A Killing in This Town
A Novel
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- $10.99
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- $10.99
Publisher Description
“In language reminiscent of Toni Morrison and William Faulkner, Vernon weaves a powerful yet dreamlike story of our not-too-distant past.”—Booklist
There is a menace in the woods of Bullock County, Mississippi, and not only for the black man destined to be lynched when a white boy comes of age. The white men who work at the plant are in danger, too, but they refuse to heed Earl Thomas’s urgent message that the factory is slowly killing them, turning a deaf ear to the black pastor. Thomas knows he should try to deliver the message again, but he hears the blood of his murdered friend calling to him from the ground, and fears that he will be the next black man to be dragged to his death.
Adam Pickens, a white boy now on the eve of his thirteenth birthday, isn’t sure he wants to wear the garb being readied for him by the Klan seamstress, or participate in the town’s horrific ritual. It is only when Gill Mender—a man haunted by past sins—returns that redemption seems possible.
A transfixing and pivotal work of fiction, A Killing in This Town exposes the fragile hierarchy of a society poisoned by hatred, and shows the power of an individual to stand up to the demons of history and bring the cycle of violence to an end.
“At once emotionally wrenching and rewarding to read.”—The Advocate (Baton Rouge, LA)
PUBLISHERS WEEKLY
The horrors of the lynch mob inform every paragraph of this viscerally moving novel that gives the backstory to the 1998 James Byrd murder. In Jim Crow era Bullock, Miss., a white boy's passage into manhood demands a grotesque ritual: he must "go out to a nigger's house and call him out of it" and, with his fellow Klansmen, drag him to death behind a horse. Preacher Earl Thomas knows that he will be "called out" next, just as white Adam Pickens, soon to turn 13, dreads the part he must play in this imminent killing. Will these characters find a way out of the cycle of violence? Rejecting the conventions of chronology and character development, Vernon collapses time: memory, dream and portent are ever-present as characters wrestle with ghosts, guilt, fear and the chance of hope. A fugue of folk idiom, blues, biblical diction and surreal imagery makes for lots of atmosphere, but characters without much dimension: blacks are scarcely individuated; whites are mere repositories of cretinous hatred. As a result, while the stench of evil wafts nauseatingly from the page, the actual lives remain strangely distant.
