Telegraph Avenue is the great American novel we've been waiting for. Generous, imaginative, funny, moving, thrilling, humane, triumphant, it is Michael Chabon's most dazzling book yet.
As the summer of 2004 draws to a close, Archy Stallings and Nat Jaffe are still hanging in there - longtime friends, bandmates, and co-regents of Brokeland Records, a kingdom of used vinyl located in the borderlands of Berkeley and Oakland. Their wives, Gwen Shanks and Aviva Roth-Jaffe, are the Berkeley Birth Partners, two semi-legendary midwives who have welcomed more than a thousand newly minted citizens into the dented utopia at whose heart - half tavern, half temple - stands Brokeland.
When exNFL quarterback Gibson Goode, the fifth-richest black man in America, announces plans to build his latest Dogpile megastore on a nearby stretch of Telegraph Avenue, Nat and Archy fear it means certain doom for their vulnerable little enterprise. Meanwhile, Aviva and Gwen also find themselves caught up in a battle for their professional existence, one that tests the limits of their friendship. Adding another layer of complication to the couples' already tangled lives is the surprise appearance of Titus Joyner, the teenage son Archy has never acknowledged and the love of fifteen-year-old Julius Jaffe's life.
An intimate epic, a NorCal Middlemarch set to the funky beat of classic vinyl soul-jazz and pulsing with a virtuosic, pyrotechnical style all its own, Telegraph Avenue is the great American novel we've been waiting for. Generous, imaginative, funny, moving, thrilling, humane, triumphant, it is Michael Chabon's most dazzling book yet.
Dream of Cream
A white boy rode flatfoot on a skateboard, towed along, hand to shoulder, by a black boy pedaling a brakeless fixed-gear bike. Dark August morning, deep in the Flatlands. Hiss of tires. Granular unraveling of skateboard wheels against asphalt. Summertime Berkeley giving off her old-lady smell, nine different styles of jasmine and a squirt of he-cat.
The black boy raised up, let go of the handlebars. The white boy uncoupled the cars of their little train. Crossing his arms, the black boy gripped his T-shirt at the hem and scissored it over his head. He lingered inside the shirt, in no kind of hurry, as they rolled toward the next pool of ebbing streetlight. In a moment, maybe, the black boy would tug the T-shirt the rest of the way off and fly it like a banner from his back pocket. The white boy would kick, push, and reach out, feeling for the spark of bare brown skin against his palm. But for now the kid on the skateboard just coasted along behind the blind ...
Michael Chabon knows how to do narrative sweep; he knows how to write an epic. The author is skilled at knitting the various elements of a story together with material borrowed from a larger setting or theme.
(Reviewed by Poornima Apte).
In Telegraph Avenue, Luther Stallings, Archy's dad, was once a star in blaxploitation films that were all the rage in the '70s. Even though the term appears to be a loaded word, blaxploitation movies were actually powerful vehicles of self-identification for many blacks. Understandably this view was not held by all. Many black organizations including the NAACP believed most blaxploitation movies reinforced common white stereotypes about black people.
During the heyday of blaxploitation movies in the early '70s, the civil rights movement was still a nascent thing and black stars - especially leading heroes - were not commonly found on the mainstream Hollywood big screen. Sure there was Sidney Poitier who starred most famously in Guess ...
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