New Releases by John Edgar Wideman

The reissued classic from “master of language” (The New York Times) John Edgar Wideman—a “superb” (New York Times Book Review) memoir in five essays about fathers, and Wideman''s vexed relationship with his own. An essential chronicler of Black American experience for over half a century, John Edgar Wideman has been hailed as one of the most important and influential writers of his generation. In Fatheralong, finalist for the 1994 National Book Award, Wideman examines the tidal pull of the narratives and scripts around the sometimes challenging father-son relationship. This searing work is an elegiac mirror to Brothers and Keepers, his landmark memoir about the divergent paths between he and his brother Robby, and the knotted, unbreakable cord of blood, love, and guilt that binds them together. In Fatheralong, we return to Homewood, the Pittsburgh neighborhood in which the two brothers were raised, but here, Wideman takes us even further back into the past, to the generations of Wideman fathers that preceded him. Tracing the contours of his family’s story back to a South Carolinian hamlet called Promised Land, and the trip there he took with his own estranged father, and then back into the present, in his own role as the father of his three children, Fatheralong exposes the hope and fatalism, wisdom and despair, that underwrites all lineage and all ancestry—the strange and universal condition of having come from someone. In Fatheralong, we see Wideman at his most “earnest, artful, hopeful, angry, and proud” (Kirkus Review), as he imagines on the page, “how different we might be if we really listened to our fathers'' stories.” A classic text by a formidable writer, ready for a new generation of readers.

Une visite rendue au frère de l’auteur en prison, la foule qui accueille Mandela au Cap lors de sa libération, un couple noir qui s’embrasse dans Manhattan, le génocide au Rwanda ou encore le mouvement Black Lives Matter sont autant de sujets explorés ici dans une langue d’une musicalité digne des plus grands solos de jazz. Qu’on me cherche et je ne serai plus nous interpelle et nous éblouit. En vingt et un textes resplendissants de liberté stylistique, le grand écrivain afro-américain John Edgar Wideman se confronte au racisme comme peu d’auteurs l’ont fait à ce jour. D’un jeu subtil avec les genres mêlant fiction, récit et essai, cette fresque littéraire épatante offre un nouveau regard, nécessaire, sur ce qu’implique d’être un artiste noir et de faire partie d’une population encore trop souvent déconsidérée.

“Master of language” (The New York Times) John Edgar Wideman uses his unique generational position to explore what he calls the “slaveroad,” offering “a fresh perspective of slavery’s impact and a confirmation of Wideman’s exalted status in American letters” (New York magazine). John Edgar Wideman’s Slaveroad is a groundbreaking work of “bruising candor and obsessive originality” (The Wall Street Journal). For centuries, the buying and selling of human beings was legal, and millions of Africans were kidnapped then forcibly transported across the Atlantic Ocean to serve as slaves. The enduring legacies of this slave road traffic—denied, unacknowledged, misunderstood, repressed—continue to poison the experiences and journeys of all Americans. In a section of “Slaveroad,” called “Sheppard,” William Henry Sheppard, a descendant of enslaved Virginians, travels back to Africa where he works as a missionary, converting Africans to Christianity alongside his Southern white colleague. Wideman imagines drinking afternoon tea with Lucy Gant Sheppard, William’s wife, who was on her own slaveroad, as she experienced her husband’s adultery with the African women he was trying to convert. In “Penn Station,” Wideman’s brother, after being confined forty-four years in prison, travels from Pittsburgh to New York. As Wideman awaits his brother, he asks, “How will I distinguish my brother from the dead. Dead passengers on the slaveroad.” “A blend of memoir, fiction, history” (The Millions), Slaveroad is a book that will inform, challenge, and surprise Wideman fans as well as newcomers to his writing.

"Fifty-seven short stories drawn from past collections celebrate the lifelong significance of this major American writer''s essential contribution to a form-illuminating the ways that he has made it his own.".

*A Wall Street Journal Top 10 Best Book of the Year* From John Edgar Wideman, a modern “master of language” (The New York Times Book Review), comes a stunning story collection that spans a range of topics from Michael Jordan to Emmett Till, from childhood memories to the final day in a prison cell. In Look For Me and I’ll Be Gone, his sixth collection of stories, John Edgar Wideman imbues with energy and life the concerns that have consistently infused his fiction and nonfiction. How does it feel to grow up in America, a nation that—despite knowing better, despite its own laws, despite experiencing for hundreds of years the deadly perils and heartbreak of racial division—encourages (sometimes unwittingly, but often on purpose) its citizens to see themselves as colored or white, as inferior or superior. Never content merely to tell a story, Wideman seeks once again to create language that delivers passages like jazz solos, and virtuosic manipulations of time to entangle past and present. The story “Separation” begins with a boy afraid to stand alone beside his grandfather’s coffin, then wends its way back and forth from Pittsburgh to ancient Sumer. “Atlanta Murders” starts with two chickens crossing a road and becomes a dark riff, contemplating “Evidence of Things Not Seen,” James Baldwin’s report on the 1979–1981 child murders in Atlanta, Georgia. Comprised of fictions of the highest caliber and relevancy by a writer whose imagination and intellect “prove his continued vitality...with vigor and soul” (Entertainment Weekly), Look For Me and I’ll Be Gone will entrance and surprise committed Wideman fans and newcomers alike.

Nel 1955 il quattordicenne Emmett Till lasciava la sua casa di Chicago per andare a far visita ai parenti in Mississippi. Sarebbe tornato alcune settimane dopo, cadavere: ucciso nel modo più barbaro perché, così avrebbero sostenuto i suoi carnefici, aveva fischiato a una donna bianca. La madre di Emmett, Mamie, decise di lasciare la bara aperta perché tutto il mondo vedesse che cosa era stato fatto a suo figlio, e la vicenda – come pure il processo che ne seguì – trovò spazio su tutti i giornali, a livello nazionale, facendo di Emmett Till e della sua morte un'icona della stagione dei diritti civili. Se la storia di Emmett è ben nota, c'è però un lato oscuro nel passato della sua famiglia, che viene menzionato solo di rado. Dieci anni prima, nel 1945, il padre di Emmett, Louis Till, era stato condannato a morte da una corte marziale per stupro e omicidio, e infine impiccato. In Scrivere per salvare una vita, John Edgar Wideman parte alla ricerca di Louis Till, una vittima silenziosa della (in)giustizia americana. E ricostruisce con un misto di malinconia e rabbia la doppia tragedia di un padre e di un figlio, raccontandone le storie insieme per la prima volta. Come già in Fratelli e custodi, un'accurata ricerca storica si fonde a ricordi personali e slanci immaginativi, portando il memoir a vette difficilmente eguagliabili e tessendo un dialogo insieme doloroso e salvifico tra vivi e morti, passato e presente.

“A powerful assemblage of short stories exploring late-in-life angst through personal myth, cultural memory, and riffs on an empire scorched by its own hubris” (O, The Oprah Magazine) from award-winning author John Edgar Wideman—his first collection in more than a decade. “Race and its reverberations are at the core of this slim, powerful volume, a blend of fiction, memoir, and reimagined history, in which the boundaries between those forms are murky and ever shifting” (The Boston Globe). In this singular collection, John Edgar Wideman blends the personal, historical, and political to invent complex, charged stories about love, death, struggle, and what we owe each other. With characters ranging from everyday Americans to Jean-Michel Basquiat to Nat Turner, American Histories is a journey through time, experience, and the soul of our country. In “JB & FD,” Wideman reimagines conversations between John Brown, the antislavery crusader, and Frederick Douglass, the abolitionist and orator—conversations that produce a fantastical, rich correspondence that spans years and ideologies. “Maps and Ledgers” eavesdrops on a brother and sister today as they ponder their father’s killing of another man. “Williamsburg Bridge” sits inside a man sitting on a bridge who contemplates his life before he decides to jump. “My Dead” is a story about how the already-departed demand more time, more space in the lives of those who survive them. American Histories is “an important addition to Wideman’s body of writing and a remarkable demonstration of his ability to address social issues through a range of fictional forms and styles” (Pittsburgh Post-Gazette). An extended meditation on family, history, and loss, American Histories weaves together historical fact, philosophical wisdom, and deeply personal vignettes. This is Wideman at his best—emotionally precise and intellectually stimulating—an extraordinary collection by a master.

Trois romans, trois portraits de la vie dans le ghetto noir de Homewood, à Pittsburgh, dans lesquels John Edgar Wideman raconte les douleurs, les passions, les rêves et les souvenirs de cette communauté. Damballah réinvente l’histoire mythique de sa famille fondatrice, dont l’épopée brutale et poétique traverse les générations, les continents et les malédictions. Où se cacher met en scène une tragédie intimiste : accusé de meurtre, le jeune Tommy se réfugie chez Bess, une parente éloignée qui vit recluse depuis la mort de son mari et de son enfant, et, avec elle, tente de surmonter la colère et la peur qui règnent dans les rues. Dans Le rocking-chair qui bat la mesure, John Edgar Wideman se souvient. De son enfance, mais surtout de la génération précédente, dont les morts continuent de hanter les vivants...

À l’âge de quatorze ans, John Edgar Wideman découvre dans la presse américaine une photo du visage mutilé d’Emmett Till. Tout comme Wideman, ce dernier est âgé de quatorze ans, et tout comme Wideman, c’est un Noir américain. Cette image ne cessera de le hanter. En 1955, Emmett Till prend le train à Chicago pour rendre visite à sa famille dans le Mississippi. Accusé d’avoir sifflé une femme blanche, l’adolescent noir est kidnappé et assassiné. Ses meurtriers, blancs, seront acquittés. Resurgit en effet durant leur procès le fantôme du père d’Emmett, Louis Till, enrôlé dans l’armée américaine à la fin de la Seconde Guerre mondiale et jugé puis exécuté pour viol en 1945. Tel père tel fils, considère le jury, aussi blanc que les accusés. Habité par ce fait divers qui a marqué l’Amérique, l'auteur décide d’enquêter sur les circonstances douteuses de cette exécution. Il en fait ressortir les zones d’ombre et tente de combler le silence de Louis Till. Faits historiques, éléments autobiographiques et fictifs s’entrelacent pour former un récit aussi personnel qu'actuel, auscultant une société américaine rongée par l’injustice et la violence. Prix Femina Étranger

"A rare triumph" (The New York Times Book Review), this powerful memoir about the divergent paths taken by two brothers is a classic work from one of the greatest figures in American literature: a reflection on John Edgar Wideman''s family and his brother''s incarceration--a classic that is as relevant now as when originally published in 1984. A "brave and brilliant" (The Philadelphia Inquirer) portrait of lives arriving at different destinies, the classic John Edgar Wideman memoir, Brothers and Keepers, is a haunting portrait of two brothers--one an award-winning writer, the other a fugitive wanted for a robbery that resulted in a murder. Wideman recalls the capture of his younger brother, Robby, details the subsequent trials that resulted in a sentence of life in prison, and provides vivid views of the American prison system. A gripping, unsettling account, Brothers and Keepers weighs the bonds of blood, affection, and guilt that connect Wideman and his brother and measures the distance that lies between them. "If you care at all about brotherhood and dignity...this is a must-read book" (The Denver Post). With a new afterword by his brother Robert Wideman, recently released after more than fifty years in prison.

An award-winning writer traces the life of the father of iconic Civil Rights martyr Emmett Till--a man who was executed by the Army ten years before Emmett''s murder. An evocative and personal exploration of individual and collective memory in America by one of the most formidable Black intellectuals of our time. In 1955, Emmett Till, aged fourteen, traveled from his home in Chicago to visit family in Mississippi. Several weeks later he returned, dead; allegedly he whistled at a white woman. His mother, Mamie, wanted the world to see what had been done to her son. She chose to leave his casket open. Images of her brutalized boy were published widely. While Emmett''s story is known, there''s a dark side note that''s rarely mentioned. Ten years earlier, Emmett''s father was executed by the Army for rape and murder. In Writing to Save a Life, John Edgar Wideman searches for Louis Till, a silent victim of American injustice. Wideman''s personal interaction with the story began when he learned of Emmett''s murder in 1955; Wideman was also fourteen years old. After reading decades later about Louis''s execution, he couldn''t escape the twin tragedies of father and son, and tells their stories together for the first time. Author of the award-winning Brothers and Keepers, Wideman brings extraordinary insight and a haunting intimacy to this devastating story. An amalgam of research, memoir, and imagination, Writing to Save a Life is completely original in its delivery--an engaging and enlightening conversation between generations, the living and the dead, fathers and sons. Wideman turns seventy-five this year, and he brings the force of his substantial intellect and experience to this beautiful, stirring book, his first nonfiction in fifteen years.

Eddie Lawson returns to Pittsburgh, where his crippled mother's poisonous anger drives him to the streets. With his friend, Brother, Eddie is forced to confront his fears of Bum's Forest and the class alienation which controls his life.

In God''s Gym, the celebrated author John Edgar Wideman offers stories that pulse with emotional electricity. The ten pieces here explore strength, both physical and spiritual. The collection opens with a man paying tribute to the quiet fortitude of his mother, a woman who "should wear a T-shirt: God''s Gym." In the stories that follow, Wideman delivers powerful riffs on family and fate, basketball and belief. His mesmerizing prose features guest appearances by cultural luminaries as diverse as the Harlem Globetrotters, Frantz Fanon, Thelonious Monk, and Marilyn Monroe. As always, Wideman astounds with writing that moves from the intimate to the political, from shock to transcendence.

A haunting portrait of lives arriving at different destinies, this is the author''s seminal memoir about two brothers, one an award-winning novelist, the other a fugitive wanted for robbery and murder. He recalls the capture of his younger brother Robby, details the subsequent trials that resulted in a sentence of life in prison, and provides vivid views of the American prison system. A gripping, unsettling account, it weighs the bonds of blood, tenderness, and guilt that connect the author to his brother and measures the distance that lies between them.

Story of Cudjoe, a writer and exile who returns to his old neighborhood after spending a decade fleeing from his past. Inspired by the 1985 police bombing of a West Philadelphia row house owned by the back-to-nature, Afrocentric cult known as Move.

A multilayered memoir of basketball, family, home, love, and race, this book tells of the author''s love for a game he can no longer play.

From the first writer to win the PEN/Faulkner Award twice comes this redemptive, healing love story that celebrates the survival of an endangered urban black community and the ways in which people redeem themselves.

Interviews with the author of The Homewood Trilogy, Brothers and Keepers, and Philadelphia Fire.

Traces the experiences of a Black family from just after the Civil War to the radical sixties.

When a man is murdered and he is unfairly accused, Tommy hides out with Mother Bess--a relative who is mean and mentally unbalanced--and together they wallow in trepidation and anger desperately trying to find the nerve to face the world.

En 1972, un jeune homme est témoin d'une atrocité raciste. Il entreprend de raconter toutes ses tribulations. Y compris ses crises d'épilepsie accompagnées de visions merveilleuses, et sa quête infinie d'une "femme en bleu" qui ne cesse d'apparaître et de disparaître dans les méandres de son récit.

Set mainly in the Pittsburgh district of Homewood, these 10 stories depict African Americans from all walks of life--ancestors, family, and lovers caught in the vortex of American history and haunted by their own particular demons. "(Wideman is) one of our very finest writers, period".--New Republic.

Collection of short stories by the author covering the past ten years of his writing.