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The Man Who Cried I Am: A Novel

Author John A. Williams
Foreword by Ishmael Reed
Introduction by Merve Emre
Paperback
$19.95 US
The Library of America | Library of America
On sale Nov 07, 2023 | 500 Pages | 978-1-59853-761-1
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Rediscover the sensational 1967 literary thriller that captures the bitter struggles of postwar Black intellectuals and artists

With a foreword by Ishmael Reed and a new introduction by Merve Emre about how this explosive novel laid bare America's racial fault lines

Max Reddick, a novelist, journalist, and presidential speechwriter, has spent his career struggling against the riptide of race in America. Now terminally ill, he has nothing left to lose. An expat for many years, Max returns to Europe one last time to settle an old debt with his estranged Dutch wife, Margrit, and to attend the Paris funeral of his friend, rival, and mentor Harry Ames, a character loosely modelled on Richard Wright.

In Amsterdam, among Harry’s papers, Max uncovers explosive secret government documents outlining “King Alfred,” a plan to be implemented in the event of widespread racial unrest and aiming “to terminate, once and for all, the Minority threat to the whole of the American society.” Realizing that Harry has been assassinated, Max must risk everything to get the documents to the one man who can help.

Greeted as a masterpiece when it was published in 1967, The Man Who Cried I Am stakes out a range of experience rarely seen in American fiction: from the life of a Black GI to the ferment of postcolonial Africa to an insider’s view of Washington politics in the era of segregation and the Civil Rights Movement, including fictionalized portraits of Martin Luther King, Jr., and Malcolm X. John A. Williams and his lost classic are overdue for rediscovery.

Few novels have so deliberately blurred the boundaries between fiction and reality as The Man Who Cried I Am (1967), and many of its early readers assumed the King Alfred plan was real. In her introduction, Merve Emre examines the gonzo marketing plan behind the novel that fueled this confusion and prompted an FBI investigation. This deluxe paperback also includes a new foreword by novelist Ishmael Reed.

“It is a blockbuster, a hydrogen bomb . . . . This is a book white people are not ready to read yet, neither are most black people who read. But [it] is the milestone produced since Native Son. Besides which, and where I should begin, it is a damn beautifully written book.” —Chester Himes

“Magnificent . . . obviously in the Baldwin and Ellison class.” —John Fowles

“If The Man Who Cried I Am were a painting it would be done by Brueghel or Bosch. The madness and the dance is never-ending display of humanity trying to creep past inevitable Fate.” —Walter Mosely
Max paused a long moment before pulling the cord that opened the gate. He glanced behind him at the house; Michelle was at a window, watching. A white spot. He couldn’t even tell now the color of her hair. He thought, S’long, Red. He pulled the cord and the gate swung open. He stepped into the street, pulling the door closed after him and leaning back against it automatically, to make sure it was firmly locked. He looked up and down. The street was quiet, almost empty. He scuttled across the walk, heart pounding, and hurriedly unlocked the car door. Inside, he relocked it and, flinching from the pain of the sudden sitting, groaned. His fingers were groping under the seat for the Llama. Where was it? Stiff, eager fingers ploughed into car-floor dirt; his heart threatened to tear through his rib cage. Where—? But now his fingers touched heavy metal with hard precise lines, and he pulled the gun out, breathing with relief. He pulled the clip halfway out. Still loaded. A small gun, but that’s what everyone got killed with in New York. Twenty-two’s. A .25 would hurt only a little bit more. He put the gun in his pocket, checked the doors again and placed the case on the other seat. He started down the street and sped quickly through the city, so occupied with watching behind him that he squirted through two red lights. When he gained the main road he shifted into fourth. Better, he thought. That’s better. With the coming of the gray clouds the temperature had dropped slightly and the wind had come up. He felt it tearing at the car. He drove rapidly. A big, black Mercedes rushed up behind him, blinked its lights and then howled past. Max noticed the black-on-white plates. The big “D” to one side. Deutschland.
Copyright © 2023 by The Estate of John A. Williams. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
"The novel itself, recently republished by the Library of America, is an idiosyncratic, rancorous compound of roman à clef, sociocultural history, bildungsroman, and international thriller complete with an apocalyptic ending that patched disquietingly into our worst nightmares of what white America ultimately had in mind for us. Imagine a chronicle with the sweep, breadth, and momentum of Honoré de Balzac’s Lost Illusions morphing plausibly into one of Eric Ambler’s darker and more acerbic spy melodramas. Only with Black people—sad, mad, and fiercely articulate—in the foreground." —Bookforum
John Alfred Williams (1925–2015) was an African American author, journalist, and professor of English at Rutgers University. He won the American Book Awards Lifetime Achievement award in 2011. 

Ishmael Reed is the author of numerous books, including the celebrated novels Flight to Canada and Mumbo Jumbo. For thirty-five years he taught at the University of California, Berkeley, and lives in Oakland, California.

Merve Emre is a contributing writer at The New Yorker and an associate professor of English at the University of Oxford. She is the author of Paraliterary: The Making of Bad Readers in Postwar America, among other works.
John A. Williams View titles by John A. Williams

About

Rediscover the sensational 1967 literary thriller that captures the bitter struggles of postwar Black intellectuals and artists

With a foreword by Ishmael Reed and a new introduction by Merve Emre about how this explosive novel laid bare America's racial fault lines

Max Reddick, a novelist, journalist, and presidential speechwriter, has spent his career struggling against the riptide of race in America. Now terminally ill, he has nothing left to lose. An expat for many years, Max returns to Europe one last time to settle an old debt with his estranged Dutch wife, Margrit, and to attend the Paris funeral of his friend, rival, and mentor Harry Ames, a character loosely modelled on Richard Wright.

In Amsterdam, among Harry’s papers, Max uncovers explosive secret government documents outlining “King Alfred,” a plan to be implemented in the event of widespread racial unrest and aiming “to terminate, once and for all, the Minority threat to the whole of the American society.” Realizing that Harry has been assassinated, Max must risk everything to get the documents to the one man who can help.

Greeted as a masterpiece when it was published in 1967, The Man Who Cried I Am stakes out a range of experience rarely seen in American fiction: from the life of a Black GI to the ferment of postcolonial Africa to an insider’s view of Washington politics in the era of segregation and the Civil Rights Movement, including fictionalized portraits of Martin Luther King, Jr., and Malcolm X. John A. Williams and his lost classic are overdue for rediscovery.

Few novels have so deliberately blurred the boundaries between fiction and reality as The Man Who Cried I Am (1967), and many of its early readers assumed the King Alfred plan was real. In her introduction, Merve Emre examines the gonzo marketing plan behind the novel that fueled this confusion and prompted an FBI investigation. This deluxe paperback also includes a new foreword by novelist Ishmael Reed.

“It is a blockbuster, a hydrogen bomb . . . . This is a book white people are not ready to read yet, neither are most black people who read. But [it] is the milestone produced since Native Son. Besides which, and where I should begin, it is a damn beautifully written book.” —Chester Himes

“Magnificent . . . obviously in the Baldwin and Ellison class.” —John Fowles

“If The Man Who Cried I Am were a painting it would be done by Brueghel or Bosch. The madness and the dance is never-ending display of humanity trying to creep past inevitable Fate.” —Walter Mosely

Excerpt

Max paused a long moment before pulling the cord that opened the gate. He glanced behind him at the house; Michelle was at a window, watching. A white spot. He couldn’t even tell now the color of her hair. He thought, S’long, Red. He pulled the cord and the gate swung open. He stepped into the street, pulling the door closed after him and leaning back against it automatically, to make sure it was firmly locked. He looked up and down. The street was quiet, almost empty. He scuttled across the walk, heart pounding, and hurriedly unlocked the car door. Inside, he relocked it and, flinching from the pain of the sudden sitting, groaned. His fingers were groping under the seat for the Llama. Where was it? Stiff, eager fingers ploughed into car-floor dirt; his heart threatened to tear through his rib cage. Where—? But now his fingers touched heavy metal with hard precise lines, and he pulled the gun out, breathing with relief. He pulled the clip halfway out. Still loaded. A small gun, but that’s what everyone got killed with in New York. Twenty-two’s. A .25 would hurt only a little bit more. He put the gun in his pocket, checked the doors again and placed the case on the other seat. He started down the street and sped quickly through the city, so occupied with watching behind him that he squirted through two red lights. When he gained the main road he shifted into fourth. Better, he thought. That’s better. With the coming of the gray clouds the temperature had dropped slightly and the wind had come up. He felt it tearing at the car. He drove rapidly. A big, black Mercedes rushed up behind him, blinked its lights and then howled past. Max noticed the black-on-white plates. The big “D” to one side. Deutschland.
Copyright © 2023 by The Estate of John A. Williams. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Praise

"The novel itself, recently republished by the Library of America, is an idiosyncratic, rancorous compound of roman à clef, sociocultural history, bildungsroman, and international thriller complete with an apocalyptic ending that patched disquietingly into our worst nightmares of what white America ultimately had in mind for us. Imagine a chronicle with the sweep, breadth, and momentum of Honoré de Balzac’s Lost Illusions morphing plausibly into one of Eric Ambler’s darker and more acerbic spy melodramas. Only with Black people—sad, mad, and fiercely articulate—in the foreground." —Bookforum

Author

John Alfred Williams (1925–2015) was an African American author, journalist, and professor of English at Rutgers University. He won the American Book Awards Lifetime Achievement award in 2011. 

Ishmael Reed is the author of numerous books, including the celebrated novels Flight to Canada and Mumbo Jumbo. For thirty-five years he taught at the University of California, Berkeley, and lives in Oakland, California.

Merve Emre is a contributing writer at The New Yorker and an associate professor of English at the University of Oxford. She is the author of Paraliterary: The Making of Bad Readers in Postwar America, among other works.
John A. Williams View titles by John A. Williams

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