General

by Kitty Kelley

George Soros, now 91, cites 1944 as the best year of his life. He was 14 years old, living as a non-practicing Jew under the Nazis in Hungary, and hiding in various places throughout Budapest. His adored father had changed the family name from Schwartz to Soros, and moving from house to house, young George learned to cope with danger and live with risk.

These early life lessons, plus an education at the London School of Economics, catapulted Soros into immense personal wealth as a financial analyst. Fluency in French, German, Hungarian, and English helped him master the international markets in which he accrued that wealth. His Quantum Fund — which made $5.5 billion in 2013 — became the most successful hedge fund in history. Yet, at the age of 49, Soros decided to stop making money and start giving it away instead. In 1979, he founded his Open Society Foundation and began rewriting the definition of global philanthropy. In doing so, he changed the world.

Ascending into the philanthropic strata of billionaires, Soros soon surpassed the largesse of Andrew Carnegie, John D. Rockefeller, Andrew Mellon, and even Bill and Melinda Gates, giving an estimated $35 billion to open up previously closed communist societies across Eastern Europe and the Soviet Union.

It’s fascinating to read Peter L.W. Osnos’ George Soros: A Life in Full in 2022, as Vladimir Putin plunders Ukraine, and to realize how prescient Soros was in 1989 to foster openness in those former autocracies. Along with education for all, “We…need a market economy that protects minorities and we need the rule of law,” Soros has said. His foundation — which began by bankrolling a $100 million project to revive preschool education over five years — seeks to help our imperfect world achieve those very things.

Of course, closed societies don’t often enjoy being pried open, and Soros’ efforts were detested in nations where despots ruled and corruption festered, such as Angola, Suharto’s Indonesia, Peru, Zimbabwe, Malaysia, and Russia. In the past, Soros has also challenged Israel’s “racist and anti-democratic policies” and questioned whether that country is “really a democracy.” His support for progressive and liberal causes continues to make him a target of the political right, which demonizes him via anti-Semitic conspiracy theories.

In 1997, after endowing Central European University in Hungary with $880 million, Soros decided to bring his Open Society Foundation to the U.S. He began in Baltimore, where he instituted fellowship programs, community development initiatives, work development programs, and job markets. Today, his foundation funds more than $250 million a year in programs and grants across the country, but Baltimore remains the flagship of his American success.

To capture Soros’ life, editor Osnos employs an interesting subgenre of biography by assigning eight writers who’ve known the man at various stages in his life to present their impressions of this survivor, philanthropist, activist, global citizen, and all-around scourge of the far right. Osnos, who founded the publishing house PublicAffairs, explored the technique in 2000 when he assigned three journalists to write a book on Putin’s ascendance to the presidency of Russia.

Now, presumably, Osnos’ goal is to make the George Soros diamond sparkle in all its facets. Unfortunately, the editor fails to edit. Perhaps he’s reluctant because he’s self-publishing this book with his wife and states that the project “has been funded by a private equity that is backed by Soros’ wealth…That money will be repaid from revenues the book accrues.” Osnos arranged to distribute the book through Harvard Business Review Press “to assure the broadest possible reach for the book in the world marketplace.”

Caveat emptor.

Some chapters overlap, duplicate information, meander off subject, and layer the reader with lengthy opinions. Sebastian Mallaby’s chapter, “The Financier,” is best read by those holding a degree in economics, while Orville Schell’s “A Network of Networks” presents a mouth-watering account of “some of the most brilliant, accomplished and engaged people on the planet” invited for luxurious weekends at Chateau Soros, described as akin to “being summoned to the court of Louis XIV.”

The book’s best chapter by far is “Philanthropy with a Vision” by Darren Walker, president of the Ford Foundation, whom Osnos introduces as “a black man and proudly gay.” Consequently, readers might expect to find something in Walker’s essay pertaining to his race and/or sexual identity. Here, the editor really ought to have edited himself because nothing in Walker’s cogent and erudite chapter reflects anything about either, only his shining admiration for a philanthropist dedicated to leaving the world a better place than he found it so many decades ago.

Thank you, Darren Walker, and God bless you, George Soros.

Crossposted with Washington Independent Review of Books

by Kitty Kelley

Colson Whitehead is to American literature what the Rolls-Royce is to automobiles: revered and unrivaled. Having published eight novels, two books of nonfiction, and numerous essays and short stories, the 52-year-old writer has won a MacArthur “genius” grant, a Guggenheim Fellowship, the Booker Prize, the National Book Award, two Pulitzers, and the Carnegie Medal for Excellence, as well as a Whiting Writers Award, the John Dos Passos Prize for Literature, and a fellowship at the Cullman Center for Scholars and Writers. In addition, he made the cover of TIME in 2019 as “America’s Storyteller.”

The only accolade remaining seems to be a royal summons to Sweden for the Nobel.

In 2016, Whitehead’s eighth novel, The Underground Railroad, an allegorical tour de force about enslaved people trying to escape to freedom, thundered him to commercial success and sold over 1 million copies. He’d already started writing his next novel when he spotted a story in the Tampa Bay Times about the Arthur G. Dozier School for Boys in the Florida Panhandle. The segregated reform school, which opened in 1900, had finally closed in 2011.

Whitehead had never heard of the facility and was stunned to read that forensic archaeologists from the University of South Florida had discovered the unmarked graves of more than 50 African American boys on the property.

He realized then that if there was one adolescent abattoir like Dozier, “There were hundreds of others scattered across the land like pain factories,” he told the New York Times. “The survivors are never heard from and the guilty are never punished…They live to a ripe old age while their victims are damaged for life.”

The injustice rankled the author, and the subject became more urgent to Whitehead after the 2016 presidential election. Setting aside his novel-in-progress, he began investigating like the journalist he’d been at the Village Voice following his graduation from Harvard. He absorbed all the blood-stained facts surrounding the Dozier atrocity; he read reports, records, and forensic studies of the gravesites, plus accounts of solitary confinement during which Black and white boys were shackled by leg irons soldered to the floor and forced to live in their own excrement.

Many of these boys were also whipped by a three-foot-long strap called Black Beauty. Those who did not survive were dumped into dirt holes; those who did were forever haunted. They became men “with wives and ex-wives and children they did and didn’t talk to…dead in prison or decomposing in rooms they rented by the week.”

After mastering the grisly facts, the spectacular novelist within Whitehead took flight with The Nickel Boys. In this spare book — it’s just 224 pages — he bestows humanity on the unnamed victims who’d once been sodomized and beaten witless. He humanizes them in the character Elwood Curtis, an orphan who lives with his grandmother, Harriet. She toils as a cleaning lady and sleeps with a “sugarcane machete under her pillow for intruders.”

One Christmas, Harriet gives Elwood his greatest treasure: the 1962 LP “Martin Luther King at Zion Hill,” the only record he’s allowed to play. Elwood listens to the album every day and long into the night. He embraces Dr. King’s words as his guidepost for living. He believes that the long arc of the moral universe is bending towards him and will soon change his life.

That, it does — tragically.

Through no fault of his own, Elwood ends up in the hellscape of Nickel Academy, where he meets his polar opposite, a street-smart tough named Turner who thinks Elwood is hopelessly naïve. The story turns on their relationship, their joint attempt at escape, and the final honor one pays to the other.

Nickel is not Father Flanagan’s Boys Town, where “He ain’t heavy, Father. He’s my brother” was the motto. Instead, among Nickel survivors, there’s a bond of grievous horror and lives never lived:

“[They] could have been many things had they not been ruined by that place…not all of them were geniuses…but they had been denied even the simple pleasure of being ordinary. Hobbled and handicapped before the race even began, never figuring out how to be normal.”

For them, the long arc of the moral universe was forever out of reach.

The Nickel Boys is a novel that elevates Colson Whitehead to the pantheon alongside Langston Hughes, James Baldwin, Toni Morrison, and Zora Neale Hurston, all of whom, too, bore witness to America’s pernicious legacy of racism and white supremacy.

Crossposted with Washington Independent Review of Books

by Kitty Kelley

Upon his death in 1938, Thomas Wolfe bequeathed to America’s literary canon a 1,100-page manuscript which, published posthumously, trumpeted a universal truth: “You can’t go home again.” Rebecca Mead now challenges the bard of Asheville, North Carolina, with her third book, Home/Land: A Memoir of Departure and Return.

A British subject who graduated from Oxford, Mead emigrated to the U.S. in 1988 on a student visa to do graduate work at New York University and stayed for 30 years. She lived in Manhattan, endured numerous cycles of “falling in love, being in love and falling out of love.” Then she met her husband, also a writer, moved to Brooklyn, had a child, and, in 2011, became an American citizen. But she did not live happily ever after.

Mead grew increasingly dismayed over Brooklyn’s urban development of rising towers that encroached on her sylvan view: “Birnam Wood was coming to Dunsinane, I thought.” Worse was the right-wing clamor of the Tea Party that arose in the wake of Barack Obama’s election. Then came a nationalistic rhetoric that spread like gangrene. Finally, roiled by dystopian fears of Donald Trump, Mead and her husband decided to flee Dunsinane with their young son. They packed 170 boxes of books and flew first class to the U.K. on one-way tickets.

Months later, in 2018, Mead, a correspondent for the New Yorker, wrote an article about her repatriation, “A New Citizen Decides to Leave the Tumult of Trump’s America.” She seemed to be road-testing the idea of a future book on “the wrenching choice to return to Britain.” In her essay, she admitted that going home was not ideal:

“London is not a utopia; housing, in particular, is debilitatingly expensive…I am under no illusions that the U.K. is a beacon of progressivism. This is a move from the fire into the frying pan at best.”

Four years later, Home/Land reflects on that frying pan and its cost in terms of adjustment and accommodation. In his British elementary school, her Brooklyn-born son observes, “Everyone is so white.”

Much of what besets the U.S. — political turbulence, gun and gang violence, and immigration issues exacerbated by the pandemic — bedevils the U.K., too, but on a much smaller scale, which provides Mead with a sense of security.

Her regrets? Her reliefs? These questions, and more, are asked and answered in penetrating detail by a writer who pans for gold and presents it many times, albeit in sentences that are long and somewhat convoluted. For example, when Mead discovers that her father, as a child, lived in London’s Camden Square, where she now lives, she writes:

“And so, as I’d stepped onto the roof deck from the bedroom of the new house the realtor took me to — fantasizing a life in which I’d emerge in the morning with a cup of coffee in my hand and survey the landscape of narrow gardens and the backs of houses before descending to spend the day at my desk — I’d unwittingly been looking directly across at windows from which my father had surely looked out as a young boy in the arms of his mother.”

She continues, “To me this collision of the past and the present of Camden Square — the invisible tracery in which the threads of my father’s life and mine have against all odds, crossed and interwoven — is charged, if not exactly with meaning, then with wonder.”

Mead enumerates the benefits of trading a noisy, jangled democracy in the U.S. for a quieter life in an island nation about to experience the upset of Brexit, which she predicts will be “dark and chaotic.” For her, Britain’s advantages appear to be free healthcare, remarkably efficient public transportation, and college tuition capped at $12,000 a year (in the U.S., it can run more than $60,000 annually).

She feels the move across the pond gives her son a larger periscope on the world, and better positions her to cover international stories for the New Yorker, as was evidenced by her recent trip to Pompeii to profile the excavation of the 79 A.D. ruins from Mount Vesuvius. “I can get on a train…in the morning and be in Amsterdam by early afternoon, having traveled through four countries before lunchtime.”

Home/Land reads like a polyglot of personal diary and literary travelogue in which a writer meanders back and forth between her youth in America, including “years of psychotherapy,” and her present life in Britain as a woman of 56, an age at which, she bemoans, she feels invisible. Mead delves into the personal by discussing menopause and her humiliation over having hot flashes and experiencing changes in her brain chemistry.

Like an archeologist, she leads readers on a literary dig across London, over the open fields of Hampstead Heath, and into Fort Greene Park to discover a mound known as Boadicea’s Grave, named for an ancient British queen. The scholar in Mead instructs readers about the monarch now known as Boudicea and her bloody uprising in 60 A.D., adding parenthetically that “the root of ‘Boudica’ is the Celtic word for victory.” For those itching to return to the present, Mead first insists on more information about the victorious Queen Boadicea as celebrated in a 19th-century poem by Alfred, Lord Tennyson.

She then segues into Iron Age forts like Maiden Castle, where she informs readers that “ancient Britons built concentric rings of ditches and rises upon the slopes of a high saddle-backed hill, with labyrinth entry points so that when it is seen in aerial photographs the site resembles the maze toy my son once had, a wooden disk cut with circular grooves through which he tipped and twisted a steel ball bearing.” (See the warning above about lengthy sentences.)

Like any British memoirist born “lower middle class,” she also examines her country’s punishing class system and rightly applauds the state-subsidized education inaugurated in the 1980s as “the most important engine of social mobility.”

Rebecca Mead then ends her book like a pilgrim, still seeking to find her place in her new homeland.

Crossposted with Washington Independent Review of Books

by Kitty Kelly

With the publication of Just Pursuit, Laura Coates takes her place in a pantheon with Frank Serpico, who blew the whistle on police corruption in the 1970s. A former detective with the New York Police Department, Serpico’s public testimony led to the Knapp Commission and massive police reforms. But, as Coates writes in her second book, the corruption continues, poisoning every part of the justice system.

Serpico’s exposé led to a bestselling book and a film starring Al Pacino, as well as a TV series and a documentary. Five decades later, Coates’ Just Pursuit carries that same commercial potential as it exposes lazy lawyers, preening prosecutors, cynical cops, and judges who preside over their courtrooms like tin-horn dictators, leaving in their wake an outsized number of poor, Black people forced to stand before them.

Citing one particularly egregious example, Coates writes about a white female judge who used her time on the bench to shop a website for boots rather than listen to the young Black adolescent before her testifying about the sexual abuse she suffered for years at the hands of her mother’s live-in boyfriend.

“Skipping down the center aisle, [the youngster approached] the witness stand in an above-the-knee skirt, breasts bouncing unrestrained,” writes Coates. “She giggled as she raised her right hand…She tugged at her skirt…the skirt buckled along her hips, slightly twisting her zipper…she slouched and tugged again at her skirt on one side…She rubbed her glossed lips together.”

Immediately, Coates knows the case is lost. “The judge’s focused glare on the child’s appearance said everything,” she writes. Still, Coates hopes she’s wrong, staying in the courtroom to find out. Sadly, the judge meets Coates’ expectations and lacerates the victim: “No one who has been raped, even a young teenager, would have skipped down the aisle of the courtroom dressed like that…her clothes were ill-fitting and she was not even wearing the appropriate undergarments, not even tights.”

Coates hung her head in sorrow, “unable to watch this child try to understand what about herself had warranted such contempt.”

Not every one of the 15 chapters in this book is equally weighted but each carries the heavy load of racism that Coates saw during her seven years as an attorney in the Civil Rights Division of the Department of Justice. Writing with verve and style, she relates her experience as a poll watcher in “a small town somewhere in Mississippi” during Obama’s second presidential campaign.

“The Deep South made me nervous,” Coates admits, as she walked into the same territory where the KKK once bombed the 16th Street Baptist Church, killing four young Black girls attending Sunday school; where Civil Rights activist Medgar Evers was assassinated; and where 14-year-old Emmett Till was murdered for allegedly whistling at a white woman. A Black female poll watcher in Mississippi, even in the 21st century, must feel like a Bengal tiger walking into a gun store.

It’s unnerving to read about the precautions Coates felt she had to take to be safe on that trip. Pulling into a sit-down restaurant, she scans the menu “to find whatever food would easily show if someone tampered with it. Nothing with gravy or sauce or anything else that covers someone’s spit under a bun. Something fried, served so hot it would kill the bacteria, was always the best option.” At the hotel, she elects to take the elevator a few floors. “I didn’t want to risk getting trapped in the stairs.”

In some chapters, Just Pursuit reads like a personal diary, such as when mother-to-be Coates experiences her first pregnancy. Walking into a courtroom to try a case, she stops to take a call from her OB-GYN, who tells her that tests show the fetus has an elevated alpha‑fetoprotein level, indicating spina bifida.

Coates tries to steady herself. “Don’t worry,” says the physician. “You’re still within the range to terminate your pregnancy. You want to call me after your trial? We can talk more then.” Raw and vulnerable, Coates lashes out. “Do you have any idea how heartless that just was? Why would you tell me that news in that way?”

“I didn’t mean to offend you,” the physician apologizes. “I just knew you didn’t have much time and you always seem so matter-of-fact.” Up to this point in the book, the doctor is correct: Coates has presented herself as she now appears on CNN — head-of-the-class smart and tensile tough, with a bit of suffer-no-fools impatience. At that time, though, you could almost hear her echo Sojourner Truth’s lament: “Ain’t I a woman?”

Coates does not reveal how she resolved that first pregnancy, but in later chapters, she discusses giving birth to her son and being pregnant again with a daughter. Nursing mothers who work (and their husbands) will relate to her various mentions of “pumping” and “keeping at least five full bottles [of milk] during my workday” and “drinking water incessantly to keep up with my milk supply.”

Having children seems to have changed the hard-charging prosecutor. “When I first became a prosecutor, I had thought each case could represent a dot on the arc that Dr. King hoped would bend toward justice,” she writes. “Now, I wondered if I was bending the arc of justice or breaking it, and I was afraid the justice system might just break me.”

Nor does she look back on her years of public service with pride:

“[T]he collective memories of trauma are so overwhelming that I fear I might lose myself if I don’t fill my time. The violence didn’t happen to me. But it…eviscerated me…and I still grapple with the scars of secondary trauma.”

Laura Coates once believed that justice was binary, achievable, and universally understood. No longer. Her experience has shown her a grotesque, twisted system corrupted by racism that needs to be reformed. She offers no solutions, but she supports her premise in horrific detail: “[T]he pursuit of justice creates injustice.”

Crossposted with Washington Independent Review of Books

by Kitty Kelley

If “perseverance is genius in disguise,” then Bernardine Evaristo is a 22-carat gold, diamond-encrusted genius. She is the patron saint of persistence and proves it with her ninth book, Manifesto: On Never Giving Up. Having received the 2019 Booker Prize for her novel Girl, Woman, Other, Evaristo was the first Black woman and the first Black Brit to win the prize in its 50-year history. So she now has a global audience for her gospel on persevering.

In this Manifesto, she offers insights into her biracial heritage (white English mother and Black Nigerian father), her “lower class” childhood (number four of eight children) in London, where she was considered by the British class system to be “inferior, marginal, negligible,” and her personal relationships (10 years living as a lesbian followed by a heterosexual marriage).

Whether homosexual or hetero, she was always a feminist and approached her struggle for success with a winning strategy: persistence — no matter what. “I’ve always felt myself to have an inner strength, by which I mean that I’m not needy or clingy. I don’t crave approval all the time…a tough inner core has been essential to my creative survival.”

In a chapter entitled “The women and men who came and went,” Evaristo expends several pages on what she calls her “lesbian era,” because she feels the problem is not with same-sex attraction but with a homophobic society that requires queer people to justify their existence. “Put it this way: my lesbian identity was the stuffing in a heterosexual sandwich.” In 2005, on a dating website, she met her husband, whom she describes as “a white middle-class man.” She portrays their marriage as a life preserver that freed her to get on with her most important work — writing.

Readers might wince as they read of Evaristo growing up Catholic, biracial, and brown-skinned in an overwhelmingly white Protestant area, enduring the name-calling of neighbors and the dismissals of the “unholy men…the half-drunk priests” who heard her confession every week:

“In my family, we had no doubts about the hypocrisy of the Catholic clergy, and as we each reached the age of fifteen, after ten years of attending Sunday Mass, my siblings and I were given the choice whether to continue or not. One by one we left the church never to return; as did my mother in due course.”

Evaristo began her creative journey by writing poetry; after college, she started writing and acting in the Theater of Black Women, Britain’s first such company. To survive, she lived on the dole and by her wits:

“I moved into slummy old properties, ready for demolition…A futon served as both sofa and bed. Boxes for clothes. Planks of wood and bricks became a bookcase…I prided myself of being able to stuff the rest of my meager possessions — clothes, books, bedding, kitchen utensils — into a few black rubbish bags.”

Leaving the theater in her 30s, Evaristo concentrated her creative energies on writing with London as her muse, having lived so many years in the city’s various districts. Finally, at the age of 55, she bound herself to a mortgage and settled into a life of writing, writing, writing. “I had become unstoppable with my creativity…writing became my permanent home.”

Now 62, Evaristo is unsparing about her own racism. As a child, she was ashamed of her father’s very dark skin. “I remember crossing the road when I saw him walking towards me. It was internalized racism, pure and simple…Black was bad and white was good. As a child I’d have killed to be white, with long blonde hair.”

She addresses “colorism or shadism,” and notes that, “sadly,” some people choose to pass because they’re light enough to be racialized as white, such as the Hollywood stars Carol Channing and Merle Oberon.

Throughout her life, Evaristo believed in herself and her talent, even when others did not. “[This] self-belief…is the single most important thing a writer needs, especially when the encouragement we crave from others is not forthcoming.”

The last section of her book, entitled “The self, ambition, transformation, activism,” echoes the principles of Psycho-Cybernetics by Maxwell Maltz, M.D., which was published in 1960 and sold over 30 million copies. The biracial British writer and the late Jewish American physician share the same philosophy: Envision the goal, believe you can accomplish the goal, and then achieve the goal.

When Bernardine Evaristo wrote her first novel, Lara, in 1997, she wrote, in part, an affirmation about winning the Booker Prize. Twenty-two years and eight books later, she finally received it. Dreams really do come true.

Crossposted with Washington Independent Review of Books

by Kitty Kelley

In 1999, the Brooklyn Museum exploded a bombshell on the battlefield of artistic freedom and First Amendment rights with its exhibition “Sensation: Young British Artists from the Saatchi Collection,” which the museum’s director, Arnold Lehman, brought to Brooklyn from the Royal Academy in London.

Among the other provocative paintings in the exhibition, artist Chris Ofili’s “The Holy Virgin Mary” created an uproar at city hall. The painting depicted a Black Madonna with one breast created from shellacked and carefully decorated elephant dung. The painting outraged New York’s mayor, Rudy Giuliani, who tried to shut down the exhibit, fire the board and director, and throw the museum out of its historic building because he viewed the display as “sick” and “disgusting.”

The museum’s trustees, represented by attorney and First Amendment expert Floyd Abrams, sued Giuliani in federal court to stop his attacks. The exhibition and lawsuit dominated New York’s front pages and the international media for six months. In the end, the museum was victorious. Now, Lehman retells this story — still relevant today — in a book appropriately titled in all caps, SENSATION: THE MADONNA, THE MAYOR, THE MEDIA, AND THE FIRST AMENDMENT.

You’d been a museum director for 25 years when you brought “Sensation” to Brooklyn. The exhibition had already occasioned outrage in the U.K. Did you anticipate the same reaction in the U.S.?

I knew that “Sensation” included numerous strong, exciting, and provocative works, most not seen in the U.S., which was the reason I wanted it for the museum. However, at the Royal Academy in London, it was one painting, “MYRA,” that was the cause of the uproar. “MYRA” went almost unnoticed in New York. “The Holy Virgin Mary,” on the other hand, which the British media hardly mentioned, was the core of the frenzied media and legal battle in New York. However, I believe the outrage over the Madonna was planned and politically motivated.

What does the extreme reaction say about museumgoers in both countries?

“All politics” is often said to be local. Similarly, without the U.K. backstory of “MYRA” being a serial child-murderer, visitors to “Sensation” at Brooklyn only saw a huge portrait of a woman. For “The Holy Virgin Mary,” a backstory was created and incited by the conservative media to support Mayor Giuliani’s early race against Hillary Clinton for the New York Senate. The vast majority of New Yorkers approved of the Madonna despite the media frenzy, while the painting was never the center of any attention in London. In this instance, I believe the focus for the audiences was information rather than any cultural differences.

How much were the Brooklyn Museum’s legal fees, given that Mayor Giuliani opted to settle the case rather than wait for the opinion of the appeals court?

Even with a very substantial discount from our extraordinary attorneys, Floyd Abrams and Susan Buckley, preparing and prosecuting a First Amendment case in federal District Court [that was] continued in the court of appeals…together with the required depositions, court appearances, and a multitude of meetings, was a very time-consuming and costly undertaking. The museum raised funds from its dedicated trustees, engaged foundations, and other supporters to underwrite these costs.

Why did it take you two decades to write SENSATION and document the cultural clash?

Although many tried to “unseat” me, with the total support of our trustees, I remained director at the Brooklyn Museum for almost 16 more years. During that period, although I had always thought about writing a book on “Sensation,” I was both immensely busy and also believed strongly that it was inappropriate to write such a personal narrative about the institution I was then serving. With the beginning of the Trump Administration, I became increasingly concerned about the issues and challenges to the freedom of expression, which was critical to the very core of the battle over “Sensation.” It was at that moment I knew I had to write and publish SENSATION as soon as possible because of its relevance. The monumental undertaking of reviewing all the original research materials, much of which had been collected by my wife, took immense time. Hiring a researcher (which was made possible by a grant from the Ford Foundation), finding a publisher at the beginning of covid, and the actual writing, in total, took over three years.

Why is SENSATION being published in Britain and not the U.S.?

I approached several American publishers whose books I admired during my career. While there was enthusiasm expressed for the book’s concept, a mixture of current politics and the unknown stemming from the advent of covid were, I believed, deterrents to an agreement. Along with the others, I sent an outline and two unfinished chapters to London’s Merrell publishers, who had worked earlier with us at the Brooklyn Museum on several excellent publication projects. Hugh Merrell responded almost immediately that he had read everything I sent him, and despite being only art-book publishers, he offered to work with me on the book. My partnership with the incredible editor and designer assigned by Merrell to SENSATION was beyond superb. And the tangible book, amazing in every detail, is the result. SENSATION is a narrative or memoir, but it was produced as an elegant art book!

Crossposted with Washington Independent Review of Books

Kitty Kelley interviews the author of Robert E. Lee and Me, October 29, 2021

Biographers International Organization Podcast #76