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A Lesson Before D...
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Begging to be Black
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Antjie Krog
“By not dealing with past human rights violations, we are not simply protecting the perpetrators' trivial old age ; we are thereby ripping the foundations of justice from beneath new generations.”
Antjie Krog, Country of My Skull: Guilt, Sorrow, and the Limits of Forgiveness in the New South Africa

Lydia Millet
“We put the dogs in a play and invited the parents, since there was no one else to be an audience. But the pets were poorly trained and failed to take direction. There were two soldiers and a fancy lady we’d dressed in a frilly padded bra. The soldiers were cowards. Deserters, basically. They ran away when we issued the battle cry. (A blaring klaxon. It went hoh-onk.) The lady urinated. “Oh, poor old thing, she has a nervous bladder!” exclaimed someone’s chubby mother. “Is that a Persian rug?” Whose mother was it? Unclear. No one would cop to it, of course. We canceled the performance. “Admit it, that was your mother,” said a kid named Rafe to a kid named Sukey, when the parents had filed out. Some of their goblets, highball glasses, and beer bottles were completely empty. Drained. Those parents were in a hurry, then. “No way,” said Sukey firmly, and shook her head. “Then who is your mother? The one with the big ass? Or the one with the clubfoot?” “Neither,” said Sukey. “So fuck you.” THE GREAT HOUSE had been built by robber barons in the nineteenth century, a palatial retreat for the green months. Our parents, those so-called figures of authority, roamed its rooms in vague circuits beneath the broad beams, their objectives murky. And of no general interest.”
Lydia Millet, A Children's Bible

Lydia Millet
“They liked to drink: it was their hobby, or—said one of us—maybe a form of worship. They drank wine and beer and whiskey and gin. Also tequila, rum, and vodka. At midday they called it the hair of the dog. It seemed to keep them contented. Or going, at least. In the evenings they assembled to eat food and drink more. Dinner was the only meal we had to attend, and even that we resented. They sat us down and talked about nothing. They aimed their conversation like a dull gray beam. It hit us and lulled us into a stupor. What they said was so boring it filled us with frustration, and after more minutes, rage. Didn’t they know there were urgent subjects? Questions that needed to be asked? If one of us said something serious, they dismissed it. MayIpleasebeexcused. Later the talk grew louder. Freed of our influence, some of them emitted sudden, harsh barks.”
Lydia Millet, A Children's Bible

Tennessee Williams
“I followed, from then on, in my father's footsteps, attempting to find in motion what was lost in space.”
Tennessee Williams, The Glass Menagerie

Dionne Brand
“The Door of No Return - real and metaphoric as some places are, mythic to those of us who are scattered in the Americas today. To have one’s belonging lodged in a metaphor is voluptuous intrigue; to inhabit a trope; to be a kind of fiction. To live in the Black Diaspora I think is to live in a fiction - a creation of empires, and also self-creation. It is to be being living inside and outside herself. It is to apprehend the the sign one makes yet to be unable to escape it except in radiant moments of ordinariness made like art. To be a fiction in search of its most resonant metaphor then is even more intriguing.”
Dionne Brand, A Map to the Door of No Return

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