The Underground Railroad: A Novel

When I first came across Colson Whitehead’s The Underground Railroad, I honestly wondered what a contemporary writer could add to the canon of antebellum literature. Could a Harvard graduate born after Dr. King’s assassination really provide any insight beyond that which had already been provided by many who had actually lived it? Contemporary African American writers have shown a tendency to delve into the psychological and spiritual lives of African Americans during slavery, and this novel is certainly a reflection of that trend, as Whitehead’s portrayal of a slave escape (an unfair shortening of what the novel truly is) is not only riveting storytelling but also a take on the psyche of the American slave that is fresh and different.When I say it is different, I hesitate: It is, in many ways, a tale of the deplorable conditions of slavery that are all too familiar. The difference is the absolute bleakness with which Whitehead overwhelms the reader in a setting that gives birth to both his narrative and the psyches of his characters. Largely told through the limited third person perspective of the protagonist Cora (though other characters’ perspectives are also employed), the bleakness of her and her people’s lot emanates from the pages: bleak circumstances, little hope, and only momentary rests in a landscape rife with violence, danger, hate, and darkness. Indeed, Cora’s notion that the world seemed “As if… there were no places to escape to, only places to flee” is a notion the reader retains throughout this work.What Whitehead has done is recreate a landscape similar to the one found in Zone One, a zombie tale that, like the novel reviewed herein, defies the conventions of its genre. The barren and bleak wasteland containing the possibility of danger at every turn, with only moments of rest in between episodes of danger, is reminiscent of The Underground Railroad. Such a world is expected in a zombie tale, and yes, dangers were possible at every turn for escaped slaves, but Whitehead brings them to life so masterfully that it is sometimes gut wrenching to turn the pages. Just as in Zone One, we know any respite or peace found in The Underground Railroad is, as its main characters also are, in constant danger. “Sometimes a slave will be lost in a brief eddy of liberation,” the narrator remarks, and time and again, the reader gets lost in the same reverie, only for the ugly horror looming in the background to intrude upon both the characters’ and the reader’s respite.Whitehead’s prose is refreshing in its descriptiveness. His focus on darkness, blackness, and barrenness in many of his scenes adds to the suspenseful effect of ever-present danger. His haunting description of burned fields and mountains in Tennessee is among the most vivid and undeniably memorable of the novel. The biggest complaint by negative reviewers on Amazon is that it is “poorly written,” mostly referring to Whitehead’s tendency to use sentence fragments within his prose, yet these are typically well-placed and rhythmical, adding a verse-like effect and sometimes adding the effect of fragmentation of thoughts, speech, etc. Human beings often think and speak in fragments, and these seem fitting for Whitehead’s chosen point-of-view, making his characters more authentic. The technique also emphasizes the fragmented society about which he writes. In short, everything Whitehead does works together masterfully towards a single effect even Poe would admire, and the chilling horror in the aforementioned mountainside scenes even rivals Poe’s masterful descriptive powers.There is yet another similarity to Zone One: the idea of “otherness.” In Zone One, Whitehead “challenges readers to think about how we dehumanize others, how society tramples and consumes individuals, and how vulnerable we all are" (from the Norton Anthology of African American Literature, Vol. 2, "The Contemporary Period.) The Lieutenant, a character in Zone One, says of zombies, “Mustn’t humanize them. The whole thing breaks down unless you are fundamentally sure that they are not you." Clearly the whites depicted in The Underground Railroad, save the ones involved with the railroad itself, had applied that logic to African Americans. Accepting such a lie not only condones but also encourages the horrific violence Whitehead describes, violence with an unfortunate historical basis.In short, The Underground Railroad is a contemporary masterpiece. Whitehead’s “Acknowledgements” section references several works to which he feels indebted; it is doubtless that he could have added hundreds more. While indebted to slave narratives, Whitehead has the ability to describe the realities of slavery with its ugly and naked truths woven into a nightmarish reality that is perhaps closer to depicting the psyche of enslaved men and women who longed for freedom than those primary sources whose audience shaped their purpose and limited their range of expression. Whitehead resists employing flowery prose and cliche figures of speech to attempt to depict what his setting, a claustrophobic nightmare characterized by darkness and ugliness and dotted with people just as ugly, does for him. The story is breathed forth from this setting almost effortlessly.To call this a bleak book without hope, though, would be misguided. At one point, during an exploration of a library, Cora finds many stories of her people, “the stories of all the colored people she had ever known, the stories of black people yet to be born, the foundations of their triumphs.” The Underground Railroad is an important and significant contribution to these stories of the African American experience -- a story of struggles and triumphs, nightmares and dreams, hopes and fears. The Underground Railroad, like numerous other important African American works, makes room for hope and endurance in the midst of adversity and a universe that, though it may indifferently overwhelm its inhabitants, is still one in which we must live.

"The Underground Railroad" by Colson Whitehead is a powerful and gripping novel that reimagines the historical Underground Railroad as an actual railroad system. The story follows the journey of Cora, a young enslaved person on a cotton plantation in Georgia, as she escapes and seeks freedom via the Underground Railroad.Whitehead's vivid and lyrical writing style brings to life the harsh realities of slavery and the courage of those who fought against it. The novel explores themes of race, freedom, and the enduring human spirit in the face of oppression.Through Cora's experiences, Whitehead delves into the complexities of American history and the legacy of slavery, offering a thought-provoking and emotionally resonant narrative. "The Underground Railroad" has received critical acclaim for its storytelling, depth of characterization, and thematic richness, making it a compelling and essential read for anyone interested in historical fiction and social justice issues.

A work of amazing scope and breadth, shocking in the brutality of events, and so pertinent to politics and race discussions being held today. This is an important piece of literature reminding Americans of our history, the beginnings of race relations in our country, and you can follow this thread out to today and realize that we still have a long way to go. I love that Michelle Obama reminded us that the white house was built by slaves, at the DNR earlier this month, a fact that is also mentioned in this book. Our government is literally built on slavery.“White folk eat you up but sometimes colored folk eat you up, too.”Cora is the protagonist of the novel, born on a Georgia cotton plantation, whose mother runs away from the plantation while Cora is still young. Cora is mistreated by the slave owners and fellow slaves alike, being shunned, raped, whipped, and degraded in every way seemingly possible. She is labelled a stray. The horrors she and others face on the plantation at the outset of this novel are shocking in their rendering and brutality.“With strategic sterilization – first the women but both sexes in time – we could free them from bondage without the fear that they’d butcher us in our sleep.”Caesar, a fellow slave, approaches her with an escape plan and she accepts. The book follows Cora’s tortuous escape route on a literal underground railroad, bringing a magical element into the novel. This isn’t the only time that Colson Whitehead takes liberty with historical elements. Each stop along the railroad highlight different aspects of African American history, that in reality may have occurred in vastly different times and places. While Cora and Caesar are in South Carolina, the Tuskegee experiment is being conducted on the black population, an event that in history does not occur until much later, 1932-1972, with penicillin becoming available for the treatment of syphilis in 1947. It was also here in South Carolina, where Cora is offered sterilization and is asked to help persuade the other blacks living there to accept this measure.“In North Carolina, the negro race did not exist except at the end of ropes.” Again, the fear many whites have of blacks is manifested in hatred and horrific acts. The North Carolinians in the novel abolished slavery by abolishing blacks from the state; those who did not leave willingly were hung along the “Freedom Trail,” as decided by the “Justice Convention.” Such ironical terms are attached to such atrocities to emphasize the justification involved. “But they were prisoners like she was, shackled to fear.” Those who aid Cora are subjected to the same fate as blacks.Whitehead tackles many heavy issues in this novel, even religion. Cora sees paradox and hypocrisy in the bible. Ridgeway and other use the bible to find justification for their cause and actions. It is interesting to me the continuing theme of religion, something that many people find such comfort and peace in, also becomes a tool or justification for divisiveness and war.In Tennesee, Whitehead tackles the treatment of Native Americans. “Manifest Destiny” is cited as the ultimate narcissistic doctrine of self justification for the mistreatment and displacement of another race.Some chapters are named for the location in which they occur, but others are named after a character in the book, to get better insight into their mindset and thinking. Interestingly and unsurprisingly, the thugs of society, found purpose in becoming slave catchers. Homer never received his own chapter, and this leaves the reader wondering why a free black would choose to spend his life working and living alongside Ridgeway, a monstrous slave-catcher.Valentine’s Farm, in Indiana, becomes a relative utopia, where blacks can live freely and share ideas, at least for a time. Lander states, “And America, too, is a delusion, the grandest one of all. The white race believes – that it is their right to take the land. To kill the Indians. Make war. Enslave their brothers. This nation shouldn’t exist, if there is any justice in the world, for its foundations are murder, theft, and cruelty. Yet here we are.” These words are so important.Whitehead’s words and message throughout this novel are direct, strong, and sweeping. We cannot be blind to our past. We cannot repeat the past by creating a culture of fear. We must live with our past, acknowledge our past and continue to make peace with it. There is so much to take in with this novel – the brutality of slavery and treatment of blacks outside of slavery, the kindness shown by those who were willing to risk their lives to help, the feeling that there is nowhere to escape to, only places to flee, the deeply seated racial prejudice and violence that continues, and so much more. I highly recommend this book to everyone! It is hugely pertinent to current times, beautifully rendered, and brilliant. There is so much to this novel, that I had to sit and think about it for days before attempting to put thoughts into a review. It is excellent material for discussion.For discussion questions, please see book-chatter.com

as a read it flows well . a little jumpy in places . overall worth the time , in my opinion . cheers

La historia y la calidad del libro 10 de 10

Storia ben scritta e trama avvincente ed emozionante. Segnalo anche che esiste una mini serie tv. Sicuramente ne consiglio l' acquisto e la lettura.

A very good read - had me enthralled

Il y a tout d’abord la métaphore. L’underground railroad, le chemin de fer clandestin, ce réseau de routes clandestines utilisé en Amérique du Nord par les esclaves pour rejoindre les états abolitionistes et gagner la liberté. Il n’y eut jamais ni chemin de fer ni tunnel, mais dans son roman Underground Railroad, Colson Whitehead lui donne existence. Il y a ensuite les stations qui s’ouvrent à des espaces et des temps imaginés, bousculant la précision historique. Il y a encore les allégories.Milieu du XIXe siècle, Géorgie. Nous sommes avant la Guerre de Sécession (1861-1865) et l’Amérique du Nord est encore divisée par la ligne Mason-Dixon qui sépare les états abolitionnistes du Nord des états esclavagistes du Sud. Cora est une jeune femme de seize ans, esclave dans une plantation de Géorgie. Sa grand-mère, Ajarry, a été amenée ici à bord d’un des navires négriers. Sa mère, Mabel, l’a abandonnée pour s’enfuir et contrairement à de nombreux autres esclaves qui ont tenté de trouver la liberté, n’a jamais été reprise. Terrence Randall, le propriétaire de la plantation, est particulièrement sadique. Cora, à son tour, s’enfuit, avec l’aide de l’Underground Railroad, ses conducteurs, et ses gardiens de station. Mais elle est poursuivie par Ridgeway, le chasseur d’esclaves ayant échoué à retrouver sa mère et qui cette fois a juré de ramener Cora à la plantation.Le parcours de Cora l’amènera à traverser plusieurs états américains qui, dans la construction imaginaire de Colson Whitehead, illustrent chacun à leur tour un modèle social et politique de traitement de l’esclave. Certains exercent une violence ouverte et institutionnalisée envers les Noirs, esclaves échappés ou hommes libres ; d’autres offrent ce qui s’apparente à un asile mais cachent sous des atours idylliques une réalité bien plus violente et sombre que la surface ne le laisse présager. Le roman s’organise en onze chapitres qui alternent portrait d’un personnage et portrait d’un état, une des stations empruntées par Cora dans sa fuite : Ajarry, Géorgie, Ridgeway, Caroline du Sud, Stevens, Caroline du Nord, Ethel, Tennessee, Caesar, Indiana, Mabel.Colson Whitehead s’appuie sur des réalités historiques mais brouille le temps et l’espace pour mieux en extraire la continuité des maux et étendre la question de l’esclave et de ses conséquences à l’époque moderne. Pour vous expliquer cela, je vais utiliser l’exemple de la Caroline du Sud, première étape de la fuite de Cora après la Géorgie. Cora ne s’appelle plus Cora, mais Bessie. (Cora est un personnage universel. En étant attentif, on croisera aussi une évocation d’Anne Frank…) Elle et son compagnon Caesar ont trouvé refuge dans cet état qui offre la protection du gouvernement aux esclaves fugitifs. La ville symbolise la modernité, notamment à travers le Griffin Building, à la fois hôpital et administration. Immeuble de douze étages, il possède un ascenseur. Le lecteur devine alors que nous avons effectué un saut dans le temps. Le premier ascenseur utilisé aux Etats-Unis le fut à New York, dans le Equitable Life Building construit en 1870, soit des années après la fin de la guerre de sécession. Cora/Bessie va découvrir l’envers du décor et les sombres desseins d’un gouvernement dont elle est devenue la propriété. Colson Whitehead parle du programme de stérilisation forcé qui a eu court au début du XXe siècle, ou encore de l’étude de Tuskegee sur la syphilis entre 1932 et 1972. Continuité des maux.Le récit saute ainsi, dans l’espace et le temps. Chaque nouvelle station apporte ses espoirs, ses horreurs et ses symboles, comme autant d’univers parallèles. L’un des puissants symboles du livre est le « Freedom trail », cette route bordée d’arbres qui accrochent à leurs branches les corps mutilés des hommes, femmes, enfants noirs assassinés dans un état, la Caroline du Nord, qui a aboli l’esclavage, mais a aussi aboli les noirs. Lieu d’horreur quasi mystique qui semble n’avoir ni début ni fin, le Freedom Trail symbolise à la fois la violence sans fin exercée sur les Noirs américains et le parcours de Cora vers la liberté parsemé de morts.Underground Railroad est un livre dur qui ne fait l’impasse sur aucune forme de violence, de la torture aux violences sexuelles, en passant bien sûr par le meurtre pur et simple. Mais la plus grande violence montrée par Colson Whitehead est celle qui ne guérit jamais : la déshumanisation. L’esclavage est montré comme un système économique. Le corps de l’esclave possède une valeur marchande. La grand-mère de Cora, Ajarry dont l’histoire ouvre le roman, est vendue et revendue plusieurs fois avant même d’arriver sur le continent américain. Les corps des esclaves morts sont vendus par des trafiquants de cadavres pour des expérimentations médicales. Cora travaille comme exposition vivante dans un musée sur l’histoire américaine alors même que les blancs sont représentés par des mannequins. Ridgeway, le chasseur d’esclaves, calcule la pertinence de ramener un esclave ou le tuer en fonction du profit réalisé face aux dépenses engagées. L’esclave n’est toujours qu’une marchandise, un objet, jamais un être humain. Le 26 juillet dernier, le sénateur républicain de l’Arkansas, Tom Cotton (ce nom ne s’invente pas), décrivait l’esclavage comme « un mal nécessaire » au développement économique du pays. Continuité des maux.Colson Whitehead use de l’imaginaire pour construire une histoire de l’Amérique noire et du mensonge que constitue à ses yeux ce pays. Il bat en brèche le mythe de la déclaration d’indépendance perpétuant la légende d’un pays dans lequel les hommes ont été créés libres et égaux en y opposant l’histoire des Indiens d’Amérique et des esclaves africains, des terres volées et des vies volées. Il porte son roman par une écriture puissante, réaliste et directe, qui ne joue jamais des artifices du pathos, mais qui pourtant ne s’éloigne jamais non plus du sujet et des personnages. Il vous laisse vous débrouiller avec vos sentiments, sans vous indiquer là où il faut rire, là où il faut pleurer. (Spoiler : il n’y a pas beaucoup d’occasion de rire.) Underground Railroad est un livre absolument remarquable. Une des meilleures lectures de l’année en ce qui me concerne.