The Office Of Historical Corrections Quotes

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Besides the tablecloths, the decor is all old photographs and postcards that they scrounged up from wherever, because you know how white people love their history right up until it's true.
Danielle Evans (The Office of Historical Corrections)
Midwest nice was a steady, polite gaslighting I found sinister, a forced humility that prevented anyone from speaking up when they’d been diminished or disrespected, lest they be labeled an outsider. I was bewildered by the pride the region took in these pathologies.
Danielle Evans (The Office of Historical Corrections)
All of her adult life people have asked Rena why she goes to such dangerous places, and she has always wanted to ask them where the safe place is. The danger is in chemicals and airports and refugee camps and war zones and regions known for sex tourism. The danger also sometimes took their trash out for them. The danger came over for movie night and bought them a popcorn maker for Christmas. The danger hugged her mother and shook her father’s hand.
Danielle Evans (The Office of Historical Corrections)
I used to think you were so brave, and sometimes I still do, and sometimes I think it’s just that there’s nothing in your life but you, and you have no idea what it means to be scared that what you do might matter.
Danielle Evans (The Office of Historical Corrections)
But what did it matter what she deserved, faced with the hilarity of one more person telling her glibly that better was out there when she was begging for mediocrity and couldn’t have that?
Danielle Evans (The Office of Historical Corrections)
Boy-next-door, Rena knew, always meant white boy next door. When America has one natural blonde family left, its members will be trotted out to play every role that calls for someone all-American, to be interviewed in every time of crisis. They will be exhausted.
Danielle Evans (The Office of Historical Corrections)
She thought the insistence on victims without wrongdoers was at the base of the whole American problem, the lie that supported all the others.
Danielle Evans (The Office of Historical Corrections)
Forty days and forty nights of being locked up helpless, knowing everything you’d ever known was drowning all around you, and at the end God shows up with a whimsical promise that he will not destroy the world again with water, which seems like a hell of a caveat.
Danielle Evans (The Office of Historical Corrections)
In the land of the blind, the one-eyed man would adjust, or otherwise be deemed a lunatic or heretic. The one-eyed man would spend his life learning to translate what experience was his alone, or else he would learn to shut up about it.
Danielle Evans (The Office of Historical Corrections)
Things were always salvageable between us, and knowing that felt like both a relief and an obligation.
Danielle Evans (The Office of Historical Corrections)
I distrusted, in general, appeals to nostalgia--I loved the past of archives, but there was no era of the past I had any inclination to visit with my actual human body, being rather fond of it having at least minimal rights and protections.
Danielle Evans (The Office of Historical Corrections)
I needed no convincing of the fatal possibilities of government overreach, of the way the fatalities told the story of who the nation considered expendable, but, even after the low points of the previous decade, I believed in government, or at least believed in it more than the alternative. That my country might always expect me to audition for my life I accepted as fact, but I trusted the public charter of national government more than I trusted average white citizens acting unchecked.
Danielle Evans (The Office of Historical Corrections)
We know, in the case of the person, that whoever cannot tell himself the truth about his past is trapped in it, is immobilized in the prison of his undiscovered self. This is also true of nations. We know how a person, in such a paralysis, is unable to assess either his weaknesses or his strengths, and how frequently indeed he mistakes one for the other. —James Baldwin
Danielle Evans (The Office of Historical Corrections)
Lyssa thought she would talk to her mother about it, and then she remembered. She had to keep remembering, even after she'd seen the body and signed the paperwork and arranged a funeral. Somehow she'd expected the dying to be the worst part, that after it was over she could go home and tell some healthy living version of her mother about the terrible thing that had just happened to her.
Danielle Evans (The Office of Historical Corrections)
but I understand more now about how it feels to love the excess in people, about how knowing someone else’s love will consume you doesn’t make it any less real or any less reciprocated, about how you can leave a person behind just to save the thing they value most—yourself. Or maybe I understood it even then but couldn’t have told you how.
Danielle Evans (The Office of Historical Corrections)
It felt unfair, how absurd someone could be and still be terrifying.
Danielle Evans (The Office of Historical Corrections)
She has the same feeling she'd had when he unceremoniously handed her back her underwear. Like it was a technicality she hadn't specifically told him she wanted to be treated like a person.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
A white man walks into a room. While everyone waited for the punch line, I excused myself and headed to the porch. That’s it, I called behind me. That’s the whole joke. Everything else disappears.
Danielle Evans (The Office of Historical Corrections)
A white man walks into a room.' While everyone waited for the punch line, I excused myself and headed to the porch. 'That's it,' I called behind me. 'That's the whole joke. Everything else just disappears.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
I'd had to learn again how to watch a man move through the world and calibrate his every step to be disarming, how to watch a man worry about his body and the conditions under which someone might take his any gesture the wrong way. I'd had to remember back to high school, when my heart belonged only to boys of my color, to whom I had to insist that no one else's disrespect of me was worth a fight, was worth what a fight would cost them.
Danielle Evans (The Office of Historical Corrections)
He kissed her forehead and said, “My little lady of ruthless ambition.” In the months after that, hw would sometimes ask her “How’s conquering the world going, my sweet ruthless girl?” in the delighted dumbed-down tone you would use to tell a house pet it was ferocious. She would nuzzle him, beginning to understand that just because he didn’t see something in her didn’t mean it wasn’t there, knowing there was still some freedom in the way he did no fathom yet how real and how necessary her ruthlessness would be.
Danielle Evans (The Office of Historical Corrections)
I had abandoned the actual religion I was raised with as soon as I got to college, but when in moments of despair I needed the inspiration of a triumphant martyr figure who made me believe in impossible things, I thought not of saints or saviors but of my mother.
Danielle Evans (The Office of Historical Corrections: A Novella and Stories)
When Lyssa was seven, her mother took her to see the movie where the mermaid wants legs, and when it ended Lyssa shook her head and squinted at the prince and said, Why would she leave her family for that? which for years contributed to the prevailing belief that she was sentimental or softhearted, when in fact she just knew a bad trade when she saw one. The whole ocean for one man.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
The problem is everyone, even Black people, believes that Black poverty is the worst poverty in the world, and Black urban poverty, forget it, and all urban Blackness always scans as poverty, which means people only love us as fetish. No one is sentimental about poor Black people unless they're wise and country and you could put a photograph of them on a porch with a quilt behind them in a museum.
Danielle Evans (The Office of Historical Corrections)
To deny the reported six million (approximately) Jews who died, or the 11 million people in total, is to ignore all the eyewitness accounts from Holocaust survivors, the non-Jewish witnesses of the millions who died the open-air massacres around Europe, the concentration camp guards, Nazi officers who admitted to gassings and other related crimes immediately after WW2, and the universal agreement of all mainstream historians who have studied this historical event inside out – not to mention every single scientist who has ever analyzed forensic evidence retrieved from the Nazi genocide. Not even the most corrupt courtroom on Earth could ignore this much evidence – for collectively these confirmations of the Holocaust equate to irrefutable proof that the reported death toll is indeed correct. It is possibly the most well-documented crime of the 20th Century, but remember for religious extremists, Nazi apologists or other anti-Semites it would never matter how much evidence you put in front of them. They would always deny the Holocaust because to admit the event occurred would be to stop believing the Jews are inferior to them. It would also require such bigots to admit the very uncomfortable truth to themselves: that their ‘own kind’ did these despicable things to the Jewish people.
James Morcan (Debunking Holocaust Denial Theories)
Sailboat Table (table by Quint Hankle) The Voyage of the Narwhal, by Andrea Barrett Complete Stories, by Clarice Lispector Boy Kings of Texas, by Domingo Martinez The Marrow Thieves, by Cherie Dimaline A Brief History of Seven Killings, by Marlon James There There, by Tommy Orange Citizen: An American Lyric, by Claudia Rankine Underland, by Robert Macfarlane The Undocumented Americans, by Karla Cornejo Villavicencio Deacon King Kong, by James McBride The Dutch House, by Ann Patchett Will and Testament, by Vigdis Hjorth Every Man Dies Alone, by Hans Fallada The Door, by Magda Svabo The Plot Against America, by Philip Roth Fates and Furies, by Lauren Groff The Overstory, by Richard Power Night Train, by Lise Erdrich Her Body and Other Parties, by Carmen Maria Machado The Penguin Book of the Modern American Short Story, edited by John Freeman Between the World and Me, by Ta-Nehisi Coates Birds of America, by Lorrie Moore Mongrels, by Stephen Graham Jones The Office of Historical Corrections, by Danielle Evans Tenth of December, by George Saunders Murder on the Red River, by Marcie R. Rendon Leave the World Behind, by Rumaan Alam Ceremony, by Leslie Marmon Silko On Earth We’re Briefly Gorgeous, by Ocean Vuong The Unwomanly Face of War, by Svetlana Alexievich Standard Deviation, by Katherine Heiny All My Puny Sorrows, by Miriam Toews The Death of the Heart, by Elizabeth Bowen Mean Spirit, by Linda Hogan NW, by Zadie Smith Being Mortal, by Atul Gawande Americanah, by Chimamanda Ngozi Adichie Firekeeper’s Daughter, by Angeline Boulley Erasure, by Percival Everett Sharks in the Time of Saviors, by Kawai Strong Washburn Heaven, by Mieko Kawakami Books for Banned Love Sea of Poppies, by Amitav Ghosh The English Patient, by Michael Ondaatje Euphoria, by Lily King The Red and the Black, by Stendahl Luster, by Raven Leilani Asymmetry, by Lisa Halliday All the Pretty Horses, by Cormac McCarthy Middlesex, by Jeffrey Eugenides The Vixen, by Francine Prose Legends of the Fall, by Jim Harrison The Winter Soldier, by Daniel Mason
Louise Erdrich (The Sentence)
Entering the office, Evie found Sebastian and Cam on opposite sides of the desk. They both mulled over account ledgers, scratching out some entries with freshly inked pens, and making notations beside the long columns. Both men looked up as she crossed the threshold. Evie met Sebastian’s gaze only briefly; she found it hard to maintain her composure around him after the intimacy of the previous night. He paused in mid-sentence as he stared at her, seeming to forget what he had been saying to Cam. It seemed that neither of them was yet comfortable with feelings that were still too new and powerful. Murmuring good morning to them both, she bid them to remain seated, and she went to stand beside Sebastian’s chair. “Have you breakfasted yet, my lord?” she asked. Sebastian shook his head, a smile glinting in his eyes. “Not yet.” “I’ll go to the kitchen and see what is to be had.” “Stay a moment,” he urged. “We’re almost finished.” As the two men discussed a few last points of business, which pertained to a potential investment in a proposed shopping bazaar to be constructed on St. James Street, Sebastian picked up Evie’s hand, which was resting on the desk. Absently he drew the backs of her fingers against the edge of his jaw and his ear while contemplating the written proposal on the desk before him. Although Sebastian was not aware of what the casual familiarity of the gesture revealed, Evie felt her color rise as she met Cam’s gaze over her husband’s downbent head. The boy sent her a glance of mock reproof, like that of a nursemaid who had caught two children playing a kissing game, and he grinned as her blush heightened further. Oblivious to the byplay, Sebastian handed the proposal to Cam, who sobered instantly. “I don’t like the looks of this,” Sebastian commented. “It’s doubtful there will be enough business in the area to sustain an entire bazaar, especially at those rents. I suspect within a year it will turn into a white elephant.” “White elephant?” Evie asked. A new voice came from the doorway, belonging to Lord Westcliff. “A white elephant is a rare animal,” the earl replied, smiling, “that is not only expensive but difficult to maintain. Historically, when an ancient king wished to ruin someone he would gift him with a white elephant.” Stepping into the office, Westcliff bowed over Evie’s hand and spoke to Sebastian. “Your assessment of the proposed bazaar is correct, in my opinion. I was approached with the same investment opportunity not long ago, and I rejected it on the same grounds.” “No doubt we’ll both be proven wrong,” Sebastian said wryly. “One should never try to predict anything regarding women and their shopping.
Lisa Kleypas (Devil in Winter (Wallflowers, #3))
At that, the crowd joined in--this was one of the Free Americans' rallying cries--We are the future--a cheerful way of saying the shame of the U.S. past wasn't genocide or terror but the fact that it hadn't completely worked out yet. It was nothing I hadn't heard before, but it was rattling. It was the ubiquity or it was the persistence. It was the way the Free Americans and their claims on being the only way Americans transcended facts and time and progress, the way they always seemed to be around the corner, the way, however lacking in general insight they might be, they could somehow hear the ticking clock of the question, the Do they know I'm human yet? the way they took delight in saying no, the way they took for granted that it would always be their question to answer.
Danielle Evans (The Office of Historical Corrections)
A display cake read JUNETEENTH! in red frosting, surrounded by red, white, and blue stars and fireworks. A flyer taped to the counter above it encouraged patrons to consider ordering a Juneteenth cake early: We all know about the Fourth of July! the flyer said. But why not start celebrating freedom a few weeks early and observe the anniversary of the Emancipation Proclamation! Say it with cake! One of the two young women behind the bakery counter was Black, but I could guess the bakery's owner wasn't. The neighborhood, the prices, the twee acoustic music drifting out of sleek speakers: I knew all of the song's words, but everything about the space said who it was for. My memories of celebrating Juneteenth in DC were my parents taking me to someone's backyard BBQ, eating banana pudding and peach cobbler and strawberry cake made with Jell-O mix; at not one of them had I seen a seventy-five-dollar bakery cake that could be carved into the shape of a designer handbag for an additional fee. The flyer's sales pitch--so much hanging on that We all know--was targeted not to the people who'd celebrated Juneteenth all along but to office managers who'd feel hectored into not missing a Black holiday or who just wanted an excuse for miscellaneous dessert.
Danielle Evans (The Office of Historical Corrections)
In Genie's presence, I felt revealed by the only nearby witness to my life as a whole. -The Office of Historical Corrections
Danielle Evans
I needed no convincing of the fatal possibilities of government overreach, of the way the fatalities told the story of who the nation considered expendable, but, even after the low points of the previous decade, I believed in government, or at least believed in it more than the alternative. That my country might always expect me to audition for my life I accepted as fact, but I trusted the public charter of national government more than I trusted average white citizens acting unchecked. I believed in government, I had come to understand, the way that agnostics who hadn’t been to service in decades sometimes hedged their bets and brought their babies to be baptized or otherwise welcomed into the religions of their parents’ youth. I had abandoned the actual religion I was raised with as soon as I got to college, but when in moments of despair I needed the inspiration of a triumphant martyr figure who made me believe in impossible things, I thought not of saints or saviors but of my mother.
Danielle Evans (The Office of Historical Corrections)
Genie navigated social occasions as she did everything else—strategically, and with an eye toward what social currency they could bring her and what a misstep would cost. I liked the opportunity to surprise people with the less guarded version of myself, liked the rush of getting away with things.
Danielle Evans (The Office of Historical Corrections)
when she wanted, just once, for someone to tell her that she was already good enough and it wasn’t all right if the world wasn’t fair enough to reward it, wanted someone to acknowledge that even this trivial thing was allowed to hurt, and that the particularity of the unfairness had a name.
Danielle Evans (The Office of Historical Corrections)
i am accused of tending to the past as if i made it, as if i sculpted it with my own hands. i did not. this past was waiting for me when i came, -Lucille Clifton
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
...my twenties, which I'd treated with a cast-down-your-bucket-where-you-are approach, had thus far only brought me a string of men who were all very sad about some quality in themselves that they had no intention of making any effort to change.
Danielle Evans (The Office of Historical Corrections)
I was jealous, of course, partly that by avoiding the academic race beat, Genie had sidestepped the daily trauma of the historical record, the sometimes brutality and sometimes banality of anti-Blackness, the loop of history that was always a noose if you looked at it long enough.
Danielle Evans (The Office of Historical Corrections)
Who buys these?" I asked. "Who walks in here and says this, this is what I need?" "People who don't know what they need in the first place," she said. "So, pretty much anybody.
Danielle Evans (The Office of Historical Corrections)
An ambitious freshman congresswoman demanded funding to put a public historian in every zip code in the country, a correction for what she called the contemporary crisis of truth. It was pitched as a new public works project for the intellectual class, so many of us lately busy driving cars and delivering groceries and completing tasks on demand to make ends meet. Government jobs would put all those degrees to work and be comparatively lucrative. The congresswoman envisioned a national network of fact-checkers and historians, a friendly citizen army devoted to making the truth so accessible and appealing it could not be ignored.
Danielle Evans (The Office of Historical Corrections)
It was the winter after the most depressing election of my adult life, a low point for my faith in the polls, and I had started keeping an unofficial tally in my head of how much I trusted each new white person I met. It was a pitiful tally, because I had decided most of them would forgive anyone who harmed me, would worry more about vocal antiracism ruining the holiday party season and causing the cheese plates to go to waste than about the lives and sanity of the nonwhite humans in their midst.
Danielle Evans (The Office of Historical Corrections)
I was certain it would indeed be charming, but the Upper Midwest made me moody; people made me feel like I was being asked to speak a language I'd never learned and in which I was constantly misunderstood.
Danielle Evans (The Office of Historical Corrections)
Genevieve's most persistent and controversial grievance was the passive voice atrocity: wherever there was a memorial, she wanted to name not just the dead but the killers. She corrected every memorial to lynching, every note about burnt schoolhouses and destroyed business districts, murdered leaders and bombed churches, that failed to say exactly who had done it. She thought the insistence on victims without wrongdoers was at the base of the whole American problem, the lie that supported all others.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
It was the kind of tension that in the beginning seemed like it might still be resolved, but went on long enough that the grievance settled, turned so solid that trying to make pleasant chitchat around it would have felt disrespectful.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
They were her age, or even younger, and they all had something urgent to be doing with their lives, only it hadn't happened yet.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
I kept the running tally for years after that afternoon, did the math annually, out of habit, even after my mother had stopped requesting it, even after I had stopped thinking of the world as a place that kept track of what it owed people, even after I stopped thinking of myself as a person who had the power to make demands of the world and learned to be a person who came up with her own small daily answers like everyone else, There was something comforting about imagining I knew exactly what I'd been cheated out of.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
I had the disorienting sense I had around teenagers lately, that because they looked like they had walked out of the malls of my childhood, they were speaking to me from the past.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
Ask anything other than 'What do you do?' If people want you to know, they'll still find a way to tell you.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
...long meandering conversations full of small talk, the kind I considered a brief prelude to real human interaction, were never going to open up unto genuine discussions or open expressions of feeling on their own, they were only going to restart on a loop.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
This book is, among many other things, about grief and loss, and about women unwilling to diminish their desires to live full and complex lives.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
It felt unfair, how absurd someone could be and still be terrifying.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
Sailboat Table (table by Quint Hankle) The Voyage of the Narwhal, by Andrea Barrett Complete Stories, by Clarice Lispector Boy Kings of Texas, by Domingo Martinez The Marrow Thieves, by Cherie Dimaline A Brief History of Seven Killings, by Marlon James There There, by Tommy Orange Citizen: An American Lyric, by Claudia Rankine Underland, by Robert Macfarlane The Undocumented Americans, by Karla Cornejo Villavicencio Deacon King Kong, by James McBride The Dutch House, by Ann Patchett Will and Testament, by Vigdis Hjorth Every Man Dies Alone, by Hans Fallada The Door, by Magda Svabo The Plot Against America, by Philip Roth Fates and Furies, by Lauren Groff The Overstory, by Richard Power Night Train, by Lise Erdrich Her Body and Other Parties, by Carmen Maria Machado The Penguin Book of the Modern American Short Story, edited by John Freeman Between the World and Me, by Ta-Nehisi Coates Birds of America, by Lorrie Moore Mongrels, by Stephen Graham Jones The Office of Historical Corrections, by Danielle Evans Tenth of December, by George Saunders Murder on the Red River, by Marcie R. Rendon Leave the World Behind, by Rumaan Alam Ceremony, by Leslie Marmon Silko On Earth We’re Briefly Gorgeous, by Ocean Vuong The Unwomanly Face of War, by Svetlana Alexievich Standard Deviation, by Katherine Heiny All My Puny Sorrows, by Miriam Toews The Death of the Heart, by Elizabeth Bowen Mean Spirit, by Linda Hogan NW, by Zadie Smith Being Mortal, by Atul Gawande Americanah, by Chimamanda Ngozi Adichie Firekeeper’s Daughter, by Angeline Boulley Erasure, by Percival Everett Sharks in the Time of Saviors, by Kawai Strong Washburn Heaven, by Mieko Kawakami
Louise Erdrich (The Sentence)
On the table there was a tin of butter cookies, open to show it still had cookies in it and had not yet been turned into a sewing kit.
Danielle Evans (The Office of Historical Corrections)
was the winter after the most depressing election of my adult life, a low point for my faith in the polis, and I had started keeping an unofficial tally in my head of how much I trusted each new white person I met.
Danielle Evans (The Office of Historical Corrections)
It was a pitiful tally, because I had decided most of them would forgive anyone who harmed me, would worry more about vocal antiracism ruining the holiday party season and causing the cheese plates to go to waste than about the lives and sanity of the nonwhite humans in their midst. I
Danielle Evans (The Office of Historical Corrections)
the insistence on victims without wrongdoers was at the base of the whole American problem, the lie that supported all the others.
Danielle Evans (The Office of Historical Corrections)
I’d had to learn again how to watch a man move through the world and calibrate his every step to be disarming, how to watch a man worry about his body and the conditions under which someone might take his any gesture the wrong way. I’d had to remember back to high school, when my heart belonged only to boys my color, to whom I had to insist that no one else’s disrespect of me was worth a fight, was worth what a fight would cost them.
Danielle Evans (The Office of Historical Corrections)
Not bad people,” said Genevieve after he’d left. “What would a white person actually have to do to lose the benefit of the doubt? How many murders would they have to cover up?
Danielle Evans (The Office of Historical Corrections)
Besides the tablecloths, the decor is all old photographs and postcards that they scrounged up from wherever, because you know how white people love their history right up until it’s true.
Danielle Evans (The Office of Historical Corrections)
The house where your sister got shot was the first thing that came to mind when I asked if you knew where my fiance was?" "It's always the first thing that comes to mind," Rena says, and she is to relieved by the honesty to be ashamed.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
It seemed characteristic of the present that everyone, even the worst of us, was practicing being famous.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
You know, if I recall the historical records correctly, first contact with the Shrehari wasn’t nearly as complicated as this little family reunion with fellow sentients from Earth.” “Probably because when the Shrehari shot first, they didn’t miss,” Pushkin replied, deadpan.  “It set the tone for a refreshingly uncomplicated long-term relationship rather quickly, the current war excepted.  Besides, this is family business.” Siobhan looked at her first officer with the growing suspicion that he was amusing himself at someone’s expense.
Eric Thomson (Like Stars in Heaven (Siobhan Dunmoore Book 3))
She would nuzzle him, beginning to understand that just because he didn't see something in her didn't mean it wasn't there, knowing there was still some freedom in the way he did not fathom yet how real and how necessary her ruthlessness would be.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
I loved the past of archives, but there was no era of the past I had any inclination to visit with my actual human body, being rather fond of it having at least minimal rights and protections.
Danielle Evans (The Office of Historical Corrections)
Fire on the Mountain, by Anita Desai Sailboat Table (table by Quint Hankle) The Voyage of the Narwhal, by Andrea Barrett Complete Stories, by Clarice Lispector Boy Kings of Texas, by Domingo Martinez The Marrow Thieves, by Cherie Dimaline A Brief History of Seven Killings, by Marlon James There There, by Tommy Orange Citizen: An American Lyric, by Claudia Rankine Underland, by Robert Macfarlane The Undocumented Americans, by Karla Cornejo Villavicencio Deacon King Kong, by James McBride The Dutch House, by Ann Patchett Will and Testament, by Vigdis Hjorth Every Man Dies Alone, by Hans Fallada The Door, by Magda Szabó The Plot Against America, by Philip Roth Fates and Furies, by Lauren Groff The Overstory, by Richard Power Night Train, by Lise Erdrich Her Body and Other Parties, by Carmen Maria Machado The Penguin Book of the Modern American Short Story, edited by John Freeman Between the World and Me, by Ta-Nehisi Coates Birds of America, by Lorrie Moore Mongrels, by Stephen Graham Jones The Office of Historical Corrections, by Danielle Evans Tenth of December, by George Saunders Murder on the Red River, by Marcie R. Rendon Leave the World Behind, by Rumaan Alam Ceremony, by Leslie Marmon Silko On Earth We’re Briefly Gorgeous, by Ocean Vuong The Unwomanly Face of War, by Svetlana Alexievich Standard Deviation, by Katherine Heiny All My Puny Sorrows, by Miriam Toews The Death of the Heart, by Elizabeth Bowen Mean Spirit, by Linda Hogan NW, by Zadie Smith Being Mortal, by Atul Gawande Americanah, by Chimamanda Ngozi Adichie Firekeeper’s Daughter, by Angeline Boulley Erasure, by Percival Everett Sharks in the Time of Saviors, by Kawai Strong Washburn Heaven, by Mieko Kawakami
Louise Erdrich (The Sentence)
Things were always salvageable between us, and knowing that felt like both a relief and an obligation. I wanted to be able to go out into the world with him and protect him from anything that might harm him, and I knew that I could not.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
The problem is everyone, even Black people, believes that Black poverty is the worst poverty in the world, and Black urban poverty, forget it, and all urban Blackness always scans as poverty, which means people only love us as a fetish. No one is sentimental about poor Black people unless they're wise and country and you could put a photograph of them on a porch with a quilt behind them in a museum.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
Such was his level of charm that it was hard to be disgusted by it: Nick expected a door to open and it did; he expected to be adored and he was. Before Nick, I had been eating at the same three restaurants and drinking at the same two bars for years because it spared me the exhaustion of walking into a new place and convincing them I belonged and they should treat me kindly, of greeting clerks and waitpersons in my PhD voice, dropping the name of the university when necessary, generously overtipping. It was revelation to move through the world with Nick, to see how little attention a white man needed to devote to that kind of performance, how much of his worry about how other people saw him could be consumed by the frivolous, how easy it was for me to be assumed respectable merely by association.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories
Even taking Sanderson’s pessimistic estimate as correct, does this mean that Léopold’s rule “killed” 500,000 people? Of course not, because, in addition to the misplaced personalization of long-term population changes, the rubber regions, as mentioned, experienced both population increases and declines. Even in the latter, such as the rubber-producing Bolobo area in the lower reaches of the Congo river, population decline was a result of the brutalities of freelance native chiefs and ended with the arrival of an EIC officer. More generally, the stability and enforced peace of the EIC caused birth rates to rise near EIC centers, such as at the Catholic mission under EIC protection at Baudouinville (today’s Kirungu). Population declines were in areas outside of effective EIC control. The modest population gains caused by EIC interventions were overwhelmed by a range of wholly separate factors, which in order of importance were: the slave trade, sleeping sickness, inter-tribal warfare, other endemic diseases (smallpox, beriberi, influenza, yellow fever, pneumonia, dysentery, tuberculosis, typhoid fever, and venereal disease), cannibalism, and human sacrifice.
Bruce Gilley (King Hochschild’s Hoax: An absurdly deceptive book on Congolese rubber production is better described as historical fiction.)
It was too late for the era when prestigious institutions would acquire one minority and stop, but too soon for there to be enough of us that we had the option of avoiding taking a position on each other.
Danielle Evans, The Office of Historical Corrections: A Novella and Stories