Customer Reviews

Man Who Cried I Am

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A neglected classic by a writer who some consider equal to Ralph Ellison in importance. One fascinating aspect is its fictionalized treatment of some of the century's famous black literary figures. It's a portrait of the post-WWII-through-mid-sixties period as seen through the eyes of a black writer as he establishes a career as a novelist, journalist, and Presidential speechwriter in New York, Paris, Washington, D.C., and Lagos, Nigeria. The main character, Max Reddick, is shaped by anger, at the crux of which is indignation at the hypocrisy and hostility that black people and writers faced during this period. It's a historical novel which provides some insight into the social and political ferment of the sixties, and has an Afrocentric perspective that's somewhat reminiscent of Walter Mosley's work. It includes an intruiging fictionalized version of a mythic encounter between Richard Wright and James Baldwin ("Marion Dawes") in a Paris café, and according to James Sallis's biography of Chester Himes, it describes the essence of Wright's expatriate experience and his relationship with Himes. Ishmael Reed has said that the cartoonist Ollie Harrington is depicted, and although I didn't recognize him, Malcolm X is unmistakable and I suspect that "Time" Curry is modelled after jazz drummer Kenny Clarke, who was living in Paris at the time. According to the author's biography of Richard Pryor, Motown explored the possibility of buying the film rights to the novel as a vehicle for its star, Marvin Gaye, until the idea was abandoned in favor of Lady Sings the Blues.

The story begins near the end as Max, who's dying of cancer, sits at an outdoor café in Amsterdam where he's come to investigate the mystery of the death of his friend, Harry Ames, "the father of black writers," a few days earlier in Paris. What he eventually discovers is mind-blowing.

Throughout the novel, Max opines on a multitude of subjects like: Marxism, African independence and African attitudes towards Americans, sexuality and interracial relationships (he works past some of his homophobia too), the different styles of reporters from 5 major NYC newspapers, the theory of the rich president and other political theories, the "lie" of Christmas ("the rich man's chance to dissipate the image of Scrooge"), American cars (with their "long, buttock-smooth lines"), existentialism, and Alban Berg's atonal opera, "Wozzeck" (whose climax, a child's scream, punctuates Max's argument with his woman). Max interprets bebop's message as, "we can not be contained," and modern jazz becomes the avatar of his literary aesthetic: "He wanted to do with the novel what Charlie Parker was doing to music -- tearing it up and remaking it; basing it on nasty, nasty blues and overlaying it with the deep overriding tragedy not of Dostoevsky, but an American who knew of consequences to come: Herman Melville, a super Confidence Man, a Benito Cereno saddened beyond death."

and this is a great book...read this and you will see why the black man feels the way he does; why interracial relationships remain the enigma that no one wants to unravel and the the battles that black people fight in general...also read " one for new york," by williams

One of the greatest novels of its time or anytime. It brought me to tears, jeers, and fears.

I first read this book in 1968, as Cleveland burned and after a copy boy on my paper had asked me about a U.S. plan to imprison blacks in concentration camps. I told the kid he was nuts.
After reading the book, however, I realized that Williams was fictionalizing the McCarran Act, which set up the very scheme the kid was worrying about.
That law is still on the books.

There is this book and Invisible Man by Ralph Ellison that have proven to be one of the best examples of African American writing during the turbulent Civil Rights Era which really hasn't ended. This novel is frequently compared to Invisible Man as the main character Max Riddick goes through a journey, an evolution and recalls his life in flashbacks, goes through a expatriate American phase going to Europe in hopes of finding a better audience for his writing only to find that the same kind of racism he encountered in the States only less blatant. His motivation goes from trying to best his rival Harry Ames, to phsyical survival, to trying to find a resolution to his own issues with a society that objectives him and his experience being a black man in America.

Belongs right up there with Wright's Native Son and Ellison's Invisible Man. Lyrical, poetic, evocative, powerful; if this book were set to music, the reader would hear Coltrane wailing in the night. John A. Williams misses nothing in this master work. It is impossible to read this work and remain unchanged.

This is a fast moving novel about a struggling but talented New York-oriented black male writer whose life struggles have become a roller coaster ride through American, European and global racism. The axis of the novel revolves around how America deals with the race issue, and in particular how it deals with the issue of black male on white female sexual encounters.

The story is told through the eyes of a character called Max Reddick, a slightly hip, emerging intellectual, who wants to write like Charley Parker plays the Sax, but yet he is still a very much struggling black writer. Max seems to have as his number one goal in life that of decoding the game being played against blacks by the white man. Or maybe (and the novel leaves this up to the reader) this goal is just a normal by-product of being a black man in a white man's world. Very quickly Max realizes that "politics white boy-style" is just another way white people try to lead black people back to their proper "place" in society: in effect telling them through indirection how to think, feel, and when and how to act, and even how to suffer.

Max travels to Europe where he ends up in a select intellectual circle, that very much respects his manuscript, and where he eventually marries and later divorces a Danish woman who remained his friend even long after the marriage has ended, and who takes care of him at the end of the novel as he dies of cancer.

At the meta-psychological level, the novel proves Ishmael Reed's postulate: that writing, "is fighting and struggling by other more respectable means," as Williams gets to use his pen as his last, and most profound act of rebellion. The book thus is as Walter Mosley has described it as "a shout from deep within some existential void" that resonates on the same frequency of all struggling blacks: suspended invisible in a world that rejects blackness without the need for a cause or a reason, where "Black people have been hollering out in pain for centuries, fighting for freedom, dying in slavery, belittled by little [white] men, and denied by kings and history. Sometimes these black folk have just laid down and died. But mostly they have survived with deformed psyches and distorted notions of the world. Sometimes evil has begotten evil and the one-time slave has slaughtered and even cannibalized his oppressor."

As his personal life spins out of control and he contracts cancer, Max puts down on paper in a scatological way, what everyone else in everyday American society is thinking but cannot say aloud, and in this respect, William's novel is not only a shout from the void, but also a supremely iconoclastic and urgent psychological analysis not unlike Dostoyevsky.

While its organization is structurally very scattered, it still gets its message across. Clearly the novel has a deep existentialist basis and draws on existential themes and metaphors. However, at its core is the notion that at the end of the day, when everything is said and done, the only thing "real" in American society is white racism. Everything else its humanity, its values, its ideals, are subordinate and are carefully calibrated and measured in terms of how they affect the sensitively regulated "white supremacist status quo." According to Max's way of thinking, equality, freedom, and democracy are merely the chips used to move the pieces around the white supremacist chessboard. America and all of its "so-called" ideals are just byproducts of the hard core white supremacist ideology, which lies deep in the nation's bosom. Toward the end of the novel, Max leaves no doubt that "the man" will go to great lengths to protect his white male hero system--including the complete annihilation of the black race if necessary. Max thinks blacks are up to the task, able to match whites, evil for evil to the bitter end. [I, for one, think he is wrong in this regard.]

The book is sprinkled with deeply troubling characters and scenes that reflect Max's deteriorating state of mind, such as the following passage about Moses Boatwright, a Black cannibal and Rhodes scholar, who, after being run mad by racism, killed a white man and ate him. In a mock interview, Boatwright tells Max (acting as a reporter) that: "This world is an illusion, Mr. Reddick, but it can be real. I went prowling on the jungle side of the road where few people ever go because there are things there, crawling, slimy, terrible things that always remind us that down deep we are rotten, stinking beasts. Now, because of what I did, someone will work a little harder to improve the species." (page 53).

The book is filled with images such as this one that have both over and under tones that are frightening in their symbolic implications. This is deep, modern, intense writing. Fifty stars.

This book I happen to stumble on while looking for another book here on Amazon. Wow what a great read! Absoloutley well written and eloquent. A must read for all.