Ladies of the Rachmaninoff Eyes

Regular price €18.50
1950s
A01=Henry Van Dyke
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Author_Henry Van Dyke
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Black author
Black authors
Black writer
Black writers
Blood of Strawberries
Brandon Taylor
burlesque
camp
Carson McCullers
Category1=Fiction
Category=FA
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Category=FV
comedy
comic novel
Connor
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Evelyn Waugh
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fifties
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Fran Ross
ghost
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Jewish and Black relations
Language_English
lgbtq fiction:African American fiction:20th century fiction:POC writers:1960s novels:midcentury fiction
manners
Michigan
midcentury novels
Midwestern fiction
Montgomery Alabama
Montgomery Bus Boycott
novels set in the 1950s
novels set in the Midwest
Oreo
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PG Wodehouse:Midwest
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Queer:Queer Black authors:gay ficiton
racial tension
Ronald Firbank
rural
seance
seances
softlaunch
Tennessee Williams
Truman Capote
warlock
white privilege

Product details

  • ISBN 9781946022882
  • Dimensions: 127 x 216mm
  • Publication Date: 18 Mar 2024
  • Publisher: McNally Jackson Books
  • Publication City/Country: US
  • Product Form: Paperback
  • Language: English
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In a small Michigan town, in the late 1950s, the widow Etta Klein - wealthy and Jewish - has for more than thirty years relied for aid, comfort, and companionship on her Black housekeeper Harriet Gibbs. Between “Aunt Harry” and Etta, a relationship has developed that is closer than a friendship, yet not quite a marriage. They are inseparable, at once absurdly unequal and defined by a comic codependence. Forever mourning the early death of her favorite son, Sargent, Etta has all but adopted Aunt Harry’s nephew, the precocious, gay seventeen-year-old Oliver, who has been raised by both women. Oliver is facing down his departure to college - and fending off the advances of Etta’s cook, Nella Mae - when the household is disrupted by the arrival of a self-proclaimed “warlock,” one Maurice LeFleur, who has convinced Etta and Harry that he might be able to contact Sargent in the afterlife . . . Ladies of the Rachmaninoff Eyes was the debut of the extraordinary Henry Van Dyke, whose witty and outrageous novels look back to the sparkling, elaborate comedies of Ronald Firbank and forward to postmodern burlesques like Fran Ross’s Oreo. There is nothing else quite like them in American fiction.