One of the other oddities of The Underground Railroad appears in the author’s biography, the very first sentence on the very first page of the book. The last words of the bio describe Colson Whitehead as the author of half a dozen novels as well as “a collection of essays, The Colossus of New York.” It doesn’t matter to me whether Whitehead himself wrote the bio or whether it was written for him. What matters is the extraordinary underselling of what is arguably his best book. The Colossus of New York is, as its title suggests, a love letter to a metropolis, but in no sense does Whitehead express his affections for Manhattan in the form of essays. You could maybe get away with calling Colossus a book of prose poetry, although even that label doesn’t fit well. There’s no easy way to say exactly what it is. Part of its power comes from that fact. To familiarise this unfamiliar thing by describing its contents as “essays” is to rob the book of its charms, shoehorning something idiosyncratic into the mundane. Continue reading →
The underground railroad was a real historical phenomenon given a metaphor for a name. In his novel The Underground Railroad, Colson Whitehead pulls the magical realist’s trick of literalising the metaphor. He repurposes the secret network of safehouses, waystations, and channels of conveyance for runaway slaves, and transforms it into an actual, physical network of subterranean trains that carry runaways from one station to the next. This is the novel’s central conceit, and no shortage of critics and judges of literary prizes have expressed their admiration for its cleverness.
It is clever, I think, but it’s nowhere near clever enough to sustain the entire novel and it is eventually upstaged by other, more minor conceits. More cleverly, for instance, Whitehead sweeps his heroine along a journey away from a cruel plantation in Georgia and through an alternate version of the United States, and en route he transforms the literal scenarios encountered by his African American characters into metaphors for aspects of the African American experience after emancipation. In South Carolina, the runaway Cora ends up working as a living exhibit in a museum depiction of a slavery plantation. She makes suggestions on how to improve the accuracy of the scene and essentially becomes condemned to “freely” perform the torments of her old life in bondage. Other set pieces in other states offer variations on this conceit — this sort of dialectical self-subversion of daily life in antebellum America — applying it to things like lynchings, bounty hunting, abolitionist proselytising, earned manumission, and so on and so forth.
The result is a perfectly well-written novel. It’s almost the ideal of the well-written novel. There’s hardly a single sentence in The Underground Railroad that doesn’t issue straight out of the broad contemporary sense of how a novel ought to be written and what it should aim to do. It’s been years since I’ve come across such a flawless embodiment of the concept of “literary fiction” as booksellers and the marketing departments of publishing houses understand that phrase. You don’t have to squint in the slightest to see why this novel landed the Pulitzer Prize. It was a Pulitzer Prize-winning novel before it even won. Continue reading →