Friday Black

INSTANT NEW YORK TIMES BESTSELLER 

 

A National Book Foundation “5 Under 35” honoree, chosen by Colson Whitehead 

 

“An unbelievable debut, one that announces a new and necessary American voice.” —Tommy Orange, New York Times Book Review 

 

“An excitement and a wonder: strange, crazed, urgent and funny.” —George Saunders 

 

“Dark and captivating and essential . . . A call to arms and a condemnation . . . Read this book.” —Roxane Gay 

 

A piercingly raw debut story collection from a young writer with an explosive voice; a treacherously surreal, and, at times, heartbreakingly satirical look at what it’s like to be young and black in America. 

 

From the start of this extraordinary debut, Nana Kwame Adjei-Brenyah’s writing will grab you, haunt you, enrage and invigorate you. By placing ordinary characters in extraordinary situations, Adjei-Brenyah reveals the violence, injustice, and painful absurdities that black men and women contend with every day in this country. 

 

These stories tackle urgent instances of racism and cultural unrest, and explore the many ways we fight for humanity in an unforgiving world. In “The Finkelstein Five,” Adjei-Brenyah gives us an unforgettable reckoning of the brutal prejudice of our justice system. In “Zimmer Land,” we see a far-too-easy-to-believe imagining of racism as sport. And “Friday Black” and “How to Sell a Jacket as Told by Ice King” show the horrors of consumerism and the toll it takes on us all. 

 

Entirely fresh in its style and perspective, and sure to appeal to fans of Colson Whitehead, Marlon James, and George Saunders, Friday Black confronts readers with a complicated, insistent, wrenching chorus of emotions, the final note of which, remarkably, is hope.

Included in:

Available Resources

Related Categories

  • Format: Paperback

  • ISBN-13/EAN: 9781328911247

  • ISBN-10: 1328911241

  • Pages: 208

  • Price: $14.99

  • Publication Date: 10/23/2018

  • Carton Quantity: 24

“An unbelievable debut, one that announces a new and necessary American voice.”

—Tommy Orange
New York Times Book Review
N
Author

Nana Adjei-Brenyah

Nana Kwame Adjei-Brenyah is from Spring Valley, New York. He graduated from SUNY Albany and went on to receive his MFA from Syracuse University. His work has appeared or is forthcoming in numerous publications, including Guernica, Compose: A Journal of Simply Good Writing, Printer's Row, Gravel, and The Breakwater Review, where he was selected by ZZ Packer as the winner of the 2nd Annual Breakwater Review Fiction Contest. Friday Black is his first book.
Learn More
  • reviews

    Praise for Friday Black 

    INSTANT NEW YORK TIMES BESTSELLER 

     

    Named a Best Book by: 

    Elle, Entertainment Weekly, Huffington Post, BuzzFeed, Harper’s Bazaar, Nylon, Boston Globe, Southern Living, O, the Oprah Magazine,Chicago Tribune, The Verge,Vulture, Philadelphia Inquirer, The Millions, New York Observer, Literary HubColor Lines,PopSugar, The Rumpus, BookPage,St. Louis Post-Dispatch,the CBC, Publishers Weekly, Kirkus, My Domaine, Bookish, Read It Forward, and The Seattle Review of Books 

     

    One of the National Book Foundation’s “5 Under 35” honorees, chosen by Colson Whitehead 

    An Indie Next Pick 

    Longlisted for the Carnegie Medal of Excellence in Fiction 

    A National Indie Bestseller 

    A Boston Globe Bestseller 

    A New York Times Editors' Choice 

     

    “A powerful and important and strange and beautiful collection of stories . . . An unbelievable debut, one that announces a new and necessary American voice . . . A dystopian story collection as full of violence as it is of heart. To achieve such an honest pairing of gore with tenderness is no small feat . . . Violence is only gratuitous when it serves no purpose, and throughout Friday Black we are aware that the violence is crucially related to both what is happening in America now, and what happened in its bloody and brutal history . . . In smart, terse prose, Adjei-Brenyah is unflinching, and willing, in most of these 12 stories, to leave us without any apparent hope. But the hope is there—or if it isn’t hope, it’s maybe something better: levelheaded, compassionate protagonists, with just enough integrity and ambivalence that they never feel sentimental. Each of these individuals carries a subtle clarity about what matters most when nothing makes sense in these strange and brutal worlds he builds . . . Adjei-Brenyah’s voice here is as powerful and original as Saunders’s is throughout Tenth of December . . . [Adjei-Brenyah] is here to signal a warning, or perhaps just to say this is what it feels like, in stories that move and breathe and explode on the page. In Friday Black, the dystopian future Adjei-Brenyah depicts—like all great dystopian fiction—is bleakly futuristic only on its surface. At its center, each story—sharp as a knife—points to right now.” 

    —Tommy Orange, New York Times Book Review 

     

    “Strange, dark and sometimes unnervingly funny . . . The [titular] story is a not-so-subtle critique of consumerism run amok. But like all effective satire, there’s a glint of truth and accumulation of mundane details that make the farcical scenario feel plausible . . . [Friday Black] uses fantasy and scorching satire to tackle issues like school shootings, abortion, racism, the callowness of commercialism, and how cyclical violence can be passed on across generations . . . Adjei-Brenyah renders prosaic scenarios unfamiliar by adding a surreal, disorienting twist.” 

    —Alexandra Alter, The New York Times 

     

    "Impressive...There's enormous talent on display in Friday Black." 

    Wall Street Journal 

     

    “This pitch-dark, brutal, occasionally—mercifully!—funny collection of stories takes on the insidious nature of racism and the horrors of capitalism in equal measure and somehow ends up hopeful on the other side. Friday Black is enraging, it’s inventive . . . Much like living through this year, the experience of reading Nana Kwame Adjei-Brenyah’s debut can be harrowing, but it’s ultimately a pleasure to be in the company of a new voice as exciting as this.” 

    Vogue 

     

    "Surreal, sobering, and tender all at once, this debut collection shines a laser-sharp light on the experience of being black in today's America." 

    People 

     

    “Fearless...[A] major literary debut . . . Unnervingly unpredictable . . . Friday Black ought to land as publishing’s definitive addition to an exciting pop culture trend: new black surrealism. Films such as Get Out and Sorry to Bother You, or Donald Glover projects like Atlanta and “This Is America,” derive political power from a kind of absurdist framing, which this book shares . . . Adjei-Brenyah executes his premises with an elegant Black Mirror-like realism...In their gnarly intensity, their polemical potency, they hit us where we live, here and now. Sometimes it takes a wild mind to speak the plainest truth.” 

    Entertainment Weekly 

     

    “One of the most anticipated literary debuts of the fall, Friday Black veers between the surreal and the satirical in its bold take on being young and black in America.” 

    Entertainment Weekly, Most Anticipated Books of October 

     

    “[A] knockout . . . illuminate[s] unsettling truths about the world.” 

    Elle 

     

    “Like Kurt Vonnegut, the debut author introduces readers to worlds adjacent to our reality. They’re familiar enough for us to recognize ourselves within them—until Adjei-Brenyah takes the tough-to-stomach parts of humanity to extremes, like Black Friday shoppers turning into violent, materialistic murderers. The stories wrestle with racism, mob mentality, police violence, and unrestrained consumerism. They’re quick to read, and incredibly hard to forget.” 

    Elle, “Best Books of the Year So Far” 

     

    “Reading Nana Kwame Adjei-Brenyah’s debut short story collection Friday Black is like being shaken awake. These stories exist in a sort of hyperreality, ordinary characters living in the not-so-unbelievable, Black Mirror–esque future of a culture that doesn't hesitate to commodify cruelty or monetize revolution . . . Adjei-Brenyah skewers the ways we brush past racism and injustice, making the absurdity of the rhetoric around both impossible to ignore.” 

    BuzzFeed 

     

    "Yes, anyone who likes Saunders should read Friday Black right away. Anyone who could take or leave Saunders should, too...No comparison can convey a book's intellectual heft, and Friday Black is as intellectually hefty as fiction can get. In these twelve stories, Adjei-Brenyah turns over ideas about racism, about classism and capitalism, about the apocalypse, and, most of all, about the corrosive power of belief. His work is fiercely, spikily funny. And no matter how supernatural his stories get, no matter how zombie-ish or futuristic, every one of them takes place in the world we know...Adjei-Brenyah has some serious powers himself. The energy in his fiction is wild, barely controllable yet perfectly controlled. Short stories, as a form, tend to compress big emotion into small action, but not these. Adjei-Brenyah fits big emotion, big action, and big thought into each story. His violence is never gratuitous, his ghosts never too chain-rattling to believe...Adjei-Brenyah speaks in more voices than seems possible, and those voices will follow you off the page...They will assert t...

  • excerpts

    Fela, the headless girl, walked toward Emmanuel. Her neck jagged with red savagery. She was silent, but he could feel her waiting for him to do something, anything. 

     

    Then his phone rang, and he woke up. 

     

    He took a deep breath and set the Blackness in his voice down to a 1.5 on a 10-point scale. “Hi there, how are you doing today? Yes, yes, I did recently inquire about the status of my application. Well, all right, okay. Great to hear. I’ll be there. Have a spectacular day.” Emmanuel rolled out of bed and brushed his teeth. The house was quiet. His parents had already left for work. 

     

    That morning, like every morning, the first decision he made regarded his Blackness. His skin was a deep, constant brown. In public, when people could actually see him, it was impossible to get his Blackness down to anywhere near a 1.5. If he wore a tie, wing-tipped shoes, smiled constantly, used his indoor voice, and kept his hands strapped and calm at his sides, he could get his Blackness as low as 4.0. 

     

    Though Emmanuel was happy about scoring the interview, he also felt guilty about feeling happy about anything. Most people he knew were still mourning the Finkelstein verdict: after twenty-eight minutes of deliberation, a jury of his peers had acquitted George Wilson Dunn of any wrongdoing whatsoever. He had been indicted for allegedly using a chain saw to hack off the heads of five black children outside the Finkelstein Library in Valley Ridge, South Carolina. The court had ruled that because the children were basically loitering and not actually inside the library reading, as one might expect of productive members of society, it was reasonable that Dunn had felt threatened by these five black young people and, thus, he was well within his rights when he protected himself, his library-loaned DVDs, and his children by going into the back of his Ford F-150 and retrieving his Hawtech PRO eighteen-inch 48cc chain saw. 

     

    The case had seized the country by the ear and heart, and was still, mostly, the only thing anyone was talking about. Finkelstein became the news cycle. On one side of the broadcast world, anchors openly wept for the children, who were saints in their eyes; on the opposite side were personalities like Brent Kogan, the ever gruff and opinionated host of What’s the Big Deal?, who had said during an online panel discussion, “Yes, yes, they were kids, but also, fuck niggers.” Most news outlets fell somewhere in-between. 

     

    On verdict day, Emmanuel’s family and friends of many different races and backgrounds had gathered together and watched a television tuned to a station that had sympathized with the children, who were popularly known as the Finkelstein Five. Pizza and drinks were served. When the ruling was announced, Emmanuel felt a clicking and grinding in his chest. It burned. His mother, known to be one of the liveliest and happiest women in the neighborhood, threw a plastic cup filled with Coke across the room. When the plastic fell and the soda splattered, the people stared at Emmanuel’s mother. Seeing Mrs. Gyan that way meant it was real: they’d lost. Emmanuel’s father walked away from the group wiping his eyes, and Emmanuel felt the grinding in his chest settle to a cold nothingness. On the ride home, his father cursed. His mother punched honks out of the steering wheel. Emmanuel breathed in and watched his hands appear, then disappear, then appear, then disappear as they rode past streetlights. He let the nothing he was feeling wash over him in one cold wave after another. 

     

    But now that he’d been called in for an interview with Stich’s, a store self-described as an “innovator with a classic sensibility” that specialized in vintage sweaters, Emmanuel had something to think about besides the bodies of those kids, severed at the neck, growing damp in thick, pulsing, shooting blood. Instead, he thought about what to wear. 

     

    In a vague move of solidarity, Emmanuel climbed into the loose-fitting cargoes he’d worn on a camping trip. Then he stepped into his patent-leather Space Jams with the laces still clean and taut as they weaved up all across the black tongue. Next, he pulled out a long-ago abandoned black hoodie and dove into its tunnel. As a final act of solidarity, Emmanuel put on a gray snapback cap, a hat similar to the ones two of the Finkelstein Five had been wearing the day they were murdered—a fact George Wilson Dunn’s defense had stressed throughout the proceedings. 

     

    Emmanuel stepped outside into the world, his Blackness at a solid 7.6. He felt like Evel Knievel at the top of a ramp. 

     

Available Resources

Related Categories

  • Format: Paperback

  • ISBN-13/EAN: 9781328911247

  • ISBN-10: 1328911241

  • Pages: 208

  • Price: $14.99

  • Publication Date: 10/23/2018

  • Carton Quantity: 24

Want the latest...

on all things Fiction & Literature?