Anything we take for granted, Mr. Everett means to show us, may turn out to be a lie." —Wall Street Journal * Finalist for the Los Angeles Times Book Prize * Finalist for the PEN / Faulkner Award for Fiction * A story inside a story inside a story. A man visits his aging father in a nursing home, where his father writes the novel he imagines his son would write. Or is it the novel that the son imagines his father would imagine, if he were to imagine the kind of novel the son would write? Let's simplify: a woman seeks an apprenticeship with a painter, claiming to be his long-lost daughter. A contractor-for-hire named Murphy can't distinguish between the two brothers who employ him. And in Murphy's troubled dreams, Nat Turner imagines the life of William Styron. These narratives twist together with anecdotes from the nursing home, each building on the other until they crest in a wild, outlandish excursion of the inmates led by the father. Anchoring these shifting plotlines is a running commentary between father and son that sheds doubt on the truthfulness of each story. Because, after all, what narrator can we ever trust? Not only is Percival Everett by Virgil Russell a powerful, compassionate meditation on old age and its humiliations, it is an ingenious culmination of Everett's recurring preoccupations. All of his prior work, his metaphysical and philosophical inquiries, his investigations into the nature of narrative, have led to this masterful book. Percival Everett has never been more cunning, more brilliant and subversive, than he is in this, his most important and elusive novel to date.
In paperback for the first time, the much-beloved satirical novel The New York Times praised as "both a treatise and a romp" Baby Ralph has ways to pass the time in his crib—but they don't include staring at a mobile. Aided by his mother, he reads voraciously: "All of Swift, all of Sterne, Invisible Man, Baldwin, Joyce, Balzac, Auden, Roethke," along with a generous helping of philosophy, semiotics, and trashy thrillers. He's also fond of writing poems and stories (in crayon). But Ralph has limits. He's mute by choice and can't drive, so in his own estimation he's not a genius. Unfortunately for him, everyone else disagrees. His psychiatrist kidnaps him for testing, and once his brilliance is quantified (IQ: 475), a Pentagon officer also abducts him. Diabolically funny and lacerating in its critique of poststructuralism, Glyph has the feverish plot of a thriller and the philosophical depth of a text by Roland Barthes. If anyone can map the wilds of literary theory, it's Ralph, one of Percival Everett's most enduring creations.
The unlikely narrator through this tale of misadventures is one Curt Marder: gambler, drinker, cheat, and would-be womanizer. It's 1871, and he's lost his farm, his wife, and his dog to a band of marauding hooligans. With nothing to live on but a desire to recover what is rightfully his, Marder is forced to enlist the help of the best tracker in the West: a black man named Bubba.
Time Out Chicago, Top 10 Book of 2005 Winner of the 2006 PEN USA Literary Award for Fiction Training horses is dangerous—a head-to-head confrontation with 1,000 pounds of muscle and little sense takes courage, but more important, patience and smarts. It is these same qualities that allow John and his uncle Gus to live in the beautiful high desert of Wyoming. A black horse trainer is a curiosity, at the very least, but a familiar curiosity in these parts. It is the brutal murder of a young gay man, however, that pushes this small community to the teetering edge of intolerance. Highly praised for his storytelling and ability to address the toughest issues of our time with humor, grace, and originality, Wounded by Percival Everett offers a brilliant novel that explores the alarming consequences of hatred in a divided America.
A classic of politics, murder, and espionage "Watershed has all the makings of a social thriller...In this novel about water and the struggle for a life free of injustice, the mix doesn't just work, it flows." — Alan Cheuse, National Public Radio "It’s hard . . . to imagine a novelist today with fresher eyes than Percival Everett."―Christopher Borrelli, Chicago Tribune On a windswept landscape somewhere north of Denver, Robert Hawks, a feisty and dangerously curious hydrologist, finds himself enmeshed in a fight over Native American treaty rights. What begins for Robert as a peaceful fishing interlude ends in murder and the disclosure of government secrets. Everett mines history for this one, focusing on the relationship between Native American activists and Black Panther groups who bonded over their shared enemies in the 1960s Civil Rights movement. Watershed is an excellent example of Percival Everett’s famed bitingly political narrative style.
I am guilty not because of my actions, to which I freely admit, but for my accession, admission, confession that I executed these actions with not only deliberation and premeditation but with zeal and paroxysm and purpose . . . The true answer to your question is shorter than the lie. Did you? I did. This is a confession of a victim turned villain. When Ishmael Kidder's eleven-year-old daughter is brutally murdered, it stands to reason that he must take revenge by any means necessary. The punishment is carried out without guilt, and with the usual equipment—duct tape, rope, and superglue. But the tools of psychological torture prove to be the most devastating of all. Percival Everett's most lacerating indictment to date, The Water Cure follows the gruesome reasoning and execution of revenge in a society that has lost a common moral ground, where rules are meaningless. A master storyteller, Everett draws upon disparate elements of Western philosophy, language theory, and military intelligence reports to create a terrifying story of loss, anger, and helplessness in our modern world. This is a timely and important novel that confronts the dark legacy of the Bush years and the state of America today.
Shortlisted for the 2022 Booker Prize Winner of the 2022 Anisfield-Wolf Book Award Finalist for the 2022 PEN/Jean Stein Book Award Longlisted for the 2022 PEN/Faulkner Award for Fiction An uncanny literary thriller addressing the painful legacy of lynching in the US, by the author of Telephone Percival Everett’s The Trees is a page-turner that opens with a series of brutal murders in the rural town of Money, Mississippi. When a pair of detectives from the Mississippi Bureau of Investigation arrive, they meet expected resistance from the local sheriff, his deputy, the coroner, and a string of racist White townsfolk. The murders present a puzzle, for at each crime scene there is a second dead body: that of a man who resembles Emmett Till. The detectives suspect that these are killings of retribution, but soon discover that eerily similar murders are taking place all over the country. Something truly strange is afoot. As the bodies pile up, the MBI detectives seek answers from a local root doctor who has been documenting every lynching in the country for years, uncovering a history that refuses to be buried. In this bold, provocative book, Everett takes direct aim at racism and police violence, and does so in a fast-paced style that ensures the reader can’t look away. The Trees is an enormously powerful novel of lasting importance from an author with his finger on America’s pulse.
Damned If I Do is an exceptional new collection of short stories by Percival Everett, author of the highly praised and wickedly funny novel Erasure People are just naturally hopeful, a term my grandfather used to tell me was more than occasionally interchangeable with stupid. A cop, a cowboy, several fly fishermen, and a reluctant romance novelist inhabit these revealing and often hilarious stories. An old man ends up in a high-speed car chase with the cops after stealing the car that blocks the garbage bin at his apartment building. A stranger gets a job at a sandwich shop and fixes everything in sight: a manual mustard dispenser, a mouthful of crooked teeth, thirty-two parking tickets, and a sexual-identity problem. Percival Everett is a master storyteller who ingeniously addresses issues of race and prejudice by simultaneously satirizing and celebrating the human condition.
Winner of the PEN/Oakland-Josephine Miles Award for Excellence in Literature The characters in Big Picture, Percival Everett's darkly comic collection of stories, are often driven to explosive, life-changing action. Everett delves into those moments when outside forces bring us to the brink of insanity or liberation. The catalysts in Everett's tales are surprising: a stuffed boar's head, mounted on the wall of a diner, becomes an object of intense, inexplicable desire; a painter is driven to the point of suicide by a mute who returns day after day to mow the artist's lawn; the loss of a pair of dentures sparks a turn toward revelation. The characters respond to their dilemmas in ways that are both unpredictable and memorable. Everett's highly original voice propels the reader into unfamiliar, yet unforgettable terrain: a landscape full of excitement, astonishment, and self-discovery.
NEW YORK TIMES BESTSELLER • A brilliant, action-packed reimagining of Adventures of Huckleberry Finn, both harrowing and darkly humorous, told from the enslaved Jim's point of view • From the “literary icon” (Oprah Daily) and Pulitzer Prize Finalist whose novel Erasure is the basis for Cord Jefferson’s critically acclaimed film American Fiction "Genius"—The Atlantic • "A masterpiece that will help redefine one of the classics of American literature, while also being a major achievement on its own."—Chicago Tribune • "A provocative, enlightening literary work of art."—The Boston Globe • "Everett’s most thrilling novel, but also his most soulful."—The New York Times "If you liked Demon Copperhead, by Barbara Kingsolver, read James, by Percival Everett" —The Washington Post When the enslaved Jim overhears that he is about to be sold to a man in New Orleans, separated from his wife and daughter forever, he decides to hide on nearby Jackson Island until he can formulate a plan. Meanwhile, Huck Finn has faked his own death to escape his violent father, recently returned to town. As all readers of American literature know, thus begins the dangerous and transcendent journey by raft down the Mississippi River toward the elusive and too-often-unreliable promise of the Free States and beyond. While many narrative set pieces of Adventures of Huckleberry Finn remain in place (floods and storms, stumbling across both unexpected death and unexpected treasure in the myriad stopping points along the river’s banks, encountering the scam artists posing as the Duke and Dauphin…), Jim’s agency, intelligence and compassion are shown in a radically new light. Brimming with the electrifying humor and lacerating observations that have made Everett a “literary icon” (Oprah Daily), and one of the most decorated writers of our lifetime, James is destined to be a major publishing event and a cornerstone of twenty-first century American literature.
A baffling triptych of murder mysteries by the author of I Am Not Sidney Poitier Ogden Walker, deputy sheriff of a small New Mexico town, is on the trail of an old woman's murderer. But at the crime scene, his are the only footprints leading up to and away from her door. Something is amiss, and even his mother knows it. As other cases pile up, Ogden gives chase, pursuing flimsy leads for even flimsier reasons. His hunt leads him from the seamier side of Denver to a hippie commune as he seeks the puzzling solution. In Assumption, his follow-up to the wickedly funny I Am Not Sidney Poitier, Percival Everett is in top form as he once again upends our expectations about characters, plot, race, and meaning. A wild ride to the heart of a baffling mystery, Assumption is a literary thriller like no other.
WINNER OF THE 2023 PEN/JEAN STEIN BOOK AWARD A sly, madcap novel about supervillains and nothing, really, from an American novelist whose star keeps rising The protagonist of Percival Everett’s puckish new novel is a brilliant professor of mathematics who goes by Wala Kitu. (Wala, he explains, means “nothing” in Tagalog, and Kitu is Swahili for “nothing.”) He is an expert on nothing. That is to say, he is an expert, and his area of study is nothing, and he does nothing about it. This makes him the perfect partner for the aspiring villain John Sill, who wants to break into Fort Knox to steal, well, not gold bars but a shoebox containing nothing. Once he controls nothing he’ll proceed with a dastardly plan to turn a Massachusetts town into nothing. Or so he thinks. With the help of the brainy and brainwashed astrophysicist-turned-henchwoman Eigen Vector, our professor tries to foil the villain while remaining in his employ. In the process, Wala Kitu learns that Sill’s desire to become a literal Bond villain originated in some real all-American villainy related to the murder of Martin Luther King Jr. As Sill says, “Professor, think of it this way. This country has never given anything to us and it never will. We have given everything to it. I think it’s time we gave nothing back.” Dr. No is a caper with teeth, a wildly mischievous novel from one of our most inventive, provocative, and productive writers. That it is about nothing isn’t to say that it’s not about anything. In fact, it’s about villains. Bond villains. And that’s not nothing.
An astonishing new novel of loss and grief from “one of our culture’s preeminent novelists” (Los Angeles Times) Zach Wells is a perpetually dissatisfied geologist-slash-paleobiologist. Expert in a very narrow area—the geological history of a cave forty-four meters above the Colorado River in the Grand Canyon—he is a laconic man who plays chess with his daughter, trades puns with his wife while she does yoga, and dodges committee work at the college where he teaches. After a field trip to the desert yields nothing more than a colleague with a tenure problem and a student with an unwelcome crush on him, Wells returns home to find his world crumbling. His daughter has lost her edge at chess, she has developed mysterious eye problems, and her memory has lost its grasp. Powerless in the face of his daughter’s slow deterioration, he finds a mysterious note asking for help tucked into the pocket of a jacket he’s ordered off eBay. Desperate for someone to save, he sets off to New Mexico in secret on a quixotic rescue mission. A deeply affecting story about the lengths to which loss and grief will drive us, Telephone is a Percival Everett novel we should have seen coming all along, one that will shake you to the core as it asks questions about the power of narrative to save.
A collection of short stories centered around the West includes tales of a deaf Native American girl wandering in the desert and a young boy coping with the death of his sister by angling for trout in the creek where she drowned.
A new high point for a master novelist, an emotionally charged reckoning with art, marriage, and the past Kevin Pace is working on a painting that he won’t allow anyone to see: not his children; not his best friend, Richard; not even his wife, Linda. The painting is a canvas of twelve feet by twenty-one feet (and three inches) that is covered entirely in shades of blue. It may be his masterpiece or it may not; he doesn’t know or, more accurately, doesn’t care. What Kevin does care about are the events of the past. Ten years ago he had an affair with a young watercolorist in Paris. Kevin relates this event with a dispassionate air, even a bit of puzzlement. It’s not clear to him why he had the affair, but he can’t let it go. In the more distant past of the late seventies, Kevin and Richard traveled to El Salvador on the verge of war to retrieve Richard’s drug-dealing brother, who had gone missing without explanation. As the events of the past intersect with the present, Kevin struggles to justify the sacrifices he’s made for his art and the secrets he’s kept from his wife. So Much Blue features Percival Everett at his best, and his deadpan humor and insightful commentary about the artistic life culminate in a brilliantly readable new novel.
The protagonist of Percival Everett’s puckish new novel is a brilliant professor of mathematics who goes by Wala Kitu. (Wala, he explains, means ‘nothing’ in Tagalog, and Kitu is Swahili for ‘nothing’. He is an expert on nothing. That is to say, he is an expert, and his area of study is nothing, and he does nothing about it. This makes him the perfect partner for the aspiring villain John Sill, who wants to break into Fort Knox to steal, well, not gold bars, but a shoebox containing nothing. Once he controls nothing he’ll proceed with a dastardly plan to turn a Massachusetts town into nothing. Or so he thinks. With the help of the brainy and brainwashed astrophysicist-turned-henchwoman Eigen Vector, our professor tries to foil the villain while remaining in his employ. In the process, Wala Kitu learns that Sill’s desire to become a literal Bond villain originated in some real all-American villainy related to the murder of Martin Luther King Jr. As Sill says, ‘Professor, think of it this way. This country has never given anything to us and it never will. We have given everything to it. I think it’s time we gave nothing back.’ Dr. No is a caper with teeth, a wildly mischievous novel from one of America’s most inventive, provocative and productive writers. That it is about nothing isn’t to say that it’s not about anything. In fact, it’s about villains. Bond villains. And that’s not nothing.
Adapted into the Oscar-nominated major motion picture, American Fiction. 'Truly brilliant.' Los Angeles Review of Books 'A classic.' The Times 'A remarkable novel.' Wall Street Journal 'Sublime . . . brilliant, uproarious . . . A wise novel about how we live.' Brandon Taylor With your book sales at an all-time low, your family falling apart, and your agent telling you you're not black enough, what's an author to do? Thelonius 'Monk' Ellison has the answer. Or does he . . . ? Winner of the Hurston/Wright Legacy Award for Fiction 'One of the most original and forceful novels to have emerged from America in years.' TLS 'A furious whirl of a book. It made me howl with laughter . . . and rage, and sorrow, and affinity.' Lisa McInerney 'Seminal doesn't even come close. This novel is Everett at his finest, full of trademark protest, humanity and incisive humour, all wrapped up in one hell of a story.' Courttia Newland 'Hilarious. . . Everett is a first-rate word wrangler.' Nicholas Lezard , Guardian
Finalist for the 2021 Pulitzer Prize for Fiction Zach Wells is a perpetually dissatisfied geologist-slash-paleobiologist. Expert in a very narrow area – the geological history of a cave forty-four metres above the Colorado River in the Grand Canyon – he is a laconic man who plays chess with his daughter, trades puns with his wife while she does yoga, and dodges committee work at the college where he teaches. After a field trip to the desert yields nothing more than a colleague with a tenure problem and a student with an unwelcome crush on him, Wells returns home to find his world crumbling. His daughter has lost her edge at chess, she has developed mysterious eye problems, and her memory has lost its grasp. Powerless in the face of his daughter’s slow deterioration, he finds a mysterious note asking for help tucked into the pocket of a jacket he’s ordered off eBay. Desperate for someone to save, he sets off to New Mexico in secret on a quixotic rescue mission. A deeply affecting story about the lengths to which loss and grief will drive us, Telephone is a Percival Everett novel we should have seen coming all along, one that will shake you to the core as it asks questions about the power of narrative to save.
Craig Suder, third baseman for the Seattle Mariners, is in a terrible slump. He’s batting below .200 at the plate, and even worse in bed with his wife; and he secretly fears he’s inherited his mother’s insanity. Ordered to take a midseason rest, Suder instead takes his record of Charlie Parker’s “Ornithology,” his record player, and his new saxophone and flees, negotiating his way through madcap adventures and flashbacks to childhood (“If you folks believed more strongly in God, maybe you wouldn’t be colored”). Pursued by a raging dope dealer, saddled with a mishandled elephant and an abused little white girl, he manages in the end to fly free, both transcending and inspired by the pull of so much life.
Slave masters were people, too. From recent texts and films we have learned that slavery was a bad thing. Colonel Hap Thompson was simply a man about his business. His business was training other people.
Retired Virginia obstetrician John Livesey, recently widowed and discouraged by the world's crumbling morals, meets a man who has just performed an unnecessary cesarean section on his wife so as to be the one to deliver their child. Though initially appalled by the act, Livesey finds himself recalling it later when he learns a friend is dying of cancer, when his affair with a younger woman ends in disillusionment, and when, during an extended visit to his son and his family in Oregon, he realizes his daughter-in-law's unborn baby does not belong to her husband. Coming to admire the calm directness with which the man took matters of life and death into his own hands, Livesey begins to reconsider what he values and what he will protect.
Percival Everett's The Book of Training by Colonel Hap Thompson of Roanoke, VA, 1843, Annotated From the Library of John C. Calhoun, is poetry within the harsh confines of a mock historical document--a guidebook for the American slave owner. The collection features lists of instructions for buying, training, and punishing, equations for calculating present and future profits, and handwritten annotations affirming the brutal contents. The Book of Training lays bare the mechanics of the peculiar institution of slavery and challenges readers to place themselves in the uncomfortable vantage point of those who have bought and enslaved human beings.
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