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Juneteenth
Cover of Juneteenth
Juneteenth
A Novel
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“Ellison sought no less than to create a Book of Blackness, a literary composition of the tradition at its most sublime and fundamental." —Henry Louis Gates, Jr., TIME

From the renowned author of the classic novel Invisible Man, Ralph Ellison’s Juneteenth is brilliantly crafted, moving, and wise. With a new introduction by National Book Award-winning author and scholar Charles Johnson.
Here is Ellison, the master of American vernacular—the preacher’s hyperbole and the politician’s rhetoric, the rhythms of jazz and gospel and ordinary speech—at the height of his powers, telling a powerful, evocative tale of a prodigal of the twentieth century.
 
“Tell me what happened while there’s still time,” demands the dying senator Adam Sunraider to the Reverend A. Z. Hickman, the itinerant Negro preacher whom he calls Daddy Hickman. As a young man, Sunraider was Bliss, an orphan taken in by Hickman and raised to be a preacher like himself. His history encompasses camp meetings where he became the risen Lazarus to inspire the faithful; the more ordinary joys of Southern boyhood; bucolic days as a filmmaker; lovemaking with a young woman in a field in the Oklahoma sun. And behind it all lies a mystery: how did this chosen child become the man who would deny everything to achieve his goals?
“Ellison sought no less than to create a Book of Blackness, a literary composition of the tradition at its most sublime and fundamental." —Henry Louis Gates, Jr., TIME

From the renowned author of the classic novel Invisible Man, Ralph Ellison’s Juneteenth is brilliantly crafted, moving, and wise. With a new introduction by National Book Award-winning author and scholar Charles Johnson.
Here is Ellison, the master of American vernacular—the preacher’s hyperbole and the politician’s rhetoric, the rhythms of jazz and gospel and ordinary speech—at the height of his powers, telling a powerful, evocative tale of a prodigal of the twentieth century.
 
“Tell me what happened while there’s still time,” demands the dying senator Adam Sunraider to the Reverend A. Z. Hickman, the itinerant Negro preacher whom he calls Daddy Hickman. As a young man, Sunraider was Bliss, an orphan taken in by Hickman and raised to be a preacher like himself. His history encompasses camp meetings where he became the risen Lazarus to inspire the faithful; the more ordinary joys of Southern boyhood; bucolic days as a filmmaker; lovemaking with a young woman in a field in the Oklahoma sun. And behind it all lies a mystery: how did this chosen child become the man who would deny everything to achieve his goals?
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Excerpts-
  • Chapter 1 CHAPTER 1
    Two days before the shooting a chartered planeload of Southern Negroes swooped down upon the District of Columbia and attempted to see the Senator. They were all quite elderly: old ladies dressed in little white caps and white uniforms made of surplus nylon parachute material, and men dressed in neat but old-fashioned black suits, wearing wide-brimmed, deep-crowned panama hats which, in the Senator's walnut-paneled reception room now, they held with a grave ceremonial air. Solemn, uncommunicative and quietly insistent, they were led by a huge, distinguished-looking old fellow who on the day of the chaotic event was to prove himself, his age notwithstanding, an extraordinarily powerful man. Tall and broad and of an easy dignity, this was the Reverend A. Z. Hickman—better known, as one of the old ladies proudly informed the Senator's secretary, as "God's Trombone."
    This, however, was about all they were willing to explain. Forty-four in number, the women with their fans and satchels and picnic baskets, and the men carrying new blue airline take-on bags, they listened intently while Reverend Hickman did their talking.
    "Ma'am," Hickman said, his voice deep and resonant as he nodded toward the door of the Senator's private office, "you just tell the Senator that Hickman has arrived. When he hears who's out here he'll know that it's important and want to see us."
    "But I've told you that the Senator isn't available," the secretary said. "Just what is your business? Who are you, anyway? Are you his constituents?"
    "Constituents?" Suddenly the old man smiled. "No, miss," he said, "the Senator doesn't even have anybody like us in his state. We're from down where we're among the counted but not among the heard."
    "Then why are you coming here?" she said. "What is your business?"
    "He'll tell you, ma'am," Hickman said. "He'll know who we are; all you have to do is tell him that we have arrived. . . ."
    The secretary, a young Mississippian, sighed. Obviously these were Southern Negroes of a type she had known all her life—and old ones; yet instead of being already in herdlike movement toward the door they were calmly waiting, as though she hadn't said a word. And now she had a suspicion that, for all their staring eyes, she actually didn't exist for them. They just stood there, now looking oddly like a delegation of Asians who had lost their interpreter along the way, and were trying to tell her something which she had no interest in hearing, through this old man who himself did not know the language. Suddenly they no longer seemed familiar, and a feeling of dreamlike incongruity came over her. They were so many that she could no longer see the large abstract paintings hung along the paneled wall, nor the framed facsimiles of State Documents which hung above a bust of Vice-President Calhoun. Some of the old women were calmly plying their palm-leaf fans, as though in serene defiance of the droning air conditioner. Yet she could see no trace of impertinence in their eyes, nor any of the anger which the Senator usually aroused in members of their group. Instead, they seemed resigned, like people embarked upon a difficult journey who were already far beyond the point of no return. Her uneasiness grew; then she blotted out the others by focusing her eyes narrowly upon their leader. And when she spoke again her voice took on a nervous edge.

    "I've told you that the Senator isn't here," she said, "and you must realize that he is a busy man who can only see people by appointment. . . ."
    "We know, ma'am," Hickman said, "but . . ."
    "You don't just walk in here and expect to see him on a minute's notice."
    "We understand that, ma'am," Hickman said, looking...

About the Author-
  • Ralph Ellison was born in Oklahoma City in 1914. He is the author of the novel Invisible Man (1952), winner of the National Book Award and one of the most important and influential American novels of the twentieth century, as well as numerous essays and short stories. He died in New York City in 1994.
    John F. Callahan is Morgan S. Odell Professor of Humanities at Lewis and Clark College in Portland, Oregon. He is the editor of the Modern Library edition of The Collected Essays of Ralph Ellison and is literary executor of Ralph Ellison's estate.
Reviews-
  • Publisher's Weekly

    Starred review from May 3, 1999
    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.

  • -The New York Review of Books

    "[A] vastly ambitious informing allegory, an allegory made rich, as in Invisible man, with the sensory details of which Ellison was such a master."

  • -Henry Louis Gates, Jr., Time "[A] stunning achievement.... Juneteenth is a tour de force of untutored eloquence. Ellison sought no less than to create a Book of Blackness, a literary composition of the tradition at its most sublime and fundamental."
  • -Los Angeles Times "Juneteenth...threatens to come as close as any since Huckleberry Finn to grabbing the ring of the great American Novel."
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    Knopf Doubleday Publishing Group
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A Novel
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