In this the second volume of his autobiography, Chester Himes deals with moving to Paris in the early 1950s, where he developed from an eloquent, influential "black writer" into a writer who was internationally known. Himes takes us to the heart of Paris expatriate cafe society and through the writing of his eighteen books and novels. He also paints fascinating glimpses of
In this the second volume of his autobiography, Chester Himes deals with moving to Paris in the early 1950s, where he developed from an eloquent, influential "black writer" into a writer who was internationally known. Himes takes us to the heart of Paris expatriate cafe society and through the writing of his eighteen books and novels. He also paints fascinating glimpses of lowers, three continents, and friends such as Richard Wright, Ralph Ellison, and James Baldwin.
My Life of Absurdity
is the story of a life only Himes could have lived -- just on the edge of reality, about three steps short of fantasy, and three generations out of slavery.
---from book jacket
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Paperback
,
391 pages
Published
December 31st 1998
by Thunder's Mouth Press
(first published November 10th 1990)
I rarely am interested enough in a public figure to read more than a short overview about their lives (read: Wikipedia). But, there was something in Himes' crime series that fascinated me and made me curious about the man. The only way I can describe this something is beautiful violence. The brutality of it very real, but a rhythm, construction and vocalization to it that strangely sits as a work of art. And these were his potboilers.
Reading this second portion of his autobiography, I don't thi
I rarely am interested enough in a public figure to read more than a short overview about their lives (read: Wikipedia). But, there was something in Himes' crime series that fascinated me and made me curious about the man. The only way I can describe this something is beautiful violence. The brutality of it very real, but a rhythm, construction and vocalization to it that strangely sits as a work of art. And these were his potboilers.
Reading this second portion of his autobiography, I don't think I'm that much closer to understanding Himes. I suspect that will come from reading his earlier novels. I don't think I would know what to do with this man if I had met him. He exposes and hides himself in this autobiography. Perhaps most frustratingly, he contradicts himself at various points in the book. I didn't know whether to snort understandingly or fly to Spain and throw the book at his grave when I realized that based on the wording of some of these points, they seemed merely how he wanted to present things
at each specific point in time
.
While reading, I reacted with a blend of admiration, pity, delight, outrage and frustration at this man. I think I had an understanding of where his frustrations stemmed from, but also understood how he himself was alienating. Perhaps the saddest part was seeing/reading his mental decline or lack of interest as the book progresses. The last quarter actually left me wondering if it was meant to fulfill a page quota as Himes is almost completely hidden behind the minute details of setting up house and shopping trips, while there is an on-going debate between himself and Samuel Goldwyn, Jr. over the production of
Cotton Comes to Harlem
(he almost avoids any personal comment, though reproducing Goldwyn's letters).
While I enjoyed parts of this book -- the rare light-hearted moments, information on his novels, the view of black Americans in Paris, brushes with other public figures -- I think overall the book was frustrating in terms of getting to know Himes. Perhaps it would have been frustrating knowing him in person. The rawness of his emotions, his violence, his vulnerabilities, his volatility and choices in public revelation. But, then again, it has made me even more fascinated with the man and his work.
What is covered:
1955-1971. His acquaintances and friends mainly in Europe -- notably his perspective on Richard Wright and his revealing letters to Carl Van Vechten. His struggles with the publishing world, the birth of his detective series, his lovers, his struggles with his cars (the VW story being particularly funny and dominating a portion of the book), his taste of celebrity, his travels in Europe and visits to New York.
What I found that I haven't found yet in his books:
a lighter humour, a deeper hurt. The combination of pride and self-pity which many times read as petulance surprised me (and yet, probably shouldn't have). His own surprise and almost shyness (notably his reaction on his first visit to post-WWII Germany).
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It's not like I need to like a person to like their writing. And I think Chester Himes is a good writer, although this is the first thing of his that I have read. Having said that, I now want to go read his detective stories, and also the first half of his autobiography. But I did not like him, at least in the first half of this book.
It may have been picking up his life story halfway through. More likely, it was the way he treated his German girlfriend Marlene. His descriptions of her are so ugl
It's not like I need to like a person to like their writing. And I think Chester Himes is a good writer, although this is the first thing of his that I have read. Having said that, I now want to go read his detective stories, and also the first half of his autobiography. But I did not like him, at least in the first half of this book.
It may have been picking up his life story halfway through. More likely, it was the way he treated his German girlfriend Marlene. His descriptions of her are so ugly, and they clearly had an unhealthy relationship. And in general, he's very concerned with white women--either as status symbols for the men they date, or as potential oppressors in their own right or beneficiaries of the racism of the U.S. (and beyond). I think he, as many people do, sees his own plight as more difficult and hard-fought than other oppressed groups, though even within his own writing these other plights become evident (everyone seems FINE with hitting "out of control" women).
At the same time, his portrayal of "life abroad," which often gets a nice romanticized sheen from U.S. artists living in Paris is full of lumps and problems, and that's refreshing. His description of "importing" a car and the absurdity of bureaucracy is hilarious. And his run-around with French publishing houses making money from him while he lives in poverty is sad and telling. And his fame's incongruity with his poverty.
I enjoyed his comments on writing, and his long stretches of not getting anything done. That comforts me. Although I need to write SOMETHING before I get to have long bouts of unproductivity.
Gotta get The Five-Cornered Square. And the first half of the autobiography.
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This book was kind of a hot mess. I understand why my professor assigned it, but it was pretty horrible. Not poorly-written or particularly ignorant, but horrible in the sense of the movie 'Kids' -- eloquently done with distasteful subject matter. When I realized (and wrote a paper exploring) that the book can be read as an existentialist text, I appreciated it more. But I liked it no better.
Chester Bomar Himes began writing in the early 1930s while serving a prison sentence for armed robbery. From there, he produced short stories for periodicals such as Esquire and Abbott's Monthly. When released, he focussed on semi-autobiographical protest novels.
In 1953, Himes emigrated to France, where he was approached by Marcel Duhamel of Gallimard to write a detective series for
Série Noire
,
Chester Bomar Himes began writing in the early 1930s while serving a prison sentence for armed robbery. From there, he produced short stories for periodicals such as Esquire and Abbott's Monthly. When released, he focussed on semi-autobiographical protest novels.
In 1953, Himes emigrated to France, where he was approached by Marcel Duhamel of Gallimard to write a detective series for
Série Noire
, which had published works from the likes of Raymond Chandler, Dashiell Hammett and Jim Thompson. Himes would be the first black author included in the series. The resulting Harlem Cycle gained him celebrity when he won France's Grand Prix de Littérature Policière for
La Reine des Pommes
(now known in English as
A Rage in Harlem
) in 1958. Three of these novels have been adapted into movies:
Cotton Comes to Harlem
, directed by Ossie Davis in 1970;
Come Back, Charleston Blue
(based on
The Heat's On
) in 1972; and
A Rage in Harlem
, starring Gregory Hines and Danny Glover in 1991.
In 1968, Himes moved to Spain where he made his home until his death.
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