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Book Reviewed by:
Joe Hoeffner
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From "one of the most original minds in contemporary literature" (Nick Hornby) the bestselling and award-winning author of Golden Hill delivers a noirish detective novel set in the 1920s that reimagines how American history would be different if, instead of being decimated, indigenous populations had thrived.
Like his earlier novel Golden Hill, Francis Spufford's Cahokia Jazz inhabits a different version of America, now through the lens of a subtly altered 1920s—a fully imagined world full of fog, cigarette smoke, dubious motives, danger, dark deeds. And in the main character of Joe Barrow, we have a hero of truly epic proportions, a troubled soul to fall in love with as you are swept along by a propulsive and brilliantly twisty plot.
On a snowy night at the end of winter, Barrow and his partner find a body on the roof of a skyscraper. Down below, streetcar bells ring, factory whistles blow, Americans drink in speakeasies and dance to the tempo of modern times. But this is Cahokia, the ancient indigenous city beside the Mississippi living on as a teeming industrial metropolis, filled with people of every race and creed. Among them, peace holds. Just about. But that corpse on the roof will spark a week of drama in which this altered world will spill its secrets and be brought, against a soundtrack of jazz clarinets and wailing streetcars, either to destruction or rebirth.
Excerpt
Cahokia Jazz
With the building dark beneath it, the skylight on the roof of the Land Trust was a pyramid of pure black. Down the smooth black of the glass, something sticky had run, black on black, all the way down into the crust of soft spring snow at Barrow's feet, where it puddled in sunken loops and pools like molasses. On top, a contorted mass was somehow pinned or perched. But the moon was going down on the far side of the Mound, and dawn was an hour and more away. The whole scene on the roof was a clot of shadows, and the wind was full of wet flakes. Along the way, at the small obstacle of a couple of cops on a roof, the snow caked Barrow's coat and got in his eyes, plastered Drummond's back where he'd turned it as a windbreak. Drummond was trying for a flame from his lighter, but even with his hat shielding the flint every spark was instantly quenched.
'Joe, can you go git the patrolman's flashlight?'
'Sure, Phin. Hold on.'
Barrow stepped carefully back towards the little ...
When it comes to alternate history, a compelling scenario only gets you so far. It's impressive to come up with a well-realized setting, one that might have existed had a few metaphorical butterflies not fluttered their wings, but simply describing how this strange new world came to be is not enough: a fascinating history textbook is still a history textbook. What's really impressive is using that setting as a jumping-off point for a cracking great story, the kind of story that turns a bit of bedtime reading into an all-nighter. With Cahokia Jazz, Spufford has done exactly that...continued
Full Review
(626 words)
(Reviewed by Joe Hoeffner).
Joe Barrow, the protagonist of Francis Spufford's Cahokia Jazz, does not speak the titular city's common language, Anopa. He learns bits and pieces of it over the course of the novel, at around the same pace as the reader (heeding the suggestion of his friend Alan Jacobs, Spufford does not include a glossary). We learn the words for Native, Black, and white people (takouma, taklousa, and takata); the word for "warrior," which is the preferred title for Cahokia police officers (tastanagi); the word for "chief," in this context referring to the chief of police (miko).
As Spufford explains in the Notes and Acknowledgements at the end of Cahokia Jazz, Anopa became "something like a Swahili for the whole indigenous population at the ...
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