In just seven stories Evans shows how much of a master she is at creating a character you can root for or a world you can believe in.

This story collection is just dynamite. From a young woman who works in a Titanic attraction gift shop figuring out her worth in life to a misogynist artist apologising to all the women he’s wronged in life in increasingly bizarre public ways, this is a searing look at race, gender and class.

Of the seven tales, six were amazing and one, while beautifully written, didn’t grab me so much. That’s a pretty amazing hit rate. Which is my favourite? It keeps changing. There’s the girl who accidentally starts a rapidly escalating campus furore over a wearing a confederate flag bikini on break. The woman who is at her platonic male friends wedding and there is an unhinged bride and her rainbow bridesmaids (All assigned a colour to wear over the whole weekend). Perhaps it’s the story of the woman who finds herself with an abandoned baby while on a coach - which would be okay if she wasn’t also carrying $20k of drugs in her bag.

Actually, now I think about it, best of all is the titular novella. A story of two black women - almost friends who work in a government department responsible for correcting historical mistakes in signs, textbooks, plaques and conversations they overhear. Their work leads them to uncover secrets and racism bubbling under a very white midwestern town - and neither of their lives will never be the same again.

Evans’ language is almost surgically effective, her characters rip themselves off the page, full of vitality and agency and life. Any one of the pieces, especially Historical Corrections, could have easily been a novel in its own right, but the short sharp shock of them makes them all the more special.

Releasing in March, this was a collection that will stay with me.

4 ½ stars

The Office of Historical Corrections is a striking collection of short stories, easily the best one to be published this year. Unlike many other collections—which tend to have a few forgettable or ‘weaker’ stories—The Office of Historical Corrections has only hits. There isn’t one story that bored me or wasn’t as good as the rest. This is truly a standout collection. If you happen to be a fan of authors such as Curtis Sittenfeld, Edwidge Danticat, and Brit Bennett you should definitely give The Office of Historical Corrections a shot.

This collection contains 6 short stories and 1 novella. Although each one of these has its own distinctive narrative, they do examine similar themes but they do so through different, and at times opposing, perspectives. With nuance and precision Evans navigates the realities of contemporary America, focusing in particular on the experiences of black people in a country that considers white to be the 'norm'.
There are so many things to love about this collection. Evans’ prose is superb. Her writing is incisive, evocative, and perfectly renders her characters and the diverse situations they are in without ever being overly descriptive or purply. While short stories and novellas are usually plot-driven, Evans’ narratives spouse a razor-sharp commentary—on race, modern culture, class—with compelling character-studies.

The scenarios and issues Evans explores are certainly topical. In ‘Boys Go to Jupiter’ a white college student, Claire, is labelled racist after her sort-of-boyfriend posts a photo of her wearing a Confederate bikini. Rather than apologising or even acknowledging what this flag truly symbolises Claire decides to make matters worse for herself by ridiculing a black student’s outrage at her bikini and by claiming that the flag is part of her heritage. As this controversy unfolds we learn of her childhood, of how she became close with two siblings who were for a time neighbours of hers, of her mother’s illness and eventual death, and of the part she played in her friend’s death. This story is very much about denial, culpability, and grief. It also brought to mind ‘White Women LOL’ by Sittenfeld and Rebecca Makkai's ‘Painted Ocean, Painted Ship’.
The titular novella instead follows two black women who have never been on easy terms. This is partly due to their different economic backgrounds and partly due to their different temperaments. Having lost touch after college they both end up working at the Institute for Public History where they are tasked with correcting historical inaccuracies/mistakes. Often their corrections raise awareness about America’s colonial and racist past in order to challenge white historical narratives. Given all discussions about decolonising the curriculum and about historical statues and monuments this novella definitely touches on some relevant topics. The revisions made by the Institute for Public History are often not well met and they are targeted by white ‘preservationists’. As our narrator unearths the true story behind a black shopkeeper’s death back in 1937 she unwillingly joins ‘forces’ with Genevieve, her longtime not-quite-friend. The two women have very different approaches and their search for the truth behind this man’s death soon sparks the anger of the white ‘preservationists’.
All of these stories are worth a read. My personal favourites where ‘Richard of York Gave Battle in Vain’, ‘Alcatraz’, ‘Why Won’t Women Just Say What They Want’ (which had some serious Kevin Wilson vibes), and ‘Anything Could Disappear’ (this almost had me in tears).

There are so many things to love about this collection: Evans’ focus on women and the thorny relationships they can have with one another, the wry humour that underlines these stories, Evans’ ability to capture diverse and nuanced emotions. The list goes on.

Evans’ stories are thought-provoking and populated by memorable and fully fleshed out characters. Although she exerts an admirable control over her language, her writing is arresting. Evans does not waste words and she truly packs a punch in this ‘infamous’ medium (short stories are often seen in terms of their limitations) .
Throughout this collection Evans’ touches themes of injustice, forgiveness, history (a character’s personal history as well as a nation’s history), freedom and identity, grief, loss, fear, failed relationships and human connection.
This is a fantastic collection and you should definitely give it a try.

One of my favourite reads of 2020 and also one of my favourite short story collections ever!

Everything about this book impressed me - the themes, the writing, the characterisation, the pacing. The women in these stories are all trying to correct something that has gone wrong, either in their lives or in the world around them, but this loose thematic connection between the stories never felt forced or obvious; it just allowed Evans to create a handful of perfect tales which will stay with me for a long time.