The spine of the novel is the Gardners’ road trip from Los Angeles to Miami in a new Plymouth Valiant. The plan is to ferry the car, father Emerson, mother Madeline, and the unnamed son to a triumphal return to their native Jamaica. Along the way, however, there are many flashbacks. Emerson showed great promise as a medical wannabe, and Madeline is a nurse and outspoken and ambitious. The boy is a precocious only child. Emerson is cautious and submissive when that seems prudent; Madeline is a firecracker, pushing the envelope in the Jim Crow South. The boy (he is reading Wright’s Black Boy in the back seat) is by turns confused, scared by his parents’ bickering, and stunned by the prejudice that was not quite so obvious on the West Coast. The climax of the novel occurs when the civil rights movement is coming to its fevered and most violent pitch. The ending is initially surprising, though not so much, perhaps, on reflection. Garvey is a very good writer, capable of striking similes (crumpled rejection letters “fluttered to the floor like crippled doves”) and the pithy apothegm (“I cannot turn endeavor into penance and pretend it’s virtue”). The changing exposition—shifting between place and time—can be confusing. But one does get used to it. What strikes the reader is the tragic gap—no, chasm—between these Black characters’ obvious talents and indomitable striving and the way that they get rebuffed time and time and time again. It bears mention that the kid in the back seat grew up to be a published writer and accomplished classical violinist.