James
A Novel
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- R$ 62,90
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- R$ 62,90
Descrição da editora
AN INSTANT NEW YORK TIMES BESTSELLER • NAMED A BEST BOOK OF THE YEAR SO FAR FOR 2024 BY THE NEW YORK TIMES BOOK REVIEW • A brilliant, action-packed reimagining of Adventures of Huckleberry Finn, both harrowing and darkly humorous, told from the enslaved Jim's point of view
"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
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.
PUBLISHERS WEEKLY
As in his classic novel Erasure, Everett portrays in this ingenious retelling of The Adventures of Huckleberry Finn a Black man who's mastered the art of minstrelsy to get what he needs from gullible white people. Many of the same things happen as they do in Twain's original: Jim escapes from enslavement on a Missouri farm and joins up with Huck, a white boy who's faked his own death. Huck is fleeing from his abusive father, while Jim is hoping to find a way to free his wife and daughter. The main difference is in the telling. Jim narrates, not Huck, and in so doing he reveals how he employs "slave" talk ("correct incorrect grammar") when white people can hear, to make them feel safe and superior. Everett also pares down the prose and adds humor in place of sentimentality. When Huck and Jim come upon a band of slave hunters, Huck claims Jim, who's covered by a tarp, is a white man infected with smallpox ("We keep thinkin' he gone die, then he just don't"). Clever additions to the narrative include a tense episode in which Jim is fraudulently sold by a slaver to "Dixie" composer Daniel Decatur Emmett, who has Jim perform in blackface with his singing troupe. Jim's wrenching odyssey concludes with remarkable revelations, violent showdowns, and insightful meditations on literature and philosophy. Everett has outdone himself.
