What's Up?
THE NICKEL BOYS won the Pulitzer Prize, which is pretty nutty, and the Kirkus Prize for Fiction, was a New York Times Bestseller, a finalist for the National Book Critics Circle Award, and was longlisted for the Carnegie Medal and the National Book Award.
Life & Work
Bio:
Colson Whitehead was born in 1969, and was raised in Manhattan.
After graduating from Harvard College, he started working at the Village Voice, where he wrote reviews of television, books, and music.
His first novel, The Intuitionist, concerned intrigue in the Department of Elevator Inspectors, and was a finalist for the PEN/Hemingway and a winner of the Quality Paperback Book Club's New Voices Award.
John Henry Days followed in 2001, an investigation of the steel-driving man of American folklore. It was a finalist for the National Book Critics Circle Award, the Los Angeles Times Fiction Award, and the Pulitzer Prize. The novel received the Young Lions Fiction Award and the Anisfield-Wolf Book Award.
The Colossus of New York is a book of essays about the city. It was published in 2003 and was a New York Times Notable Book of the Year.
Apex Hides the Hurt (2006) is a novel about a "nomenclature consultant" who gets an assignment to name a town, and was a recipient of the PEN/Oakland Award.
Sag Harbor, published in 2009, is a novel about teenagers hanging out in Sag Harbor, Long Island during the summer of 1985. It was a finalist for the PEN/Faulkner award and the Hurston/Wright Legacy Award.
Zone One (2011), about post-apocalyptic New York City, was a New York Times Bestseller.
The Noble Hustle: Poker, Beef Jerky & Death, a non-fiction account of the 2011 World Series of Poker, appreared in 2014.
The Underground Railroad, a novel, was published in the summer of 2016. It won the Pulitzer Prize, the National Book Award, the Carnegie Medal for Fiction, and was a #1 New York Times Bestseller.
His latest novel The Nickel Boys was published in July 2019.
Colson Whitehead's reviews, essays, and fiction have appeared in a number of publications, such as the New York Times, The New Yorker, New York Magazine, Harper's and Granta.
He has received a MacArthur Fellowship, A Guggenheim Fellowship, a Whiting Writers Award, the Dos Passos Prize, and a fellowship at the Cullman Center for Scholars and Writers.
He has taught at the University of Houston, Columbia University, Brooklyn College, Hunter College, New York University, Princeton University, Wesleyan University, and been a Writer-in-Residence at Vassar College, the University of Richmond, and the University of Wyoming.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).