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Percival Everett

Forfatter af Erasure

48+ Værker 5,442 Medlemmer 294 Anmeldelser 15 Favorited
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Om forfatteren

Percival Everett is a professor of English at the University of Southern California.

Omfatter også følgende navne: Percival Everett, percival everette, Percival L. Everett

Værker af Percival Everett

Erasure (2001) 985 eksemplarer, 38 anmeldelser
James (2024) 856 eksemplarer, 40 anmeldelser
The Trees (2021) 784 eksemplarer, 49 anmeldelser
I Am Not Sidney Poitier (2009) 372 eksemplarer, 26 anmeldelser
Dr No (2022) 250 eksemplarer, 13 anmeldelser
Telephone (2020) 229 eksemplarer, 23 anmeldelser
American Desert (2004) 194 eksemplarer, 12 anmeldelser
So Much Blue (2017) 190 eksemplarer, 14 anmeldelser
Glyph (1999) 184 eksemplarer, 7 anmeldelser
Wounded (2005) 182 eksemplarer, 11 anmeldelser
Assumption (2011) 174 eksemplarer, 20 anmeldelser
God's Country (1994) 117 eksemplarer, 5 anmeldelser
Half an Inch of Water: Stories (2015) 106 eksemplarer, 6 anmeldelser
Percival Everett by Virgil Russell (2013) 98 eksemplarer, 5 anmeldelser
Watershed (1996) 96 eksemplarer, 5 anmeldelser
Damned If I Do: Stories (2004) 88 eksemplarer, 6 anmeldelser
The Water Cure (2007) 70 eksemplarer, 3 anmeldelser
Suder (1983) 57 eksemplarer, 1 anmeldelse
Cutting Lisa (1986) 40 eksemplarer
Walk Me to the Distance (1985) 27 eksemplarer, 1 anmeldelse
For Her Dark Skin (1990) 26 eksemplarer
Frenzy (1996) 25 eksemplarer
Big Picture (1996) 25 eksemplarer
The One That Got Away (1992) 24 eksemplarer
Grand Canyon, Inc. (2001) 23 eksemplarer, 4 anmeldelser
Zulus (1990) 20 eksemplarer, 1 anmeldelse
X (2011) 11 eksemplarer, 1 anmeldelse
The Weather and Women Treat Me Fair (1987) 11 eksemplarer, 1 anmeldelse
There Are No Names for Red (2010) — Illustrator — 9 eksemplarer
re: f (gesture) (Black Goat) (2004) 9 eksemplarer
Swimming Swimmers Swimming (2011) 8 eksemplarer
The Body of Martin Aguilera (2013) 8 eksemplarer
Trout's Lie (2015) 6 eksemplarer
Two Stories (FreeReadPress) (2018) 2 eksemplarer
Cancelado (2024) 2 eksemplarer
n + 1 issue spring 2020 (2020) 1 eksemplar
As Árvores 1 eksemplar

Associated Works

The Best American Short Stories 2000 (2000) — Bidragyder — 397 eksemplarer, 2 anmeldelser
Breaking Ice: An Anthology of Contemporary African-American Fiction (1990) — Bidragyder — 276 eksemplarer, 1 anmeldelse
Gumbo: A Celebration of African American Writing (2002) — Bidragyder — 124 eksemplarer
In the United States of Africa (2006) — Forord, nogle udgaver101 eksemplarer, 8 anmeldelser
Hokum: An Anthology of African-American Humor (2006) — Bidragyder — 66 eksemplarer
The Penguin Book of the Modern American Short Story (2021) — Bidragyder — 62 eksemplarer
My California: Journeys By Great Writers (2004) — Bidragyder — 56 eksemplarer
A Portrait of Southern Writers: Photographs (2000) — Bidragyder — 14 eksemplarer
Nick Brandt - the day may break (2021) — Efterskrift — 8 eksemplarer

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Almen Viden



AMERICAN AUTHORS CHALLENGE--AUGUST 2023--PERCIVAL EVERETT i 75 Books Challenge for 2023 (marts 24)
Is this (name a book!) worth finishing? i Book talk (marts 2023)


I enjoyed reading the book. Such a reminder if Twain’s Huck Finn character
JimandMary69 | 39 andre anmeldelser | Jul 19, 2024 |
This book has received a lot of great reviews and sometimes the hype exceeds the product but in this case the hype is spot on. A great book. Had a little trouble with the ending which kept it from being a 5. Everett takes the Huckleberry Finn book and reworks it from the viewpoint of Jim or James as he refers to himself, but not in front of whites. This is the strength of the book. Seeing slavery directly from a character that is intelligent but knows that white people can't accept this because it would make slavery harder to justify. There are many parts of the original book used in "James" but Everett takes liberties with time (1860's instead of 1830's) and plot but his changes. help to bring the horror of slavery directly to the reader. There are elements of satire and some positiveness in the relationship with Huck and the other slaves. This book is a must read and deserves all of its accolades. I definitely will read Everett's other books.… (mere)
nivramkoorb | 39 andre anmeldelser | Jul 17, 2024 |
I am conflicted about this one. Overall, the writing of Everett is brilliantly satirical and horrific. “Jim“ from HUCK FINN ends up being a facade behind the true “James“ in this novel. Did I need that? Truthfully, no. I may be the only one, but I saw Jim's extreme depth, intelligence, compassion, and anger in the original Twain novel. I never saw Jim as a caricature; I saw the true essence of him behind Twain's lines. It is Jim's superior humaneness in the original that (to me) changes Huck's views so drastically that he has to go west into uncharted territory to be with the more “civilized“ humans than the whites he grew up with. However, I do understand Everett's need to show the absolute depravity of slavery not only during those times but to shed a light on how people on the so-called edges of society are still treated today. That alone makes this a necessary read.… (mere)
1 stem
crabbyabbe | 39 andre anmeldelser | Jul 15, 2024 |
James escapes slavery in the Southern united states and heads down the Mississippi river on a raft. He fled after overhearing that he was to be sold without his wife and family, and he is determined to free them.

He is accompanied by a white teenager, Huck—on the run for his own reasons. They crisscross a wild country inhabited by rogues, dangerous misfits and occasional allies.

Black American author Percival Everett takes the plot for his novel from Mark Twain’s The Adventures of Huckleberry Finn first published in 1885. But Everett shifts the viewpoint to Huck’s companion Jim. But now Jim demands the right to be called James.

Twain intended his book to challenge racism, though some of it makes uncomfortable reading now. Black people are almost exclusively referred to by the n-word, and all speak in a thick “lawdy, massa” dialect. But their language never shows the playful wit of later dialect books by black writers. And the presentation of Jim as superstitious and credulous is patronising, no matter how heroic his behaviour.

Everett has enslaved people talk this dialect when whites are about. But as James explains to his children, “White folks expect us to sound a certain way and it can only help if we don’t disappoint them.” And Everett bends the stick the other way, sometimes making his black characters sound like university lecturers.

One comments on a drunken white, saying, “When we see him staggering around later acting the fool, will that be an example of proleptic irony or dramatic irony?”

Though several scenes directly follow and comment on passages in Huckleberry Finn, you don’t need to know the earlier novel to enjoy it. And the original’s rather forced ending is moved in a much more satisfying direction.

Throughout the book the ability to read and write is central as James constantly searches for paper and most poignantly a pencil. He had taught himself to read in his owner’s library and has dreams of debates with Enlightenment philosophers. Here he exposes the hypocrisy of their talk of liberty that so often includes a justification for slavery.

Readers experience the dehumanising powerlessness of being enslaved and the horror of being whipped or enduring the worst kinds of abuse without a murmur. But James also shows the intelligence and resilience it takes to survive and resist.

The power of the weather and the river are always present. As houses are swept down the Mississippi and in the claustrophobic climax, James is trapped below deck on a sinking riverboat.

Everett has written more than 20 novels and is a literature professor. He often takes a satirical and ironic look at the way black people are perceived in US culture. Issues of identity—assumed or imposed—abound.

Huck disguises himself in female clothes for a while and elsewhere James encounters an enslaved girl dressed as a boy. The fugitives travel with a blackface minstrel troop, whose leader claims to be against slavery—though not an abolitionist.

The bizarre practice of making black people apply blackface to appear on stage as black people would become a reality, after the civil war. Norman, a black man passing for white, can never get over the fact that white audiences never spot that the cakewalk dance was devised by slaves to laugh at the awkward way that whites danced.

He ponders, “It’s never occurred to them that we might find them mockable”.
Ken Olende
Socialist Worker 2906 (21 May 2024) https://socialistworker.co.uk/reviews-and-culture/new-novel-turns-huckleberry-fi...
… (mere)
KenOlende | 39 andre anmeldelser | Jul 15, 2024 |



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