In The New York Times, Brooks’s similarly accomplished contemporary, Thomas Mallon (a white man), criticized her (a white woman), for populating that book with a number of “slave saints and savants” in supporting roles, calling the result “treacly and embarrassing.” Others disagreed, and “March” went on to win a Pulitzer Prize. Her novel “March” (2005) explored the life of the mostly absent father from Louisa May Alcott’s “Little Women,” a chaplain for the Union Army during the Civil War. Valuable legacies can disappear, is the underlying message - for years, this celebrity thoroughbred’s skeleton languished at the Smithsonian, shoved in an attic and marked only equus caballus - even as barbaric ones linger.Ī wide-ranging practitioner of historical fiction and adventuresome journalism, Brooks has visited the rocky terrain of race before.
The subtext, if not the subtitle, is “Race.” Not for the contests Lexington won, though those are recreated in detail suitable for both the sports and society pages, but for the book’s confrontation of relations between Black and white people over the course of two centuries. The title of Geraldine Brooks’s new novel, “Horse,” alludes to Lexington: the real and extraordinary late-19th-century Kentucky bay stallion who drives its plot.
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