father and a snapshot of his problematical relationship with his birth mother. And social commentary inevitably occurs. Kenan observes upon a return visit to his hometown, for example, that “Chinquapin was becoming more like the rest of America. It was being absorbed by the vast cultural soup of consumeristic we-think.” Miscellaneous essays treat such subjects as Ingmar Bergman, Eartha Kitt, and Lin-Manuel Miranda’s Hamilton. Each piece includes a number of digressions, often informative and diverting but sometimes producing a sprawling or disjointed effect. The essay “Where Am I Black Or, Something about My Kinfolks,” for example, starts with Chinquapin recollections, moves to a discussion of the TV series Star Trekand a defense of the genre of science fiction, returns to an account of his grandfather’s life, then jumps to a treatment of an African-American computer hacker, which leads to a reminiscence about his gradual acceptance of the world of cyberspace, then tracks the history of racial relations at Kenan’s alma mater (UNC–Chapel Hill), and concludes with a quotation from Zora Neale Hurston’s autobiography. That Kenan’s encyclopedic literary knowledge is on display here as he quotes sources ranging from alternative journalist I. F. Stone to Greek poet C. P. Cavafy doesn’t really save the essay from being desultory and inconclusive. Semantic elusiveness undermines “That Eternal Burning,” an incantatory meditation that ultimately evades meaning. A similarly unfinished quality undercuts “Chitlins and Chimichangas: ASouthern Tale in Black and Latin (AProposal for a Documentary).” Although this piece showcases Kenan’s heralded culinary interests, the essay remains just that—an unfinished attempt. To those who argue that a volume of this nature must inevitably be uneven, I would point to the posthumous nature of the project. In the absence of the author’s guiding hand, no editor is credited. Repetitions over the course of the volume might have been excised, articles might have been dated, and the principles of selection might have been clarified. An editor’s introduction could have been added to Tayari Jones’ tribute. As it stands, the volume seems like a marketing tool capitalizing on the stellar reputation of a beloved author. Randall Kenan deserves better. Nevertheless, the compelling power of Kenan’s prose elevates this imperfect collection. As he reminds us in “Love and Labor,” a superb essay on the writing process, “the proof is on the page.” November–December 2022 37 Randall Kenan. Photo credit: Flyleaf Books. WagnerJo Richard and ch centuri thedev (& %$( )$& "# www.politics-prose.com yceProust W Wagner’s operascreated a seismic shift in esternculture anged the artistic landscape of the late 19th and early 20th pla es. Three of his musical innovations yed a major role in elopment of modernliterature: W Pillars of Modern estern Culture describes how these ques influencedtwo literary masterpieces of the 20th centumes Joyce’s Ulysses Pr and Marcel oust’s T In Search of Lost ime. y f W thor’s intention is to spur agner enthusiasts, ans of Jo ce oust, and others to read and listen with a deeper appreciartists. LEITMOTIF associat current theme ed with a particular person, place, or mood. D ENDLESS MELO Y tif truct t Long stre ches of music cons ed with leitmo s. GESAMTKUNSTWERK f “Total art work”—a usion of all the arts. Three techni J A re "' ry: a The au and Pr ation "!") (
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