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9 of 11 people found the following review helpful:
3.0 out of 5 stars
Difficult, but worth it., October 14, 1999
By A Customer
This review is from: Philadelphia Fire (Paperback)
I read 'Philadelphia Fire' as a part of my MA course at The University of Sheffield, England, and, on the whole, enjoyed it. I did, however, find its stream of conciousness style confusing and difficult to read at times. It is rather 'heavy' and slow in certain points, and tends to jump from character to character (and to author/ narator) especially in the second and third parts of the novel. Its description and use of the City is excellent, and I am sure that many can relate to certain experiences encountered by Cudjoe, from reliving youth to revisiting ones old stomping ground etc. On the whole, I found its style difficult, but do not let this discourage you, as the experience of reading this novel outweighs the sluggishness of certain points.
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6 of 9 people found the following review helpful:
5.0 out of 5 stars
Wideman tells all, December 21, 1997
By A Customer
This review is from: Philadelphia Fire (Paperback)
This novel with its shifting points of view and often stream of consciousness style plays like a Cecil Taylor jazz piece . . . everything seems discordant but the underlying theme pulls it all together beautifully. It's a great novel about modern America, our strengths and weaknesses, our loves/obsessions and hates, our insights and blindness. Widemnan uses the fire bombing of the MOVE house in Philadelphia to take a snap shot of contemporary urban America.
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2 of 3 people found the following review helpful:
5.0 out of 5 stars
Not what you may have expected, November 21, 2007
This review is from: Philadelphia Fire (Paperback)
This is not really the story of Cudjoe but the story of story-telling itself.
The book explores the jagged edges between fictional protagonists (Cudjoe, then Caliban, and finally a homeless man named J.B.) and an ostensibly non-fictional speaker (a version of Wideman himself, hinting at family dysfunctions such as the incarceration of his son for murder). It also explores the jagged edges separating his own text from, and linking it to, precursory texts by Shakespeare, Joyce, William Carlos Williams, Robert Lowell, Richard Wright, James Baldwin, Ralph Ellison, Eldridge Cleaver, Marcolm X, and others.
If you're looking for a cohesive, traditional story, this is not your book. It purposely does not give us pay-offs in scenes and plot developments that it arranges for us to expect. But if you're looking for continual surprise and dislocation, stylistic bravado and beauty, and an often profound meditation on African America, on masculine anguish and self-delusion, and on the American problem more generally, this book is for you.
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