Customer Reviews

Middle Passage

5 star:		(19)
4 star:		(19)
3 star:		(6)
2 star:		(3)
1 star:		(4)

 

 

This book was mandatory for my African American Literature course and I am glad that it was. It is impossible for anyone to imagine today what it would have been like for Africans to be taken from the comfort of their homes to be slaves in America. The only thing we could compare it to is being abducted by aliens if you really think about it. They were overtaken by people who looked very different than they did and who spoke an unknown language. They were put into giant ships of the likes they had never seen and many times, they were branded and always chained below decks. Many thought they were being taken to a foreign land to be eaten and often times the slavers would put slaves in groups with different tribes so that they could not communicate or comfort eachother due to a language barrier. They knew nothing of the world around them as people do today. The concept is, in truth, almost impossible to imagine.
Johnson studied about Middle Passage for something like seventeen years before writing this book, not to mention another six years studying maritime science. To be sure, there are a lot of fantastical occurrences within the book but that is why it is called fiction. I believe he does a phenomenal job with the character of Rutherford Calhoun...he's a liar, gambler, womanizer, and thief but there is something about him that puts the reader on his side. You will find yourself rooting for him all the way through the book.
The novel itself is indeed very graphic in description and includes things such as cannibalism so, if you have a weak stomach, BEWARE. The best things about this novel are its extremely dark humor,its fast pace, and its irony. As an avid reader, there is nothing I appreciate more than someone who can take a horrific experience and make it simultaneously poignant and funny. Not only is this a way of putting a face on the early days of slavery but it is a highly entertaining piece of fiction. I would recommend it to anyone looking for adventure on the high seas!

I read Middle Passage over the course of a weekend. This is significant for two reasons: 1)I was to meet Charles Johnson that following Monday and 2) I have a three-year-old and an infant who slowed my reading to a crawl and cut my opportunites to sit down with the book to a minimum. Had I not been so distracted, I would easily have digested Middle Passage in a matter of hours. It is an excellent read. Its protagonist, Rutherford Calhoun, comes off as a latter day Huck Finn, only this time black and educated. The wit and wisdom is very nearly the same.

Despite what other reviewers may have felt, and despite what one may construe as anachronisms within the book, I can attest that such is not the case. I had similar concerns about the novel's historical accuracy and when I finally did have an opportunity to speak with the author, I voiced those concerns. Mr. Johnson assured me of the veracity of virtually every aspect of every detail; he cited the genesis of the scene in which the dead slave is thrown overboard as an example. As an avid (dare I say slavish?) note-taker, Mr. Johnson had apparently done some research for a project having nothing to do with this novel. Indeed, the research notes to which he refers were taken in the early seventies! They came from a police detective friend of his and detailed the effect water had on the human body after death--unusable for the article for which he had originally been researching, but quite useful for the graphic turning point of Middle Passage.

Other evidence, anecdotal and otherwise, proved that Mr. Johnson did indeed have an extensive and authoritative command of American History, the History of the slave trade (made so believable and accurate by the inclusion of the Arabian slave trader in Africa, and by the rounding up of slaves from the African interior--two very historically accurate details),as well as of the ship and her voyage. Thus the exhaustive historical detail is quite effective in the telling of the tale.

One point in which the author and the novel falter lies in the books inability to follow through on its Magical Realist ambitions. Perhaps Mr. Johnson might have included in the dedication an apology to Gabriel Garcia Marquez, most notable and accomplished writer of magical realism. The African god of the Allmuseri is well developed and effectively presented. Its potential for malevolence is a quality keenly felt by this reader and should be noted as an accomplishment on the part of the author. However, the supernatural quality of the unnamed entity deteriorated too quickly into an ineffectual stasis nearly forgotten by author and reader alike; it is only brought back to life to function as a bridge between Rutherford's life at sea and Rutherford's life on land. The problem is that the maneuver is at once clever and contrived and therefore weakened. Mr. Johnson is a clever enough writer. He may simply have gotten too clever for his own good.

Middle Passage is an accomplishment that well represents the National Book Award. It is a well written and finely crafted book worhty of becoming literature. Its foray into the realm of the magical realists is entertaining if only somewhat distracting and should not be considered as a detriment as it does not "undo" anything the author "does". I highly recommend your purchase of Middle Passage.

Perhaps who ever did the review for Amazon.com should read the book again. Rutherford Calhoun does not become the captain's cabin boy, he becomes the cook's helper. He does not discover "to his shock and horror" that the vessel he stows away on is a slave ship since he already knew that from his conversation with the drunken cook in a tavern on shore. What he does learn that shocks him is that on a previous voyage the captain had eaten the cabin boy. Another statement that interested me was one of the promotional quotes in the front of the book, "MIDDLE PASSAGE IS AN EXAMPLE OF TRIUMPHANT INDIVIDUALISM .... Johnson's novel is a reason for celebration." - George F. Will. During the voyage, Rutherford learned that "if you hoped to see shore, you must devote yourself to the welfare of everyone ..." Not only Rutherford, but Squibb, the cook, learned this. Some like the captain did not, but then he ended up at the bottom of the ocean. At one point, Rutherford is describing the Allmuseri, the Africans taken on board as slaves, "Their notion of `experience', I learned, held each man utterly responsible for his own happiness or sorrow, for the emptiness of his world or its abundance, even for his dreams and his entire way of seeing ..." Perhaps this is what George Will liked, but later Rutherford says of the Africans, "... Tribal behavior so ritualized, seasoned, and spiced by the palm oil, the presence of others it virtually rendered the single performer invisible - or, put another way, blended them into an action so common the one and many were as indistinguishable as ocean and wave." The amazing thing about the book to me, is that for Rutherford Calhoun everything comes full circle. Everything he ran away from comes back to haunt him, and he has to deal with all of it.He survives and learns from it all. He is a different person at the end. It was also quite interesting how the Africans were changed by their exposure to the Whites, the brutal treatment they were subjected to and their reaction to it. Not surprisingly, the weakest Africans responded in the worst way, but even the best of the Africans were affected. Not the message George Will would like to read, I'm afraid. The treatment by Charles Johnson of the mutiny by the Africans and its aftermath was incredible on many levels. There were permanent consequences for everyone, and although the Africans "won", there were really no winners, only losers. Johnson's vivid, realistic and graphic descriptions throughout the book pulled no punches. If you have a weak stomach, you probably don't want to read this book. The descriptions of pain, suffering, illness, death and dying were very powerful. There were some parts of the book that didn't work for me very well. First, I find it hard to believe that even a desperate black man would stowaway on a slave ship in 1830. Of course, the whole story is based on this happening. Secondly the business of the mysterious cargo is used for a crucial part of Rutherford's having to face what he has left on shore, but after that we are left hanging about its significance and eventual fate - a bit unsatisfying. All in all, I enjoyed this book and recommend it.

I found a copy of this National Book Award novel at a used book sale and eagerly opened it. I was willing to suspend belief enough to accept the conceit that a slave owner would educate his servant prior to emancipating him. However, the first person narrative by the former slave read like a college professor's memoir. The vocabulary was suitable for an omniscient point of view, but not credible in a so-called journal penned by a roguish former slave. He comments on his circumstances with allusions to Hegelian philosophy (Hegel died in 1831, but his works were known only in Europe for decades after. The time of this novel is set in 1830.) The protagonist refers to the concepts of manifest destiny and the missing link, both of which were unknown in 1830. When he mentions dime novels (did not exist in the nineteenth century) I put the book down in exasperation. I am not a historian, but believe that a moderately educated reader would cringe at a work that is so poorly edited. I am disappointed at the National Book Award committee for this selection.

Charles Johnson's The Middle Passage is a brilliant book. Period. On the surface it is an oceanic adventure story in the high tradition of Robert Louis Stevenson and Herman Melville and it certainly lives up to those illustrious forbearers. But there is so much more than that involved.

The book is also a rumination on race and the black experience, and an examination of what it means to be an African American in the modern age. Johnson accomplishes this in a work of historical fiction so artfully though that it never falls into the trap of heavy moralization that such themes are prone to.

But even beyond that are the intertwined threads of Hegelian philosophy, Phenomenology, Buddhist epistemology, and manages to make a coherent philosophical argument without ever dealing overtly with the problems of philosophy.

And then there are the Allmuseri. Johnson's fictional African Tribe is wondrous and a sign of a superlative imagination that stripped of the trappings of postmodern literature would be a joy in and of itself.

I'm currently in the process of forcing all of my friends to read this book, and it has quickly become one of my favorites. I really don't see how anyone who truly enjoys great literature could fail to fall in love with this book.

Middle Passage is an exciting novel that isn't just about slavery; it is a very detailed account of the conditions aboard a slave ship of the 1830's and a look at the thoughts Rutherford, a freed black slave. It's a nice mix of serious ideas and comedy interlaced with very graphic descriptions of a mutiny attempt and the long, harsh voyage between New Orleans and Africa. If you like adventure, detail, and an interesting plot, you will probably like this book.

An amalgamate of several genres, "Middle Passage" stands on its own as a different perspective on exploring the slave trade. Traveling opposite the traditional direction of the voyage, the protagonist Rutherford Calhoun starts from America and crosses the Atlantic to Africa aboard a slave ship. The book reads easily; Johnson performed an excellent job of historical research while still writing an entertaining book that owes a lot to its well-developed narrator. A petty thief, product of a liberal education, drunkard, and overall real human being, Calhoun will charm many readers to his side. Much of the humor in the presence of such human tragedy allows the novel to be more accessible to more people who might read it as a tale of adventure. While off-putting to some, the profuse philosophy and philosophical discussion encourage critical thinking about the Middle Passage, its motivations, and its effects.

Johnson's The Middle Passage is outwardly about the slave trade. Readers who approach this book with that expectation will be somewhat disappointed. Although the horrors of slavery are detailed, overall the book is not about the past but about the present. Johnson has created a free for all post-modern pile. The characters discuss religion, the connection of the mind and the body, the nature of reality (ontology), among a host of other topics. Then Johnson drops little hints that this novel is really about current reality: on page 31, the captain explains to Calhoun that he knows "headmasters give literate Negroes degrees because they feel too guilty to fail them, then employers give that same boy a place in the firm since he's got the degree in hand and saying no will bring a gang of Abolitionists down on their necks." Affirmative action discussed, here on an early 19th century slave ship. Johnson's book should be approached as a clever critique of 21st century America, more than a strict sea narrative. Only then does its flights of fancy make much sense.

Honestly, I don't understand how this book has received such glowing praises! It was so bad, I couldn't even finish it! I am OK with painting a picture, but 1 sentence commonly went on for 4 or 5 lines. Often, 1 sentence was an entire paragraph. Not sure where the fans went to school, but where I come from, that is bad writing! Usually, by the time I got to the end of a sentence (paragraph), I couldn't remember how the beginning started! Punctuation please!

This is a terrific novel, crackling with ideas and disturbing images (sometimes disturbing because they're funny when we don't expect humor). In regard to the anachronisms: in addition to what everyone has written, I found an anti-affirmative action rant, an ex-slave referring to fears about having to pay a mortgage, and references to celebrity-worship. But -- HELLO! -- has anyone considered that these are intentional? Of course we expect a more literal realism, but I think it's part of Johnson's point that we can't just reconstruct the past as if we weren't experiencing the present. All those "anachronisms," then, are just little reminders of where Johnson stands in relation to his story and invitations to readers to draw connections with our own worlds.