism, and nationalist tendencies.