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In this bravura follow-up to the Pulitzer Prize and National Book Award-winning The Underground Railroad, Colson Whitehead brilliantly dramatizes another strand of American history through the story of two boys sentenced to a hellish reform school in Jim Crow-era Florida.

As the Civil Rights movement begins to reach the black enclave of Frenchtown in segregated Tallahassee, Elwood Curtis takes the words of Dr. Martin Luther King to heart: He is “as good as anyone.” Abandoned by his parents, but kept on the straight and narrow by his grandmother, Elwood is about to enroll in the local black college. But for a black boy in the Jim Crow South of the early 1960s, one innocent mistake is enough to destroy the future. Elwood is sentenced to a juvenile reformatory called the Nickel Academy, whose mission statement says it provides “physical, intellectual and moral training” so the delinquent boys in their charge can become “honorable and honest men.”

In reality, the Nickel Academy is a grotesque chamber of horrors where the sadistic staff beats and sexually abuses the students, corrupt officials and locals steal food and supplies, and any boy who resists is likely to disappear “out back.” Stunned to find himself in such a vicious environment, Elwood tries to hold onto Dr. King’s ringing assertion “Throw us in jail and we will still love you.” His friend Turner thinks Elwood is worse than naive, that the world is crooked, and that the only way to survive is to scheme and avoid trouble.  

The tension between Elwood’s ideals and Turner’s skepticism leads to a decision whose repercussions will echo down the decades. Formed in the crucible of the evils Jim Crow wrought, the boys’ fates will be determined by what they endured at the Nickel Academy.

Based on the real story of a reform school in Florida that operated for one hundred and eleven years and warped the lives of thousands of children, The Nickel Boys is a devastating, driven narrative that showcases a great American novelist writing at the height of his powers.

“Haunting and haunted . . . devastating. . . . The book feels like a mission, and it’s an essential one . . . he pulls off a brilliant sleight of hand that elevates the mere act of resurrecting Elwood’s buried story into at once a miracle and a tragedy.” —Frank Rich, The New York Times Book Review (cover)
 
"Spry and animated and animated and seamed with dark humor, true to the irrepressible curiosity of its teenage protagonists . . . the control and craft of THE NICKEL BOYS demonstrate the versatile gifts of a writer who is rounding into mastery. . . . [Whitehead] has made himself one of the finest novelists in America."  —Sam Sacks, The Wall Street Journal
 
"America's storyteller. . . . A book that will further cement his place in the pantheon of influential American writers." —Time Magazine, cover story
 
“A tense, nervy performance, even more rigorously controlled than its predecessor.  The narration is disciplined and the sentences plain and sturdy, oars cutting into the water.  Every chapter hits its marks.” —Parul Seghal, The New York Times
 
“Stellar . . . heartbreaking . . . a beautiful, unforgettable young hero who walks right off the page and into your heart. . . . If you have been thinking you should read Colson Whitehead, The Nickel Boys is the perfect place to start.” —Newsday
 
"The Nickel Boys is a literary achievement. Will Colson Whitehead win another Pulitzer?  “The Nickel Boys” is straight-ahead realism, distinguished by its clarity and its open conversation with other black writers: It quotes from or evokes the work of Langston Hughes, James Baldwin, Ralph Ellison and more.  Whitehead has made an overt bid to stand in their companyto write a novel that’s memorable, and teachable, for years to come. The Nickel Boys is its fulfillment." —USA Today
 
"[A] powerful narrative . . . grips us from the very first line." —Pittsburgh Post-Gazette
 
"The Nickel Boys is a chilling, masterful novel that explores the depths of evil and the resilience of the human spirit. Whitehead's prose is dazzling, and the narrative's nimble twist is a swift kick to the solar plexus.” —The Minneapolis Star-Tribune
 
“Propulsive and gorgeous and completely devastating.” —LitHub.com
 
"The Nickel Boys is in conversation with works by James Baldwin, Ralph Ellison and especially Martin Luther King. . . . It shreds our easy confidence in the triumph of goodness and leaves in its place a hard and bitter truth about the ongoing American experiment." —Ron Charles, The Washington Post
 
 The Nickel Boys often feels like Whitehead’s conversation with both the idealistic forerunners of the civil rights generation and…the woke youth of today.” —Laura Miller, Slate.com

 
“A gripping and brilliant novel based on a true story about a boys’ reformatory school in Florida in the 1960s. Whitehead is one of the most daring and gifted authors writing these days, and I will never miss one of his books.” —Elizabeth Gilbert, author of City of Girls
 
“The acclaimed author of The Underground Railroad follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities. There’s something a tad more melodramatic in this book’s conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.” —Kirkus Reviews

“Whitehead follows his dynamic, highly awarded, best-selling Civil War saga, The Underground Railroad, with a tautly focused and gripping portrait of two African American teens during the last vicious years of Jim Crow. . . . Whitehead’s magnetic characters exemplify stoicism and courage, and each supremely crafted scene smolders and flares with injustice and resistance, building to a staggering revelation.” —Booklist Online

“Whitehead’s brilliant examination of America’s history of violence is a stunning novel of impeccable language and startling insight.” —Publishers Weekly
            Elwood received the best gift of his life on Christmas Day 1962, even if the ideas it put it in his head were his undoing. Martin Luther King At Zion Hill was the only album he owned and it never left the turntable. His grandmother Hattie had a few gospel records, which she only played when the world discovered a new mean way to work on her, and Elwood wasn’t allowed to listen to the Motown groups or popular songs like that on account of their licentious nature. The rest of his presents that year were clothes – a new red sweater, socks – and he certainly wore those out, but nothing endured such good and constant use as the record. Every scratch and pop it gathered over the months was a mark of his enlightenment, tracking each time he entered into a new understanding of the Reverend’s words. The crackle of truth.
            They didn’t have a TV set but Dr. King’s speeches were such a vivid chronicle -- containing all that the Negro had been and all that he would be -- that the record was almost as good as television. Maybe even better, grander, like the towering screen at the Davis Drive-In, which he’d been to twice. Elwood saw it all: Africans persecuted by the white sin of slavery, Negroes humiliated and kept low by segregation, and that luminous image to come, when all those places closed to his race were opened.
The speeches had been recorded all over, Detroit and Charlotte and Montgomery, connecting Elwood to the rights struggle across the country. One speech even made him feel like a member of the King family. Every kid had heard of Fun Town, been there or envied someone who had. In the third cut on Side A, Dr. King spoke of how his daughter longed to visit the amusement park on Stewart Ave in Atlanta. Yolanda begged her parents whenever she spotted the big sign from the expressway or the commercials came on TV. Dr. King had to tell her in his low, sad rumble about the segregation system that kept colored boys and girls on the other side of the fence. Explain the misguided thinking of some whites -- not all whites, but enough whites – that gave it force and meaning. He counseled his daughter to resist the lure of hatred and bitterness and assured her that “Even though you can’t go to Fun Town, you are as good as anyone who gets to go to Fun Town.”
That was Elwood -- good as anyone. A hundred miles south of Atlanta, in Tallahassee. Sometimes he saw a Fun Town commercial while visiting his cousins in Georgia. Lurching rides and happy music, chipper white kids lining up for the Wild Mouse Roller Coaster, Dick’s Mini Golf. Strap into the Atomic Rocket for a Trip to the Moon. A perfect report card guaranteed free admission, the commercials said, if your teacher stamped a red mark on it. Elwood got all A’s and kept his stack of evidence for the day they opened Fun Town to all God’s children, as Dr. King promised. “I’ll get in free every day for a month, easy,” he told his grandmother, lying on the front room rug and tracing a threadbare patch with his thumb.
His grandmother Hattie had rescued the rug from the alley behind the Richmond Hotel after the last renovation. The bureau in her room, the tiny table next to Elwood’s bed, and three lamps were also Richmond castoffs. Hattie had worked at the hotel since she was fourteen, when she joined her mother on the cleaning staff. Once Elwood entered high school, the hotel manager Mr. Parker made it clear he’d hire him as a porter whenever he wanted, smart kid like him, and the white man was disappointed when the boy began working at Marconi’s Tobacco & Cigars. Mr. Parker was always kind to the family, even after he had to fire Elwood’s mother for stealing.
Elwood liked the Richmond and he liked Mr. Parker, but adding a fourth generation to the hotel’s accounts made him uneasy in a way he found difficult to describe. Even before the encyclopedias. When he was younger, he sat on a crate in the hotel kitchen after school, reading comic books and Hardy Boys while his grandmother straightened and scrubbed upstairs. With both his parents gone, she preferred to have her nine-year-old grandson nearby instead of alone in the house. Seeing Elwood with the kitchen men made her think those afternoons were a kind of school in their own right, that it was good for him to be around men. The cooks and waiters took the boy for a mascot, playing hide and seek with him and peddling creaky wisdom on various topics: the white man’s ways, how to treat a good-time gal, strategies for hiding money around the house. Elwood didn’t understand what the older men talked about most of the time, but he nodded gamely before returning to his adventure stories.
After rushes, Elwood sometimes challenged the dishwashers to plate-drying races and they made a good-natured show of being disappointed by his superior skills. They liked seeing his smile and his odd delight at each win. Then the staff turned over. The new downtown hotels poached personnel, cooks came and went, a few of the waiters didn’t return after the kitchen reopened from the flood damage. With the change in staff, Elwood’s races changed from endearing novelty to mean-spirited hustle; the latest dishwashers were tipped off that the grandson of one the cleaning girls did your work for you if told him it was a game, keep on the lookout. Who was this serious boy who loitered around while the rest of them busted their asses, getting little pats on the head from Mr. Parker like he was a damn puppy, nose in a comic book like he hadn’t a care? The new men in the kitchen had different kinds of lessons to impart to a young mind. Stuff they’d learned about the world. Elwood remained unaware that the premise of the competition had changed. When he issued a challenge, everybody in the kitchen tried not to smirk.
Elwood was twelve when the encyclopedias appeared. One of the busboys dragged a stack of boxes into the kitchen and called for a powwow. Elwood squeezed in – it was a set of encyclopedias that a traveling salesman had left behind in one of the rooms upstairs. There were legends about the valuables that rich white people left in their rooms, but it was rare that this kind of plunder made it down to their domain. Barney the cook opened the top box and held up the leather-bound volume of Fisher’s Universal Encyclopedia, Aa-Be. He handed it to Elwood, who was surprised at how heavy it was, a brick with pages edged in red. The boy flipped through, squinting at the tiny words – Aegean, Argonaut, Archimedes – and had a picture of himself on the front room couch copying words he liked. Words that looked interesting on the page or that sounded interesting in his imagined pronunciations.
Cory the busboy offered up his find – he didn’t know how to read and had no immediate plans to learn. Elwood made his bid. Given the personality of kitchen, it was hard to think of anyone else who’d want the encyclopedias. Then Pete, one of the new dishwashers, said he’d race him for it.
Pete was a gawky Texan who’d started working two months prior. He was hired to bus tables, but after a few incidents they moved him to the kitchen. He looked over his shoulder when he worked, as if worried about being watched, and didn’t talk much, although his gravelly laughter made the other men in kitchen direct their jokes toward him over time. Pete wiped his hands on his pants and said, “We got time before the dinner service, if you’re up for it.”
The kitchen made a proper contest of it. The biggest yet. A stopwatch was produced and handed to Len, the gray-haired waiter who’d worked at the Hotel for over twenty years. He was meticulous about his black serving uniform, and maintained that he was always the best-dressed man in the dining room, putting the white patrons to shame. With his attention to detail, he’d make a dedicated referee. Two fifty-plate stacks were arranged, after a proper soaking supervised by Elwood and Pete. The two busboys acted as seconds for this duel, ready to hand over dry replacement rags when requested. A lookout stood at the kitchen door in case a manager happened by.
While not prone to bravado, Elwood had never lost a dish-drying contest in four years, and wore his confidence on his face. Pete had a concentrated air. Elwood didn’t perceive the Texan as a threat, having out-dried the man in prior competitions. Pete was, in general, a good loser.
Len counted down from ten, and they began. Elwood stuck to the method he’d perfected over the years, mechanistic and gentle. He’d never let a wet plate slip or chipped one by setting it on the counter too quickly. As the kitchen men cheered them on, Pete’s mounting stack of dried plates unnerved Elwood. The Texan had an edge on him, displaying new reserves. The on-lookers made astonished noises. Elwood hurried, chasing after the image of the encyclopedias in their front room.
Len said, “Stop!”
Elwood won by one plate. The men hollered and laughed and traded glances whose meaning Elwood would interpret later.
Harold, one of the busboys, slapped Elwood on the back. “You were made to wash dishes, slick.” The kitchen laughed.
Elwood returned volume Aa to Be to its box. It was a fancy reward.
“You earned it,” Peter said. “I hope you get a lot of use out of them.”
Elwood asked the housekeeping manager to tell his grandmother he’d see her at home. He couldn’t wait to see the look on her face when she saw the encyclopedia on their bookshelves, elegant and distinguished. He dragged the boxes to the bus stop on Tennessee, hunched. To see him from across the street – the serious young lad heaving his freight of the world’s knowledge – was to witness a scene that might have been illustrated by Norman Rockwell, if Elwood had had white skin.
At home, he cleared Hardy Boys and Tom Swifts from the green bookcase in the front room and unpacked the boxes. He paused with Ga, curious to see how the smart men at the Fisher company handled galaxy. The pages were blank – all of them. Every volume in the first box was blank except for the one he’d seen in the kitchen. He opened the other two boxes, his face getting hot. All the books were empty.
When his grandmother came home, she shook her head and told him maybe they were defective, or dummy copies the salesman showed to customers as samples, so they could see how a full set would look in their homes. That night in bed his thoughts ticked and hummed like a contraption. It occurred to him that the busboy, that all the men in the kitchen, had known the books were empty. That they had put on a show.
He kept the encyclopedias in the bookcase anyway. They looked impressive, even when the humidity peeled back the covers. The leather was fake, too.
The next afternoon in the kitchen was his last. Everyone paid too much attention to his face. Cory tested him with “How’d you like those books?” and waited for a reaction. Over by the sink Peter had a smile that looked as if it had been hacked into his jaw with a knife. They knew. His grandmother agreed that he was old enough to stay in the house by himself. Through high school, he went back and forth over the matter of whether the dishwashers had let him win all along. He’d been so proud of his ability, dumb and simple as it was. He never settled on one conclusion until he got to Nickel, which made the truth of the contests unavoidable.

 
  • WINNER | 2020
    ALA Alex Award
  • WINNER | 2020
    Orwell Prize
  • WINNER | 2020
    Pulitzer Prize (Fiction)
  • WINNER | 2019
    Kirkus Prize for Fiction
  • SHORTLIST | 2021
    International IMPAC Dublin Literary Award
  • FINALIST | 2020
    Dayton Literary Peace Prize for Fiction
  • AWARD | 2020
    Aspen Words Literary Prize
  • FINALIST | 2019
    Los Angeles Times Book Prize
  • FINALIST | 2019
    National Book Critics Circle Awards
© Madeline Whitehead
Colson Whitehead is the #1 New York Times bestselling author of The Underground Railroad, which in 2016 won the Pulitzer Prize in Fiction and the National Book Award and was named one of the Ten Best Books of the Year by The New York Times Book Review, as well as The Noble Hustle, Zone One, Sag Harbor, The Intuitionist, John Henry Days, Apex Hides the Hurt, and The Colossus of New York. He is also a Pulitzer Prize finalist and a recipient of the MacArthur and Guggenheim Fellowships. He lives in New York City.

Colson Whitehead is available for select speaking engagements. To inquire about a possible appearance, please contact Penguin Random House Speakers Bureau at speakers@ penguinrandomhouse.com or visitwww.prhspeakers.com. View titles by Colson Whitehead

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About

In this bravura follow-up to the Pulitzer Prize and National Book Award-winning The Underground Railroad, Colson Whitehead brilliantly dramatizes another strand of American history through the story of two boys sentenced to a hellish reform school in Jim Crow-era Florida.

As the Civil Rights movement begins to reach the black enclave of Frenchtown in segregated Tallahassee, Elwood Curtis takes the words of Dr. Martin Luther King to heart: He is “as good as anyone.” Abandoned by his parents, but kept on the straight and narrow by his grandmother, Elwood is about to enroll in the local black college. But for a black boy in the Jim Crow South of the early 1960s, one innocent mistake is enough to destroy the future. Elwood is sentenced to a juvenile reformatory called the Nickel Academy, whose mission statement says it provides “physical, intellectual and moral training” so the delinquent boys in their charge can become “honorable and honest men.”

In reality, the Nickel Academy is a grotesque chamber of horrors where the sadistic staff beats and sexually abuses the students, corrupt officials and locals steal food and supplies, and any boy who resists is likely to disappear “out back.” Stunned to find himself in such a vicious environment, Elwood tries to hold onto Dr. King’s ringing assertion “Throw us in jail and we will still love you.” His friend Turner thinks Elwood is worse than naive, that the world is crooked, and that the only way to survive is to scheme and avoid trouble.  

The tension between Elwood’s ideals and Turner’s skepticism leads to a decision whose repercussions will echo down the decades. Formed in the crucible of the evils Jim Crow wrought, the boys’ fates will be determined by what they endured at the Nickel Academy.

Based on the real story of a reform school in Florida that operated for one hundred and eleven years and warped the lives of thousands of children, The Nickel Boys is a devastating, driven narrative that showcases a great American novelist writing at the height of his powers.

“Haunting and haunted . . . devastating. . . . The book feels like a mission, and it’s an essential one . . . he pulls off a brilliant sleight of hand that elevates the mere act of resurrecting Elwood’s buried story into at once a miracle and a tragedy.” —Frank Rich, The New York Times Book Review (cover)
 
"Spry and animated and animated and seamed with dark humor, true to the irrepressible curiosity of its teenage protagonists . . . the control and craft of THE NICKEL BOYS demonstrate the versatile gifts of a writer who is rounding into mastery. . . . [Whitehead] has made himself one of the finest novelists in America."  —Sam Sacks, The Wall Street Journal
 
"America's storyteller. . . . A book that will further cement his place in the pantheon of influential American writers." —Time Magazine, cover story
 
“A tense, nervy performance, even more rigorously controlled than its predecessor.  The narration is disciplined and the sentences plain and sturdy, oars cutting into the water.  Every chapter hits its marks.” —Parul Seghal, The New York Times
 
“Stellar . . . heartbreaking . . . a beautiful, unforgettable young hero who walks right off the page and into your heart. . . . If you have been thinking you should read Colson Whitehead, The Nickel Boys is the perfect place to start.” —Newsday
 
"The Nickel Boys is a literary achievement. Will Colson Whitehead win another Pulitzer?  “The Nickel Boys” is straight-ahead realism, distinguished by its clarity and its open conversation with other black writers: It quotes from or evokes the work of Langston Hughes, James Baldwin, Ralph Ellison and more.  Whitehead has made an overt bid to stand in their companyto write a novel that’s memorable, and teachable, for years to come. The Nickel Boys is its fulfillment." —USA Today
 
"[A] powerful narrative . . . grips us from the very first line." —Pittsburgh Post-Gazette
 
"The Nickel Boys is a chilling, masterful novel that explores the depths of evil and the resilience of the human spirit. Whitehead's prose is dazzling, and the narrative's nimble twist is a swift kick to the solar plexus.” —The Minneapolis Star-Tribune
 
“Propulsive and gorgeous and completely devastating.” —LitHub.com
 
"The Nickel Boys is in conversation with works by James Baldwin, Ralph Ellison and especially Martin Luther King. . . . It shreds our easy confidence in the triumph of goodness and leaves in its place a hard and bitter truth about the ongoing American experiment." —Ron Charles, The Washington Post
 
 The Nickel Boys often feels like Whitehead’s conversation with both the idealistic forerunners of the civil rights generation and…the woke youth of today.” —Laura Miller, Slate.com

 
“A gripping and brilliant novel based on a true story about a boys’ reformatory school in Florida in the 1960s. Whitehead is one of the most daring and gifted authors writing these days, and I will never miss one of his books.” —Elizabeth Gilbert, author of City of Girls
 
“The acclaimed author of The Underground Railroad follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities. There’s something a tad more melodramatic in this book’s conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.” —Kirkus Reviews

“Whitehead follows his dynamic, highly awarded, best-selling Civil War saga, The Underground Railroad, with a tautly focused and gripping portrait of two African American teens during the last vicious years of Jim Crow. . . . Whitehead’s magnetic characters exemplify stoicism and courage, and each supremely crafted scene smolders and flares with injustice and resistance, building to a staggering revelation.” —Booklist Online

“Whitehead’s brilliant examination of America’s history of violence is a stunning novel of impeccable language and startling insight.” —Publishers Weekly

Excerpt

            Elwood received the best gift of his life on Christmas Day 1962, even if the ideas it put it in his head were his undoing. Martin Luther King At Zion Hill was the only album he owned and it never left the turntable. His grandmother Hattie had a few gospel records, which she only played when the world discovered a new mean way to work on her, and Elwood wasn’t allowed to listen to the Motown groups or popular songs like that on account of their licentious nature. The rest of his presents that year were clothes – a new red sweater, socks – and he certainly wore those out, but nothing endured such good and constant use as the record. Every scratch and pop it gathered over the months was a mark of his enlightenment, tracking each time he entered into a new understanding of the Reverend’s words. The crackle of truth.
            They didn’t have a TV set but Dr. King’s speeches were such a vivid chronicle -- containing all that the Negro had been and all that he would be -- that the record was almost as good as television. Maybe even better, grander, like the towering screen at the Davis Drive-In, which he’d been to twice. Elwood saw it all: Africans persecuted by the white sin of slavery, Negroes humiliated and kept low by segregation, and that luminous image to come, when all those places closed to his race were opened.
The speeches had been recorded all over, Detroit and Charlotte and Montgomery, connecting Elwood to the rights struggle across the country. One speech even made him feel like a member of the King family. Every kid had heard of Fun Town, been there or envied someone who had. In the third cut on Side A, Dr. King spoke of how his daughter longed to visit the amusement park on Stewart Ave in Atlanta. Yolanda begged her parents whenever she spotted the big sign from the expressway or the commercials came on TV. Dr. King had to tell her in his low, sad rumble about the segregation system that kept colored boys and girls on the other side of the fence. Explain the misguided thinking of some whites -- not all whites, but enough whites – that gave it force and meaning. He counseled his daughter to resist the lure of hatred and bitterness and assured her that “Even though you can’t go to Fun Town, you are as good as anyone who gets to go to Fun Town.”
That was Elwood -- good as anyone. A hundred miles south of Atlanta, in Tallahassee. Sometimes he saw a Fun Town commercial while visiting his cousins in Georgia. Lurching rides and happy music, chipper white kids lining up for the Wild Mouse Roller Coaster, Dick’s Mini Golf. Strap into the Atomic Rocket for a Trip to the Moon. A perfect report card guaranteed free admission, the commercials said, if your teacher stamped a red mark on it. Elwood got all A’s and kept his stack of evidence for the day they opened Fun Town to all God’s children, as Dr. King promised. “I’ll get in free every day for a month, easy,” he told his grandmother, lying on the front room rug and tracing a threadbare patch with his thumb.
His grandmother Hattie had rescued the rug from the alley behind the Richmond Hotel after the last renovation. The bureau in her room, the tiny table next to Elwood’s bed, and three lamps were also Richmond castoffs. Hattie had worked at the hotel since she was fourteen, when she joined her mother on the cleaning staff. Once Elwood entered high school, the hotel manager Mr. Parker made it clear he’d hire him as a porter whenever he wanted, smart kid like him, and the white man was disappointed when the boy began working at Marconi’s Tobacco & Cigars. Mr. Parker was always kind to the family, even after he had to fire Elwood’s mother for stealing.
Elwood liked the Richmond and he liked Mr. Parker, but adding a fourth generation to the hotel’s accounts made him uneasy in a way he found difficult to describe. Even before the encyclopedias. When he was younger, he sat on a crate in the hotel kitchen after school, reading comic books and Hardy Boys while his grandmother straightened and scrubbed upstairs. With both his parents gone, she preferred to have her nine-year-old grandson nearby instead of alone in the house. Seeing Elwood with the kitchen men made her think those afternoons were a kind of school in their own right, that it was good for him to be around men. The cooks and waiters took the boy for a mascot, playing hide and seek with him and peddling creaky wisdom on various topics: the white man’s ways, how to treat a good-time gal, strategies for hiding money around the house. Elwood didn’t understand what the older men talked about most of the time, but he nodded gamely before returning to his adventure stories.
After rushes, Elwood sometimes challenged the dishwashers to plate-drying races and they made a good-natured show of being disappointed by his superior skills. They liked seeing his smile and his odd delight at each win. Then the staff turned over. The new downtown hotels poached personnel, cooks came and went, a few of the waiters didn’t return after the kitchen reopened from the flood damage. With the change in staff, Elwood’s races changed from endearing novelty to mean-spirited hustle; the latest dishwashers were tipped off that the grandson of one the cleaning girls did your work for you if told him it was a game, keep on the lookout. Who was this serious boy who loitered around while the rest of them busted their asses, getting little pats on the head from Mr. Parker like he was a damn puppy, nose in a comic book like he hadn’t a care? The new men in the kitchen had different kinds of lessons to impart to a young mind. Stuff they’d learned about the world. Elwood remained unaware that the premise of the competition had changed. When he issued a challenge, everybody in the kitchen tried not to smirk.
Elwood was twelve when the encyclopedias appeared. One of the busboys dragged a stack of boxes into the kitchen and called for a powwow. Elwood squeezed in – it was a set of encyclopedias that a traveling salesman had left behind in one of the rooms upstairs. There were legends about the valuables that rich white people left in their rooms, but it was rare that this kind of plunder made it down to their domain. Barney the cook opened the top box and held up the leather-bound volume of Fisher’s Universal Encyclopedia, Aa-Be. He handed it to Elwood, who was surprised at how heavy it was, a brick with pages edged in red. The boy flipped through, squinting at the tiny words – Aegean, Argonaut, Archimedes – and had a picture of himself on the front room couch copying words he liked. Words that looked interesting on the page or that sounded interesting in his imagined pronunciations.
Cory the busboy offered up his find – he didn’t know how to read and had no immediate plans to learn. Elwood made his bid. Given the personality of kitchen, it was hard to think of anyone else who’d want the encyclopedias. Then Pete, one of the new dishwashers, said he’d race him for it.
Pete was a gawky Texan who’d started working two months prior. He was hired to bus tables, but after a few incidents they moved him to the kitchen. He looked over his shoulder when he worked, as if worried about being watched, and didn’t talk much, although his gravelly laughter made the other men in kitchen direct their jokes toward him over time. Pete wiped his hands on his pants and said, “We got time before the dinner service, if you’re up for it.”
The kitchen made a proper contest of it. The biggest yet. A stopwatch was produced and handed to Len, the gray-haired waiter who’d worked at the Hotel for over twenty years. He was meticulous about his black serving uniform, and maintained that he was always the best-dressed man in the dining room, putting the white patrons to shame. With his attention to detail, he’d make a dedicated referee. Two fifty-plate stacks were arranged, after a proper soaking supervised by Elwood and Pete. The two busboys acted as seconds for this duel, ready to hand over dry replacement rags when requested. A lookout stood at the kitchen door in case a manager happened by.
While not prone to bravado, Elwood had never lost a dish-drying contest in four years, and wore his confidence on his face. Pete had a concentrated air. Elwood didn’t perceive the Texan as a threat, having out-dried the man in prior competitions. Pete was, in general, a good loser.
Len counted down from ten, and they began. Elwood stuck to the method he’d perfected over the years, mechanistic and gentle. He’d never let a wet plate slip or chipped one by setting it on the counter too quickly. As the kitchen men cheered them on, Pete’s mounting stack of dried plates unnerved Elwood. The Texan had an edge on him, displaying new reserves. The on-lookers made astonished noises. Elwood hurried, chasing after the image of the encyclopedias in their front room.
Len said, “Stop!”
Elwood won by one plate. The men hollered and laughed and traded glances whose meaning Elwood would interpret later.
Harold, one of the busboys, slapped Elwood on the back. “You were made to wash dishes, slick.” The kitchen laughed.
Elwood returned volume Aa to Be to its box. It was a fancy reward.
“You earned it,” Peter said. “I hope you get a lot of use out of them.”
Elwood asked the housekeeping manager to tell his grandmother he’d see her at home. He couldn’t wait to see the look on her face when she saw the encyclopedia on their bookshelves, elegant and distinguished. He dragged the boxes to the bus stop on Tennessee, hunched. To see him from across the street – the serious young lad heaving his freight of the world’s knowledge – was to witness a scene that might have been illustrated by Norman Rockwell, if Elwood had had white skin.
At home, he cleared Hardy Boys and Tom Swifts from the green bookcase in the front room and unpacked the boxes. He paused with Ga, curious to see how the smart men at the Fisher company handled galaxy. The pages were blank – all of them. Every volume in the first box was blank except for the one he’d seen in the kitchen. He opened the other two boxes, his face getting hot. All the books were empty.
When his grandmother came home, she shook her head and told him maybe they were defective, or dummy copies the salesman showed to customers as samples, so they could see how a full set would look in their homes. That night in bed his thoughts ticked and hummed like a contraption. It occurred to him that the busboy, that all the men in the kitchen, had known the books were empty. That they had put on a show.
He kept the encyclopedias in the bookcase anyway. They looked impressive, even when the humidity peeled back the covers. The leather was fake, too.
The next afternoon in the kitchen was his last. Everyone paid too much attention to his face. Cory tested him with “How’d you like those books?” and waited for a reaction. Over by the sink Peter had a smile that looked as if it had been hacked into his jaw with a knife. They knew. His grandmother agreed that he was old enough to stay in the house by himself. Through high school, he went back and forth over the matter of whether the dishwashers had let him win all along. He’d been so proud of his ability, dumb and simple as it was. He never settled on one conclusion until he got to Nickel, which made the truth of the contests unavoidable.

 

Awards

  • WINNER | 2020
    ALA Alex Award
  • WINNER | 2020
    Orwell Prize
  • WINNER | 2020
    Pulitzer Prize (Fiction)
  • WINNER | 2019
    Kirkus Prize for Fiction
  • SHORTLIST | 2021
    International IMPAC Dublin Literary Award
  • FINALIST | 2020
    Dayton Literary Peace Prize for Fiction
  • AWARD | 2020
    Aspen Words Literary Prize
  • FINALIST | 2019
    Los Angeles Times Book Prize
  • FINALIST | 2019
    National Book Critics Circle Awards

Author

© Madeline Whitehead
Colson Whitehead is the #1 New York Times bestselling author of The Underground Railroad, which in 2016 won the Pulitzer Prize in Fiction and the National Book Award and was named one of the Ten Best Books of the Year by The New York Times Book Review, as well as The Noble Hustle, Zone One, Sag Harbor, The Intuitionist, John Henry Days, Apex Hides the Hurt, and The Colossus of New York. He is also a Pulitzer Prize finalist and a recipient of the MacArthur and Guggenheim Fellowships. He lives in New York City.

Colson Whitehead is available for select speaking engagements. To inquire about a possible appearance, please contact Penguin Random House Speakers Bureau at speakers@ penguinrandomhouse.com or visitwww.prhspeakers.com. View titles by Colson Whitehead

Media

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Barack Obama Shares His 2019 Summer Reading List

Summer might be ending soon, but there’s still time to pick up some of Barack Obama’s seasonal reading picks!   Last month, former President Barack Obama continued his annual tradition of sharing his summer reading list on his Facebook Page, and many of his selections are published by Penguin Random House imprints. Mr. Obama begins

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Interviews, Reviews, and News: Colson Whitehead’s The Nickel Boys

Colson Whitehead’s The Underground Railroad received glowing critical reception upon its publication, earning him the National Book Award and the 2016 Pulitzer Prize for Fiction. His highly anticipated follow-up novel The Nickel Boys faced the threat of being overshadowed by its predecessor, but has quickly earned a spotlight of its own. We’ve put together a

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