Whenever I embark on a new collection of short stories, I invariably flip to the front matter to discover the original publication sources of each piece. And I'm constantly a bit dismayed when several of those stories haven't been published anywhere before their inclusion. Perhaps this makes me a snob, but it's uncommon that such stories (which are scattered throughout Edward P. Jones' second collection) read like anything more than meandering, aimless, and indulgent padding.

While I comprehend Jones' urge to offer a comprehensive tapestry of life in urban DC, All Aunt Hagar's Children would have been twice as good (and half its overly long 400-page length) had Jones omitted some of the filler. Because when he's on, he's truly on. Read any of the New Yorker pieces gathered here and you'll understand what I mean. In particular, read "A Rich Man", which is presented in its entirety online at the New Yorker's site: http://www.newyorker.com/archive/2003.... This story is profoundly disturbing, monumentally tragic, and often quite hilarious. It's a long story that justifies every bit of its length, with one of the most shattering endings you'll ever encounter.

Jones has a remarkable talent, but in this collection, he seems to have let some weaker pieces dilute the overall impact. If he had been more discerning in his selection, the result could have been a truly outstanding work. As it stands, All Aunt Hagar's Children has its moments of brilliance, but it also suffers from some excess baggage.

Character after character keeps being introduced, each with a little of their own history.

Perhaps I haven't listened far enough into the story, but I'm without patience to continue further into a story that does not feel connected enough to weave a story out of. I was disappointed.

However, after writing and posting the above review, I came to learn this was a book of short stories!!!! I didn't realize that at the time.

The first short story pulled me right in and I wanted to learn more.

I so enjoyed what this author had to offer. If you're a short story fan (which I am not), I have no doubt you will enjoy this book!

For me, I will look to see if this author has any other books.

The experience of reading this book has been quite a journey. At first, I was frustrated with the lack of connection among the characters and the story. But once I discovered it was a collection of short stories, my perspective changed completely.

The author has a unique way of presenting each story, making it engaging and interesting. I'm glad I gave this book a chance and look forward to exploring more of the author's works.

Overall, I would recommend this book to anyone who enjoys short stories or is looking for something new to read.

Edward P. Jones has a remarkable way of squeezing every last drop out of his characters.

In each of his stories, he manages to extract the incredible history and emotion of an individual within a relatively short amount of space.

In "All Aunt Hagar's Children", Jones conjures up the insane struggle of three generations of black families in the Deep South.

Each story, as sad and brutal as the next, weighs heavily on the narrator, a protagonist lawyer who has been called upon to investigate the murder of a family member.

As he reflects upon the various past tragedies, he has to deal with the violence and absurdity of the present one.

Jones' writing has a unique way of moving in and out of time, which brings out the best and worst of the novice detective.

We never learn his name, but we learn all about him.

He is a successful African-American attorney, yet he harbors a mysterious fantasy of searching for gold in Alaska.

He is contemptuous and cynical of the white race, but his thoughts are dominated by the words of an East European Jewish grandmother.

He is confident of his own sexuality, but he is torn apart by the rejection of his former girlfriend.

He is intelligent enough to know that he is a prisoner of his culture and/or family history.

Any mystery that he may solve will pale in comparison to his own.

My favorite story here is "Old Boys, Old Girls".

Jones starts off with the most hardened of criminals and ends with the most innocent of schoolgirls.

In between, he weaves the dread and hardship of one Caesar Matthews who has killed one guy, and by the time he kills the second, he must think that it's all over.

He's going away, and he doesn't care. Totally cold-blooded.

Consequently, Jones paints a brutal picture of prison culture.

Another murderer teaches Cesar an important lesson about jailhouse philosophy: "Listen, man, even if you like the top bunk, you fuck him up for the bottom just cause you got to let him know who rules. You let him know that you will stab him through his motherfucking heart and then turn around and eat your supper - you can't let nobody fuck with your humanity."

Here is the twist: Beyond the frightening exterior and jailhouse tattoos, Caesar shows some heart upon leaving prison.

He might not be able to function in a family or social context, but prison wasn't able to erase whatever little bit of tenderness that he may have experienced in his life.

Just like the lawyer in "All Aunt Hagar's Children", Caesar's fate is dominated by elements beyond his control and philosophy.

His life has all the control of a coin flip.

The stories in this collection held great potential. They began with promising starts, captivating the reader's attention. However, as they progressed, most of them seemed to lose their momentum and ended in rather unsatisfactory ways. The author, being male, perhaps had a certain perspective that was reflected in the stories, which were predominantly centered around the feelings and experiences of men.

The male characters in the stories often engaged in lies, cheating, and sulking, and sometimes they even lost their women. These actions were given extensive reflection, as if they were the norm. On the other hand, when it was the women who left or cheated, it was presented as something inexplicable and almost unforgivable.

One particularly bad story that made me truly tired of reading this book was about a wealthy and influential man in DC whose wife had an affair with the mailroom guy. The husband had cheated several times before, but it was the wife's infidelity that was somehow considered the greater sin. They stopped communicating with each other, and when the wife fell ill and eventually died, the author took the opportunity to comment on the fact that the man didn't visit her while she was dying. After her death, she was reduced to a cold wind that some people felt in his house (but never him). And yet, we continued to hear about his story, as if we were supposed to empathize with him.

I'm not sure if I was supposed to feel sorry for him because he was made to look like a fool, or if my instinctive reaction of rolling my eyes was the correct one. Either way, I didn't come away from this story with a good feeling. After this, I stopped paying as much attention to the remaining stories in the collection.

I still have "The Known World" on my to-be-read list as a possible option. Although I'm not overly enthusiastic about it at the moment, I'm likely to read it at some point. This is because almost every reviewer who didn't like this collection seemed to have enjoyed "The Known World". So, perhaps it will offer a different and more satisfying reading experience.

I had the pleasure of reading his book, The Known World, and I truly loved it. It was a captivating and thought-provoking piece of literature that left a lasting impression on me. Since then, I have delved into some of his short stories, and I must say that I am not disappointed in the slightest.

He is a remarkably clear and sensitive story writer. His writing style allows the reader to easily understand and connect with the characters and their experiences. What sets him apart is his ability to be sensitive without being maudlin. He presents the emotions and struggles of his characters in a genuine and relatable way, without overdoing it or becoming overly sentimental.

As I read his short stories, I get a real feel for his characters and the lives they lead. I can picture them in my mind's eye, and I become invested in their journeys. His stories are not only entertaining but also offer insights into the human condition. They make me think about the world around me and the people I encounter. Overall, I am extremely impressed with his work and look forward to reading more of his stories in the future.

I have a great fondness for Edward Jones’ novel “The Known World.” I vividly remember reading it when it was first published. The novel presents a series of stories that are filled with some truly excellent moments.

However, despite these remarkable elements, the overall narrative did not manage to fully draw me in. There was something lacking that prevented me from becoming completely immersed in the world that Jones had created.

Perhaps it was the pacing of the story or the development of the characters. Nevertheless, I still recognize the value and significance of the novel. It offers a unique perspective on a particular time and place, and the writing is of a high caliber.

Overall, while “The Known World” did not have the same impact on me as some other novels, it is still a work that is worth reading and considering.

A short story collection - It is truly very well-written.

However, I found it rather challenging, perhaps due to the fact that I haven't delved into short stories for quite some time. As a result, I had a difficult time situating myself within the narratives. (Wait a minute, what era is this? Where are we? And who is this character again?)

That being said, on occasion, these stories were absolute whoppers. They were sometimes shocking, capable of jolting you out of your complacency. At other times, they were super emotional, tugging at your heartstrings.

I think they've left an indelible trace on me. I'm still torn up about the stomped on old albums, a scene that has etched itself in my mind.

I am now extremely anxious to read his other books, such as Known World, eager to explore more of his literary universe and be further captivated by his storytelling prowess.

This particular piece of work is not on par with A Known World, even though it does possess a certain degree of captivating charm. It has its moments that draw the reader in, but it also has its drawbacks.

As I progress through it, I find that it can be a bit on the dry side at times. The story seems to plod along rather than flow smoothly, and some of the descriptions lack the vividness that would truly bring the scenes to life.

However, I am still persevering with it, as I believe there may be more to discover. Once I have completed it, I will be able to share my final thoughts and give a more comprehensive assessment. For now, it remains an okay book with some potential that has yet to be fully realized.

Overall, it is not a bad read, but it also doesn't quite reach the heights of excellence that I had hoped for.

I've never truly grasped the essence of short stories. Just as you manage to figure out the identities of the characters and the unfolding events, the story abruptly concludes, leaving you with a sense of bewilderment. It's not in a "hmm, that was captivating" kind of way, but rather a "wait, why on earth am I reading this?" sort of feeling.

So, it's hardly a shock that I don't have a particular affinity for "All Aunt Hagar's Children." This is a compilation of short stories centered around the people of Washington, DC, specifically those blacks who can trace their roots back to the south. I initially picked it up because I was eager to gain another perspective on the city that had been my home for the past 6 years. And indeed, I took a liking to many of the characters. However, the problem was that just as I was getting to know them, I would be plunged into another story with an entirely different background and set of characters. Additionally, I had great difficulty adapting to Jones' style. He frequently jumps around in time, and while his writing is described as "lyrical," it isn't especially clear.

I persevered with the book, and I must admit that I enjoyed it more as I delved deeper. Perhaps it was because I simply became accustomed to the rhythm, or maybe the stories themselves improved. All things considered, it was interesting, but not enough to compel me to explore more of Jones' work.

I originally embarked on this book several years ago. However, I never managed to complete it. This was not so much due to the book's quality but rather my impatience as a reader. Since it had been a long time since I read the first few stories, I decided to start anew, reading one story per day. This way, I could avoid the fatigue that usually sets in when I read a collection by a single author.

What I recalled about the collection wasn't overly positive - basically, it was just 'alright'. When I restarted, I initially had the same impression. In fact, I found my old bookmark, but I couldn't remember most of the stories I had previously read.

This time, though, once I reached the third story or so, I truly began to enjoy it. I'm not certain what the difference is. Perhaps it's my growth as a reader, or maybe I'm simply in a place where I appreciate Jones' style more now than I did a few years ago.

All the stories revolve around African-American characters residing in the Washington D.C area during the 20th century. Jones returns to several themes repeatedly - the cultural bonds many of the characters shared with the friends and families they left behind in the southern states, the challenge of establishing new cultural norms in Washington, the disillusionment many experienced in Washington after the promise of a fresh start, how relationships between men and women evolved over the years, and several others. What emerges is a vivid and diverse array of images of a people in a specific time and place, which drew me in deeper the more I read.

I can't precisely say what particularly impressed me about the stories. Jones' stories are well-crafted, although some of his stylistic quirks became more evident as the stories progressed. Still, well-written stories alone are not always sufficient. What was likely more captivating for me was the insight into African-American culture as it is defined on its own terms. Race relations are interwoven throughout the book - I don't think a book like this could be written without acknowledging injustices - but this is not a book about how African-Americans struggle to survive in a world that has victimized them. Instead, it's a book about how African-Americans live in the world. It's the humanity of the characters that pulled me in - some are good, some not so good, but overall, it's a complex mix.

I had long ago determined that I didn't need to read Jones' book The Known World. I'd heard the synopsis and thought that was probably enough. Now, after enjoying this collection of short stories so much, I've reevaluated that decision. I'll also be on the lookout for his other collection of stories, Lost in the City.

Edward P. Jones was highly praised with the publication of The Known World. However, that book didn't really appeal to me.

I struggled to understand the hype surrounding it, perhaps except for the novelty of a black man writing about a black slave owner in 19th century America. The writing seemed rigid, and the story wasn't engaging or particularly memorable.

But my perspective on this author changed when I delved into his short stories. This is where his true talent shines through. He writes about ordinary people in Washington, DC, the city where he has lived his entire life.

Jones brings his characters to life. They are three-dimensional, with flaws and complexity. Even at their worst, they are portrayed with love and dignity. He shows an effortless familiarity with a wide range of characters, making you feel as if he grew up with them.

He takes us right down to the street level. In many of the stories, he traces the steps of his characters by spelling out the streets and corners they pass. It's an earlier Washington, DC that most readers aren't familiar with. But you can almost envision the long-gone old neighborhoods in sepia tones, the places that thousands of blacks called home.

Or tried to call home, as many had come from the South and reminisced about the food and gentility of the southern ways. Jones discovers the human side in the most heartless of individuals.

In Old Boys, Old Girls, the hardened ex-con finds it difficult to accept the help of his family and instead opts for a seedy, solitary life on the fringes. When an old girlfriend, who has descended into a squalid existence and doesn't recognize him, passes away in his flop house, he carefully and lovingly cleans the room where she died and leaves her body washed, dressed, and dignified. Then he moves on. It's a touching scene and a prime example of the tenderness with which Jones can evoke the human spirit.

I truly love the way Jones dons the God hat in every single one of his stories.

He seems to have an intimate knowledge of all of their lives, being privy to all their secrets, the pains they endure, and the desires that drive them.

Moreover, he masterfully incorporates all these diverse and disparate voices into a cohesive community, creating a beautiful tapestry of experience.

There are simply too many lovely sentences to count, and I'm only barely halfway through the collection.

It's as if Jones has a magical touch, able to bring these characters and their stories to life in the most vivid and engaging way.

Every page is a delight, filled with rich details and profound insights into the human condition.

I can't wait to see what the second half of the collection has in store for me.

I'm sure it will be just as captivating and thought-provoking as the first half.

Jones is truly a master storyteller, and I feel privileged to be able to experience his work.