I discovered Colson Whitehead when he exploded as the winner of the Pulitzer Prize in Fiction for The Underground Railroad. Then, I heard Liberty Hardy on the Book Riot All the Books podcast talking about his new book, The Nickel Boys, so I knew I wanted to take a look at his backlist. I was pleasantly surprised to find he had a long backlist! Let’s take a look.
Cora is a slave on a cotton plantation in Georgia. Life is hell for all the slaves, but especially bad for Cora; an outcast even among her fellow Africans, she is coming into womanhood—where even greater pain awaits. When Caesar, a recent arrival from Virginia, tells her about the Underground Railroad, they decide to take a terrifying risk and escape. Matters do not go as planned—Cora kills a young white boy who tries to capture her. Though they manage to find a station and head north, they are being hunted.
In Whitehead’s ingenious conception, the Underground Railroad is no mere metaphor—engineers and conductors operate a secret network of tracks and tunnels beneath the Southern soil. Cora and Caesar’s first stop is South Carolina, in a city that initially seems like a haven. But the city’s placid surface masks an insidious scheme designed for its black denizens. And even worse: Ridgeway, the relentless slave catcher, is close on their heels. Forced to flee again, Cora embarks on a harrowing flight, state by state, seeking true freedom.
Like the protagonist of Gulliver’s Travels, Cora encounters different worlds at each stage of her journey—hers is an odyssey through time as well as space. As Whitehead brilliantly re-creates the unique terrors for black people in the pre–Civil War era, his narrative seamlessly weaves the saga of America from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once a kinetic adventure tale of one woman’s ferocious will to escape the horrors of bondage and a shattering, powerful meditation on the history we all share.
As the Civil Rights movement begins to reach the black enclave of Frenchtown in segregated Tallahassee, Elwood Curtis takes the words of Dr. Martin Luther King to heart: He is “as good as anyone.” Abandoned by his parents, but kept on the straight and narrow by his grandmother, Elwood is about to enroll in the local black college. But for a black boy in the Jim Crow South of the early 1960s, one innocent mistake is enough to destroy the future. Elwood is sentenced to a juvenile reformatory called the Nickel Academy, whose mission statement says it provides “physical, intellectual and moral training” so the delinquent boys in their charge can become “honorable and honest men.”
In reality, the Nickel Academy is a grotesque chamber of horrors where the sadistic staff beats and sexually abuses the students, corrupt officials and locals steal food and supplies, and any boy who resists is likely to disappear “out back.” Stunned to find himself in such a vicious environment, Elwood tries to hold onto Dr. King’s ringing assertion “Throw us in jail and we will still love you.” His friend Turner thinks Elwood is worse than naive, that the world is crooked, and that the only way to survive is to scheme and avoid trouble.
The tension between Elwood’s ideals and Turner’s skepticism leads to a decision whose repercussions will echo down the decades. Formed in the crucible of the evils Jim Crow wrought, the boys’ fates will be determined by what they endured at the Nickel Academy.
Based on the real story of a reform school in Florida that operated for one hundred and eleven years and warped the lives of thousands of children, The Nickel Boys is a devastating, driven narrative that showcases a great American novelist writing at the height of his powers.
A pandemic has devastated the planet, sorting humanity into two types: the uninfected and the infected, the living and the living dead. After the worst of the plague is over, armed forces stationed in Chinatown’s Fort Wonton have successfully reclaimed the island south of Canal Street—aka Zone One. Mark Spitz is a member of one of the three-person civilian sweeper units tasked with clearing lower Manhattan of the remaining feral zombies. Zone One unfolds over three surreal days in which Spitz is occupied with the mundane mission of straggler removal, the rigors of Post-Apocalyptic Stress Disorder (PASD), and the impossible task of coming to terms with a fallen world. And then things start to go terribly wrong…
At once a chilling horror story and a literary novel by a contemporary master, Zone One is a dazzling portrait of modern civilization in all its wretched, shambling glory.
It is a time of calamity in a major metropolitan city’s Department of Elevator Inspectors, and Lila Mae Watson, the first black female elevator inspector in the history of the department, is at the center of it. There are two warring factions within the department: the Empiricists, who work by the book and dutifully check for striations on the winch cable and such; and the Intuitionists, who are simply able to enter the elevator cab in question, meditate, and intuit any defects.
Lila Mae is an Intuitionist and, it just so happens, has the highest accuracy rate in the entire department. But when an elevator in a new city building goes into total freefall on Lila Mae’s watch, chaos ensues. It’s an election year in the Elevator Guild, and the good-old-boy Empiricists would love nothing more than to assign the blame to an Intuitionist. But Lila Mae is never wrong.
The sudden appearance of excerpts from the lost notebooks of Intuitionism’s founder, James Fulton, has also caused quite a stir. The notebooks describe Fulton’s work on the “black box,” a perfect elevator that could reinvent the city as radically as the first passenger elevator did when patented by Elisha Otis in the nineteenth century. When Lila Mae goes underground to investigate the crash, she becomes involved in the search for the portions of the notebooks that are still missing and uncovers a secret that will change her life forever.
Benji Cooper is one of the few black students at an elite prep school in Manhattan. But every summer, Benji escapes to the Hamptons, to Sag Harbor, where a small community of African American professionals have built a world of their own.
The summer of ’85 won’t be without its usual trials and tribulations, of course. There will be complicated new handshakes to fumble through and state-of-the-art profanity to master. Benji will be tested by contests big and small, by his misshapen haircut (which seems to have a will of its own), by the New Coke Tragedy, and by his secret Lite FM addiction. But maybe, just maybe, this summer might be one for the ages.
Colson Whitehead’s triumphant novel is on one level a multifaceted retelling of the story of John Henry, the black steel-driver who died outracing a machine designed to replace him. On another level it’s the story of a disaffected, middle-aged black journalist on a mission to set a record for junketeering who attends the annual John Henry Days festival. It is also a high-velocity thrill ride through the tunnel where American legend gives way to American pop culture, replete with p. r. flacks, stamp collectors, blues men , and turn-of-the-century song pluggers. John Henry Days is an acrobatic, intellectually dazzling, and laugh-out-loud funny book that will be read and talked about for years to come.
In 2011, Grantland magazine gave bestselling novelist Colson Whitehead $10,000 to play at the World Series of Poker in Las Vegas. It was the assignment of a lifetime, except for one hitch—he’d never played in a casino tournament before. With just six weeks to train, our humble narrator took the Greyhound to Atlantic City to learn the ways of high-stakes Texas Hold’em.
Poker culture, he discovered, is marked by joy, heartbreak, and grizzled veterans playing against teenage hotshots weaned on Internet gambling. Not to mention the not-to-be overlooked issue of coordinating Port Authority bus schedules with your kid’s drop-off and pickup at school. Finally arriving in Vegas for the multimillion-dollar tournament, Whitehead brilliantly details his progress, both literal and existential, through the event’s antes and turns, through its gritty moments of calculation, hope, and spectacle. Entertaining, ironic, and strangely profound, this epic search for meaning at the World Series of Poker is a sure bet.
A masterful evocation of the city that never sleeps, The Colossus of New York captures the city’s inner and outer landscapes in a series of vignettes, meditations, and personal memories. Colson Whitehead conveys with almost uncanny immediacy the feelings and thoughts of longtime residents and of newcomers who dream of making it their home; of those who have conquered its challenges; and of those who struggle against its cruelties.
Whitehead’s style is as multilayered and multifarious as New York itself: Switching from third person, to first person, to second person, he weaves individual voices into a jazzy musical composition that perfectly reflects the way we experience the city. There is a funny, knowing riff on what it feels like to arrive in New York for the first time; a lyrical meditation on how the city is transformed by an unexpected rain shower; and a wry look at the ferocious battle that is commuting. The plaintive notes of the lonely and dispossessed resound in one passage, while another captures those magical moments when the city seems to be talking directly to you, inviting you to become one with its rhythms.
The Colossus of New York is a remarkable portrait of life in the big city. Ambitious in scope, gemlike in its details, it is at once an unparalleled tribute to New York and the ideal introduction to one of the most exciting writers working today.
The town of Winthrop has decided it needs a new name. The resident software millionaire wants to call it New Prospera; the mayor wants to return to the original choice of the founding black settlers; and the town’s aristocracy sees no reason to change the name at all. What they need, they realize, is a nomenclature consultant. And, it turns out, the consultant needs them. But in a culture overwhelmed by marketing, the name is everything and our hero’s efforts may result in not just a new name for the town but a new and subtler truth about it as well.