Harvest American writing

Three sexy, screwed-up Southern sisters come home to Mulberry to put their totally self-centered mother, Mudear, in her grave. We meet the Lovejoy women as they gather in their mother's house to lay her and the demons she has dumped on them to rest. Mudear Lovejoy was the kind of mother who ruled her house and raised her daughters with an iron hand even after her "change". Betty is her oldest daughter, big-boned and strong, the only one who remembers what Mudear was like before The Change. Emily is the middle child, restless and divorced, the one who every one assumed would be the first after Mudear to crack. The youngest is wild Annie Ruth, a TV anchorwoman who is pregnant out of wedlock and plagued by visions of menacing cats. Ernest, their father, is a kaolin mine worker who is so overwhelmed by all the females around him that sometimes he just wants to yell out, "Womens taking over my house!" As the sisters reminisce, they are unaware that even though Mudear's body is laid out in Parkinson Funeral Home, she is not so easily buried. Her spirit refuses to die, and she floats around Mulberry, watching her daughters stretched out on her porch smoking cigarettes, drinking her husband's liquor from her best glasses, and talking about marijuana like "some damn black girl hippies". In alternating voices, each member of the Lovejoy family tells us what preys on his or her mind. As they prepare for the memorial, sit up with the body, and at the funeral itself, each must come to grips with her relationship to Mudear. At the same time, each must define what a mother, a black mother - their mother - is.

it's a book of about four or five short stories. most of the stories take place in north or south carolina.

In her exuberant first novel, Lois-Ann Yamanaka tells the story of young Lovey Nariyoshi in Hilo, Hawai'i, on the big island of Hawai'i. Lovey's best friend is effeminate and endearing; her father at once loving and brutal; and her entire family is caught in a cultural gap between East and West. Wild Meat and the Bully Burgers embraces an array of familial issues as Lovey forges an identity of her own in a world where Japanese-Americans find no facsimile of themselves in pop culture or media, no trace of their inner lives in the stories they read, and where the unpalatable is served on a plate of uncertainty. At once a bitingly funny satire of "white" happiness and a moving meditation on what is real, ugly at times, but true, Wild Meat and the Bully Burgers crackles with the language of pidgin - Hawaiian Creole - distinguishing one of the most vibrant new voices in contemporary culture.