Superior Reads


RED AT THE BONE by Jacqueline Woodson was born of one question — What happened to black people’s wealth? In Woodson’s attempt to answer that question, she writes in her author’s note, characters were born, events were remembered, and lives in all their beauty and despair are lived on the page. RED AT THE BONE is a compact novel of trauma and recovery, and all the messiness in between.

The novel opens with the coming-of-age party for Melody, sixteen and wearing a dress originally intended for her mother, Iris. An unexpected teenage pregnancy changed everything for Iris and her boyfriend Aubrey, who at fifteen years old became parents before they became anything else. From there, Woodson moves us flawlessly backward and forward in time to tell the story of a family whose dreams were once burned, yet they rose from the ashes.

“You remember your parents living, wrap the ancient photos of Lucille’s Hair Heaven and Papa Joe’s Supper Club pulled from the flames . . . and you rise. You rise. You rise.”

A multigenerational tale, RED AT THE BONE is remarkable in its brevity. Woodson pokes gingerly at race, class, gentrification, sexual orientation, parenting, and loss. Spanning nearly a hundred years from the 1921 Tulsa race massacre to the tragedy of 9/11, Woodson has a keen understanding of the human condition.

Sabe, Melody’s grandmother and Iris’ mother,  knows a thing or two, and Woodson’s lyrical touch makes her wisdom sing. She’s shared the stories of how they burned her grandmama’s beauty shop to the ground, and her daddy’s restaurant, and how her own mama carries a scar in the shape of a heart, because they tried to burn her too. “History tries to call it a riot,” Woodson writes, “but it was a massacre.”  The whites came with the intention of erasing their businesses, their schools, and their lives, and even though it happened before Sabe was born, she carried the memory of it. It was important to her to teach her child and her grandchild about what happened. Sabe is the thread that stitches the past to the present.

I recommend RED AT THE BONE for fans of Woodson’s BROWN GIRL DREAMING and Toni Morrison’s SULA.

This is Lin Salibury with Superior Reviews. Read all my reviews and listen to my author interviews at

Midwest Book Award-winning poet and baker Klecko is back with LINCOLNLAND, subtitled as his Pandemic Diary. You’ll remember Klecko from his award-winning HITMAN, BAKER, CASKETMAKER, Aftermath of an American’s Clash with ICE chronicling the fall of St. Agnes Bakery and the failure of our immigration system.

Inspired by a dream, Klecko travels the country in search of Lincoln’s ghost in LINCOLNLAND, asks the legendary George Saunders for writing advice, flies kites with another literary hero Leif Enger, and pays homage to the Beatles in a tribute to his late friend Michael Finley. While the rest of us learned to bake bread during the pandemic, Klecko, already a master in that department, applied his energy and mind to poetry, something that he’s also very accomplished at, but feels fresh with this newest volume of his work.

LINCOLNLAND reads more like a diary than a poem. Klecko’s mind impresses. One discovery, leads to another discovery, to another state, phone call, book, or letter.  

Klecko was a self-professed hater of the Beatles – old people’s music – but the loss of his friend Michael Finley drove him to do a deep-dive into their music and their history. Chronicled in “Intermission” — he does it like Klecko does these things – down the rabbit hole, reading, books, magazines, articles on the internet—all the way to the bottom where he found a story about John Lennon’s killer and his wife, Gloria. So he contacted her. And May Pang, Lennon’s former lover. He contacted her, too. Of course he did. Of course.

Klecko still bakes. I interviewed him for Superior Reads during a break in his day. He’s a poet, and a baker, and a fascinating human. Read LINCOLNLAND, you won’t regret it.

Listen to my interview with Klecko on October 28 at 7:00 pm on Superior Reads, WTIP, 90.7 Grand Marais and on the web at

Jai Chakrabarti’s A PLAY FOR THE END OF THE WORLD is a moving novel about survival guilt and the emotional cost of war, as well as the power of art and love to heal.

In New York City 1972, Jaryk Smith, a survivor of the Warsaw Ghetto, and Lucy Gardener, a free-spirited southerner newly arrived to the city, fall in love and are just opening up to each other when Jaryk’s oldest childhood friend unexpectedly dies in India. Jaryk travels there to retrieve his ashes and soon finds himself enmeshed in the political turmoil of the newly arrived refugees from Bangladesh. His friend, Misha had gone there to help produce a play in protest of the government – a play that Jaryk and Misha had performed as children in the ghetto – and one that Jaryk feels compelled to stay in India to produce in memory of his friend. Lucy knows little of Jaryk’s past and feels the sting of rejection when he refuses to return home to her. Stuck between his past and his future, Jaryk must make a courageous decision.

At the center of the novel is a play written by Tagore, Dak Ghar, performed by the children in the ghetto, and directed by their loving caregiver as a way to prepare the children for a future they could not comprehend, while in India, the children performing the play are a pawn in the hands of a professor with political motivations.

Chakrabarti has a keen sense of timing – oscillating the storyline backward and forward to reveal Jaryk’s motivation, his heart-wrenching past, and his fear of moving into a future as a sole survivor of the orphanage where his story began.

A PLAY FOR THE END OF THE WORLD is a provocative meditation on love, war, politics, and art. I highly recommend it for fans of historical fiction. Listen to my interview with Jai Chakrabarti on September 23 at 7:00 pm on Superior Reads, 90.7 Grand Marais, or on the web at

In her profoundly moving first novel, THE SEED KEEPER, Diane Wilson tells the story of Rosalie Iron Wing and her family’s struggle to preserve their cultural heritage. Flashing back and forth in time from Rosalie’s present day, to her early childhood, to the lives of her ancestors, Wilson reveals the devastation wreaked by white settlers on the family’s way of life.

Abandoned by her mother at the age of four, and orphaned at the age of twelve after her father’s death, Rosalie was sent to live with a white foster family, where her soul withered as her native beliefs and practices were disparaged. When a white farmer asks her to marry him, Rosalie is hesitant – her father had warned her about such unions, but Rosalie had few options and John seemed to mirror her own sense of loneliness. At eighteen, she knows little of her family or her cultural heritage.

As the book opens, Rosalie, recently widowed, returns to the cabin from which she was taken as a child.  She is broken. Her husband is dead, and she is estranged from their only child, a son, who wishes to continue the farming practices that most likely contributed to the death of his father. At the cabin, Rosalie comes slowly back to life, nurtured by the woods, the river, and her childhood memories, as well as the kindness of a neighbor.

Woven throughout, are chapters told from the perspective of Rosalie’s ancestors who had been stripped of their land and their way of life – Marie Blackbird and her family were scattered when the fighting broke out in 1862, hiding from soldiers who were rounding up the men and imprisoning them, stealing their dried meat and trampling their carefully planted gardens of beans and corn. The women, recognizing that their future depended on their store of seeds, carried them sewn into their skirt hems into the future.

These stories, juxtaposed against Rosalie’s, as she witnesses the destructive farming practices on her husband’s farm and the harm it causes to the environment and the people who currently live on the land, hone the story’s message: the imperative to return to more sustainable practices, and to a place of reverence and respect for the land, the plants, the animals, and the lives that depend upon them.

In her Author’s Note, Diane Wilson writes that the book was inspired by a story she’d heard while participating in the Dakhota Commemorative March, a 150 mile walk to honor the Dakhota people who were forcibly removed from Minnesota in 1863, in the aftermath of the US-Dakhota War. The women on that original march had little time to prepare for their removal, but knew they would have to find a way to feed their families in whatever place they were being sent, so they sewed seeds into the hems of their skirts and hid more in their pockets.

“The strength these women demonstrated, the profound love they showed for their children, and their willingness to make sacrifices so the people would survive became the heart of this book.” She writes, “These women are the reason why we have Dakhota corn today.”

THE SEED KEEPERS is a lyrical love song written for those Dakhota women. I highly recommend it for fans of Robin Wall Kimmerer’s BRAIDING SWEETGRASS.

This is Lin Salisbury with Superior Reviews. Listen to my interview with Diane Wilson on Superior Reads this September and register to take a class with Diane at the Grand Marais Art Colony in November.

Peter Heller, best-selling author of THE RIVER is back with a gripping eco-action adventure, THE GUIDE, featuring protagonist Jack from his previous novel. Jack comes to Kingfisher Lodge as a fishing guide to recover from a recent loss. The lodge is nestled in a canyon on a pristine river and serves an elite clientele. Jack is assigned to guide Alison, a famous singer who knows how to cast a line. But soon after his arrival, he realizes that there is more going on at the lodge than fishing.

Heller’s lyrical prose reveals an author who knows how to fish, keeping the storyline taut at times, and letting it run as the action plays out and the secret of Kingfisher Lodge is revealed.

This passage illustrates the author’s appreciation for the natural world and the symbolism and symmetry imbued throughout the novel:

“. . . the fish caught her second wind, if she’d ever lost the first. Jack had begun to think of her as female, because to fight this hard she must have been full of roe and protecting her eggs. The riffle was not long and the trout lunged up it and swam into the quiet pool at the top, right at the edge of the meadow. Then, with must have been the last shreds of her strength she fought the pull and went deep and stopped . . . Few humans had this much heart. Jack could not have measured his admiration. He loved the fish right then as much as anything in the world.”

The natural beauty depicted in THE GUIDE is a sharp contrast to the depravity of the characters who run the Lodge. The time period is post pandemic, although new strains continue to emerge. And while the lodge doesn’t restrict Jack and Alison from going into town, they keep a close eye on them when they venture out. More troubling are the signs that warn guests and guides to keep off of the property next door, where Jack finds a boot buried in the brush.

Heller has a heart for his two main characters – Jack is a complex character who finds solace in the woods and the water. Alison, in spite of her fame, is fierce and funny and not afraid to get her hands dirty – whether catching fish or criminals. The pacing ratchets up the last third of the book, as Jack and Alison discover the mystery of the property adjacent to the lodge.

I would describe THE GUIDE as a mash up of A River Runs Through It and Deliverance. If you love trout fishing, heart-stopping action, engaging characters, and mystery, THE GUIDE is the book for you.

This is Lin Salisbury with Superior Reviews. Listen to my interview with Peter Heller on August 26 at 7:00 pm and August 28 at 6:00 am on WTIP, 90.7 Grand Marais, and on the web and

THERE’S A REVOLUTION OUTSIDE, MY LOVE should be essential reading for all Americans. Edited by Tracy Smith and John Freeman, the anthology gives us a glimpse into the beating heart of some of our most esteemed writers during a time of great unrest. Tracy Smith likens the Summer of 2020 to the Freedom Summer of 1964. In 2021, there is still a battle to ensure the voting rights of black Americans. Though the murder of George Floyd caused many white Americans to acknowledge that the reign of white supremacy must end, many are floundering with what action to take. Others, zealously holding onto their power will do anything, it seems, to continue disenfranchising people of color.

The stories, poems, essays, and letters in this collection are a battle cry — beaten down by a pandemic, police brutality, political divisiveness, and an armed insurrection – the writers question whether America has the stuff it takes to make the changes required. “As long as socio-racial segregation and discrimination persist, and as long as the presence of the state is limited to the increasingly armed police force, then neither the biggest smile nor the use of any hollow expressions of “American Nice” is going to remedy what for a very long time most people of color have lived as a daily experience of injustice in this country,” writes Sofian Merabet.

Drawing its title from a letter to her son by journalist Kirsten West Savali, the book includes writing by Edwidge Danticat, Layli Long Soldier, Julia Alvarez, and Minnesota’s own Su Hwang and Michael Kleber Diggs.

It’s been a year since George Floyd’s murder, and Michael Kleber Diggs laments:
“I wonder if I can love my white friends without being candid with them. I wonder if they can love me if I hold them at a distance, if race and racism function as a veneer, a layer between us obscuring any substance underneath. When I don’t answer fully, am I not saying I don’t trust you to do anything about it? What I wanted to say and didn’t say was this: “I’m fine today, the hard part will begin soon. The hard part for me starts when things get comfortable for you again. The hard part begins the day you return to your normal routines.”

As Su Hwang points out in her essay in the anthology:
“Many are claiming this an ‘inflection point’ in American history, myself included, but the more I think about it, the less this sentiment holds water. Inflection implies singularity, of one musculature or a single stream of consciousness, when there have been multiple inflections since the looting of this land from Native Americans to the founding of the country on the backs of Black lives. I believe we are at a point of convergence. Convergence denotes multiplicity and cumulativeness – a cacophony of voices and perspectives. In this semantic distinction, we honor the lingering ghosts of all our ancestors. We can no longer afford to pivot from one point to another and call it progress or justice; the weight of our collective histories can no longer support these blatant disparities between what is deemed progress and justice versus the lived realities of marginalized peoples. What we’re seeing and experiencing is a cavalcade of centuries of protest, of deaths and rebirths, the final heave for human decency for all.”

A revolution implies a sudden and complete change in something, but it also can be defined as a cycling of events. The murders of Daunte Wright, Rayshard Brooks, Daniel Prude, Breonna Taylor, Stephon Clark, Philando Castille, Alton Sterling, George Floyd, Eric Garner, Tamir Rice, Michael Brown and on and on – are a seemingly endless cycle of violence against people of color in this country.

“If there is unrest in America today,” Tracy Smith writes in the preface, “It is not because we cannot agree upon a definition of racism, as many who have argued against antiracist policies have suggested, but rather because power – especially contested power – will go to nearly any lengths to confuse, distort and render muddily abstract terms that, when power is not called into question, remain as legible and distinct as black and white.”

I recommend There’s a Revolution Outside, My Love for all Americans. This is Lin Salisbury with Superior Reviews.

Mary Casanova is the author of thirty-nine books — most of which have been written for young readers. Waterfall is her third adult novel set on Rainy Lake in northern Minnesota. Waterfall is the story of Trinity Baird who has recently returned to the family’s summer home after nearly two years at Oak Hills Asylum, where she was committed for hysteria. The year is 1922, women have just gotten the vote, and Trinity is a young woman struggling to assert her independence in a society that defines respectable women within the narrow confines of marriage and motherhood. Trinity is a gifted artist and wishes to continue her studies in Paris, a privilege afforded only through her family’s wealth and generosity. Walking a fine line between pleasing her family and living an authentic life, Trinity gradually grows strong enough to speak her truth.

Mary Casanova shines a dim light upon the early treatment of mental illness, the infantilization of women in the early twentieth century, and drug addiction in the privileged class. Though heavy subjects, the novel treats all these things with a light hand, so readers who prefer their historical fiction to be unburdened by the darker aspects of the early twentieth century, should still find WATERFALL appealing. The story of resilience and resistance as told through Trinity’s experience may also appeal to teen readers.

BRAIDING SWEETGRASS, INDIGENOUS WISDOM, SCIENTIFIC KNOWLEDGE, AND THE TEACHINGS OF PLANTS BY Robin Wall Kimmerer may be one of the most important books I’ve ever read, and though so many of you have already read it, I thought I would add my voice to the chorus of readers singing its praises. Milkweed has just issued a second hardcover edition with a stamped linen cover, deckled edges, and five beautiful illustrations by artist Nate Christopherson.

One of the most profound takeaways for me came from the chapter on making a black ash basket. In a class taught by John Pigeon, a member of the renowned Pigeon family of Potawatomi basket makers. In John’s class, the class does not assemble a basket from ready made splints, they go out into the woods and find their tree – recognizing that the tree is a living thing — and asking its permission to harvest it. “Traditional harvesters recognize the individuality of each tree as a person, a nonhuman forest person.” This passage, illustrates the responsibility of humans to the natural world:

“ . . . every once in a while, with a basket in hand, or a peach or a pencil, there is that moment when the mind and spirit open to all the connections, to all the lives and our responsibility to use them well. And just in that moment, I can hear John Pigeon say, ‘Slow down – it’s thirty years of a tree’s life you’ve got in your hands there. Don’t you owe it a few minutes to think about what you’ll do with it?’”

Throughout Kimmerer’s work, the symbiotic relationships between all living things are ever present. A mindful approach to the relationships between humans, plants, and animals and their interdependence upon each other are foundational to her understanding and teaching of biology – and living.

I wonder when and how our relationships to the land, animals, and plants were severed to the point in which we considered them other? Was it in the industrial age? When we no longer had a connection to the hunting and gathering aspects of our food sources? And is this process something that barreled down a continuum to when we were able to consider other humans, different from ourselves, as others, separate from our humanity in the way we saw the humanity of plants and animals separate from our own human existence?

Kimmerer writes lyrically, with the heart and eye of a poet, and the mind of a botanist. BRAIDING SWEETGRASS should be required reading. How do we get back the connections we have lost? Whatever it takes, I feel as though Robin Wall Kimmerer’s BRAIDING SWEETGRASS will be an element in that confluence, that coming together again, for me. The problem and the solution both laid out before us in this beautiful collection.

While reading BRAIDING SWEETGRASS, I wondered how different our world might be with a Native American Secretary of the Interior. Instead of looking to profit margins of large corporations, might we look also at our responsibility to care for the land, the animals and plants and humans who live there? Might we slow down and in the words of John Pigeon, consider the life that exists in a place and what we should do with it? In her poetic voice, Kimmerer writes that overdevelopment and overconsumption, are destroying the planet.

“People often ask me what one thing I would recommend to restore relationship between land and people,” Kimmerer writes, “My answer is almost always ‘Plant a garden.’ It’s good for the health of the earth and it’s good for the health of people. A garden is a nursery for nurturing connection, the soil for cultivation of practical reverence . . . once you develop a relationship with a little patch of earth, it becomes a seed itself. Something essential happens in a vegetable garden. It’s a place where if you can’t say ‘I love you’ out loud, you can say it in seeds. And the land will reciprocate, in beans.”

Dear Reader, pick up a copy of Braiding Sweetgrass and then . . . go plant a garden.

This is Lin Salisbury with Superior Reviews. Listen to my author interviews on 90.7 WTIP Grand Marais or stream them from the web at the fourth Wednesday of every month at 7:00 pm.

Kathleen West, author of MINOR DRAMAS AND OTHER CATASTROPHES is back with a rollick through teenage angst and twenty-first century parenting in ARE WE THERE YET?

Alice Sullivan has it all – two perfect children, a handsome and successful husband, and a booming interior design business – until suddenly, she doesn’t. In a conflagration of events, Alice learns that her second grade daughter, Adrian, is reading below grade level, her seventh grade son, Teddy, has been suspended for bullying another student, and her job is on the line as she ricochets between parent/teacher conferences and meetings with the principal. Alice’s husband, Patrick, is away on business all week long and only home on the weekends, but her mother Evelyn, a child psychologist, is on hand with advice and unfortunately, a long-held secret that threatens to further unravel Alice’s carefully curated life.

The crisis with Teddy upends her relationships with Nadia and Meredith, her best friends since their children began kindergarten together. Alice had always considered Nadia the bad parent in the threesome, since her son Donovan began displaying antisocial behavior early in elementary school. Meredith was the parenting expert, holding up her daughter Sadie’s good grades and talent like trophies. Like most pre-teens, Teddy and Sadie were on social media to stay connected to their friends – Instagram and Snapchat their preferred platforms – and like most of their friends they had Finstas – fake Instagram accounts so that their parents wouldn’t find any damning evidence when checking up on them. All of that was about to change.

Teddy’s suspension is the focal point du jour and Meredith is quick to judge while Nadia feels she has a new compatriot, until Sadie’s own impulsivity takes the stage.

Just when it seems it can’t get worse, Alice’s boss starts undercutting her at work and her mother Evelyn announces that she’s reunited with a daughter she gave up for adoption — a psychologist with two untainted children. Evelyn hopes that her daughters will be as close as sisters, but Alice is having none of it.

If you’re a parent, the teen’s choices will make you wince and the rivalry between Alice, Nadia, and Meredith will be uncomfortably familiar. Nonetheless, under West’s careful hand, you’ll be able to laugh while you cry.

I recommend ARE WE THERE YET for fans of Maria Semple, Jennifer Weiner, and Emily Giffin.
This is Lin Salisbury with Superior Reviews.

THE FOUR WINDS by Kristin Hannah is the story of one family’s desperate attempt to survive the Dust Bowl in the midst of overwhelming odds.  

Elsa Martinelli has not had an easy life – rejected as a child, and later as an adult, she finds solace and acceptance from Rosa and Tony Martinelli, her husband Rafe’s parents. As the Depression leads into the Dust Bowl of the 1930’s, Elsa, Rosa, and Tony fight to save the family farm in the Texas panhandle, while Rafe, a dreamer, has little to contribute other than fathering their two children, a daughter Loreda and a son Anthony (Ant).

After Ant contracts dust pneumonia, Elsa packs up the pickup truck with their meager belongings and heads to California with Loreda (now a rebellious teen) and Ant (seven, and cloyingly sweet), accompanied by hundreds of thousands of other migrants. At first, Elsa and the children are buoyed by the hopes of a fresh start but they are soon confronted with prejudice, cruelty, and untenable living conditions. Elsa and the children are forced to settle in a migrant tent camp and spend long hours in the fields picking cotton.

It’s hard to write about the Dust Bowl without tipping over into melodrama, and at times it felt as if the only thing moving the story forward was the next disaster. The relationships between the women in THE FOUR WINDS kept me invested. Elsa is a bit of a sad-sack, but her daughter Loreda is fierce and as she ages, she challenges Elsa to overcome her fears. Elsa’s friendship with Jean, another mother in the camp, felt authentic. Jean teaches Elsa the ropes – instructing her to apply for relief upon her arrival (though it will be a year before she qualifies for any assistance), and advising her about the best paid jobs. When Jean goes into labor with her last child, it is Elsa who drives her to the hospital – and back to the camp when they refuse to admit her, where her baby dies in Elsa’s arms.  Like the dust of the plains, there seems no end to the heartache these women must endure. Poverty, hunger, prejudice, and disease plague the migrants, and just when you think it can’t get worse, it does.

Elsa’s story is a painful one, but she shares something in common with many women: she wants nothing more than a better future for her children, a livable wage, and a safe place to live. Fans of historical fiction and of Kristin Hannah’s other formidable female characters will most likely not be disappointed.

This is Lin Salisbury with Superior Reviews.

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