Rating: 
Summary: Ball's characters speak to us from their day
Review: Although some professional reviewers have dismissed Ball's book, saying that the black characters should tell their own story and speak for themselves, I think that criticism is invalid. Ball relied heavily on the accounts of his sixth cousin, Edwina Harleston Whitlock, from the black side of his family, and he credits her throughout the book. If Ball had not given us this account of several generations of his mixed-race ancestors, we would not have their histories.I also enjoyed his digressions, whether on embalming practices of a hundred years ago, or on the development of jazz on both sides of the Atlantic. These enable to reader to step into that period of time more fully, rather than just reading the chronicles of individual people's lives. Ball writes respectfully, and the characters come alive, not just as symbols, but as separate people with real traits, personal preferences, virtues and foibles. The Harleston family did occupy a special niche; as light-skinned, affluent blacks, they wryly called themselves "nigger-rich", knowing the white man's world was still closed to them. For Teddy Harleston, an artist, his circumscribed world seemed especially frustrating. I notice in the author's description that Ball worked in New York City as an art critic. I wonder if he has pondered how talent and interest in art seems to have come down in his bloodline on both the white and the black sides. The "nature v. nurture" argument still continues without resolution, but I know that in my own family, there have been musicians and clergymen in every generation for hundreds of years. In the Harleston clan, nature seems to have prevailed, since the "nurture" of its white and black lines has, to the shame of our nation, been very different.
Rating:
Summary: Ball's characters speak to us from their day
Review: Although some professional reviewers have dismissed Ball's book, saying that the black characters should tell their own story and speak for themselves, I think that criticism is invalid. Ball relied heavily on the accounts of his sixth cousin, Edwina Harleston Whitlock, from the black side of his family, and he credits her throughout the book. If Ball had not given us this account of several generations of his mixed-race ancestors, we would not have their histories. I also enjoyed his digressions, whether on embalming practices of a hundred years ago, or on the development of jazz on both sides of the Atlantic. These enable to reader to step into that period of time more fully, rather than just reading the chronicles of individual people's lives. Ball writes respectfully, and the characters come alive, not just as symbols, but as separate people with real traits, personal preferences, virtues and foibles. The Harleston family did occupy a special niche; as light-skinned, affluent blacks, they wryly called themselves "nigger-rich", knowing the white man's world was still closed to them. For Teddy Harleston, an artist, his circumscribed world seemed especially frustrating. I notice in the author's description that Ball worked in New York City as an art critic. I wonder if he has pondered how talent and interest in art seems to have come down in his bloodline on both the white and the black sides. The "nature v. nurture" argument still continues without resolution, but I know that in my own family, there have been musicians and clergymen in every generation for hundreds of years. In the Harleston clan, nature seems to have prevailed, since the "nurture" of its white and black lines has, to the shame of our nation, been very different.
Rating: 
Summary: Powerful Story
Review: As a genealogist researching my ancestors from South Carolina I felt compelled to read this book. It was fascinating, although I had read Slaves in the Family, I felt like this was a continuation not to be missed. I felt deeply for the members of the Hairston family. It was sad see how Kate lost her inheritance which she deserved. All of the other slights the family is dealt but still some how the family went on. Its an important aspect of American history which you don't always see.
Rating:
Summary: Powerful Story
Review: As a genealogist researching my ancestors from South Carolina I felt compelled to read this book. It was fascinating, although I had read Slaves in the Family, I felt like this was a continuation not to be missed. I felt deeply for the members of the Hairston family. It was sad see how Kate lost her inheritance which she deserved. All of the other slights the family is dealt but still some how the family went on. Its an important aspect of American history which you don't always see.
Rating:
Summary: An unforgettable story...
Review: Author Edward Ball comes from a long line of plantation owners from the Low Country of South Carolina. In his first book, National Book Award-winner Slaves in the Family, Ball set out to trace the ancestors of slaves once owned by the Ball family. Little did he realize that this research would lead to the discovery of his own ancestors of color, and what a fascinating tale this would be. This story is the basis of his second book, The Sweet Hell Inside, which is one of the most moving, poignant and haunting books I have ever read. The Sweet Hell begins with plantation owner, William Harleston. Harleston never married, but took a house slave named Kate as his common-law wife. Together, they produced eight children. After the Civil War, William purchased a house in Charleston for Kate and the children, and even left her an inheritance when he died (something rare in the 19th century South). The story of the Harleston family is a study of Charleston's high yellow society, or the black elite. Not accepted into white culture, they were also not comfortable among their freed slave brethren. Ball follows four generations of the black Harlestons. We see that they were educated, sent to college, trained in various professions, and lived a very comfortable life. The members of this family were also multi-talented. They became businessmen, sea captains, artists, musicians, pastors, photographers, and influential members of Charleston's black society. Much of the success of the Harleston family begins with Kate and William's son, Edwin. Edwin started the Harleston Funeral Home to provide upper-class black families with the same services offered by white undertakers (who would not handle black clients). The short history that Ball provides about the mortuary business is fascinating. Several other family members stand out in this book. Edwin's son, Teddy, becomes a classically trained painter. Unfortunately, he is needed in the funeral business and his painting career suffers. Edwin's daughter, Ella, marries the Rev. Joseph Jenkins. Together, they run the famous Jenkins Orphanage. There are a host of other brothers, sisters, nieces and nephews that make-up the tapestry of this wonderful story. But for as fortunate as this family was, they also suffered more than their share of heartaches including infertility, economic setbacks, illness, and early death. They also faced discrimination in their hometown. A musician moved to Europe to earn the respect he deserved as a performer and composer. Teddy had to travel north to enjoy classic artwork in museums (Charleston's museums were for whites only). Also, his own city never recognized his artistic talents until after his death. Pneumonia, heart disease, a ruptured appendix and TB were among the maladies that cut down family members in their prime. The Sweet Hell was a book I didn't want to end. There is a family tree and many photos of family, places and even Teddy's artwork. But I wanted more. So on a trip to Charleston, I visited many of the places mentioned in the book. First, I rode by Kate Harleston's house (the original homestead). Since the book was published, this dilapidated house is now being renovated. I discovered that I have passed the Harleston Funeral Home hundreds of times, but never noticed it before. It is still in operation, although no longer run by the Harleston family. I found the Plymouth Congregational Church, where most of the Harleston's worshipped. The most moving sight was the old Jenkins Orphanage. The orphanage and the Old Jail both share a block. It was eerie walking in this now quiet, residential neighborhood, trying to imagine what it must have been like when hundreds of orphans and hundreds of inmates were both in residence. Add a Jenkins band or two, and it must have been a happening place! All in all, I just can't say enough good things about The Sweet Hell Inside. Edward Ball's new effort proves that he is a writer with an incredible voice.
Rating:
Summary: An unforgettable story...
Review: Author Edward Ball comes from a long line of plantation owners from the Low Country of South Carolina. In his first book, National Book Award-winner Slaves in the Family, Ball set out to trace the ancestors of slaves once owned by the Ball family. Little did he realize that this research would lead to the discovery of his own ancestors of color, and what a fascinating tale this would be. This story is the basis of his second book, The Sweet Hell Inside, which is one of the most moving, poignant and haunting books I have ever read. The Sweet Hell begins with plantation owner, William Harleston. Harleston never married, but took a house slave named Kate as his common-law wife. Together, they produced eight children. After the Civil War, William purchased a house in Charleston for Kate and the children, and even left her an inheritance when he died (something rare in the 19th century South). The story of the Harleston family is a study of Charleston's high yellow society, or the black elite. Not accepted into white culture, they were also not comfortable among their freed slave brethren. Ball follows four generations of the black Harlestons. We see that they were educated, sent to college, trained in various professions, and lived a very comfortable life. The members of this family were also multi-talented. They became businessmen, sea captains, artists, musicians, pastors, photographers, and influential members of Charleston's black society. Much of the success of the Harleston family begins with Kate and William's son, Edwin. Edwin started the Harleston Funeral Home to provide upper-class black families with the same services offered by white undertakers (who would not handle black clients). The short history that Ball provides about the mortuary business is fascinating. Several other family members stand out in this book. Edwin's son, Teddy, becomes a classically trained painter. Unfortunately, he is needed in the funeral business and his painting career suffers. Edwin's daughter, Ella, marries the Rev. Joseph Jenkins. Together, they run the famous Jenkins Orphanage. There are a host of other brothers, sisters, nieces and nephews that make-up the tapestry of this wonderful story. But for as fortunate as this family was, they also suffered more than their share of heartaches including infertility, economic setbacks, illness, and early death. They also faced discrimination in their hometown. A musician moved to Europe to earn the respect he deserved as a performer and composer. Teddy had to travel north to enjoy classic artwork in museums (Charleston's museums were for whites only). Also, his own city never recognized his artistic talents until after his death. Pneumonia, heart disease, a ruptured appendix and TB were among the maladies that cut down family members in their prime. The Sweet Hell was a book I didn't want to end. There is a family tree and many photos of family, places and even Teddy's artwork. But I wanted more. So on a trip to Charleston, I visited many of the places mentioned in the book. First, I rode by Kate Harleston's house (the original homestead). Since the book was published, this dilapidated house is now being renovated. I discovered that I have passed the Harleston Funeral Home hundreds of times, but never noticed it before. It is still in operation, although no longer run by the Harleston family. I found the Plymouth Congregational Church, where most of the Harleston's worshipped. The most moving sight was the old Jenkins Orphanage. The orphanage and the Old Jail both share a block. It was eerie walking in this now quiet, residential neighborhood, trying to imagine what it must have been like when hundreds of orphans and hundreds of inmates were both in residence. Add a Jenkins band or two, and it must have been a happening place! All in all, I just can't say enough good things about The Sweet Hell Inside. Edward Ball's new effort proves that he is a writer with an incredible voice.
Rating:
Summary: Another remarkable family history!
Review: Author Edward Ball has done it again by successfully writing the history of another American family originating from the south - the Harleston family. "The Sweet Hell Inside" starts with story of the relationship between white slave owner, William Harleston and his black slave Kate Wilson. They had eight children. The narrative spans from the mid-1800s to the year 2000 and describes the lives of the family members during different times in America's history. This includes the time, which the author accurately describes as "America's cruelest years" -- a time when black and interracial Americans struggled to survive when laws were established to deny them basic human rights. The Harleston family was able to survive those hard times to become what Ball describes as "American cultural pioneers" because of their professions and achievements - some in the area of art, photography and music. Ball uses Harleston family papers, interviews and other documentation, much of which was given to him by Edwina Harleston Whitlock, a relative, direct descendant of the Harleston family and archivist of the family papers. Like Ball's first book, a genealogy chart is provided to help follow the family characters. In addition, an abundance of photos, which alone tell an enticing story, is provided. "The Sweet Hell Inside" is appealing not only because of the special family characters but because of the historical context (such as the revolutionary war, civil war, the Reconstruction, the rise of Jim Crow and more) in which their biographies fall. The author provides interesting tidbits about the times and other historical figures, adding to the interest subject of the book. Fafa Demasio
Rating:
Summary: Another remarkable family history!
Review: Author Edward Ball has done it again by successfully writing the history of another American family originating from the south - the Harleston family. "The Sweet Hell Inside" starts with story of the relationship between white slave owner, William Harleston and his black slave Kate Wilson. They had eight children. The narrative spans from the mid-1800s to the year 2000 and describes the lives of the family members during different times in America's history. This includes the time, which the author accurately describes as "America's cruelest years" -- a time when black and interracial Americans struggled to survive when laws were established to deny them basic human rights. The Harleston family was able to survive those hard times to become what Ball describes as "American cultural pioneers" because of their professions and achievements - some in the area of art, photography and music. Ball uses Harleston family papers, interviews and other documentation, much of which was given to him by Edwina Harleston Whitlock, a relative, direct descendant of the Harleston family and archivist of the family papers. Like Ball's first book, a genealogy chart is provided to help follow the family characters. In addition, an abundance of photos, which alone tell an enticing story, is provided. "The Sweet Hell Inside" is appealing not only because of the special family characters but because of the historical context (such as the revolutionary war, civil war, the Reconstruction, the rise of Jim Crow and more) in which their biographies fall. The author provides interesting tidbits about the times and other historical figures, adding to the interest subject of the book. Fafa Demasio
Rating:
Summary: THE BLACK SIDE OF THE FAMILY
Review: Edward Ball intrigued us with the story of his family and their slave owning heritage. Now he presents us with the story of the Black side of his family. In this account our attention is focused on the children of William Harleston (Ball's ancestoral uncle and slave owner) and his slave paramour Kate Wilson. The progeny of the above liason resulted in the beginnings of a Black middle-class dynasty in the early twentieth century. Edwin Harleston, the son of William and Kate, managed to run a lucrative funeral business, nurture an artist son and maintained his own mistress like his father. As the patriarch of the family, Harleston's progeny impacted on the life and culture of Black America. Ball has you witness the triumphs, hardships and struggles of a family rejected by their white brethren only to surpass them against the odds. Ball gives us an excellent look at the rise of the social and racial stratefication of the Black middle-class in their own communities. We get an inside view of the Black elite of light skinned Blacks who carve out their own society. You witness their foibles, eccentric natures and dedication to the race through the study of one family. If the book has its faults the main one would be Ball's getting bogged down in the historical context of the story to the point where we lose sight of the characters. Edwina Harleston Whitlock, who is the main informant, shares her story with her cousin Ball but somehow her voice gets muted. Despite that problem Ball gives a good account of the family. White readers will be intrigued by the complexities of Black social life in early twentieth century america. Black readers will find the story interesting but not remarkable for there are "Harlestons" in every Black community. Try the book and open your eyes to a great story.
Rating: 
Summary: Promising but disappointing.
Review: Having thoroughly enjoyed Ball's previous title, Slaves in the Family, I was looking forward to this book. The work has an intriguing topic, that is, the history of one elite African-American family in Charleston. Unfortunately, the narrative and context are too selective and the history is thin, relying too heavily on family documents and stories. Slaves in the Family was enhanced by the personal tone; here it is distracting and feels amateurish. When Ball does branch out to into other directions, the stories and descriptions feel more like padding than relevant material.
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