About the Author:
Percival Everett is the author of fifteen works of fiction, among them GLYPH, WATERSHED, GOD'S COUNTRY and FRENZY. His most recent novel ERASURE won the Hurston/Wright Legacy Award and did little to earn him friends. James Kincaid is Aerol Arnold Professor of English at the University of Southern California and has written seven scholarly books in literary studies, literary theory, and cultural studies. Kincaid has gradually lost his moorings in the academic world, so there is nothing left for him to do but adopt the guise of fiction writer. Writing about madness comes easy to him.
From Publishers Weekly:
The mere broaching of the outrageous titular book proposal is enough to keep this hilarious high-concept satire humming along. Among the characters who try to make sense of it are the fey, omnisexual Tennessee Williamsish congressional aide proposing the book, who attempts to clarify things by suggesting that the Methuselan segregationist senator "is, properly understood, a black writer"; the fatuous Simon & Schuster editor who thinks such a project might make for a fashionably "hot" manuscript (but said editor doesn't have "enough holes in his bowling ball"); and the authors, inserting themselves into the novel as academic ghostwriters whose curiosity and greed overcome their revulsion at the idea. And then there's the slyly charming Thurmond himself, who's far from fully committed to the project, and cagily justifies his own racist record by throwing away the concepts of objective truth and personal responsibility as casually as he throws out homespun anecdotes ("You know, my brother Bill used to stutter something terrible. He couldn't say grace and have his food be hot"). The story's epistolary format allows novelist Everett and literary theorist Kincaid to write in a chorus of richly individuated voices, by turns-and often simultaneously-sardonic, hysterical, obsequious and threatening, aware of their own hypocrisies but unwilling to renounce them. The result is a truly funny sendup of the corrupt politics of academe, the publishing industry and politics, as well as a subtle but biting critique of racial ideology.
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