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Full Description
This book offers a comprehensive critical analysis of Colson Whitehead's fiction, positioning him as a key figure in both African American literature and the global "turn to genre." It explores how Whitehead employs conventions from popular genres—such as detective, zombie, and caper stories—not merely for entertainment, but as tools for ideological critique and narrative innovation. Central to the study is the concept of "narratives of unveiling," in which information is revealed retrospectively, disrupting linear storytelling and reshaping ethical perspectives. These structures allow Whitehead to expose the systemic roots of racism and ideological conflict embedded in American society. The book situates his work within broader debates about canon formation, Afropessimist and postsoul aesthetics, and the politics of form. Through close readings of Whitehead's novels, it demonstrates how Whitehead challenges racial myths and signifies genre expectations, offering narratives that performatively enact cultural critique.
Contents
ACKNOWLEDGEMENTS
INTRODUCTION: Unveiling Structures
CHAPTER 1: Detection and the Ethics of Attention in The Intuitionist, John Henry Days and Apex Hides the Hurt
CHAPTER 2: Unveiling the Self: The Aporias of Autobiography in Sag Harbor
CHAPTER 3: Apocalypse, again? Revelation and the temporal structure of Zone One
CHAPTER 4: "Speaking the Unspeakable": The Unnarrated in The Underground Railroad
CHAPTER 5: "A jail within a jail": Concealment and Unveiling as Narrative Structure in The Nickel Boys
CHAPTER 6: The Harlem Trilogy: Revealing the System, or the Bent Man's Progress
EPILOGUE: Unveiling as Method
REFERENCES
INDEX
