George V. Higgins created a style that was at first revelatory, then degenerated into a tic at the end of his career.
If this collection has one failing, it is its attempt to make Flannery O’Connor into something she was not: “woke.”
Emily Remler took a particularly clear-eyed view of her work. She didn’t want to be judged by a lesser standard because she was a woman in the overwhelmingly male world of jazz.
Johnny Hodges was originally a Cambridge/Boston guy, and one of the most interesting sections of Con Chapman biography is his knowledgeable description of the local jazz scene in the 1910’s and ’20s.