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High Cotton, by Darryl Pinckney
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An elegant, insightful novel that evokes the world of upper-middle-class blacks, following an unnamed narrator from a safe childhood in conservative Indianapolis, to a brief tenure as minister of information for a local radical organization, to the life of an expatriate in Paris. Through it all, his imagination is increasingly dominated by his elderly relations and the lessons of their experiences in the "Old Country" of the South.
- Sales Rank: #981774 in Books
- Published on: 1992-02-01
- Original language: English
- Number of items: 1
- Dimensions: 9.32" h x 1.20" w x 6.28" l,
- Binding: Paperback
- 320 pages
From Publishers Weekly
This remarkably accomplished first novel about growing up as a "nice Negro" in conservative Indianapolis, Ind., is sure to put Pinckney, a journalist and critic, in the front ranks of new writers this season. Writing with passion and an elegant wit, Pinckney conveys the dedication, pride and hypocrisy that formed the society of "upper shadies" in the 1950s and '60s. The nameless narrator demonstrates extraordinary powers of observation and expression throughout this memoir-like work, which takes him from youth to the present. One of the first civil rights marches, in which he participates as a child, leaves him bewildered: "My new shoes were covered with dust as fine as powdered ginger and I wanted to hurry home, to sink back into that state where good news for modern Negroes couldn't find me." That early cast of characters, from a powerful preacher grandfather and his wife, the difficult "beige step-grandmother," to an old aunt who was "paid to fidget with scissors," have had a greater effect on the narrator than he can calculate, and the farther he gets from them, the closer they crowd in his psyche. He seeks distance in the form of student activism, followed by expatriate life in Paris, but grandfather Eustace and those first experiences of Negro-ness have shaped, ultimately, the answers to the difficult question of identity and blackness. Pinckney's writing is provocative, exceedingly original and frequently hilarious. And in the aftermath of the Thomas/Hill debacle, its concern with upper-middle-class blacks should attract some extra attention.
Copyright 1991 Reed Business Information, Inc.
From Kirkus Reviews
This autobiographical first novel delights in irreverence and irony--its politically incorrect narrator refuses to sacrifice his much-cultivated individuality for a ready-made racial identity. He's black, blue, and bourgeois--Ellison's Invisible Man getting drunk with Frederick Exley. Fragmented and episodic, Pinckney's daring narrative begins in Indiana ``on the glossy edge of the New Frontier,'' when the young narrator looks into his future among the ``Also Chosen,'' the suburban answer to ``the Talented Tenth'' of well-educated and polite Negroes. But hovering over the rosy scene is Ivy-educated Grandfather Eustace (``the arch darky''), whose failure at everything, including itinerant preaching, presages his unnamed grandson's own will to dissipate. Nerdy and precocious, the adolescent Anglophile discovers ``the social stratification of being a black-power advocate in a suburban high school.'' But his involvement with a Black Panther splinter group (the Heirs of Malcolm) ends with his purge for ``flunkyism.'' A trip to beloved England finds London as depressing as downtown Indianapolis. College days are served on the edge of Harlem (the ``Valley of the Shines''), where Black Muslims and street hustlers mark him as college boy and rube. His only black friend in school is the flamboyant and sexy Bargetta, who dates only whites. After Columbia, our hero slums on Morningside Heights; hangs out in a working-class bar; works for Djuna Barnes as a part-time handyman. He coasts through a job in publishing; moves to Manhattan's Pomander Walk; attends a Farrakhan rally; and suffers through a dinner party with black yuppies. While he halfheartedly tries to make his way in the world, family keeps tugging at his conscience and consciousness--Aunt Clara in ``the Old Country'' down south; Uncle Castor, the aging jazzman; and Grandfather Eustace in mental decline. Ultimately, Pinckney's unhip narrator embraces art not ideology, loneliness not a lifestyle. Pinckney mocks the racial shibboleths, deftly turns the ironist inward, and scorns his self-indulgence. His voice--in perfect tones and full of timbre--speaks to, not for, ``the black experience'' among those who value character over color. -- Copyright ©1991, Kirkus Associates, LP. All rights reserved.
About the Author
Darryl Pinckney, a longtime contributor to The New York Review of Books, is the author of the novel, High Cotton (winner of a Los Angeles Times Book Prize), and the works of nonfiction, Blackballed: The Black Vote and U.S. Democracy and Out There: Mavericks of Black Literature. He is a recipient of the Harold D. Vursell Memorial Award for Distinguished Prose from the American Academy of Arts and Letters. He lives in New York.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Unfulfilled Promise
By Tea Taster 12
I looked forward to dipping into this book because I came across a clipping of a review that I had kept from years ago. At first I thought, this is going to be fun, but ultimately I felt like this is an unconnected stream of consciousness experience or the narrating character. There are a lot of inside jokes that speak to the middle class black experience and also serious moments of "yes that's exactly how it is or how it feels." Nevertheless, in the long run I disengaged from being involved in the narrative.
0 of 0 people found the following review helpful.
Four Stars
By IAD
Interesting read...
6 of 7 people found the following review helpful.
Exceptional writing
By J. DAVIDSON
When I first read this, I took it to be a memoir because of some obvious overlap between Pinckney's personal history and that of his protagonist, but more especially because of the intense vividness and immediacy of the language. Learning it's a novel does nothing to change my high opinion of the book, which should be much better known/more widely read. Pinckney's got a powerful and striking prose style and it's also a fiercely intelligent book, one which takes nothing for granted. I'd group him with those essayists-novelists like Rebecca West, George Orwell and James Baldwin whose medium is prose rather than the novel per se; this book is well worth checking out.
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