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Walter Mosley is one of the best-known writers in America. In his first book for young adults, Mosley deftly weaves historical and speculative fiction into a powerful narrative about the nature of freedom. 47 is a young slave boy living under the watchful eye of a brutal slave master. His life seems doomed until he meets a mysterious runaway slave, Tall John. Then, 47 finds himself swept up in a struggle for his own liberation.
Number 47, a fourteen-year-old slave boy growing up under the watchful eye of a brutal master in 1832, meets the mysterious Tall John, who introduces him to a magical science and also teaches him the meaning of freedom.
This thought-provoking, genre-bending account of one slave's emancipation, Mosley's (Fear Itself) first book for young adults, makes for harrowing reading. The narrator, called simply by his number, 47, recalls his life as an enslaved teen on a Georgia plantation in 1832, occasionally interjecting the wisdom he has gleaned in the intervening years. At the "most likely" age of 14 ("Slaves... didn't have ages like the white people did," he explains), 47 is sent to the fields to pick cotton. His life in the slave quarters begins with having his number literally branded on his shoulder in a brutal scene, which palpably captures the cruelty of the period. Mosley's novel is more than a work of historical fiction, however-47 starts off by explaining that these events "happened over a hundred and seventy years ago," and hints that something supernatural is coming. It arrives in the person of "Tall John from beyond Africa," who masquerades as a runaway from a neighboring farm, but who is, in fact, an extraterrestrial searching the galaxy for 47. Those familiar with African-American folklore will recognize him as a variant of High John the Conqueror, a spirit who ultimately sets the slaves free. "Neither master nor nigger be," Tall John repeatedly tells 47, who must unlearn a lifetime of subservience in order to grasp the nature of freedom and its relationship to responsibility. Equal parts history and tall tale, this engaging story related by an endearing narrator is so full of dramatic tension that few readers will realize they're learning something, too. Ages 12-up. (May) Copyright 2005 Reed Business Information.
More Reviews and RecommendationsA genre-bending author who can move from science-fiction to mysteries, Walter Mosley is perhaps best-known -- and loved -- for his 1940s and ‘50s noir crime novels starring the cool, complex detective Easy Rawlins.
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March 17, 2008: This was an amazing book. Its sooo... intresting to read about things that really happened meanwhile its fiction or sci-fi. Once I read the first couple of pages I read the whole book it was like I was in the book I could picture It so.. well!
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May 06, 2007: really, really good! i thought the sci-fi aspect wouldn't work well historically, but it did! very beautifully written. a must read.
Name:
Walter Mosley
Current Home:
New York, New York
Date of Birth:
January 12, 1952
Place of Birth:
Los Angeles, California
Education:
B.A., Johnson State College
Awards:
Shamus Award, Private Eye Writers of America, 1990; Grammy Award for Best Album Notes, 2002
When President Bill Clinton announced that Walter Mosley was one of his favorite writers, Black Betty (1994), Mosley's third detective novel featuring African American P.I. Easy Rawlins, soared up the bestseller lists. It's little wonder Clinton is a fan: Mosley's writing, an edgy, atmospheric blend of literary and pulp fiction, is like nobody else's. Some of his books are detective fiction, some are sci-fi, and all defy easy categorization.
Mosley was born in Los Angeles, traveled east to college, and found his way into writing fiction by way of working as a computer programmer, caterer, and potter. His first Easy Rawlins book, Gone Fishin' didn't find a publisher, but the next, Devil in a Blue Dress (1990) most certainly did -- and the world was introduced to a startlingly different P.I.
Part of the success of the Easy Rawlins series is Mosley's gift for character development. Easy, who stumbles into detective work after being laid off by the aircraft industry, ages in real time in the novels, marries, and experiences believable financial troubles and successes. In addition, Mosley's ability to evoke atmosphere -- the dangers and complexities of life in the toughest neighborhoods of Los Angeles -- truly shines. His treatment of historic detail (the Rawlins books take place in Los Angeles from the 1940s to the mid-1960s) is impeccable, his dialogue fine-tuned and dead-on.
In 2002, Mosley introduced a new series featuring Fearless Jones, an Army vet with a rigid moral compass, and his friend, a used-bookstore owner named Paris Minton. The series is set in the black neighborhoods of 1950s L.A. and captures the racial climate of the times. Mosley himself summed up the first book, 2002's Fearless Jones, as "comic noir with a fringe of social realism."
Despite the success of his bestselling crime series, Mosley is a writer who resolutely resists pigeonholing. He regularly pens literary fiction, short stories, essays, and sci-fi novels, and he has made bold forays into erotica, YA fiction, and political polemic. "I didn't start off being a mystery writer," he said in an interview with NPR. "There's many things that I am." Fans of this talented, genre-bending author could not agree more!
Mosley won a Grammy award in 2002 in the category of "Best Album Notes" for Richard Pryor.... And It's Deep, Too! The Complete Warner Bros. Recordings (1968-1992).
Mosley is an avid potter in his spare time.
In our 2004 interview, Mosley reveals:
"I was a computer programmer for 15 years before publishing my first book. I am an avid collector of comic books. And I believe that war is rarely the answer, especially not for its innocent victims."
What was the book that most influenced your life or your career as a writer -- and why?
The Stranger by Albert Camus probably had the greatest impact on me. I suppose that's because it was a novel about ideas in a very concrete and sensual world. This to me is the most difficult stretch for a writer -- to talk about the mind and spirit while using the most pedestrian props. Also the hero is not an attractive personality. He's just a guy, a little removed, who comes to heroism without anyone really knowing it. This makes him more like an average Joe rather than someone beyond our reach or range.
What are your favorite books, and what makes them special to you?
What are some of your favorite films?
What types of music do you like? Is there any particular kind you like to listen to when you're writing?
I never listen to music when I write. But I love all kinds of music (except for polka).
What are your favorite kinds of books to give -- and get -- as gifts?
Books as gifts is a difficult concept. It depends on the person and the time in their life. For instance, a person who has been sick might do well with a book about curative teas, a child might need adventure, an older citizen might enjoy history.
Do you have any special writing rituals?
I have no rituals as a writer. I write 350 out 365 days a year -- at least. Writing is my love, not my superstition.
Many writers are hardly "overnight success" stories. How long did it take for you to get where you are today? Any rejection-slip horror stories or inspirational anecdotes?
My life as a writer has been pretty easy (no pun intended). I started writing seriously in 1986, and my first novel was published in 1990. However the first story that I ever published in a little literary magazine, "Voodoo," was later found in manuscript form in some editor's desk. That editor, not realizing that the story had been published a year earlier, sent me a rejection letter, saying, "This story really is not right for us...."
What tips or advice do you have for writers still looking to be discovered?
There aren't many things that a writer has to do. You have to write, of course, and be critical of your own work. In order to be discovered, you should call the editors of books you think are like yours in some way. Ask the editor (or their assistant) who the agent is. Call the agent and tell them that you have written a book that has some sympathy with the book they represented. Ask will they look at your work. Agents are important. Finding an agent that might care for your work is more so.
Walter Mosley is one of the best-known writers in America. In his first book for young adults, Mosley deftly weaves historical and speculative fiction into a powerful narrative about the nature of freedom. 47 is a young slave boy living under the watchful eye of a brutal slave master. His life seems doomed until he meets a mysterious runaway slave, Tall John. Then, 47 finds himself swept up in a struggle for his own liberation.
This thought-provoking, genre-bending account of one slave's emancipation, Mosley's (Fear Itself) first book for young adults, makes for harrowing reading. The narrator, called simply by his number, 47, recalls his life as an enslaved teen on a Georgia plantation in 1832, occasionally interjecting the wisdom he has gleaned in the intervening years. At the "most likely" age of 14 ("Slaves... didn't have ages like the white people did," he explains), 47 is sent to the fields to pick cotton. His life in the slave quarters begins with having his number literally branded on his shoulder in a brutal scene, which palpably captures the cruelty of the period. Mosley's novel is more than a work of historical fiction, however-47 starts off by explaining that these events "happened over a hundred and seventy years ago," and hints that something supernatural is coming. It arrives in the person of "Tall John from beyond Africa," who masquerades as a runaway from a neighboring farm, but who is, in fact, an extraterrestrial searching the galaxy for 47. Those familiar with African-American folklore will recognize him as a variant of High John the Conqueror, a spirit who ultimately sets the slaves free. "Neither master nor nigger be," Tall John repeatedly tells 47, who must unlearn a lifetime of subservience in order to grasp the nature of freedom and its relationship to responsibility. Equal parts history and tall tale, this engaging story related by an endearing narrator is so full of dramatic tension that few readers will realize they're learning something, too. Ages 12-up. (May) Copyright 2005 Reed Business Information.
An orphaned young slave boy named 47 toils on a Georgia plantation under a vicious overseer until he meets a strange copper-colored teenager who calls himself Tall John. John appears to be a runaway slave, but he reveals that he is really from another planetand that 47 is "a spirit from the homelandadestined for greatness." John is 47's first real friend, and he teaches him healing and magical arts as well as the philosophy "Neither nigger nor master be." The two are cruelly punished when they take too long returning with medicinal herbs needed for the master's ill daughter, even though they heal her, and 47 and a slave girl in love with John must combine forces to save John when the overseer takes him to his "killing shack." The three run away, and John, who is badly hurt, tells 47 that he must help battle otherworldly creatures to save the planet, as well as free the slaves on the plantation: the true meaning of freedom is the theme that links the two. This is Mosley's first book for YAs; he is known for his excellent Easy Rawlins mystery series as well as other titles. The sections of 47 that deal with slave life are powerfully described and haunting, and the references to the legendary character of High John give the character of Tall John added depth; I found the SF plot less compelling and rather confusing at times. (An eighth-grader of my acquaintance who read this had the same reaction, commenting that the author should have picked one genre or the other and not mixed the two.) I look forward to more YA novels by this wonderful author, however. KLIATT Codes: JSRecommended for junior and senior high school students. 2005, Little, Brown, 232p., Ages 12 to 18.
Gr 7-10-Meg Cabot's Avalon High (HarperCollins, 2006) will be a surefire hit with the author's fans. Ellie's parents, medievalist college professors, are on sabbatical and have moved the family from Minnesota to Annapolis, MD, for the school year. Ellie is named after a character in Alfred Lord Tennyson's poem, "The Lady of Shalott." The teen accepts the move and, when she meets Will Wagner and his friends while running in the park with her father, there is an instant connection that changes their lives forever. Will goes to her school, and Ellie's new friends from the girl's track team fill her in on Will and his girlfriend. Ellie doesn't think she has a chance with Will, who is the senior class president and football quarterback, but he soon begins to confide in her and they develop a close friendship. When connections to the world of King Arthur start cropping up and Ellie is warned that Will's life is in danger, she must put all of the pieces together and save her new friend. Each chapter begins with a stanza of poetry from Tennyson's poem, adding to the tension. Listeners will thrill at the exciting "happily ever after" ending, replete with a sinister storm and a sword fight. They may even be enticed to seek out other books about King Arthur and life in Camelot. Actress Debra Wiseman does a splendid job of reading the book with youthful exuberance. She hits all of the right notes, giving each character a realistic personality. This blend of romance, fantasy, and history will keep listeners entranced to the very end.-Jo-Ann Carhart, East Islip Public Library, NY Copyright 2006 Reed Business Information.
Loading...Slaves didn't have birthday parties and so they didn't have ages like the white people did. Big Mama Flore always said that "White peoples gots as many ages as you can count but slaves on'y gots four ages. That's babychile, boy or girl, old boy or old girl, an' dead."
I loved Big Mama Flore. She was round and soft and always gave me a big hug in the morning. She was one of the only ones who ever showed me kindness when I was little. My mother died when I was too young to remember her face. Big Mama told me that my mother, her name was Psalma, had a boyfriend over at the Williams Plantation but she would never tell anybody who he was because she didn't want him getting into trouble for sneaking out to see her in the big house at night.
Flore also told me that that man nobody knew was my father.
"She didn't even tell you his name, Big Mama?" I asked when she would tell me the sad story of Psalma Turner when I was still too little to have to work in the cotton fields.
"No, babychile," Big Mama said. "Master Tobias would'a give a Christmas ham to the nigger tole who had fathered his wife's favorite maid's baby. He'd walk through the slave quarters at night sayin' that he would give the man who looked like Psalma's baby to Mr. Stewart for punishment. So if some slave knew who it was that yo' mama was seein' he would'a done hisself a big favor by tellin' Master Tobias his name. An' onceit Tobias knowed who that slave was he was sure to end up in Mr. Stewart's shack."
Tobias Turner was Master's name and Mr. Stewart was his overseer. The overseer made sure that all us slaves worked hard and didn't cause any ruckus or break the Rules. The Rules were that you did as you were told, didn't talk back, never complained, and stayed in your place.
Mr. Stewart had a shack that stood out in the middle of a stand of live oaks behind the slave quarters. And if you were ever unlucky enough to get sent back there then you were in serious trouble. Many a slave never returned from Mr. Stewart's killin' shack. And those that did come back were never the same.
I hadn't seen Mr. Stewart's torture chamber at that time but I knew about it because I had heard stories from those few souls that survived his torments. They said that he had a pine table that was twice as long as a tall man is tall and that there were leather straps on both ends that he would tie to a slave's wrists and ankles. The straps were attached to baskets filled with heavy stones that would stretch a poor soul's legs and arms out so far from their sockets that afterward the slave could hardly even lift his feet off the ground to walk and he would have to use both of his hands just to get the food to his mouth to eat.
"Yes, sir," Big Mama Flore would say in the backyard under the big magnolia tree that Una Turner's great grandfather planted when he settled the land back before any living slave, even Mud Albert, could remember. "Yes indeedy. If Master Tobias knowed who your father was that man wouldn'ta stood a nigger's chance on the main road at midday."
I was brokenhearted when Big Mama would tell the story about my mother and her sad end. When Psalma died giving birth to me, Una Turner told Master Tobias that I was to remain on her family's plantation for as long as I lived as a remembrance to my mother.
Una loved my mother because of her voice. It was said that Psalma Turner had the most beautiful voice that anyone on Corinthian Plantation had ever heard. Miss Una had a weak constitution and bad nerves and when she would have an attack it was only my mother's singing that would keep her from despair.
Miss Una loved my mother so much, Big Mama Flore said, that she would have been sure to keep me up in the big house with her - if she had lived. But three years after my mother died Miss Una had one of her attacks and without Psalma's singing she succumbed to the malady and passed over to the Upper Level and back to the place that all life comes from.
Some time after Miss Una died Master Tobias named me Forty-seven and told Big Mama that when I was big enough I was meant to live out in the slave quarters and work in the cotton fields with all the other slaves. Master Tobias didn't like me because he blamed my mother for getting pregnant and stealing herself from his property by dying. But he didn't want to sell me off because it was Miss Una's dying wish to keep me on her plantation near my mother's grave.
Until I grew Master Tobias made me live in the barn, feeding and grooming the horses and running any errands that the house slaves had for me. I made myself pretty scarce out there because whenever Master saw me he'd remember my mother and then he'd get mad and look to see if I'd done something wrong. And if there was one straw out of place he would tell Big Mama Flore to get her razor strap and whip my backside. Big Mama didn't want to beat me but she did anyway because Tobias was watching.
After these beatings, when Master was gone, Big Mama would fold me in her arms and apologize.
"I sorry, babychile, but if'n I didn't make you cry he would'a took the strap," she'd say, "and whip you hard enough to draw blood."
"Why he hate me so much, Big Mama?" I'd whine.
"He blame you for his wife dyin'," she'd say. "He just hurt so much inside an' you the on'y one left alive that he could blame."
"But I din't do nuthin'."
"Shhh, baby. You just stay outta Tobias's way. Don't look up when he's around an' always do all your work an' more than that so you don't give him no reason to have me beat you."
We both knew that when I got big enough to work in the fields he'd give me over to Mr. Stewart when he got mad. And Mr. Stewart would use a bullwhip on my bare back. He might even stretch my bones until I was dead.
We both knew that I was safe from Mr. Stewart until I grew big enough to pick cotton, so Mama Flore didn't feed me meat or milk so that I'd stay small and not have to go to work in the cotton fields.
I wasn't allowed in the big house. The only times I was ever there was when Big Mama sneaked me in so I could see how grand the white peoples' lives were.
So I lived in the barn my whole life until just before Tall John came to the plantation. In that time Big Mama Flore made my acquaintance with Mud Albert and Champ Noland. Mud Albert was the oldest slave on the plantation and Champ was the strongest. Champ once carried a fullgrown mule across the yard in front of the mansion. Albert and Champ loved Big Mama and so they told her that they would take me under their wings when I had to go out in the slave quarters and live with the rough element out there.
I spent most of my time working hard and avoiding Master's angry attention. But it wasn't all hard work and beatings. The barn was very large and it had a little window at the very top for ventilation. When nobody was looking I used to climb up to that window and pretend that I was in the crow's nest of some great ship coming from Europe or Africa. I had heard about these ships from some of the slaves that had been brought in chains from across the seas and from some of the house slaves who had seen pictures of the great three-mast sailboats in books from Master's library.
I'd sit up there at the end of the day, watching while the slaves picked cotton in the fields, pretending that I was the lookout put up there to tell the captain when there was some island paradise where we could drop our anchor.
And sometimes, if I was very lucky, I would catch a glimpse of Miss Eloise - Tobias's daughter.
Eloise. She was dainty and white as a china plate. Her pale red hair and green eyes were startling. In my mind she was the most beautiful creature in all of Georgia.
When Eloise would come out to play I'd squeeze down behind the sill of the open window and watch. Even when she was alone she laughed while she played, swinging on her swing chair or eating sweets on the veranda.
Every time I saw her in the yard behind the Master's mansion I got a funny feeling all over. I wanted to go down there and be happy with her but I knew that a nigger (That was back before I met Tall John and he taught me about the word "nigger" and how wrong it was for me to use such a term.) like me wasn't allowed even to look at someone like Miss Eloise.
One day, when Eloise was sitting in her swing chair alone, I stuck my head out to see what she was doing. But I didn't realize that the sun was at my back and that it cast the shadow of my head down into Miss Eloise's lap.
She looked up, squinting at the sun, and said, "Who's up there?"
I ducked down under the windowsill but that didn't stop her from calling.
"Who's up there spying on me?" she cried. "Come out right now or I'll call my daddy."
I knew that if Miss Eloise called her father I'd get more than a whipping from Big Mama's razor strap. He might whip me himself until I was knocked out and bleeding like the slaves I'd seen him bullwhip while they were tied to the big wagon wheel in the main yard.
I stood up and looked out.
"Yes'm, Miss Eloise?" I said. "I been workin' up here. Is it me you want?"
"You were spying on me," she said.
"No, ma'am," I assured her. "I's jes' workin'."
"Doin' what?"
If ever you tell a lie you should know where it's goin'. That's what Mud Albert would tell me. I should have heeded those words before telling Eloise that I was at work. Because there was no work for a groom like me up in the high part of the barn.
"Breshin' the horses," I said lamely.
"There ain't no horses in the top'a the barn," she said, pointing an accusing finger at me. "You're malingering up there, ain't you, boy?"
"I's sorry," I said, near tears from the fear in my heart.
"Come down here," Eloise said in a very serious tone.
I climbed down the ladder from the roof and ran through the barn and to the yard, where the young white girl stood. She wore a yellow bonnet held under her chin by a red ribbon, and a yellow dress with a flouncy slip underneath the skirt. She was eleven years old and pretty as a child can be.
I came up to her with my head hanging down and my eyes on the ground.
"Yes'm?" I said.
"Were you spyin' on me, boy?"
"I was jes lookin', Miss Eloise. I didn't know you was down here."
"Why you lookin' at your feet?" she asked. "You know it's rude not to look at someone when you're talkin' to 'em."
"I ain't s'posed to look at you, ma'am. You's a white lady an' niggers ain't s'posed to look at white ladies."
It was true. Even Fred Chocolate, Master Tobias's butler, was not supposed to look at a white woman straight on.
"You were lookin' at me from up in the barn," she said.
"No, ma'am," I lied. "I mean I looked out but I didn't know that you was there."
"That's not true," she said.
"I swear it is," I said, still looking at my feet.
"Look up at me this instant, you insolent boy," she said then.
I raised my head slowly. I had to look up because Eloise was elevated above me, on the porch. When I saw her face there was a big smile on it.
"Don't be scared," she said. "I won't tell."
My heart skipped at her kind words. I felt as if she were saving me even though it was her threats that I was afraid of.
"Do you want a molasses cookie?" she said.
"Yes, ma'am," I replied.
From a tin can on the swinging chair she brought out a big brown cookie. She knelt down in her pretty dress and handed it to me.
"Now run along," she said. "And don't worry, I won't tell that you were lookin'."
I ran back into the barn and up to my crow's nest. Mama Flore had let me taste the crumbs from cookies before but I never had a whole one, or even a proper piece. I sat up next to the window and ate my cookie, thinking of young Eloise.
I was hoping that somehow she would remember me and make me her page. That way I could always be near her and eat sugary cookies every night of the week.
That was all before I met Tall John and learned that no man or woman should serve another because that made them a slave.
(Continues...)
Excerpted from 47 by Walter Mosley Copyright © 2005 by Walter Mosley. Excerpted by permission.
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