Please be aware that this discussion guide may contain spoilers!
These discussion questions are designed to enhance your group's conversation
about Slumberland, a jazzy novel about one DJ's quest for the perfect
beat in postCold War Berlin.
About this book
Ferguson Sowell, aka DJ Darky, wants to create the sonic Mona Lisa: a song
that will bring together every partygoer with an irresistible toe-tapping beat.
He debuts his near-perfect beat to his music collective, the Beard Scratchers,
and they all agree that the song is only missing one thing: a guest appearance
by a man they call "the Schwa"Charles Stone, a legendary jazz player who
disappeared to Europe decades ago. DJ Darky has one clue to finding Stone: a
pornographic videotape with an undeniably Schwa-like soundtrack. He traces the
tape to a West Berlin bar called Slumberland, where he lands a job as a "jukebox
sommelier," collecting the most party-friendly tunes in the Western world.
As soon as DJ Darky starts to adapt to Berlin's rhythms, the Berlin Wall comes
down, inundating West Berlin with an array of Easterners eager for capitalist
pleasures. A bedraggled, silent black man haunts the bar for donations to
rebuild the wall as a mark of protest against Western commercialization. Without
even knowing it, Ferguson Sowell has stumbled upon the Schwa, the jazz legend
himself. The two musicians, Charles Stone and DJ Darky, will collaborate to
build the New Berlin Wall of Sound, in a single broadcast that just might change
the sound of Berlin forever.
opens with DJ Darky stepping into a Berlin tanning
salon, two days after he and Charles Stone performed a "melody so
transcendent that blackness has officially been declared passé." (16) How
does this tanning salon scene set the stage for the novel? Does it appear
that DJ Darky succeeded in making blackness "passé?" Why or why not?
Discuss the setting of the novel. Is Berlin the perfect city for DJ
Darky and his music? What about Charles Stone? What other cities could
potentially inspire and challenge each musician?
Ferguson narrates some of his earliest experiences of race, opportunity,
and music while growing up in Los Angeles. What are the key steps that he
takes early in life, on his way to becoming DJ Darky?
Young Ferguson, watching an Eskimo student entering a math classroom,
observes, "Sometimes just making yourself at home is revolutionary." (20)
How does DJ Darky stage his own revolution in Berlinwhat does he do to make
himself at home in that race-sensitive city?
DJ Darky claims to have a "phonographic memory"he remembers every sound
he's ever heard. How does this gift both help and hinder his career? How
does it affect his social and romantic life?
What are DJ Darky's first impressions of Slumberland Bar? How does the
bar look and sound on his first visit? How does his affection for the bar
change over time?
DJ Darky imagines that the Berlin Zoo's penguins heeded the advice that
a black security guard gave him about Berliners: "You just have to let them
love you." (58) Does DJ Darky adapt like the penguinsdoes he let Berliners
love him? Why or why not?
Before revealing the sources of his near-perfect beat, DJ Darky tells
his music collective, "I should warn you before we begin I'm not
necessarily going to tell you the truth." (34) He says nearly the same thing
to Lars before an interview: "Before we begin, I'd like to tell you that not
everything I say to you will be the truth." (86) Why does he repeat this
warning? Can the reader trust him to tell the truth, or is DJ Darky an
Consider the descriptions of music in Slumberland. How does
Beatty evoke the experience of sound through words on a silent page? Which
piece"Southbound Traffic Jam," Charles Stone's pornography soundtrack, or
DJ Darky's "The Perfect Beat"can you imagine best, based on the novel's
The first song that DJ Darky chooses for Slumberland's jukebox is
"Stolen Moments," by Oliver Nelson, inspired by the sound of a German boy
writing "Foreigners Out!" on the bar's window. Why is an act of hateful
graffiti an appropriate choice to kick off the jukebox?
DJ Darky rails against Wynton Marsalis's modern jazz; compared to
Marsalis, "the Schwa's music is anarchy. It's Somalia. It's the Department
of Motor Vehicles. It's Albert Einstein's hair." (97) What other metaphors
of anarchy could be added to DJ Darky's list? How does Marsalis's music
measure up against the Schwa's?
Lars says, "DJs aren't people, they're parasites." (99) According to the
novel, are DJs musicians in their own right? How would DJ Darky answer that
question? How would Charles Stone?
When he hears on the street that the Wall fell, DJ Darky responds, "What
wall?" (112) Why is this "the second-most embarrassing moment" of his life?
How does the Stasi agent react to DJ Darky's ignorance?
By the end of the novel, DJ Darky seems to have figured out who fathered
the half sisters Klaudia and Fatima von Robinson. How is each sister's
father reflected in her personality, and in her fate? What role does her
father play in Fatima's tragic death?
The novel ends with DJ Darky meeting a German girl who also has a
phonographic memory. What does the girl hear within "The Perfect Beat?" How
does her listening experience line up with DJ Darky's musical sources? What
might someone else hear within "The Perfect Beat"would it sound different
to each person who hears it? Why or why not?
Paul Beatty's writing is full of jazzy riffs: rich descriptions, sleek
one-liners, hairpin plot turns. Which of Beatty's riffs are particularly
appealing? Discuss a favorite passage where Beatty's technical skill as a
writer really shows through.
In a review of Slumberland in the Washington Post, Kevin
Allman writes, "What Gore Vidal did for sex and gender constructs, Beatty
does for race and prominent black Americans, with sacred cow-tipping on
nearly every page." Which "sacred cows" of race and culture does Beatty
tackle especially well?
Paul Beatty, The White Boy Shuffle, Tuff, and
Colson Whitehead, Sag Harbor;
Danzy Senna, Caucasia and Symptomatic;
Adam Mansbach, The End of the Jews and Angry Black White Boy; Percival Everett, Erasure;
ZZ Packer, Drinking Coffee Elsewhere; Ralph Ellison, Invisible Man;
Junot Díaz, The Brief Wondrous Life of Oscar Wao;
rthur Phillips, Prague;
Richard Price, Lush Life;
Chester Himes, If He Hollers Let Him Go.
Unless otherwise stated, this discussion guide is reprinted with the permission of Bloomsbury.
Any page references refer to a USA edition of the book, usually the trade paperback version, and may vary in other editions.
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