A fascinating look inside Ellison’s methods and concerns as a writer—and a great story as well.

THREE DAYS BEFORE THE SHOOTING

The unfinished second novel from Invisible Man author Ellison, an edited version of which appeared in 1999 under the title Juneteenth.

Ellison was born in Oklahoma City in 1914, seven years before the so-called Tulsa Race War would erupt. He left as soon as he could. In 1953, after Invisible Man made him famous, he wrote to a friend about his plans to travel home: “I’ve got to get real mad again, and talk with the old folks a bit. I’ve gone one Okla. book in me I do believe.” Three Days is that book, and he spent the next 40 years working on it, never finishing—but along the way making a Rashomon of an apparently simple story line that deepens as it progresses. Editors Callahan and Bradley gather the vast manuscript that Ellison left, including his plans for the book and queries to himself: “What is the tragic mistake? And who makes it? As things stand we do begin before one tragic mistake, that of the Senator’s, when he refuses to see Hickman and company.” The Senator is a blustering bigot who, having taken his seat in the U.S. Senate, now impedes progressive legislation—but who has a quite explosive secret that involves a crusading African-American preacher whom the Senator’s suitably racist secretary refers to as “the nigra Hickman.” Hickman, parts King and parts Sharpton, is deft at sprinkling his specific here-and-now demands with citations from otherworldly authorities (“The Scriptures tell us that in life we are in death, and in death there is life”), but Senator and secretary take no heed. Alas, that’s a mistake. Ellison sets his figures walking down long but eventually convergent paths, and though he did not live to finish his book, what he left is filled with sharply realized visions of ordinary life—wonderful descriptions of such things as “cold lemonade with the cakes of ice in them sitting out under the cool of the trees”—and careful studies of people as they speak and as they are, both tragic and comic.

A fascinating look inside Ellison’s methods and concerns as a writer—and a great story as well.

Pub Date: Feb. 2, 2010

ISBN: 978-0-375-75953-6

Page Count: 1136

Publisher: Modern Library

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2009

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Whitehead continues the African-American artists' inquiry into race mythology and history with rousing audacity and...

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THE UNDERGROUND RAILROAD

What if the metaphorical Underground Railroad had been an actual…underground railroad, complete with steam locomotive pulling a “dilapidated box car” along a subterranean nexus of steel tracks?

For roughly its first 60 pages, this novel behaves like a prelude to a slave narrative which is, at once, more jolting and sepulchral than the classic firsthand accounts of William Wells Brown and Solomon Northup. Its protagonist, Cora, is among several African-American men and women enslaved on a Georgia plantation and facing a spectrum of savage indignities to their bodies and souls. A way out materializes in the form of an educated slave named Caesar, who tells her about an underground railroad that can deliver her and others northward to freedom. So far, so familiar. But Whitehead, whose eclectic body of work encompasses novels (Zone One, 2011, etc.) playing fast and loose with “real life,” both past and present, fires his most daring change-up yet by giving the underground railroad physical form. This train conveys Cora, Caesar, and other escapees first to a South Carolina also historically unrecognizable with its skyscrapers and its seemingly, if microscopically, more liberal attitude toward black people. Compared with Georgia, though, the place seems so much easier that Cora and Caesar are tempted to remain, until more sinister plans for the ex-slaves’ destiny reveal themselves. So it’s back on the train and on to several more stops: in North Carolina, where they’ve not only abolished slavery, but are intent on abolishing black people, too; through a barren, more forbidding Tennessee; on to a (seemingly) more hospitable Indiana, and restlessly onward. With each stop, a slave catcher named Ridgeway, dispensing long-winded rationales for his wicked calling, doggedly pursues Cora and her diminishing company of refugees. And with every change of venue, Cora discovers anew that “freedom was a thing that shifted as you looked at it, the way a forest is dense with trees up close but from outside, the empty meadow, you see its true limits.” Imagine a runaway slave novel written with Joseph Heller’s deadpan voice leasing both Frederick Douglass’ grim realities and H.P. Lovecraft’s rococo fantasies…and that’s when you begin to understand how startlingly original this book is.

Whitehead continues the African-American artists' inquiry into race mythology and history with rousing audacity and razor-sharp ingenuity; he is now assuredly a writer of the first rank.

Pub Date: Sept. 13, 2016

ISBN: 978-0-385-53703-2

Page Count: 320

Publisher: Doubleday

Review Posted Online: April 13, 2016

Kirkus Reviews Issue: May 1, 2016

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Absolutely enthralling. Read it.

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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth/Crown

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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