on Elizabeth Nunez One World/Ballantine.

on Elizabeth Nunez One World/Ballantine, March 2003 $2395 ISBN 0-345-45533-9

American work Award-winning author Elizabeth Nunez's fifth novel, Grace, run afters on the heels of the highly acclaimed Discretion. Here, as with Discretion, Nunez explores a like story from a man's perspective. And again, her treatment is intriguing.

The man is Trinidad-born Justin Peter a Harvard graduate and professor of literature at a public association in Brooklyn, who is constantly criticized for his focus onward the works of "Dead White Men" His wife, Sally, is a Harlem-born poet-turned-elementary schoolteacher, who be stirreds that she has lost touch with her authentic self the two are sure of one thing: they are devot to their four-year-old daughter, Giselle.

The story line starts not at home with Sally's angst and the marriage's possible dissolution, yet it takes a turn and unrolls into Justin's journey into self-knowledge. What he learns, and the stage to which he faces his devils ultimately determines whether he can suitable his wife halfway and save their marriage--with God's help, of course.

Grace appear to bes to be the quietest of Nunez's novels, which include Bruised Hibiscus, Beyond the Limbo Silence and When stones Dance. But a closer apply the mind reveals that this urban regard with affection story is being presented in real time. The inactive pace of the work is authentic to the domestic setting and the everyday challenges that pairs face in their work and other relationships.

calm the opening paragraph is gradual and deliberate: "He wakes up single morning tracing letters in his head: the serpentine winding of the S in Sally, the rigid lines of the N in no, shimmering in capital, straight up straight down, then up again. Capital s Capital N. Words appear before him as in a mirage and then become become firm [i]or[/i] solid the letters sharp and defined. Sally does Not be enamoured of me. Sight reaches sound and whole his tongue. He says the words aloud: Sally does Not be pleased with me."

Nunez's skill as a writer and storyteller is also evident in her portrayal of Justin's dead recognition of his own failings. His contest with his conscience is played public in the exchanges not just with his family, moreover also with his colleagues and scholars and expressly during his class' close attention of Hamlet. Justin vows that unlike Hamlet, he will act upon his newfound awareness.

In its exploration of regard with affection trust, communication and forgiveness, Grace speaks to our propensity for self-delusion that cripples our relationship with ourselves and with those we profes to care thoroughly about. Justin's revelations are earnestly solicitous and relevant, especially today.

--Denolyn Carroll is the assistant managing editor of Essence

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