[In The Salt Eaters] a black woman is sitting on a stool in a hospital, watching numbly as a fabled healer named Minnie Ransom attempts to bring her out of her depression, or her mental collapse, or perhaps it's simply overwhelming tiredness—whatever led her to slit her own wrists and try to gas herself. As Minnie Ransom hums and flounces her dress and drapes her shawl, as Velma Henry sits frozen in her white gown, scenes from the past and present swim by in no particular order. One scene fades into another, observed by characters who seem chosen almost at random: a lonely bus driver, an ex-pimp, a raging feminist, an intellectual waiter who has no difficulty linking thermodynamics with voodoo and billiards. The shifts are so smooth, sometimes it takes us a moment to realize they occurred. There are flashes of political meetings, cozy conversations in sidewalk cafés, grueling protest marches and animated bouts of "Disposal" (a very funny, surrealistic board game in which players vie to get rid of contaminated nuclear waste).
In short, this book is a long, rich dream pivoting on a hospital stool, widening from the center…. (p. 1)
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