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Cahokia Jazz: A Novel Hardcover – February 6, 2024
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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.
- Print length464 pages
- LanguageEnglish
- PublisherScribner
- Publication dateFebruary 6, 2024
- Dimensions6 x 1.3 x 9 inches
- ISBN-101668025450
- ISBN-13978-1668025451
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Editorial Reviews
Review
“Atmospheric . . . Spufford, one of our most powerful writers of wayward historical fiction, sets his book—a hard-boiled crime story—in an America that’s recognizable yet disquietingly not. . . . In the compelling character of Barrow—a mostly decent man trying to make sense of a fallen ‘what if’ world—many of us will recognize our own held-breath bafflement, caught, as we are, on the darkling plain of our own barely believable times.” —Maureen Corrigan, The Washington Post
“A smoky, brooding noir set in the 1920s, but not an entirely recognizable 1920s . . . Cahokia Jazz combines the intricate plot and burly action of an old-fashioned hardboiled detective novel with Spufford’s dreamy, lustrous prose, summoning an irresistible city lost to time and chance.” —Laura Milller, Slate
"Cahokia Jazz is a love letter—not just to an America that might have been, but to a national mythology that’s very much alive in the world as it is.” —Sam Sacks, Wall Street Journal
"In this stylishly drawn mystery novel, the tropes of noir—among them a hardboiled detective with an artist’s soul, a powerful woman with a terrible secret, and a journalist chasing the story of a lifetime—appear in an alternative Jazz Age." —New Yorker
“Magical . . . a gripping rollercoaster, which fulfills all the demand of the noir form to which it pays homage and, like all the best alt-history, throws a fascinating light onto ‘real’ history." —Mark Haddon, author of The Curious Incident of the Dog in the Night-Time
“Energetic and hugely enjoyable.” —The Guardian, Best Fiction of 2023
“A marvellous deep-layered tale of treachery and trickery.” —Independent
“Arresting . . . a gorgeously rich and multilayered story, packed with gunfire, music and superstition. . . . Cahokia Jazz is enormous fun, and the closest contemporary novel like it is Colson Whitehead’s magnificent The Underground Railroad. . . . Barrow is a terrific action hero.” —The Spectator
“Told in prose as intoxicating as a swig of bathtub gin, this 1920s gumshoe novel takes place in the fictional city of Cahokia where indigenous people are major players in the tenuous peace that rules the city. That is, until a body appears butchered atop a skyscraper, arranged in a way that appears to be a symbolic message. When an outcast detective and his partner are put on the case, wheels start turning in gasp-inducing twists through the very last page.”—Good Housekeeping, Most Anticipated Books of 2024
“A richly entertaining take on the crime story, and a country that might’ve been.”—Kirkus (starred review)
"[A] thrilling leap into alternative history . . . a murder mystery that doesn’t let up . . . Like the city and world it depicts, this is a complicated book that offers many layers of pleasure. . . . Above all, there’s the joy that comes from seeing a profusion of love and care poured into a fully original piece of work." —Financial Times
“Gutsy and atmospheric . . . [a] generous slice of noir.” —Mail on Sunday
“A rich and fluently imagined alternate history . . . vivid and varied . . . Spufford’s skill at keeping you reading, sentence after sentence, is for me up there with writers like David Mitchell.” —Locus Magazine
"Sure to be one of the most distinctly imagined texts of the year, in any genre.” —Crime Reads
"Francis Spufford is a literary sorcerer with one of the great imaginations of our time. When a new book lands, I drop everything and start reading. Cahokia Jazz takes us to an America that wasn't... a wilder, richer, altogether more enchanting America. Bullets and beatings provide the percussion to Spufford's hothouse jazz noir, while hope and heartbreak do a dizzying, drunken foxtrot together. I can't remember the last time suspense and spiritual longing were so tightly braided together in a single novel. A masterpiece.” —Joe Hill
“Stylish and ambitious … [Spufford’s] most crowd-pleasing novel yet.” —The Times
“A taut, unguessable whuddunit, painted in ultrablack noir. . . . It's got gorgeously described jazz music, a richly realized modern indigenous society, and a spectacular romance. . . . amazing . . . a book that fires on every cylinder.” —Cory Doctorow
"The book is itself Cahokia jazz; the play of possibilities beyond the linear progression of the tune we all already know, that goes to wild places and then winds back, beautifully, heartbreakingly, to echo the notes of where it started." —Jo Baker, bestselling author of Longbourn
“Cahokia Jazz is a delight.” —Sunday Telegraph
"Francis Spufford has discovered a new riff on a favorite tune, and in exploring it has created something wholly unique. Cahokia Jazz is extraordinary." —Mick Herron, author of Slow Horses
"A vibrant thriller set in an alternative history . . . ambitious and consequential. Spufford’s prose is energetic and rhythmic, yet his theme—namely racial politics in the US today—couldn’t be weightier.” —New Statesman
“This richly imagined and densely plotted story refreshes the crime genre and acts as a fun house mirror reflection of contemporary attitudes toward race—all set to a thumping jazz age soundtrack. Standing alongside Orson Scott Card’s Alvin Maker series and Michael Chabon’s The Yiddish Policemen’s Union, this is a challenging evocation of an America that never was.” —Publishers Weekly (starred review)
“Cahokia Jazz is a novel about finding one’s place in the world. It is haunting, wholly memorable, and will leave you with an ache.” —Times Literary Supplement
“One of the signal achievements of this exceptional novel is the generosity and rigour with which it conjures up Cahokia. Spufford’s creation absolutely feels like a place you could visit, or could have visited, if you happened to be travelling westward across the United States in the year of modernism, 1922. . . . As a piece of narrative entertainment, Cahokia Jazz is more or less unimprovable.” —Irish Times
“Gritty. . . . Spufford has written an astounding homage to noir mysteries. A poignant drama-filled novel that his fans and readers of Cormac McCarthy’s Blood Meridian will thoroughly enjoy.” —Library Journal
About the Author
Product details
- Publisher : Scribner (February 6, 2024)
- Language : English
- Hardcover : 464 pages
- ISBN-10 : 1668025450
- ISBN-13 : 978-1668025451
- Item Weight : 1.36 pounds
- Dimensions : 6 x 1.3 x 9 inches
- Best Sellers Rank: #17,111 in Books (See Top 100 in Books)
- #47 in Native American Literature (Books)
- #95 in Alternate History Science Fiction (Books)
- #1,797 in Literary Fiction (Books)
- Customer Reviews:
About the author
Officially, I was a writer of non-fiction for the first half of my career, and I certainly enjoyed scraping up against the stubborn, resistant, endlessly interesting surface of the real world. I like awkwardness, things that don't fit, things that put up a struggle against being described. But when I was excited by what I was writing about, what I wanted to do with my excitement was always to tell a story. So every one of my non-fiction books borrowed techniques from the novel, and contained sections where I came close to behaving like a novelist. The chapter retelling the story of Captain Scott's last Antarctic expedition at the end of "I May Be Some Time", for example, or the thirty-page version of the gospel story in "Unapologetic". It wasn't a total surprise that in 2010 I published a book, "Red Plenty", which was a cross between fiction and documentary, or that afterwards I completed my crabwise crawl towards the novel with the honest-to-goodness entirely-made-up "Golden Hill". This was a historical novel about eighteenth century New York written like, well, an actual eighteenth century novel: hyperactive, stuffed with incident, and not very bothered about genre or good taste. It was elaborate, though. It was about exceptional events, and huge amounts of money, and good-looking people talking extravagantly in a special place. Nothing wrong with any of that: I'm an Aaron Sorkin fan and a Joss Whedon fan, keen on dialogue that whooshes around like a firework display. But those were the ingredients of romance, and there were other interesting things to tell stories about, so my next novel "Light Perpetual" in 2021 was deliberately plainer, about the lives that five London children might have had if they hadn't been killed in 1944 by a German rocket. Ordinary lives, in theory; except that there are no ordinary lives, if you look closely enough. It was longlisted for the Booker Prize. And now (2023) I am returning to strong forms of story, and to plotting more like "Golden Hill", with a noir crime novel called "Cahokia Jazz", set in the 1922 of a different timeline, where a metropolis full of Native Americans stands on the banks of the Mississippi. Gunfire! Clarinet solos! Wisecracking journalists! Men in hats! Femmes fatales! All remixed to, I hope, different effect. Unexpected effect, as the old pleasures do new imaginative work. The idea is to screen for you, on the page, something like the best black and white movie you never saw.
Biography: I was born in 1964, the child of two historians. I'm married to an Anglican priest, I have two daughters, and I teach writing at Goldsmiths College, London, just next door to the place where a V2 fell on a branch of Woolworths.
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Francis Spufford has studied that history carefully, knowing exactly what had been done, and what sometimes was attempted to be hidden... But there is always somebody who can speak of stories shared by their ancestors and how it all happened. Taking that background, he has created an epic alternative history to that early period by creating a fictional city where the Takouma were the leaders of all things within the city... And, that there are two other groups of people who live in this area. I believe we would now refer to those as African American or European Americans... while referring to the leaders as Native American or Indigenous People...
An early caution, readers will need to quickly pick up the three identifications for all residents there. I found I had to check back to the front of the book once in a while to remember each indigenous name. On the other hand, for at least two of these groups, they act and/or are treated as many think of them in present time. Specifically, the Europeans are routinely attempting to take over the leadership/ government of the city. There is little outward prejudice as we begin to read so what will happen must be taken as read to feel the full impact of the story.
Let me start by pinpointing the main character, Joe Barrow, who is, during the story, named The Thrown Away Boy. Barrow and Drummond were in children's homes together and as they grew, both became police officers in Cahokia. There is a relationship between the two that is important to watch--especially as the investigation of a murder begins! Joe Barrow is also a "red man" who was never before exposed to any of his indigenous connections... Now, he finds it coming into play and he's totally unprepared to be who he is. Especially, when he sees the Tacouma Princess for the first time... Shall we say they each felt the connection? And, finally, and, for me, the most intriguing part, was that he plays piano... And throughout the book he will spend time trying to decide exactly where his future lies... In the meantime, I'm sharing most of his playlist on my blog Early Jazz which was mostly new to me and probably all you readers!
The merge of the old and the new, even in the 20s is presented through the leader who is also considered a god of their people. When corn is ready to be harvested, for instance, it is the Man who dresses and blesses the corn...and we watch as the time for the festival of the Green Corn Planting in the parish of St. Lawrence arrives, and even in the midst of the investigation, the Man prepares to play his role...
The body had been found on a roof, cut in a manner which would seem to be ritualistic... The man was takata (European). And the death was created to match an Aztec-style tableau...gruesome, with body parts lying alongside the body, yet intriguing as each part of the destruction was studied. Questions started coming the longer they worked: how did this takata get into the building. And why was he on the roof? This was sacred Takumba stuff. Barrow began looking around and noticed that a nearby building had a lit window from which, perhaps, somebody could have seen something. Asking around he learned what they thought he should already know... It was the house of the Moon--that is, the niece of the Sun--The Man...the closest heir in the city. Other than Frankie Blackhawk, but he's out in Hollywood making movies. And, in a short time, they learn that Blackhawk had been killed!
Was this going to move toward a war between the citizens as it happened in the past? When the first murder occurred, the Man had sought out Barrow and let him know that he expected to have him report back to him, keeping him up-to-date on what was happening. Readers will begin to see tension rising, and Barrow soon in the midst of "Indiana Jones"-type action for which readers will be holding their breaths as he makes it through each event! This is one of the best historical alternative novels I've ever read. Don't miss it!
GABixlerReviews
Top reviews from other countries
Familiar whodunnit plot but with a cast of interesting and non-stereotypical characters and, as I say, a brilliantly realised alternate world.
Great stuff!
A week in the life of a city familiar but different,a culture known but mysterious, and a person who is a detective and a pianist. Beautifully written and empathetic, as the story unfolds it becomes more interesting and absorbing. I found it unusually immersive.
It’s a thoroughly enjoyable book, skilfully written by a confident hand, with a gripping plot. There’s some great dialogue because the author obviously has a good ear for discourse, and this really helps the characterisation. The descriptions of place are good too and the reader can really feel that they’re right there in the world of that foggy city.
In terms of critique, I had a sense that the author was in a rush to finish the last quarter of the novel. It still held my interest but the writing felt a shade more casual, less polished. Some editing is suggested too, for example, the cathedral scene isn’t really necessary, it adds nothing to the plot and is merely a superfluous set-piece, and there are a few set-pieces towards the end. The final scene is seeded so thoroughly that it’s no surprise when we actually arrive there.
But don’t be put off by these moans because most readers will love the book, it’s just t
The ambition and creation of a reimagined American back-history (which suggests he’s starting on a trilogy or more) are gobsmacking.
He’s got some elite writing skills which makes it baffling that he didn’t seem to re-read his work, let alone edit it.
Hoping the enemy has watched enough war movies to fall for the hat-on-a-stick trick is not a good line in a novel set in 1921.
When your lungs are bursting from carrying the weight of a nun, as you try to save both your lives from a rapidly closing armed tribe of outfitted Ku Klux Klansmen, is not the time you’d come up with a “nun-runner” gag, or for the nun to then grin at your witty quips.
And in that thrilling January6esque KKK insurrection, intended to take the city by force, the hordes of insurrectionists see horses and run away. End of scene.
And when a writer starts to annoy you, the annoying starts to amplify.
I liked Barrow but couldn’t buy that this tough superhero was suddenly in life-defining love with a woman he met two days ago, to the exclusion of all other women. And the exultant consummation was aswirl with affected flourishes and grandiosity.
I also liked the Trumpian undertones and the tribalism and the suggestion of civil war that is uncomfortably close to the direction in which current day America seems to be heading.
But there were more threads trying to weave themselves together than in a Mongolian horse-hair rug.
And the exhaustion of trying to keep track of them all marred the reading experience for me.