The Sellout
WINNER OF THE MAN BOOKER PRIZE 2016
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- 8,99 €
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- 8,99 €
Publisher Description
A Book of the Decade, 2010-2020 (Independent) * One of the New York Times' '100 Best Books of the 21st Century'
A LAUGH-OUT-LOUD SATIRE ABOUT RACE, CLASS AND INEQUALITY IN CONTEMPORARY AMERICA, BY A LITERARY GENIUS AT THE TOP OF HIS GAME
Winner of the Man Booker Prize, 2016
In his trademark absurdist style, Paul Beatty will make you laugh and cry in this outrageous – and outrageously entertaining – indictment of our time.
Born in Dickens on the southern outskirts of Los Angeles, the narrator of The Sellout spent his childhood as the subject in his father's racially charged psychological studies. He is told that this work will lead to a memoir that will solve their financial woes. But when his father is killed in a drive-by shooting, he discovers there never was a memoir. All that’s left is a bill for a drive-thru funeral.
What’s more, Dickens has literally been wiped off the map to save California from further embarrassment. Fuelled by despair, the narrator sets out to right this wrong with the most outrageous action conceivable: reinstating slavery and segregating the local high school. The results will take him from Dickens to the Supreme Court, in the trial of the century.
‘Outrageous, hilarious and profound.’ Simon Schama, Financial Times
‘The longer you stare at Beatty’s pages, the smarter you’ll get.’ Guardian
‘The most badass first 100 pages of an American novel I’ve read.’ New York Times
PUBLISHERS WEEKLY
Beatty's satirical latest (after Slumberland) is a droll, biting look at racism in modern America. At the novel's opening, its narrator, a black farmer whose last name is Me, has been hauled before the Supreme Court for keeping a slave and reinstituting racial segregation in Dickens, an inner-city neighborhood in Los Angeles inexplicably zoned for agrarian use. When Dickens is erased from the map by gentrification, Me hatches a modest proposal to bring it back by segregating the local school. While his logic may be skewed, there is a perverse method in his madness; he is aided by Hominy, a former child star from The Little Rascals, who insists that Me take him as his slave. Beatty gleefully catalogues offensive racial stereotypes but also reaches further, questioning what exactly constitutes black identity in America. Wildly funny but deadly serious, Beatty's caper is populated by outrageous caricatures, and its damning social critique carries the day.
