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Ladies of the Rachmaninoff eyes  Cover Image Book Book

Ladies of the Rachmaninoff eyes

Summary: Portrait of two elderly widows - a Jewish lady and her Negro servant-companion - who have developed a kinship of alternating moods.

Record details

  • ISBN: 1946022888
  • ISBN: 9781946022882 (paperback)
  • Physical Description: xv, 170 pages ; 22 cm
  • Edition: First McNally Editions paperback.
  • Publisher: New York : McNally Editions, 2024.
Subject: Widows Fiction
African Americans Fiction
Jewish women Fiction

Available copies

  • 1 of 1 copy available at Kenton County.


  • 0 current holds with 1 total copy.
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Location Call Number / Copy Notes Barcode Shelving Location Status Due Date
Covington Branch VANDY H (Text) 33126026058291 New Adult Fiction Available -

  • Simon and Schuster
    A lost midcentury classic—the farcical misadventures of a queer Black teen sharing a house with two adoptive mothers, a lascivious cook, and a reticent ghost.

    In a small Michigan town, in the late 1950s, the widow Etta Klein—wealthy and Jewish—has for more than thirty years relied for aid, comfort, and companionship on her Black housekeeper Harriet Gibbs. Between “Aunt Harry” and Etta, a relationship has developed that is closer than a friendship, yet not quite a marriage. They are inseparable, at once absurdly unequal and defined by a comic codependence.

    Forever mourning the early death of her favorite son, Sargent, Etta has all but adopted Aunt Harry’s nephew, the precocious, gay seventeen-year-old Oliver, who has been raised by both women. Oliver is facing down his departure to college—and fending off the advances of Etta’s cook, Nella Mae—when the household is disrupted by the arrival of a self-proclaimed “warlock,” one Maurice LeFleur, who has convinced Etta and Harry that he might be able to contact Sargent in the afterlife . . .

    Ladies of the Rachmaninoff Eyes was the debut of the extraordinary Henry Van Dyke, whose witty and outrageous novels look back to the sparkling, elaborate comedies of Ronald Firbank and forward to postmodern burlesques like Fran Ross’s Oreo. There is nothing else quite like them in American fiction.

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