From Amazon
With novels like
Damballah and
Hiding Place, John Edgar Wideman began his career in an explicitly modernist vein--indeed, his chronicles of life in the Pittsburgh ghetto of Homewood had more than a trace of a Joycean accent. The autobiographical
Brothers and Keepers, however, allowed the writer to find his own voice. Perhaps this dual portrait of the author and his brother Robby--serving, then and now, a life sentence for a murder committed during a bungled robbery--finally forced Wideman to fuse the modernist trappings of his earlier work with the storytelling traditions of African American culture. "My memories needed his," the author recalls. "Maybe the fact that we recall different things is crucial. Maybe they are foreground and background, propping each other up." In any case, the
Rashomon-like result is a raw meditation on fate and family, as well as an indictment of our entire notion of crime and (especially) punishment.
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From Publishers Weekly
Wideman, novelist and professor at the University of Wyoming, seeks to understand how he and his brother, who is serving a life sentence for murder, could have such disparate lives after a childhood together in a Pittsburgh ghetto. Ruthless about himself, particularly about his move into the upper middle-class as a "black intellectual," Wideman characterizes his brother as an intelligent, loving, proud dreamer. He raises "existential questions" about culture, racism and the "grief and guilt of a brother," PW wrote. November
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--This text refers to an out of print or unavailable edition of this title.