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The Stories of John Edgar Wideman

Wideman, John Edgar

5 ratings by Goodreads
ISBN 10: 0679407197 / ISBN 13: 9780679407195
Published by Pantheon Books, New York, 1992
Condition: Near Fine Hardcover
From Black Falcon Books (Wellesley, MA, U.S.A.)

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About this Item

First edition, stated. Inscribed and signed by the author on the title page: "To Ellen-- / Merry Christmas-- / May you enjoy this book-- / John Wideman." The book is square and unmarked; corners sharp; spine ends bumped. The dust jacket is not price-clipped (original price $25.00); some edgewear at spine ends and corners; Brodart protected. Size: 8vo - over 7¾" - 9¾" tall. Bookseller Inventory # 006489

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Bibliographic Details

Title: The Stories of John Edgar Wideman

Publisher: Pantheon Books, New York

Publication Date: 1992

Binding: Hard Cover

Book Condition:Near Fine

Dust Jacket Condition: Very Good +

Signed: Signed by Author

Edition: First Edition

About this title

Synopsis:

A collection of stories by the author of A Glance Away, Hurry Home, Brothers and Keepers, Reuben, Fever, and Philadelphia Fire features tales of African Americans from all walks of life who reside in Homewood, a black section of Pittsburgh. 25,000 first printing.

From Kirkus Reviews:

This hefty collection reprints Wideman's previous volumes of stories, Fever (1989) and Damballah (1981)--which are also being reprinted this year by the University of Pittsburgh Press as part of a single hardback edition of Wideman's ``Homewood Books''--and also includes ten new pieces. Subtitled ``All Stories Are True,'' Wideman's new work blends a number of unconventional narrative voices with some frank autobiographical material, and the result is gripping, urgent, and incendiary. The title piece and ``Casa Grande'' address the personal tragedies of Wideman's brother and son, both serving time for different murders. The same ``Wideman'' narrates ``Backseat,'' a reminiscence of his grandmother, and of early sexual escapades. Reality forces him to go behind the veil of fiction--in ``Newborn Thrown in Trash and Dies,'' he gives voice, and an imagined future, to a baby as it falls down a garbage chute; in ``A Voice Foretold,'' he visits the scene of a crime where an innocent black man was murdered by police; and in ``What He Saw,'' he bears witness to the horrors of Soweto, and ponders the ambiguities of his presence there. Wideman continues to test the limits of fiction in a stylistic sense as well. ``Loon Man'' embodies the mental confusion of its man-boy narrator; ``Everybody Knew Bubba Riff'' is one long sentence riffing on a murdered homeboy; and ``Signs'' delves into the psychological complexities of racism. Just when you might suspect the rage and despair to overwhelm him comes ``Welcome,'' a wise and hard-earned meditation on loss that ends with the hope of family, place, and of ``keep on keeping on.'' Despite a few predictable rhetorical bursts, Wideman here proves a remarkable artist, a descendant of Richard Wright, by way of Samuel Beckett. Read chronologically, these stories chart Wideman's growth as a storyteller He's willing to take risks, and most often succeeds triumphantly. -- Copyright ©1992, Kirkus Associates, LP. All rights reserved.

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