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Sign up todayHis Eye Is on the Sparrow
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Learn moreEthel Waters’s His Eye Is on the Sparrow stands as perhaps the greatest autobiography of a Black female performer, capturing both the horror and the joy of the African American woman’s experience through the often bitter yet always forgiving voice of an indomitable spirit. This edition is supplemented with a new historical preface.
Ethel Waters (1896–1977) was an American singer and actress who began her career in the 1920s singing blues. Waters’s notable recordings include “Dinah,” “Stormy Weather,” “Taking a Chance on Love,” “Heat Wave,” and her version of “His Eye Is on the Sparrow.” Waters was the second African American to be nominated for an Academy Award, and the first African American woman to be nominated for a Primetime Emmy Award.
Charles Samuels (1902-1982), a New York newspaperman, wrote biographies of Judy Garland, Lizzie Borden, and Evelyn Nesbit. He worked with Buster Keaton on My Wonderful World of Slapstick.
Robin Miles, named a Golden Voice by AudioFile magazine, has won several Audie Awards and many Earphones Awards and AudioFile Best of the Year accolades.
Grover Gardner (a.k.a. Tom Parker) is an award-winning narrator with over a thousand titles to his credit. Named one of the “Best Voices of the Century” and a Golden Voice by AudioFile magazine, he has won three prestigious Audie Awards, was chosen Narrator of the Year for 2005 by Publishers Weekly, and has earned more than thirty Earphones Awards.
Reviews
“One of the two or three best as-told-to show business memoirs ever, a masterpiece of candor and righteous observation.”
“Robin Miles delivers a virtuoso performance…Her dramatic skills…[and] vocal beauty and sophistication are a big reason this audio will impact listeners in this way…Winner of the AudioFile Earphones Award.”
“I listened enthralled.”
“With astonishing candor, Ethel Waters tells her dramatic and dazzling story…Hers is both an engrossing record of a topsy-turvy career and, just as importantly, an invaluable social document that traces the changing landscape for African American entertainers in the first half of the twentieth century.”
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