Overview
A rediscovered classic of Black American literature first published in 1950, about an unlikely friendship in a West Virginia town
After several years of silence and seclusion in Beetlecreek's black quarter, a retired carnival worker named Bill Trapp befriends Johnny Johnson, a Pittsburgh teenager living with relatives in Beetlecreek. Bill is white. Johnny is black. Both are searching for acceptance, something that will give meaning to their lives. Bill tries to find it through goodwill in the community. Johnny finds it in the Nightriders, a local gang. David Diggs, Johnny's dispirited uncle, aspires to be an artist but has to settle for sign painting. David and Johnny's new friendship with Bill kindles hope that their lives will get better. David's marriage has failed; his wife's shallow faith serves as her outlet from racial and financial oppression.
As the church society's Fall Festival approaches, the battle between the repressive small town and the aspirations of its trapped inhabitants come to a nail-biting head.
First published in 1950, Beetlecreek stands as a moving condemnation of provincialism and fundamentalism. Both a critique of racial hypocrisy and a new direction for the African American novel, it occupies fresh territory that is neither the gritty realism of Richard Wright nor the ironic modernism of Ralph Ellison.
After several years of silence and seclusion in Beetlecreek's black quarter, a retired carnival worker named Bill Trapp befriends Johnny Johnson, a Pittsburgh teenager living with relatives in Beetlecreek. Bill is white. Johnny is black. Both are searching for acceptance, something that will give meaning to their lives. Bill tries to find it through goodwill in the community. Johnny finds it in the Nightriders, a local gang. David Diggs, Johnny's dispirited uncle, aspires to be an artist but has to settle for sign painting. David and Johnny's new friendship with Bill kindles hope that their lives will get better. David's marriage has failed; his wife's shallow faith serves as her outlet from racial and financial oppression.
As the church society's Fall Festival approaches, the battle between the repressive small town and the aspirations of its trapped inhabitants come to a nail-biting head.
First published in 1950, Beetlecreek stands as a moving condemnation of provincialism and fundamentalism. Both a critique of racial hypocrisy and a new direction for the African American novel, it occupies fresh territory that is neither the gritty realism of Richard Wright nor the ironic modernism of Ralph Ellison.
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