With candor and humor, Connie Chung shares the highs and lows of her trailblazing career as a journalist in her invigorating memoir, Connie.
With candor and humor, Connie Chung shares the highs and lows of her trailblazing career as a journalist in her invigorating memoir, Connie.
Oliver Radclyffe’s Frighten the Horses is a powerful standout among the burgeoning subgenre of gender transition memoirs.
Oliver Radclyffe’s Frighten the Horses is a powerful standout among the burgeoning subgenre of gender transition memoirs.
Emily Witt’s sharp, deeply personal memoir, Health and Safety, invites us to relive a tumultuous era in American history through the eyes of a keen observer.
Emily Witt’s sharp, deeply personal memoir, Health and Safety, invites us to relive a tumultuous era in American history through the eyes of a keen observer.
Previous
Next

All Nonfiction Coverage

Filter by genre
Interview by

Contrary to what grade-school legends would have us believe, the first Thanksgiving was not celebrated in late November; most likely it occurred at the end of September or in very early October. And, with the arrival of the Indian leader Massasoit and hundreds of his followers "bearing five freshly killed deer," the event "soon became an overwhelming Native celebration," rather than the pious English festival we commemorate today.

This is one of many choice tidbits in Nathaniel Philbrick's absorbing and exceedingly well researched history of the Plymouth Colony. In fact, Mayflower: A Story of Courage, Community, and War is so interesting in so many ways that readers will come away from it with a profoundly different understanding – and deeper appreciation – of the people (Native Americans and colonists, alike) and events that have been flattened over the course of almost three centuries into a lifeless national mythology.

"I think it's really important that we see the past as a lived past rather than something that was fated to be," Philbrick says during a call to Providence, Rhode Island. Philbrick is on his way home to Nantucket Island, where he and his wife, a third-generation Cape Codder, and their two children have lived for almost 20 years. "We look at this story as if the outcome had been determined from the very beginning, but that is not how they saw it. So with this book I was really trying to recreate the sense of how precarious it was."

Philbrick won the National Book Award in 2000 for In the Heart of the Sea, his harrowing account of the 1820 sinking of the whaling ship Essex and the struggle of its crew to survive. Ever since, he says, he has "been writing survival stories in one way another. What fascinated me about this story was that this was a survival story in three layers."

After many delays and a horrible sea journey, the Pilgrims arrived at the wrong time of year on a coast where three years before a thriving, populous Native community had been decimated by a plague brought to the Americas by European fisherman. The first year after the Mayflower landed was a physical and psychological struggle for survival for both Natives and Pilgrims alike, as Philbrick shows in riveting detail. The shrewd political calculations of Chief Massasoit and his remarkable relationship with Edward Winslow eventually laid the groundwork for a half-century of amazing – if hard-won – accommodation between settlers and Natives, the second layer of Philbrick's survival tale. But the succeeding generations of Pilgrims and Natives, grown greedy and comfortable on one side and resentful and hard-pressed on the other, moved inexorably toward the largely forgotten and incredibly brutal "King Philip's War," which, Philbrick argues convincingly, announced the tragic, archetypal pattern of conflict that continental expansion would follow for the next two centuries.

As guides through this lesser-known but fascinating era, Philbrick follows two dominant, articulate personalities: William Bradford, the leader of the first generation of Pilgrims, and William Church, a prescient and "gleefully impious" representative of the third generation of colonists. Philbrick is equally good at illuminating the character of the other major players in this history – Miles Standish, Edward and Josiah Winslow, Mary Rowlandson, Squanto, Chief Massasoit and his son, King Philip – none of whom is quite the paragon or villain portrayed in the standard national mythologies.

"My education as an elementary and high school student was that the Pilgrims were the example of everything that was good about America. Then I went to college and the story was that the evil Europeans annihilated the innocent Native Americans," Philbrick says. "But as I delved into this on my own, I saw that this was a tragedy in terms of the overarching dynamic. They all were people who were struggling heroically (or in a cowardly fashion) and who had a lot to say about what was happening to them, rather than being powerless victims."

Philbrick developed his informative, eminently readable, person-centered approach to writing history in several earlier books about the history of Nantucket and of seafaring. An English major at Brown, Philbrick learned to write during a stint at the magazine Sailing World. He had been a competitive sailboat racer as a teenager and in college, a passion he says he developed on a manmade lake near "that most nautical of places, Pittsburgh, Pennsylvania," where his father was a university professor. Philbrick met his wife when both were teaching sailing on Cape Cod.

While it took him three years to compose Mayflower, Philbrick says he actually worked on the book for almost 13 years. "When I was writing my first history of Nantucket, I realized that if I was going to understand its origins as an English settlement I would have to go back to the Pilgrims and the Indians," he says. He found that the English side was well documented. But to understand the Native side he had to "look at oral traditions, archeology, folklore. I realized that exploring the Native American past requires a whole different side of the brain almost, a whole different discipline. I took a couple of years just coming up to speed in that way."

The result of this lengthy inquiry is a history that reads like tragedy, that is populated by fallible humans on all sides and that resounds with what-if moments. Philbrick does not see as inevitable this first major war between Indians and the English (in which the English lost eight percent of their male population and Native Americans of southern New England lost 60 to 80 percent of its people, including those sold into slavery by the Puritans). But once it did happen, King Philip's War set the pattern of conflict for centuries to come.

"If Josiah Winslow and Philip had only decided to just talk, as their fathers had, we would have had a profoundly different New England history. But it didn't happen," Philbrick says. "The Pilgrims didn't come here on the Mayflower to empire build or to remove a population, but in the wake of that war, that's exactly what they did."

Mayflower: A Story of Courage, Community and War is one of the best histories of unintended consequences you're ever likely to read.

Alden Mudge writes from Oakland, California.

 

Contrary to what grade-school legends would have us believe, the first Thanksgiving was not celebrated in late November; most likely it occurred at the end of September or in very early October. And, with the arrival of the Indian leader Massasoit and hundreds of his followers "bearing five freshly killed deer," the event "soon became […]
Interview by

America’s Founding Fathers tackled many thorny questions from the pursuit of happiness to the separation of powers but they never had to confront such controversial issues as stem cell research, Social Security or campaign finance reform. With the Founders held in high esteem, and modern politicians viewed with considerable contempt, it’s not surprising that many Americans wonder how the men who formed our nation’s government might handle today’s most difficult problems.

Journalist and historian Richard Brookhiser offers a witty and thought-provoking response in What Would the Founders Do? Their Questions, Our Answers. Plumbing the Founders’ recorded musings, Brookhiser speculates on such matters as how Alexander Hamilton would react to Hurricane Katrina (he would expect city, state and federal executives to demonstrate energy in their response) and what Thomas Jefferson might think of assisted suicide (he would support it). It quickly becomes apparent that Brookhiser, while respectful of the Founders, is no sacred textualist. He is clearly more interested in spotlighting provocative ideas than he is in presenting correct ones.

Speaking from his home in New York, Brookhiser says his inspiration for the book came from people asking him WWFD questions every time he spoke about the Founders. When he told his wife that one of his lectures on Alexander Hamilton, his historical specialty, had sparked four such inquiries, she suggested that they should be the subject of his next book. (His earlier books include Rules of Civility, Founding Father, Alexander Hamilton and The Adamses.) I tried to find as realistic answers as I could, he explains. I think the only time I’m close to being totally tongue-in-cheek is [with] the one on campaign finance reform where I say it’s a wonder that James Madison and Gouverneur Morris ever got elected to anything. I’ve been a political journalist for almost 30 years for National Review, Brookhiser explains. The way I generated the questions [was that] I just thought, What am I writing about with my National Review hat on? All the editorials that I and my colleagues write, what are they all about? . . . So I said, OK, pitch all these balls to the Founders and see how they swing at them. It was like writing 60 articles. Brookhiser rejects the notion that the Founders were all over the map philosophically and thus unlikely to be of a single mind about anything. I would say that were often all over the map politically, but I wouldn’t say [they were] philosophically. There were certain core principles that they all agreed on. It’s very interesting that the Continental Congress made lots of changes in Jefferson’s draft of the Declaration [of Independence]. But they did not touch what we regard as the most famous parts of it the opening. Hardly anything was done to that. People look to the Founders for guidance, Brookhiser thinks, because America is still a young country. They’re not that far away, he says. They’re closer than Charlemagne. And yet we have old institutions. The presidency goes back to 1789; Congress goes back to 1774. You compare that to five French republics and two empires and two kingdoms, and we have lots of continuity. Maybe the most important thing is that the Founders were politicians, and they were recognizably like modern politicians. They had to run for office. They had to say what they thought. They debated with each other. Another strand of relevance, Brookhiser notes, was that the Founders were future-oriented. They were very mindful of working for posterity and of the world watching them as examples. This was a little country, on the edge of things. But when they’re at the Constitutional Convention, Elbridge Gerry said, If we fail, we will disappoint the world.’ In an appendix, Brookhiser has some fun with the Founders when he imagines them as modern-day bloggers. The industrious Ben Franklin has three blogs Dirtyoldman, Keytech and YouSucceed to present his sides as a sensualist, scientist and self-help guru. Sam Adams blogs under BeerandLiberty. If these guys were alive now, he says, of course they’d be blogging. . . . The Patriot Act forbids me from telling you how I’m in contact with the Founders, but be assured that I am. If the author can fathom what the Founders would think about intelligent design, then it seems fair to ask him how they’d view this book about them. I think none of them would quarrel with [me] trying to do it in a popular way, he says. Almost all of them wrote journalism. Franklin would like it to the extent that it’s humorous and pulling people’s legs. In terms of what I’m saying about their thoughts, I’m sure I’d get a lot of quarrels because I’m bluntly presenting quarrels that they had. Jefferson would say, Why are you presenting Hamilton’s argument so well? I mean, really, come on!‘ And vice versa. So I’m sure I’d get a lot of that. In a way, I’m glad they’re dead. I’m sure I’d be fielding a lot of correspondence. Edward Morris is a Nashville-based writer.

America’s Founding Fathers tackled many thorny questions from the pursuit of happiness to the separation of powers but they never had to confront such controversial issues as stem cell research, Social Security or campaign finance reform. With the Founders held in high esteem, and modern politicians viewed with considerable contempt, it’s not surprising that many […]
Interview by

With the new century, classical music is igniting more and more curiosity and wonderstruck devotion on the part of an ever-growing number of listeners. The statement sounds like magical thinking, but it’s borne out by facts and figures: rising classical CD and iTunes sales, the construction of new concert halls across the country, the level of renewed interest in music by living composers, and in timely response to all these events the appearance of Ted Libbey’s exceptionally well-crafted NPR Listener’s Encyclopedia of Classical Music (also available in hardcover), the long-gestated, vastly ambitious companion to his popular NPR Guide to Building a Classical CD Collection.

In an interview with BookPage, Libbey characterized the burgeoning audience for his new, thousand-page guide: As the title suggests, this book belongs to listeners people who want to learn more about the music they like and be led toward new discoveries. As former music critic for the New York Times and longtime presenter on NPR’s Performance Today, Libbey understands the needs of this readership better than anyone else in the business.

Libbey’s decisions on what to include in the Encyclopedia and what to leave out took considerable soul-searching and countless winnowings. In the end, his selections reflect a solid practicality: I used the repertory of concert programs and available recordings as my guide, explains the author. There needs to be a way for the reader to follow up, a chance that the music might be heard. The generosity of subjects composers, individual pieces, genres, performers, definitions of musical terminology extends to the marvelously subjective language of individual entries. The author’s personal judgments on composers and their masterworks make for the liveliest kind of reading. I wanted to provide an assessment, not just a recitation of facts, he says. Still, there are very few Ôknocks’ in the book. Indeed, Libbey’s prose achieves its most vivid lyricism, as well as its definitive authority, in praise of certain composers. Of Anton Bruckner’s Symphony No. 7, he writes, The mystical tranquility and paroxysmal ecstasy he expressed in the slow movement . . . remain unique in the symphonic canon, as does the desolate, mysterious beauty of the Ninth. Libbey smiles when this passage comes up in our conversation. My father who played an important role in inspiring my interest in music when I was a teenager is now reading the book from cover to cover. He’s made it to the end of the B’s and Bruckner stands out for him as someone who must be investigated. Clearly, for Libbey, introducing Bruckner to this particular, very careful reader signifies a special fulfillment of the book’s purpose a reimbursement in the same coin for all the music his father gave to him when he was a boy.

The NPR Listener’s Encyclopedia of Classical Music brings together two further glories, neither one of which is currently available in any other publication. First is the beguiling and immensely instructive set of images that accompany the text, chosen by Libbey himself. As much as anything in his writing, the presence of so many delightful and historic photographs demonstrates Libbey’s enormous range of knowledge.

Second, and most thrilling of all, is the creation of a website developed jointly by Workman Publishing and Naxos Records featuring 525 recorded examples of musical works and terms discussed in the book. Peppered on almost every page of the Encyclopedia are the little disc symbols referring the reader to these audio links. As Libbey gleefully observes, It’s like giving the reader a 50-CD library to take home when they buy the book. Why such a groundswell in the classical music market in recent years? Could it be that the beauty and spiritual complexity of this repertory feed a hunger newly felt in the 21st century? It is certainly the case that the things we come to love best are often the things we can never fully understand. Ted Libbey is the best possible facilitator toward the impossible understanding of great music, all the more trustworthy because of his loving regard for what he had to exclude from this book. New discoveries of little-known masterpieces that’s the next book, promises Libbey. As our listening becomes curiouser and curiouser (thanks to him), we shall hold him to that promise. Michael Alec Rose is a composer who teaches at Vanderbilt’s Blair School of Music.

With the new century, classical music is igniting more and more curiosity and wonderstruck devotion on the part of an ever-growing number of listeners. The statement sounds like magical thinking, but it’s borne out by facts and figures: rising classical CD and iTunes sales, the construction of new concert halls across the country, the level […]
Interview by

Adam Gopnik arrived in New York City from Montreal in 1980 "with a satchel full of ambitions." First among them was the dream of becoming a songwriter. A close second was the desire to write for The New Yorker. He pursued both while officially being in New York to do graduate work in art history at the Institute of Fine Arts.

The songwriting career, alas, remains an elusive brass ring for Gopnik. But after six years of sitting in a 9-by-11 basement apartment on East 87th Street that he shared with his then-girlfriend-now-wife, Martha, hammering out weekly pieces that he would submit to the Talk of the Town section, Gopnik "finally, finally" broke in at The New Yorker in 1986. He soon became one of the magazine’s pre-eminent essayists.

"For me what makes the essay such a miraculous form," Gopnik says during a call to his family’s newer, larger, non-basement Upper East side apartment, "is that it’s the only form where ideas and emotions walk hand-in-hand. The novel or short story can be a highly intellectual form, but . . . when a work of fiction turns toward argument, we feel it’s a distraction from the drama. Similarly if a straight review takes too sharp a turn into the personal narrative, it feels extraneous. But with the essay, that’s exactly what you’re trying to do – find a subject that simultaneously sets off a chain of thought and sets off an association of feeling. When an essay works successfully, it is because it manages to fire on both sets of neurons at once."

In 1995 Gopnik went with Martha and their son, Luke, to be the magazine’s correspondent in Paris. Upon his return to New York in 2000, he published Paris to the Moon, a series of linked essays interweaving previously published and recently written work, a collection that most definitely hit both sets of neurons and is, quite simply, one of the most insightful and amusing books about France available today. Now, six years later, Gopnik returns with Through the Children’s Gate: A Home in New York, a book quite different in subject and tonal shadings from Paris but which is likely to rival it in readers’ estimations.

"I wanted very much for the book to have a particular kind of arc," Gopnik says. "An arc of excitement at homecoming, then loss, and then recovery." The five years he writes about include the devastating September 11 terrorist attacks and the return of the cancer which would prove fatal to Gopnik’s close friend Kirk Varnedoe, art historian and curator of painting and art at the Museum of Modern Art. "I hope that the me in this book, the narrator, goes from being happy to sad to a little bit wiser," Gopnik says.

Gopnik’s subjects here range from a hilarious remembrance of his former therapist, to observations on the strange effects of feral parakeets in Flatbush and telecom switch hotels in Manhattan on the power grid, to what is almost a hymn for 9/11, to the diminishment of the New York department store, once "the cathedral of material aspiration." But the bulk of the essays are given over to very funny and profoundly moving meditations on family life, and particularly on the lives of his son Luke and daughter Olivia as they grow up in New York over these five years.

"As the book makes plain, I like family life," Gopnik says. " I like living amongst kids and I’ve never found that hubbub an impediment to working." In fact, Gopnik admits to "an excess of nervous energy and unless I’ve got some source of noise that can siphon off that nervous energy so that whatever intellectual energy I have can go to work, I get very restless." So while working on this book, he set up behind a screen outside the door of his daughter Olivia’s bedroom, where he was "sort of the forgotten man in the house, listening to the children chatting in the kitchen nearby."

Gopnik says the biggest surprise in returning to New York was to find "how well-suited to children it is. I think it’s probably always been reasonably well-suited but it seems particularly so now. And I’m aware, as I say in the book, that many people find that appalling because they feel the city has become suburban and no longer has the kind of louche creative energy that it did when we arrived a quarter century ago. There’s some truth in that. Like everything else in life, New York is a series of gains and losses and question marks, not simple exclamation points."

The public and private losses are almost overwhelming during this period in New York. But so are the adaptations to loss. Led by son Luke, for example, the family – including the skeptical author himself – responds to the 9/11 attacks by becoming loyal Yankee fans. And in a brilliant arrangement of essays that pairs a seriocomic piece about the death of Olivia’s fish Bluie ("Death of a Fish") and a marvelous paean to Kirk Varnedoe ("Last of the Metrozoids") Gopnik actually moves both himself and his readers toward wisdom.

"My friend Kirk Varnedoe is in some sense the hero of this book," Gopnik says. "By brutal coincidence he had a recurrence of cancer just before 9/11 and in effect knew he was dying from that Fall on. On the day that 9/11 happened, he said, here is something that we can experience either as an injury or as an imagery. If we experience it as an injury, we will experience it as tragedy and grief. And tragedy and grief are things we can recover from. But if we experience it as an imagery, it will simply run on a recurring loop and never end.

"I am as haunted by what happened as anybody else is, but mortality is the circumstance in which we live, whether it’s the horrible murderous mortality of 9/11 or the comic mortality of poor Bluie or the slow death of a dear friend. In each case we cannot help but mourn, and we cannot help but begin again. If there’s a life lesson in the book – and my children always accuse me of offering far too many life lessons – I hope that’s it."

Alden Mudge fled New York City in 1989 for the left coast, and arrived just in time for the Loma Prieta earthquake.

Adam Gopnik arrived in New York City from Montreal in 1980 "with a satchel full of ambitions." First among them was the dream of becoming a songwriter. A close second was the desire to write for The New Yorker. He pursued both while officially being in New York to do graduate work in art history […]
Interview by

Big grins will break out on faces across America when readers check out the diet menus devised by Mireille Guiliano for French Women for All Seasons: A Year of Secrets, Recipes and Pleasure, the sequel to her surprise bestseller, French Women Don’t Get Fat.

Chocolate, champagne, cauliflower gratin, duck breasts with honey glaze, pork chops with apples this isn’t crash dieting, but a liberating philosophy that imbues life and eating with joy, satisfaction and sensory sensation. Guiliano has already received thousands of e-mails describing how her approach has created newly minted Francophiles with a fresh way of seeing the world.

"The best compliment is from friends who say the book is like having a conversation with you," Guiliano says with an accent full of the energy and charm that fill her books. "I write like I speak . . . and I speak my mind."   Fans of the first book will recall that Guiliano gorged on pastries and became chubby while in America as an exchange student, and began her quest to lose the weight after a blunt comment from her father ("You look like a sack of potatoes") upon her return home to France.

Enlisting the help of family physician Dr. Miracle, Guiliano reacquainted herself with fresh, homemade food and revisited the tenets her mother and grandmother taught her about tiny indulgences. She eventually returned, svelte and stylish, to the U.S., married an American and landed a job as CEO of Veuve Clicquot, the venerable champagne house established during the French Revolution with Barbe-Nicole Clicquot Ponsardin, an equally impressive female, at the helm. Before Guiliano ever thought of writing a book, however, women often noted that while she traveled the world, entertained constantly and was passionate about food and wine, she didn’t become fat. Not wanting to share her personal history ("I couldn’t say been there done that," she says) she would instead shrug in the French way and say offhandedly that French women don’t get fat.

After her co-workers and friends begged her for more specific advice and began to lose weight with her approach, a Francophile friend finally persuaded Guiliano over lunch in a Paris café to sit down and write about what she had taught them.

French Women for All Seasons presents more easy recipes from family and friends featuring fresh, seasonal ingredients, along with Guiliano’s recommendations for adding gentle exercise and simple, sensual pleasures throughout the day, from dressing and working to relaxing, eating and entertaining (she even shares the secrets of tying scarves à la Francaise).

"The first one is about joie de vivre,"  Guiliano says of her books,  "the second about the art of living." Guiliano’s cheerful confidence and flair have made her popular on the speaking circuit where she presents her ideas to women’s groups and college students, and continues to inspire readers of both sexes and all ages to shed pounds and tons of anxiety. "I’ve learned a lot since the first book came out,"  she says.  "People like being made aware of quality and freshness." Call it natural female suspicion, or looking for evidence of theory in action, but women are now scrutinizing every detail of Guiliano’s life ("Oh, yes, it’s crazy,"  she says) as she moves from continent to continent, from green market to café to charity cocktail function, watching what she buys and eats for proof that her secrets really work.

And it does: The balance of indulgences and compensations can lead to good health, and she often hears comments that "it’s a shame that it had to come from someone outside the culture,"  Guiliano says. Americans apparently needed to hear the message from someone representing a culture known for its rigorous dedication to aesthetics flabby and fat is something the French won’t abide, even in their pigeons. "If I were a sociologist or anthropologist, I could write about it,"  she laughs. But Guiliano somehow manages to turn unrealistic European standards into a gentle, non-recriminatory exercise in living well in her two sensible guides.  "When you desire it, eat a rich crepe take the time to savor it and eat it with pleasure. Eating on autopilot is the biggest no-no,"  Guiliano says.  "Don’t deprive your body, because we all know everything is in the mind."

"And,"  she finishes with characteristic, no-nonsense flair, "it’s just not necessary."  

Deanna Larson writes from Nashville.

 

Big grins will break out on faces across America when readers check out the diet menus devised by Mireille Guiliano for French Women for All Seasons: A Year of Secrets, Recipes and Pleasure, the sequel to her surprise bestseller, French Women Don’t Get Fat. Chocolate, champagne, cauliflower gratin, duck breasts with honey glaze, pork chops […]
Interview by

Kareem Abdul-Jabbar became the greatest scorer in the history of professional basketball by perfecting a game based on finesse, agility and phenomenal shot-making technique rather than brute force or physical bulk. Since his retirement 18 years ago, he’s become a fine historian and narrative writer, delivering valuable works on subjects ranging from overlooked African-American World War II veterans to the year he spent coaching basketball on a Native American reservation. Just as his game on the court had a stylized and distinctive flavor, Abdul-Jabbar’s books have always done more than simply stating facts by offering his personal insights on events and personalities he’s found inspiring.

That trend continues in his latest book, On the Shoulders of Giants: My Journey Through the Harlem Renaissance. Rather than giving readers an academic treatise on this important cultural movement, Abdul-Jabbar turns the book into both a memoir and a reflection on the debt he owes to the figures who came before him. Focusing on basketball, jazz and writing, he shows how key people and developments in these areas influenced his life. One of the reasons I chose the Harlem Renaissance period is that it came on the heels of one of the great migrations of black people in America, Abdul-Jabbar says in an interview from Los Angeles, where he’s working as an assistant coach for the Lakers. I also wanted to show people the difference between the fantasy world of Harlem that’s often depicted in films and the real community, the place where people were living and working, and where remarkable achievements and cultural and political history was being created. When you consider that what happened in Harlem during the ’20s and ’30s came during an era when KKK membership was climbing and a major backlash was occurring, it’s even more incredible. Though he’s been a student of history, particularly African-American history, since his days as an undergraduate at UCLA when he was known as Lew Alcindor, Abdul-Jabbar acknowledges that he made some unexpected findings while doing research for the book. I was pretty surprised to discover that the great bandleader Cab Calloway actually tried out for and made the Harlem Globetrotters, he says. Things would have been pretty different had he decided to play basketball, but it’s good he chose music. The book’s early sections detail the sordid history and ugly treatment blacks suffered in the pre-Renaissance period and also outline the scope of the migration from both the South and the Caribbean to Harlem during the early 20th century. In a call-and-response format, co-writer Raymond Obstfeld contributes chapters that summarize the history of the era. Then Abdul-Jabbar shifts the treatment to specific periods and people, spotlighting his artistic and athletic heroes, such as writers Langston Hughes, James Weldon Johnson, Claude McKay and Chester Himes, and the effect they had on him from time he was born in Harlem in 1947.

A key section of the book considers the achievements of the New York Rens, a basketball team named for Harlem’s Renaissance Casino and Ballroom, whose 1939 World Championship made them the first black team to win any pro title. Ironically, Abdul-Jabbar himself originally planned to be a baseball player rather than a basketball player. Because baseball was the predominant sport for African-Americans prior to the 1960s, Abdul-Jabbar says, the exploits of many great black basketball players were largely forgotten.

There was a time when baseball was the main sport among African-Americans, which is why there’s so much written about the Negro Leagues, Abdul-Jabbar said. But without the Rens and other great black teams and players from that period, there’s a major gap in the knowledge that many people have about the growth of basketball in the nation.

Another thing that so many people overlook about the Harlem Renaissance was the boom it triggered in terms of writing and publishing, Abdul-Jabbar adds. These people were writing and publishing poetry, essays, short stories and books, developing an artistic tradition, yet there were still people in America doubting the humanity of black people. Their resilience, their versatility, their awareness of the importance of art as a political and personal weapon that could be used to help better everyone’s lives is something that has always resonated with me. I think some people don’t understand how the example of the Harlem Renaissance writers is still influential and important in contemporary times. But so much of what came later, from the civil rights movement to the black arts explosion, can be traced to the Harlem Renaissance. The son of a jazz musician, Abdul-Jabbar devotes plenty of space to instrumentalists, vocalists and composers in On the Shoulders of Giants. The young Alcindor knew such immortals as pianist Thelonious Monk and trumpeter Dizzy Gillespie and has since become a prominent advocate of jazz. He finds links between that style’s expressiveness and flair and basketball, while also establishing a connection between the improvisatory elements of jazz and those of rap. One of the things that I hope young people understand is that nothing begins in a vacuum, Abdul-Jabbar said. Without people like Duke Ellington, John Coltrane, Miles Davis and others, there wouldn’t be any subsequent musical forms. Their emphasis on individuality, on never playing something the same way twice, is a vital part of the African-American heritage and is no different than what’s happening in today’s music.

Perhaps the greatest lesson of the Harlem Renaissance is how so many people’s efforts, whether in literature or sports, were done on behalf of others, Abdul-Jabbar notes. Langston Hughes or the Rens or Duke Ellington truly felt what they were doing was vital to improving the lot of all African-Americans and ultimately was also part of helping America become a more just society for everyone. They weren’t trying to get rich, they were trying to make a difference.

Kareem Abdul-Jabbar became the greatest scorer in the history of professional basketball by perfecting a game based on finesse, agility and phenomenal shot-making technique rather than brute force or physical bulk. Since his retirement 18 years ago, he’s become a fine historian and narrative writer, delivering valuable works on subjects ranging from overlooked African-American World […]

Want more BookPage?

Stay on top of new releases: Sign up for our newsletter to receive reading recommendations in your favorite genres.

Trending Nonfiction

Author Interviews

Recent Features