From the author of the Man Booker longlisted The Underground Railroad
Benji spends most of the year as one of the only black kids at an elite prep school in Manhattan, going to roller disco bar mitzvahs, desperately trying to find his place in the social hierarchy.
Then he spends his summers in the African-American community of Sag Harbor on Long Island, and is just as confused. He's way behind on the latest handshakes, baffled by new slang, and his attempts to be cool and meet girls are constantly thwarted by his extremely awkward inner geek, braces and a badly cut Afro.
It's the summer of 1985 and Benji is determined that this is the summer when things will change and he'll fit in. For starters, he'll be reinvented as 'Ben'. When that doesn't catch on, it's another summer of the perpetual mortification that is teenage existence.
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Amazon Best of the Month, May 2009: Like his fellow New Yorker Jonathan Lethem, Colson Whitehead weaves gracefully through genres with each of his books, but Sag Harbor, billed as his "autobiographical fourth novel," seems positioned to be his breakout book--which is a funny thing for a writer who has already received so many major literary awards, including a MacArthur "Genius" grant and being short-listed for the Pulitzer.
The year is 1985 and 15-year-old Benji Cooper, one of the only black students at his elite Manhattan private school, leaves the city to spend three largely unsupervised months living with his younger brother Reggie in an enclave of Long Island's Sag Harbor, the summer home to many African American urban professionals. Benji's a Converse-wearing, Smiths-loving, Dungeons & Dragons-playing nerd whose favorite Star Wars character is the hapless bounty hunter Greedo (rather than the double-crossing Lando Calrissian). But Sag Harbor is a coming-of-age novel whose plot side-steps life-changing events writ large. The book's leisurely eight chapters mostly concern Benji's first kiss, the removal of braces, BB gun battles, slinging insults (largely unprintable "grammatical acrobatics") with his friends, and working his first summer job. And Whitehead crafts a wonderful set piece describing Benji's days at Jonni Waffle Ice Cream, where he is shrouded in "waffle musk" and a dirty T-shirt that's "soiled, covered with batter and befudged from a sundae mishap."
Whitehead pushes his love of pop culture into hyper-drive. Nearly every page is swimming with references to the 1980s--from New Coke and The Cosby Show to late nights trying to decipher flickering glimpses of naked women on scrambled Cinemax. And music courses through the book, capturing that period when early hip hop mixed with New Wave. Lisa Lisa and U.T.F.O make a memorable cameo at Jonni Waffle, and McFadden & Whitehead's "Ain't No Stoppin' Us Now"--heard throughout the book in passing cars and boom boxes--gets tagged as "the black national anthem." Like that ubiquitous song, the soulful, celebratory, and painfully funny Sag Harbor and its chronicle of those lazy, sun-soaked days sandwiched between Memorial Day and Labor Day, will stick with you long after closing its covers. --Brad Thomas Parsons
First, an immodest disclaimer: I knew Colson Whitehead was really, really good before you did. That's because we share a publisher, and an editor, and I was sent a copy of his first novel, The Intuitionist, and asked to give advance comment--"a pufferoon," as insiders affectionately call the things--which I gladly did. In fact, I not only admired The Intuitionist, but it was a book that made me immediately feel less lonely. I'd published four novels at that point, and Colson's helped me to feel my particular approach, the sorts of things I was trying to pull off in my novels, wasn't absolutely misconceived. In fact, I wanted to hitch my wagon to Colson's obvious rising star; his first novel was more flawless, more accomplished, than my own first--it might have been more accomplished than my fourth, I wasn't sure. I immediately sought Colson out as a friend, and he's been one of my own most crucial peers ever since.
Colson's books are all quite different from one another in milieu, strategy, and their ultimate effect on the reader, though united by the signal laconic meter in his voice, by their keen sense of form and proportion, by their brilliance. In Sag Harbor he's "gone personal," though I wouldn't want to have to place bets on what is and isn't his own life-material here, or someone else's, or completely confabulated. This is one of my favorite kinds of books, where memory's kinesthetic floodgates open up to illuminate a lost world. It's like a meticulous diorama of the recent past, with the sharp edges of an exhibit in a museum, one where we learn just how strange and specific the universal experience of "coming of age" really can be. The mundane stuff of a Long Island summer here has the power both of a time capsule, and of an allegorical journey into what every human heart endures just trying to vault out of one's family and into the world of art, sex, and kinship that's so near, and so far off. All this, plus the greatest barbequed chicken wing in the history of literature past, present, or future. That's a pufferoon I'd guarantee with my life. --Jonathan Lethem
Colson Whitehead is the Pulitzer-Prize winning author of The Underground Railroad. His other works include The Noble Hustle, Zone One, Sag Harbor, The Intuitionist, John Henry Days, Apex Hides the Hurt, and one collection of essays, The Colossus of New York. A National Book Award winner and a recipient of MacArthur and Guggenheim fellowships, he lives in New York City.
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