Apex Hides the Hurt
By Colson Whitehead
(Anchor, Paperback, 9781400031269, 224pp.)
Publication Date: January 9, 2007
Other Editions of This Title: Hardcover
Enter your zip code below to find indies closest to you.
The town of Winthrop has decided it needs a new name. The resident software millionaire wants to call it New Prospera; the mayor wants to return to the original choice of the founding black settlers; and the town’s aristocracy sees no reason to change the name at all. What they need, they realize, is a nomenclature consultant. And, it turns out, the consultant needs them. But in a culture overwhelmed by marketing, the name is everything and our hero’s efforts may result in not just a new name for the town but a new and subtler truth about it as well.
Colson Whitehead was born and raised in New York City. His first novel, The Intuitionist (1999) was a finalist for the PEN/Hemingway. His next work, John Henry Days (2001), was a New York Times Editor's Choice, won the Young Lions Award and was a finalist for the National Book Critics Circle and the Pulitzer Prize. His most recent book, The Colossus of New York, was a New York Times Notable Book of a Year. Whitehead has also been the recipient of a Whiting Writer's Award and a MacArthur Grant. His writing has appeared in the The New York Times, The Village Voice, Salon, and Newsday. He lives in Brooklyn with his wife Natasha and daughter Madeline.
“Wickedly funny. . . . Whitehead is making a strong case for a new name of his own: that of the best of the new generation of American novelists.” —The Boston Globe
“A brilliant, witty, and subtle novel, written in a most engaging style, with tremendous aptness of language and command of plot.”
—The New York Review of Books
“Terrific. . . . Inspired. . . . Engaging, exuding energy. . . . Will have you nodding in wonder.” —The Miami Herald
“Dazzling. . . . Gorgeous, expertly crafted sentences. . . . An eloquent novel about racial identity in America.” —Newsweek
“Brilliant. . . . Exhilarating. . . . What keeps you reading this critique of language is its language, and our perverse delight in the ingenious abuse of words.” —The New York Times