History & Criticism
![Hanif Abdurraqib - [object Object] author](https://res.cloudinary.com/readsomnia/image/upload/authors/a_B07JVM42M1.jpg)
A Little Devil in America: Notes in Praise of Black Performance
NATIONAL BOOK AWARD FINALIST • A sweeping, genre-bending "masterpiece" (Minneapolis Star Tribune) exploring Black art, music, and culture in all their glory and complexity-fromSoul Train, Aretha Franklin, and James Brown to The Fresh Prince of Bel-Air, Whitney Houston, and Beyoncé
ONE OF THE TEN BEST BOOKS OF THE YEAR: Chicago Tribune, The Philadelphia Inquirer,The Dallas Morning News, Publishers Weekly
"Gorgeous essays that reveal the resilience, heartbreak, and joy within Black performance."-Brit Bennett, #1 New York Times bestselling author of The Vanishing Half
"I was a devil in other countries, and I was a little devil in America, too." Inspired by these few words, spoken by Josephine Baker at the 1963 March on Washington, MacArthur "Genius Grant" Fellow and bestselling author Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines-whether it's the twenty-seven seconds in "Gimme Shelter" in which Merry Clayton wails the words "rape, murder," a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt-has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib's own personal history of love, grief, and performance.
Touching on Michael Jackson, Patti LaBelle, Billy Dee Williams, the Wu-Tan Clan, Dave Chappelle, and more, Abdurraqib writes prose brimming with jubilation and pain. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space-from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio.
WINNER OF THE ANDREW CARNEGIE MEDAL AND THE GORDON BURN PRIZE • FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD AND THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD
ONE OF THE BEST BOOKS OF THE YEAR: The New York Times Book Review, Time,The Boston Globe, NPR, Rolling Stone,Esquire, BuzzFeed,Thrillist, She Reads, BookRiot, BookPage,Electric Lit, The Rumpus, LitHub, Library Journal, Booklist
ONE OF THE TEN BEST BOOKS OF THE YEAR: Chicago Tribune, The Philadelphia Inquirer,The Dallas Morning News, Publishers Weekly
"Gorgeous essays that reveal the resilience, heartbreak, and joy within Black performance."-Brit Bennett, #1 New York Times bestselling author of The Vanishing Half
"I was a devil in other countries, and I was a little devil in America, too." Inspired by these few words, spoken by Josephine Baker at the 1963 March on Washington, MacArthur "Genius Grant" Fellow and bestselling author Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines-whether it's the twenty-seven seconds in "Gimme Shelter" in which Merry Clayton wails the words "rape, murder," a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt-has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib's own personal history of love, grief, and performance.
Touching on Michael Jackson, Patti LaBelle, Billy Dee Williams, the Wu-Tan Clan, Dave Chappelle, and more, Abdurraqib writes prose brimming with jubilation and pain. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space-from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio.
WINNER OF THE ANDREW CARNEGIE MEDAL AND THE GORDON BURN PRIZE • FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD AND THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD
ONE OF THE BEST BOOKS OF THE YEAR: The New York Times Book Review, Time,The Boston Globe, NPR, Rolling Stone,Esquire, BuzzFeed,Thrillist, She Reads, BookRiot, BookPage,Electric Lit, The Rumpus, LitHub, Library Journal, Booklist
Editorial Reviews
"To call [Hanif] Abdurraqib anything less than one of the best writers working in America, and to call this book anything less than a masterpiece, would be doing him, and literature as a whole, a disservice."-Minneapolis Star Tribune
"Hanif is one of the most exciting writers of his generation."-Los Angeles Review of Books
"Abdurraqib sees performance as a site of radical questioning, experimentation, and dream-making. This book is not a work of theory. It is sensual."-Vulture
"Poignant . . . Abdurraqib has written an important book on the transformative power of . . . love."-The New York Times
"Hanif Abdurraqib's genius is in pinpointing those moments in American cultural history when Black people made lightning strike. But Black performance, Black artistry, Black freedom too often came at devastating price. The real devil in America is America itself, the one who stole the soul that he, through open eyes and with fearless prose, snatches back. This is searing, revelatory, filled with utter heartbreak, and unstoppable joy."-Marlon James, author of Black Leopard, Red Wolf
"Hanif Abdurraqib has a way of taking slices of our cultural landscape, examining them, and transforming them into observations and analyses that leave me underlining the entire page. In A Little Devil iIn America, Abdurraqib brilliantly braids together history, criticism, and prose so stunning that it makes you want to read every word out loud just so you can hear its music. Everything Abdurraqib writes is a must-read, but this is his best yet. It is one of the most dynamic books I have ever read."-Clint Smith, author of Counting Descent
"A rapturous exploration of Black genius . . . Whether heralding unsung entertainers or reexamining legends, Hanif Abdurraqib weaves together gorgeous essays that reveal the resilience, heartbreak, and joy within Black performance. I read this book breathlessly."-Brit Bennett, author of The Vanishing Half
"Abdurraqib is one of the most brilliant write...
"Hanif is one of the most exciting writers of his generation."-Los Angeles Review of Books
"Abdurraqib sees performance as a site of radical questioning, experimentation, and dream-making. This book is not a work of theory. It is sensual."-Vulture
"Poignant . . . Abdurraqib has written an important book on the transformative power of . . . love."-The New York Times
"Hanif Abdurraqib's genius is in pinpointing those moments in American cultural history when Black people made lightning strike. But Black performance, Black artistry, Black freedom too often came at devastating price. The real devil in America is America itself, the one who stole the soul that he, through open eyes and with fearless prose, snatches back. This is searing, revelatory, filled with utter heartbreak, and unstoppable joy."-Marlon James, author of Black Leopard, Red Wolf
"Hanif Abdurraqib has a way of taking slices of our cultural landscape, examining them, and transforming them into observations and analyses that leave me underlining the entire page. In A Little Devil iIn America, Abdurraqib brilliantly braids together history, criticism, and prose so stunning that it makes you want to read every word out loud just so you can hear its music. Everything Abdurraqib writes is a must-read, but this is his best yet. It is one of the most dynamic books I have ever read."-Clint Smith, author of Counting Descent
"A rapturous exploration of Black genius . . . Whether heralding unsung entertainers or reexamining legends, Hanif Abdurraqib weaves together gorgeous essays that reveal the resilience, heartbreak, and joy within Black performance. I read this book breathlessly."-Brit Bennett, author of The Vanishing Half
"Abdurraqib is one of the most brilliant write...
Readers Top Reviews
S. WilliamsTom Earl
This is a fascinating book that is beautifully written.
This book is lyrical and beautiful. You get the history of Black performance and glimpses of Hanif's life at the same time. I found myself stopping several times while reading this book in awe of the craft and detail taken in putting together each word, line, chapter and section. You'll find yourself sitting in the rooms of performances you may remember or ones you wish you could have seen yourself. It is a stroll through the history of Blackness the resistance, struggle, survival, beauty, and power. Hanif took me with him on a journey in this book that left me wishing for more. Great read!
Mary Vicario
An honest conversation about a human experience I will never truly understand but I now will never be able to forget. I felt as he felt though I haven’t lived as he’s lived. This book almost caused me to forget there were words on the page. I felt like I was watching or rewatching moments in time, like an uninvited guest.
Evangeline
I finished A Little Devil in America today, but I am going to have to re-read it because Abdurraqib is a poet, and I got lost in all the transcendence more than once. If you like Rob Sheffield, give this a try. And if you love Black music, this is for you. And if you winced at Green Book, this is totally for you. It's a great book for long-game readers to have on hand in the car as it is a collection of essays. And thinking in between essays and rolling ideas around only makes this book more powerful. Give a listen to Brene Brown's Unlocking Us podcast episode with the author on Spotify.
Randy S.EvangelineMa
Incredible read! I am Hispanic and white born late 1960... I joyfully reminisced in my mind about my euphoric exposure to iconic black culture growing up - and shed tears while reading more somber passages. I naively thought decades ago we were on our way to equality as a child, teen and younger adult - that racism could be put behind us. I thought it was coming to fruition under President Barack Obama. Wow - was I ever wrong. Good work and deeds are tenuous... much effort is required to move forward. You can never let your guard down when confronting evil. That said- So much here is truly enlightening... the writing is alive and emotionally charged - truly poetic!
Short Excerpt Teaser
Soul Train was guided by Don Cornelius, who got his start as a backup disc jockey at Chicago radio station WVON. Cornelius was born in Chicago in 1936, as the era of dance marathons began to die down. He worked primarily as a news and sports reporter, but he spent his downtime emceeing a series of concerts featuring local Chicago music talent. On weekend nights, he would pack as many people as could fit into Chicago-area high schools and put on his show. He called the series "The Soul Train," and his shows grew in popularity during the late '60s, with people coming from all over the Midwest to dance to whatever Cornelius decided to spin.
In 1965, two dance programs were running on the upstart UHF station out of Chicago: Kiddie-a-Go-Go and Red Hot and Blues-both targeted to young people. The latter catered primarily to Black audiences, playing on Friday nights, hosted by Big Bill Hill, a DJ and promoter in the city. Red Hot and Blues featured mostly R&B, and younger kids dancing with varying degrees of enthusiasm to the hits of the day.
This was the seed for Soul Train, but Cornelius was trying to make a show that was distinctly adult, and distinctly rooted in a type of cool that was being born at the turn of the decade, when Black people were redefining themselves once again, after talk of civil rights turned to talk of complete liberation. At his core, Cornelius was a journalist who was driven to journalism by a desire to cover the civil rights movement, with an understanding that the movement was inextricably linked to the music that soundtracked it. It acted as both a call for people to take to the streets and a reprieve after a long day of protest, or marching, or working some despised job. Cornelius was frustrated by the lack of television venues for soul music, and the lack of Black people being their whole, free selves on television, and so he created a venue for it himself. By the time a television deal came knocking in 1970, he'd already established an audience. A people cannot only see themselves suffering, lest they believe themselves only worthy of pain, or only celebrated when that pain is overcome. Cornelius had a vision for Black people that was about movement on their own time, for their own purpose, and not in response to what a country might do for, or to, them.
It did help that Don Cornelius was cool. His name itself seemed like something passed through a lineage of motherf***ers who wore their hats low and kept lit cigarettes in their mouths that never burned all the way down. His full name-Donald Cortez Cornelius-might have been even cooler than the one he's most known by, but I suppose even the freshest among us have to give people a break sometimes. He was a lanky six foot four and walked with slow, long strides. Don Cornelius didn't dance much; he preferred instead to give the floor to the many people who spilled onto it during each taping of Soul Train once the show got picked up by television and became a breakout success. But you knew Don Cornelius could dance. There are people who you don't even need to see move to know that they are one with rhythm, and Don Cornelius was one of those people, in part because he always looked so well put together, but also not so put together that he might shy away from f***ing up a dance floor. He'd wear velvet sport coats and keep his afro picked high and flawless. His round-framed glasses sat evenly on his face and never needed to be adjusted.
Beyond all of his aesthetic cool, Cornelius was a poet speaker, toying with melody and syntax in his introductions and interviews. At the start of each episode, the voice-over would introduce Cornelius as the camera zoomed in on him smiling easy. Then he'd take a deep breath before unfurling a long, winding sentence along the lines of
HEYYYY welcome aboard I guarantee yous'll enjoy the ride especially if you like your soul ice cold 'cuz we got none other than the iceman himself here and he's gonna be lookin' ya right D-E-A-D in your eyes after this very important message.
Or
Hey there it's time for another sweeeet ride on the soul train and you gotta hold right on to that spot ya got because you're not gonna wanna miss your spot we're gonna be here alllllll night.
It also helped that Cornelius didn't take himself t...
In 1965, two dance programs were running on the upstart UHF station out of Chicago: Kiddie-a-Go-Go and Red Hot and Blues-both targeted to young people. The latter catered primarily to Black audiences, playing on Friday nights, hosted by Big Bill Hill, a DJ and promoter in the city. Red Hot and Blues featured mostly R&B, and younger kids dancing with varying degrees of enthusiasm to the hits of the day.
This was the seed for Soul Train, but Cornelius was trying to make a show that was distinctly adult, and distinctly rooted in a type of cool that was being born at the turn of the decade, when Black people were redefining themselves once again, after talk of civil rights turned to talk of complete liberation. At his core, Cornelius was a journalist who was driven to journalism by a desire to cover the civil rights movement, with an understanding that the movement was inextricably linked to the music that soundtracked it. It acted as both a call for people to take to the streets and a reprieve after a long day of protest, or marching, or working some despised job. Cornelius was frustrated by the lack of television venues for soul music, and the lack of Black people being their whole, free selves on television, and so he created a venue for it himself. By the time a television deal came knocking in 1970, he'd already established an audience. A people cannot only see themselves suffering, lest they believe themselves only worthy of pain, or only celebrated when that pain is overcome. Cornelius had a vision for Black people that was about movement on their own time, for their own purpose, and not in response to what a country might do for, or to, them.
It did help that Don Cornelius was cool. His name itself seemed like something passed through a lineage of motherf***ers who wore their hats low and kept lit cigarettes in their mouths that never burned all the way down. His full name-Donald Cortez Cornelius-might have been even cooler than the one he's most known by, but I suppose even the freshest among us have to give people a break sometimes. He was a lanky six foot four and walked with slow, long strides. Don Cornelius didn't dance much; he preferred instead to give the floor to the many people who spilled onto it during each taping of Soul Train once the show got picked up by television and became a breakout success. But you knew Don Cornelius could dance. There are people who you don't even need to see move to know that they are one with rhythm, and Don Cornelius was one of those people, in part because he always looked so well put together, but also not so put together that he might shy away from f***ing up a dance floor. He'd wear velvet sport coats and keep his afro picked high and flawless. His round-framed glasses sat evenly on his face and never needed to be adjusted.
Beyond all of his aesthetic cool, Cornelius was a poet speaker, toying with melody and syntax in his introductions and interviews. At the start of each episode, the voice-over would introduce Cornelius as the camera zoomed in on him smiling easy. Then he'd take a deep breath before unfurling a long, winding sentence along the lines of
HEYYYY welcome aboard I guarantee yous'll enjoy the ride especially if you like your soul ice cold 'cuz we got none other than the iceman himself here and he's gonna be lookin' ya right D-E-A-D in your eyes after this very important message.
Or
Hey there it's time for another sweeeet ride on the soul train and you gotta hold right on to that spot ya got because you're not gonna wanna miss your spot we're gonna be here alllllll night.
It also helped that Cornelius didn't take himself t...
