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5.0 out of 5 stars
A great book I only recently discovered, Nov 25 2002
By A Customer
A neglected classic by a writer who some consider equal to Ralph Ellison in importance. One fascinating aspect is its fictionalized treatment of some of the century's famous black literary figures. It's a portrait of the post-WWII-through-mid-sixties period as seen through the eyes of a black writer as he establishes a career as a novelist, journalist, and Presidential speechwriter in New York, Paris, Washington, D.C., and Lagos, Nigeria. The main character, Max Reddick, is shaped by anger, at the crux of which is indignation at the hypocrisy and hostility that black people and writers faced during this period. It's a historical novel which provides some insight into the social and political ferment of the sixties, and has an Afrocentric perspective that's somewhat reminiscent of Walter Mosley's work. It includes an intruiging fictionalized version of a mythic encounter between Richard Wright and James Baldwin ("Marion Dawes") in a Paris café, and according to James Sallis's biography of Chester Himes, it describes the essence of Wright's expatriate experience and his relationship with Himes. Ishmael Reed has said that the cartoonist Ollie Harrington is depicted, and although I didn't recognize him, Malcolm X is unmistakable and I suspect that "Time" Curry is modelled after jazz drummer Kenny Clarke, who was living in Paris at the time. According to the author's biography of Richard Pryor, Motown explored the possibility of buying the film rights to the novel as a vehicle for its star, Marvin Gaye, until the idea was abandoned in favor of Lady Sings the Blues.The story begins near the end as Max, who's dying of cancer, sits at an outdoor café in Amsterdam where he's come to investigate the mystery of the death of his friend, Harry Ames, "the father of black writers," a few days earlier in Paris. What he eventually discovers is mind-blowing. Throughout the novel, Max opines on a multitude of subjects like: Marxism, African independence and African attitudes towards Americans, sexuality and interracial relationships (he works past some of his homophobia too), the different styles of reporters from 5 major NYC newspapers, the theory of the rich president and other political theories, the "lie" of Christmas ("the rich man's chance to dissipate the image of Scrooge"), American cars (with their "long, buttock-smooth lines"), existentialism, and Alban Berg's atonal opera, "Wozzeck" (whose climax, a child's scream, punctuates Max's argument with his woman). Max interprets bebop's message as, "we can not be contained," and modern jazz becomes the avatar of his literary aesthetic: "He wanted to do with the novel what Charlie Parker was doing to music -- tearing it up and remaking it; basing it on nasty, nasty blues and overlaying it with the deep overriding tragedy not of Dostoevsky, but an American who knew of consequences to come: Herman Melville, a super Confidence Man, a Benito Cereno saddened beyond death."
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