Amazon.com Review
In
The Autobiography of Malcolm X and
Roots, Alex Haley showed a masterful talent for dramatizing the triumphs and tragedies of African Americans and their families. This book--the basis for a 1998 CBS miniseries--was "cowritten" by David Stevens after Haley's death in 1992, telling the story of Flora, a black girl born to a sharecropping family in Mississippi who later moves to Memphis, Tennessee, where her husband, Booker, is killed by white landowners. Her son, Willie, moves to Chicago, fights in World War II, and marries, while Flora adopts her niece, Ruthauna, who later goes to college.
Those events in Mama Flora's life span the gap between 1912 and the modern era, and along the way, Haley depicts the Civil Rights-Black Power paradigm that caused disagreements in many black families. But, ultimately what Haley shows through Flora is the undying Afro-American belief in moral justice, and an ancestral drive for freedom that, in the case of Mama Flora's family, is strong enough even to withstand the ravages of drug abuse plaguing contemporary American families. --Eugene Holley Jr.
--This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
Somewhere along the line, the late Haley (Roots) or his collaborator Stevens (Queen) made the calculated decision to sacrifice the warm, personal and often sentimental story of a black sharecropper's life for the more global and sensational sweep of roughly three quarters of a century of African American history. And therein lies just one of the failings of this posthumous novel, which traces the Zelig-like descendants of a larger-than-life matriarch, Mama Flora, from 1920 to the present day. After her young husband, a Tennessee sharecropper, is mortally wounded when caught stealing from white landowners, he makes her promise that their son Willie will get an education. But after Willie drops out of school and is temporarily lured to the fleshpots of Chicago, Flora invests all her energy in her sister's orphan, Ruthana. By the time we see the third generation turn either to drugs or to politics (the Civil Rights movement, the Black Panthers, the Nation of Islam), the novel has lost all sense of proportion and is shipping its characters to every imaginable hot spot in recent African American (or American, or African) history, from HUAC's persecution of the Jewish family for whom Mama Flora works to political repression under Idi Amin. At the same time, Haley and Stevens lose the human touch that animates the novel's first half?the dollar bill sent as a wedding gift, the mother who pretends to be dropping money into the collection plate in order to keep up appearances. As corny and sentimental as the early chapters are, they have something that the latter portion of the novel lacks, and that's credibility.
Copyright 1998 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.