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Jazz and Twelve O'Clock Tales: New Stories

por Wanda Coleman

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1011,842,165 (3.5)4
Poets who can write prose that equals their poetry are rare. With this collection of thirteen new short stories, Wanda Coleman, Los Angeles's unofficial poet laureate, proves an exception to the rule yet again. The characters in these stories lead lonely lives full of longing, of potential stifled by racism, poverty, and absurd accidents of fate. And yet, even though they are trapped by the present moment, their inner lives are lush, a mirror of the city of angels in which they live, a metropolis, always simmering, as Coleman writes in the final story, ever waiting to be borne on that balmy promised crescendo. Coleman applies a poet's economy of words to her fiction, setting a scene with lightning-quick strokes, letting a detail, a dialogue, or the brisk vernacular speak for itself. .… (más)
Añadido recientemente porMKimble, VT_IEC, muleson, drgodine, gsbell, kidzdoc, MAMP, blacksparrow
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This is a collection of short stories about working class African-Americans living in Los Angeles, and their daily struggles, loves, frustrations, and dreams. Ms. Coleman is an accomplished poet, and the best stories in this book were the shorter ones, especially "Joy Ride", "Pepper", and "Backcity Transit by Day", which were hauntingly beautiful, like a Billie Holiday solo.

However, I did not enjoy most of the longer pieces to the same degree, with the exception of "Winona's Choice", in which a struggling young woman is caught between an old flame and famous actor, who re-enters her life after her husband is tragically killed, and his running buddy from childhood, who the actor envies and uses the woman against him to even an old score. The characters in the other stories were not as well developed or compelling. ( )
  kidzdoc | Dec 5, 2009 |
Titles matter. They're also devilishly hard to choose. Wanda Coleman chose shrewdly for this collection (from Billy Strayhorn's classic ballad "Lush Life"): Her stories enter the reading ear much like a Strayhorn lyric. Quiet, stylish, darkly moody - they flesh out black Los Angeles: jazz clubs, offices, card dens, suburbs and slums where men and women strive to sustain lives.
 
Folks interested in reading Wanda Coleman's fine short story collection Jazz and Twelve O'Clock Tales should do themselves a big favor and first listen to "Lush Life," Billy Strayhorn's mellow, melancholy, soulful song of lost love, a jazz classic if ever there was one and the source of Coleman's title. For best results, they should try the John Coltrane/Johnny Hartman version. Like Strayhorn's ballad, Coleman's stories are filled with heartache, heartbreak, loss, regret, loneliness. These are burnt-out cases, to be sure, but these are also tales of struggling souls clinging to hope and searching for love.
 
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For Therese Christensen of Norway
and Audrey Christian of Rodessa—and for Austin
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Serene in the simple pleasures of afternoon coastal sunshine and the sights beyond their means, the young marrieds, friends since childhood, laugh and joke. They are momentarily above the worries that define their difficult lives. The late-model sedan in which they smoothly cruise is a recent purchase, though not brand new. But happily, they feel as if they are gliding as it takes them through palm-laced residential zones and along wide-laned boulevards, southeast, toward that poorer, darker section of the City of Angels to which they are intangibly restricted.
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Poets who can write prose that equals their poetry are rare. With this collection of thirteen new short stories, Wanda Coleman, Los Angeles's unofficial poet laureate, proves an exception to the rule yet again. The characters in these stories lead lonely lives full of longing, of potential stifled by racism, poverty, and absurd accidents of fate. And yet, even though they are trapped by the present moment, their inner lives are lush, a mirror of the city of angels in which they live, a metropolis, always simmering, as Coleman writes in the final story, ever waiting to be borne on that balmy promised crescendo. Coleman applies a poet's economy of words to her fiction, setting a scene with lightning-quick strokes, letting a detail, a dialogue, or the brisk vernacular speak for itself. .

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