Colson Whitehead Archive
Certain writers—often those writers who are said to “transcend their genre”—combine action-filled plots with complex character development. How do they stop the action in, say, a zombie apocalypse, so that the characters can become intimate and so the reader can grow to care about their inner lives?
Not all representations of museums overtly highlight the way they structurally rely on certain power dynamics, and yet the adherence to a certain normalizing discourse is always there, lurking, even when the explicit intention of the museum is to reconnect with a lost past.
What kinds of stories will emerge that focus on rural or city settings during a Trump presidency? Will the typical themes continue to be cemented or will variations become the norm?
From the National Book Award winners to Zadie Smith’s newest novel, here are last week’s biggest literary headlines: The 67th annual National Book Awards ceremony took place November 16. The winners included Colson Whitehead’s The Underground Railroad for fiction, Ibram X. Kendi’s Stamped from the Beginning: The Definitive History of
I delighted in Alexandra Petri’s column, “An Easy Guide to Writing the Great American Novel.” A writer must be able to laugh, kindly, at herself, and perhaps less kindly at others, especially when those others are extremely successful.
I got to know Colson Whitehead back when he was infiltrating the poker world for his non-fiction narrative, The Noble Hustle. His new novel, The Underground Railroad, has been honored by none other than Oprah Winfrey with her latest book club selection.
In his excellent zombie novel, Zone One, Colson Whitehead writes: “We never see other people anyway, only the monsters we make of them.” This sentence encapsulates one of the novel’s themes, but it can also be applied to a current trend in poetry which brings monsters to the