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Juneteenth: A Novel Paperback – Jun 13 2000


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Product Details

  • Paperback: 400 pages
  • Publisher: Vintage (June 13 2000)
  • Language: English
  • ISBN-10: 0375707549
  • ISBN-13: 978-0375707544
  • Product Dimensions: 13.1 x 2.1 x 20.3 cm
  • Shipping Weight: 272 g
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (24 customer reviews)
  • Amazon Bestsellers Rank: #232,196 in Books (See Top 100 in Books)

Product Description

From Amazon

Invisible Man, which Ralph Ellison published in 1952, was one of the great debuts in contemporary literature. Alternating phantasmagoria with rock-ribbed realism, it delved into the blackest (and whitest!) corners of the American psyche, and quickly attained the status of legend. Ellison's follow-up, however, seemed truly bedeviled--not only by its monumental predecessor, but by fate itself. First, a large section of the novel went up in flames when the author's house burned in 1967. Then he spent decades reconstructing, revising, and expanding his initial vision. When Ellison died in 1994, he left behind some 2,000 pages of manuscript. Yet this mythical mountain of prose was clearly unfinished, far too sketchy and disjointed to publish. Apparently Ellison's second novel would never appear.

Or would it? Ellison's literary executor, John Callahan, has now quarried a smaller, more coherent work from all that raw material. Gone are the epic proportions that Ellison so clearly envisioned. Instead, Juneteenth revolves around just two characters: Adam Sunraider, a white, race-baiting New England senator, and Alonzo "Daddy" Hickman, a black Baptist minister who turns out to have a paradoxical (and paternal) relationship to his opposite number. As the book opens, Sunraider is delivering a typically bigoted peroration on the Senate floor when he's peppered by an assassin's bullets. Mortally wounded, he summons the elderly Hickman to his bedside. There the two commence a journey into their shared past, which (unlike the rest of 1950s America) represents a true model of racial integration.

Adam, we discover, was born Bliss, and raised by Hickman in the bosom of the black community. What's more, this rabble-rouser was being groomed as a boy minister. ("I tell you, Bliss," says Hickman, "you're going to make a fine preacher and you're starting at just the right age. You're just a little over six and Jesus Christ himself didn't start until he was twelve.") The portion of Juneteenth that covers Bliss's ecclesiastical education--perhaps a third of the entire book--is as electrifying as anything in Invisible Man. Ellison juggles the multiple ironies of race and religion with effortless brilliance, and his delight in Hickman's house-wrecking rhetoric is contagious:

Bliss, I've heard you cutting some fancy didoes on the radio, but son, Eatmore was romping and rampaging and walking through Jerusalem just like John! Oh, but wasn't he romping! Maybe you were too young to get it all, but that night that mister was ten thousand misters and his voice was pure gold.
In comparison, though, the rest of the novel seems like pretty slim pickings. For one thing, much of the plot--including Bliss's transformation from pint-sized preacher to United States senator--is absent. For another, Ellison's confinement of the two top-billed players to a hospital room makes for an awfully static narrative. Granted, he intended their dialogue to exist "on a borderline between the folk poetry and religious rhetoric" (or so he wrote in his notes). But this is a dicey recipe for a novel, and Juneteenth veers between naturalism and hallucination much less effectively than its predecessor did.

None of this is to assail Ellison's artistry, which remains on ample display. The problem is that Callahan's splice job--which well may be the best one possible--remains weak at the seams. So should readers give Juneteenth a miss? The answer would still have to be no. The best parts are as powerful and necessary as anything in our literature, evoking Daddy Hickman's own brand of verbal enchantment. "I was talking like I always talk," he recalls at one point, "in the same old down-home voice, that is, in the beloved idiom... [and] I preached those five thousand folks into silence." Ellison, too, is capable of preaching the reader into silence--and that's not something we can afford to overlook. --James Marcus --This text refers to the Hardcover edition.

From Publishers Weekly

When Ralph Ellison died in 1994, he left behind a manuscript he'd been working on since the '50s. John Callahan's introduction to this long-awaited edition explores Ellison's life and the history of this second novel (after, of course, the classic Invisible Man), cataloguing such disasters as the near-finished manuscript being destroyed in a fire in 1967. The novel turns out to have survived the many obstacles to its birth, for after a rather windy beginning, Ellison writes beautifully, in the grand, layered Southern tradition. The narrative begins in 1950s Washington, D.C., with Adam Sunraider, a race-baiting senator who is gunned down on the Senate floor while a man named Hickman watches in the gallery. Rushed to the hospital, Sunraider requests Hickman's presence, and the story of the two men's agonized relationship is told in flashbacks as Hickman attends the dying senator. Decades before, Alonzo Hickman was an ex-trombone player turned circuit preacher raising a young boy of indeterminate race named Bliss.The boy assists Hickman in his revivals, rising out of a white coffin at a certain moment in the sermon. Bliss grows up to change his name to Adam Sunraider and, having passed for white, has gone from being a flimflam artist and movie maker to the U. S. Senate Always, however, he is in flight from Hickman. These flashbacks showcase Ellison's stylized set pieces, among the best scenes he has written, especially as his incandescent images chart the mysteries and legacies of slavery. Bliss remembers his courtship of a black woman in a piercingly sweet reverie, and he revisits a revival meeting on Juneteenth (June 19), the date in 1865 on which slaves in Texas were finally informed of the Emancipation Proclamation. The sermon in this section is perhaps the highlight of the novel, sure to achieve classic status on its own merits. The revival meeting is interrupted by a white woman who claims Bliss is her son, after which Bliss begins his odyssey for an identity that takes him, by degrees, away from the black culture of his youth. Gradually, we learn of the collusion of lies and violence that brought Bliss to Hickman in the first place. Editor Callahan, in his informative afterword, describes the difficult process of editing Ellison's unfinished novel and of arranging the massive body of work into the unwieldy yet cohesive story Ellison wanted to tell. The difficulties he faced are most obvious in the ending, which is Faulknerian to a fault, even to the overuse of the word "outrage." Nonetheless, this volume is a visionary tour de force, a lyrical, necessary contribution to America's perennial racial dialogue, and a novel powerfully reinforcing Ellison's place in literary history. 100,000 first printing; BOMC double main selection.
Copyright 1999 Reed Business Information, Inc. --This text refers to the Hardcover edition.

Customer Reviews

3.2 out of 5 stars

Most helpful customer reviews

Format: Paperback
This book reads exactly like what it is: a book Ellison worked on off and on for most of his life, and never finished. Only after he died did someone piece together his drafts into a "finished" novel. Of course, it isn't finished--or Ellison would have sent it off to the publisher himself. This explains why it meanders forever in spots, and doesn't have (in my opinion) a satisfactory end.
All that aside, I don't agree that this book is "unreadable" or a waste of time. Ellison always had powerful things to say about race in America, and a mastery of language to bring to the task.
Ellison's point in Juneteenth is that Blacks are martyrs in their acceptance of the suffering imposed on them by whites, and that whites are irredemably evil--and, if I read the end right, damned to spend eternity in hell as a result.
Apparently this is true even if whites "see the light", are reborn black, and raised black--as Bliss--one of the books two real characters--as, most obviously through nightly staged "resurrection" out of the coffin, but at least symbolically at birth, and then again when he suffers an almost fatal illness as a very young child. Despite these early influences, as soon as Bliss reached adolesence, he abandoned blacks, turned white, and became a populist racist demagogue politician.
In contrast, Daddy Hickman (the other character) undergoes his own salvation (turning, through the influence of Bliss' birth and near fatal illness) from a life of a road musician to become a man of god. Even as a traveling preacher, he becomes more Christ-like, in contrast to the typical portrayal in literature (and movies) of white evangilists as charltain hustlers.
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From over 2000 pages of manuscript, John Callahan, the literary executer of Ralph Ellison's estate has done his best to patch together what might have been Ellison's last great novel. Unfortunately while some of the prose is wild and beautiful in Ellison's way, the whole of this effort may leave the reader with a very choppy, unhinged body of work. The basis of the story is a good one, young white boy (Bliss) adopted and raised by big African American southern preacher (who is also something of a con - part and parcel), Alonzo Z. Hickman, boy becomes first a scam artist (in the guise of a movie maker) then a horribly racist US Senator (Allan Sunraider).... book begins when the then old preacher comes to Washington DC with a group of his more elderly churchgoers to visit with the Senator ('before it's too late") and is not allowed to see him. The group with the preacher are in the Senate Gallery days later when a young man near them stands up and peppers the Senator with bullets. The body of the book is a compilation of stream of consciousnesses, dialogues, monologues, conversations, and described situations during Bliss's/Sunraider's life. In Ellison style, much of the book is what is going on in the minds of the character(s) during given situations. So much is happening in this book - so much of what Ellison wanted us to understand, to draws parallels with, to see more 'racially' clearly... and I simply found it tedious to wade through. The extensive introduction written by Callahan at the beginning of the book, and the very interesting "notes" section at the end were a positive addition to helping me to more clearly 'hear' what was happening in the minds of these two men during the end of Bliss's life.
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Ralph Ellison is back on our desks. His posthumous novel, marvellously edited by John F. Callahan, is the continuation of the reality and vision of Invisible Man. It is a book on identity, the identity of the black man, beyond the long period of suffering under slavery, and then discrimination. It is a visionary book about the future rising of the black man over these circumstances and into the future. But it is also a very accurate portrait of the black man's self-inflicted alienation : I mean religion, I mean the rite of Juneteenth to celebrate the end of slavery as a myth of rebirth, in June, in continuation with ancient summer rites, and a total blending with the Christ's resurrection and the belief in a life after death. We feel in the main character, a preacher of that new era, his fear for and defensiveness toward the modern world, the cinema that he accuses of giving the viewers an illusion about reality, without seeing that what he calls the Truth, that is to say his belief in God's will could be seen as an illusion too, but also without seeing that men and women, children and adults are fascinated by new communication techniques, hence by the cinema. And we do know better than this character. Ellison shows very precisely how the black preacher is trapped in his own illusion, in his own fantasmagoric world of « true » intentions that are false because leading to an impasse. He is very critical all along of this preacher's refusing to tell the real truth to Bliss, his white adopted child that he is grooming into becoming his preaching assistant and a preacher himself, so « lying » to the child in the name of a superior Truth, God's Truth. Vanity on his side to pretend he knows God's intentions and motivations.Read more ›
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