Paul Beatty: The Sellout (Picador, 2015)

This may be hard to believe, coming from a black man, but I’ve never stolen anything. Never cheated on my taxes or at cards. Never snuck into the movies….
But here I am, in the cavernous chambers of the Supreme Court of the United States of America, my car illegally and somewhat ironically parked on Constitution Avenue, my hands cuffed and crossed behind my back, my right to remain silent long since waived and said goodbye to as I sit in a thickly padded chair that, looks like this country, isn’t quite as comfortable as it looks.
…Allegations in that summation accused me of everything from desecration of the Homeland to conspiracy to upset the apple cart just when things were going so well. Dumbfounded, I stood before the court, trying to figure out if there was a state of being between guilty and innocent. Why were those my only alternatives ?

There’s an anecdote told at the very end of the novel, a story about a black comic who throws a white couple out of the black club where he’s performing his routine, telling them, “This is our thing.” Although this leads to the deeper question of just what is “our thing”, it reminded me of the SNL skit that followed the release of Beyonce’s “Formation” video: a bunch of confused white people, shocked to discover that Beyonce is black, whispering, “Maybe the song isn’t for us?” with the reply, “But usually everything is!”

That’s how I felt when I began reading this book: slightly uncomfortable, like I wasn’t going to be able to get it, like it was meant for someone else. That may be true, but it was, indeed, hilarious and tragic at the same time, and while I may have not recognized some of the references, I was kept pretty busy with the ones that landed just fine.

Like the entire town of Dickens, I was my father’s child, a product of my environment, and nothing more. Dickens was me. And I was my father. Problem is, they both disappeared from my life, first my dad, and then my hometown, and suddenly I had no idea who I was , and no clue how to become myself.

This struggle of identity forms one major core of the novel. Our protagonist’s last name is Me; his given name is never revealed. We know him only through nicknames, some more positively intended than others, like BonBon and The Sellout. His dad was a sociologist who had some strange ideas about child rearing and education, and who was considered the town’s “nigger whisperer” since he’d talk people off the ledge, literally and figuratively, as needed. “Who am I? And how may I become myself?” were the two questions he relied on, and those questions are what BonBon – expected to fill his dad’s role when the man is shot dead by police for the usual non-reasons – asks himself over and over throughout the novel, culminating in the final, “what is our thing”?

If this sounds like a tough setup for a comic novel, well, yeah, it is, but remember, satire is a different form of comedy, and the laughter is deeply tinged with bitterness and sorrow.

The town of Dickens is based on an actual section of Compton called Richland Farms, where, odd as it may seem, there are indeed horses and pigs and growing produce right smack in the middle of one of the toughest places in the US. It can get lost in the flood of significance from the novel, but BonBon is one hell of a farmer: his plums are treasured for their blend of flavors, and he painstakingly cares for a satsuma tree to keep it from being overwatered during a freak onslaught of rain, producing gems with the perfect blend of sweet and sour. Beatty doesn’t let the chance for a great metaphor to pass by:

Those motherfuckers segregate because they want to hold on to power. I’m a farmer: we segregate in an effort to give every tree, every plant, every poor Mexican, every poor nigger, a chance for equal access to sunlight and water we make sure every living organism has room to breathe.

This week was the anniversary of Eric Garland’s death by choke hold at the hands of police, ostensibly for the crime of selling loose cigarettes on the street. Ross Gay’s poem “A Small Needful Fact”, written shortly after, came across my twitter feed, and connected immediately with Beatty’s metaphor, but I think there’s another context, that of HBCUs and some secondary schools for girls, which allow those often overlooked to shine in their own right. “How do you racially segregate an already segregated school?” Dickens suffers from the segregation of racism and power; BonBon tries to change it into a segregation of nurturance.

The overall story follows BonBon’s efforts to put Dickens back on the map, after it’s somehow removed. He starts with a simple thing: painting a white line around the town borders. Along the way he picks up a “slave” in the person of Hominy, a former child actor and the last surviving member of the Little Rascals cast who just shows up on the farm and declares himself a slave. This arc, interestingly, forms a secondary envelope for the story, as Hominy un-declares himself at the end, when his only desire is fulfilled: the reclamation of the “lost” episodes of the serial, the ones too racist even for the 30s, including outtakes which are where most of Hominy’s scenes ended up.

While most of the efforts to put Dickens back on the map are outrageously wild, a few are fairly tame, yet these too are played for all they’re worth and turned into satire. Take for example the choosing of sister cities, from among the abandoned and destroyed cities of the world – except for the last one:

But in the end we found it impossible to ignore the impassioned pleas of the Lost City Of White Male Privilege, a controversial municipality whose very existence is often denied by many (mostly privileged white males).
It became impossible to walk the streets of the Lost City Of White Male Privilege, feeding your ego by reciting mythological truisms like “We built this country!” when all around you brown men were constantly hammering and nailing, cooking world-class French meals, and repairing your cars.

I’ve been hyperaware of context over the past few months in everything I read, and this is no exception. It was published in March, 2015, before the current administration was even a nightmarish possibility. It was a time of Black Lives Matter and the incongruous assurance that, thanks to the election of President Obama, we were now living in a post-racial America, even as the murderer of a 17-year-old kid named Trayvon Martin was exonerated since an adult in a truck armed with a gun is no match for a teenager standing on a sidewalk, a 12-year-old named Tamir Rice was murdered having been judged, after less than 2 seconds, to be a threat to the officer’s life, and a 22-year-old named John Crawford was buying a BB-gun in Walmart when he was murdered by a SWAT team. And this brings us to BonBon’s true crime: as he puts it, “Well, I’ve whispered ‘Racism’ in a post-racial world.”

The book is loaded with comebacks to some of the stuff that falls out of the mouths of people who aren’t racist at all.

You’d rather be here than in Africa. The trump card all narrow minded nativists play ….I seriously doubt that some slave ship ancestor, in those idle moments between being raped and beaten, was standing knee-deep in their own feces rationalising that, in the end, the generations of murder, unbearable pain and suffering, mental anguish, and rampant disease will all be worth it because someday my great-great-great-great-grandson will have Wi-Fi, no matter how slow and intermittent the signal is.

One of the judges BonBon comes before on his trip to the Supreme Court has a great metaphor for this “I don’t see race” thing: when people say they don’t care if someone’s black or white or purple, start painting them purple and see what they think. There’s a scene in Herman Wouk’s WWII epic, Winds of War that I’ve always remembered: a group of Warsaw embassy officials, in German hands on safe passage out of the city at the beginning of the war, resist disclosing who in the group in Jewish. The charge finally offers an exasperated solution: if it’s just for recordkeeping, count them all as Jews, at which point the group objects. Racial equality, even among the well-meaning, only goes so far.

By the way, we don’t seem to be having a lot of discussions about whether we live in a post-racial society now, do we?

I keep wanting to admire how unusual it is for a humorous book to make some of us uncomfortable yet leave us laughing, but… though many scenes are indeed hilarious, I’m not sure it’s going to leave anyone laughing. Satire isn’t laugh-out-loud humor; it’s like watching a food fight, but in your own kitchen. Satire makes the slapstick slap back. The better the satire – and the more real the thing that is being satirized – the harder the slap.

I chose to read this book because I read so many good things about it at the time. I was going to put his earlier book, White Boy Shuffle, on my list, but it seems to emphasize youth, surfing, and basketball, so maybe I’ll wait for the next one instead.

2 responses to “Paul Beatty: The Sellout (Picador, 2015)

  1. Fantastic review, and I love your insight into this book. I tried to read this one during a buddy read, but we both ended up DNFing it, which surprised me because I wasn’t at all turned off by the harsh satire – that’s my kind of thing. But his protege, Malcolm Hansen’s, debut novel was published recently and I fared reasonably better with it (3.5 stars). Maybe you’d like that one in place of White Boy Shuffle. 🙂 I reviewed the book and interviewed Hansen on my blog.

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