by Percival Everett
Percival Everett's latest novel, a "majestic" reworking of Mark Twain's Adventures of Huckleberry Finn, "tears down and rebuilds a cultural landmark," said Dwight Garner in The New York Times. The prolific author, whose 2001 satire of the publishing industry was turned into the Oscar-winning film American Fiction, pays sly homage to Twain's tale while utterly recasting it. Huck's enslaved sidekick, Jim — or "James," as he prefers — is this book's narrator, and for him, a runaway determined not to be sold away from his wife and children, the Mississippi journey he embarks on with Huck is no lark. "From James' point of view, nearly every second is deadly serious." But Everett isn't scoring easy points here. "He is evoking and critiquing the American experiment, circa the middle of the 19th century, from a wised-up slave's point of view."Â
Twain's version of Jim remains "the ur-Magical Negro" — a figure in fiction and film who exists to lead a white character to enlightenment, said Tyler Austin Harper in The Atlantic. Everett's novel, meanwhile, is "best understood as a systematic dismantling of that shopworn staple." James is a man who wears a mask, playing the role of kindly, illiterate Jim for white folks even though he is a voracious self-taught reader who speaks perfect English with other Black people. And though he finds humor in the ways of white Americans, his rage about the terror he lives with every day grows as he wends downriver. Everett doesn't repeat every event in Twain's novel, said Ron Charles in The Washington Post. He skips some while adding "evocative" new ones, including a "shocking and exhilarating" ending that's far superior to Twain's.Â
"I almost cannot imagine a future where teachers assign The Adventures of Huckleberry Finn without also assigning James," said John Warner in the Chicago Tribune. A masterpiece in its own right, James also "fundamentally transforms" the way we think about an American classic and reaffirms that Everett, now with roughly two dozen wry, challenging works to his name, is "our current Great American Novelist." Because Everett is Everett, you also have to wonder if James isn't a put-on itself — a means of needling white readers for celebrating Black writers only when they're writing about the suffering of Black Americans in a distant-enough past, said Laura Miller in Slate. And yet, "if he's mocking us, he's earned that right. Maybe he'll even win a Pulitzer." |