Them

by Nathan McCall

Overview

From the “mesmerizing storyteller” (The New Yorker) and author of the bestselling memoir Makes Me Wanna Holler presents a profound novel—in the tradition of Tom Wolfe’s The Bonfire of the Vanities and Zadie Smith’s White Teeth—that captures the dynamics of class and race in today's urban integrated communities.

Barlowe Reed is a single, forty-something Black American who rents a ramshackle house on Randolph Street in Atlanta, just a stone’s throw from the historic birth home of Dr. Martin Luther King, Jr. Barlowe, who works as a printer, otherwise passes the time reading and hanging out with other men at the corner store. He shares his home and loner existence with a streetwise, twentysomething nephew who is struggling to get his troubled life back on track.

When Sean and Sandy Gilmore, a young white couple, move in next door, Barlowe and Sandy develop a reluctant, complex friendship as they hold probing—often frustrating—conversations over the backyard fence.

Members of both households, and their neighbors as well, try to go about their business, tending to their homes and jobs. However, fear and suspicion build—and clashes ensue—with each passing day, as more and more new whites move in and make changes and once familiar people and places disappear.

Using a blend of superbly developed characters in a story that captures the essence of this country’s struggles with the unsettling realities of gentrification, Nathan McCall has produced a truly great American novel.

Product Details

ISBN-13:	9781416549161
Publisher:	Washington Square Press
Publication date:	08/19/2008
Edition description:	Reprint
Pages:	368
Product dimensions:	8.06(w) x 5.28(h) x 0.96(d)

About the Author

Nathan McCall, author of Makes Me Wanna Holler, has worked as a journalist for The Washington Post. Currently, he teaches in the African American Studies Department at Emory University and lives in Atlanta, Georgia.

Read an Excerpt

Chapter 1

April 15th, four thirty-six.

Barlowe Reed drove down an Atlanta parkway, heading south toward North Avenue. The car, a battered old Plymouth with sagging pipes, had seen its best days ten years before. Barlowe drove it slowly, like he halfway didn't want to go in the direction he was moving in. He chugged along, a twinge of irritation tugging at him. (It had nothing to do with the young boy riding his bumper.) Barlowe was always annoyed about one thing or another — usually some item he'd read in the paper. The source of this latest vexation, though, was more personal than headlines in the daily paper. Ever since he'd gone downtown that afternoon to pick up his income tax returns, his mood had soured.

Barlowe hated paying taxes. He couldn't explain it in fancy words, but the reasons were clear enough inside his head. Most folks didn't know the half of what the government did with all the tax money it collected, but Barlowe had his suspicions. He figured a lot of that cash financed dirty work: vast conspiracies, domestic and foreign; secret plots and counterplots; greedy, underhanded, fiendish stuff.

He glanced at the tax documents in the seat beside him and the vexation seemed to magnify. When he'd gone into H&R Block that morning, the accountant, a white man dressed sharply in a crisp shirt and tie, had smiled a big smile, like he had produced some financial masterpiece.

Accountants, Barlowe thought now, slugging forward. Charge an arm and a leg for doin nothin.

His taxes couldn't have required heavy lifting, and not for what that accountant charged. Please. He was a printer; an underpaid printer at that. In fact, he was so flat broke he had considered doing his own returns. In the end he decided to pay white folks to assume the risk. Let the government, the almighty Caesar harass them if some decimals and zeroes got mixed all up. Let Caesar go after them — not him.

Barlowe wondered how Caesar would use his money against him this time around. He hated that feeling: not knowing the particulars about such things; giving his hard-earned coins to Caesar, and in the blind.

But what could a man do? You had to render unto Caesar what Caesar claimed as his. Either render or break the law and foolishly deliver yourself into Caesar's hands.

He drove along, mulling Caesar. One day maybe he'd hit the number and get Caesar's foot off his neck.

He slouched down in the seat a little, the top of his bushy head peeking just above the steering wheel. He covered two more city blocks and spotted a car that made him sit up straight. Barlowe couldn't see the driver clear; it was the make of the vehicle that he took notice of. It was a Caddy, a gleaming, bright blue number with shiny rims and whitewalls scrubbed clean as a baby's butt. A Caddy. When it came to hogging the road, Caddy drivers were the worst.

The Caddy pulled out in front of him and settled into a lazy crawl. For several blocks the driver loafed along like the street was named for him. Barlowe pressed in closer, to send a message. The Caddy kept gliding steady, like maybe the driver was masturbating behind the wheel.

There was an American flag sticker pasted, dead center, in the car's back window. Barlowe grunted. "Um." Even more than taxes and Caesar, he hated flags. Ever since the planes struck, the things had sprung up everywhere. Houses, buildings, clothes, you name it; flags were attached some way.

He thought about that now as he trailed the Caddy. The patriot finally flashed a turn signal, swung a sharp right and disappeared.

Barlowe reached the post office and glanced at his watch. That Caddy had thrown his timing off. Every tax season he waited until the final day, April 15, and for good measure he got to his neighborhood post office only minutes before they locked the doors at five o'clock.

Inside, a white man, the supervisor, greeted him with a stale smile. He pointed toward a line that snaked to the cashier counter. People stood limply in a single file, their faces empty or tired or contorted in agony at the idea of having to wait in yet another line, with so much more stuff to be done in life.

Barlowe opted for the shorter line, the one leading to the stamp machines. There were only three people ahead of him, and five minutes left before closing time. He reached the front of the line and scanned the display window. He leaned in close and turned up his nose. Hovering behind him, a tall, spindly fellow in a Hawaiian shirt shifted impatiently on his heels. Barlowe studied the display again, to see if maybe he had missed something.

He hadn't.

American flag stamps lined nearly every row! Only two rows, B-3 and B-4, offered other choices. Of those, one stamp hailed the invention of the Model T. (It may as well have been a flag.)The other stamp featured the bust of a brown-skinned woman. Barlowe didn't recognize the face right off, but the color suited him just fine.

He slid a five-dollar bill into the slot and paused before pressing the selection button. An announcement floated from somewhere off in a corner. "Post office closes in one minute!"

The man behind Barlowe shifted again, making a show of his impatience. Barlowe leaned down closer, concentrating on stamps. The man behind him clucked his tongue and stomped to the longer line.

Seeing the anxious shuffling, the supervisor approached. "Sir. Sir. Is there something I can help you with?" Barlowe nodded at the stamp machine and pointed at the stamp bearing the brown woman's picture. "I wont her."

"The Marian Anderson stamp is sold out, sir. We don't have time to restock the machine. If you want regular stamps for mailing returns, you'll need to get the flags."

"I don't wont flags."

"What?"

"Naw. Don't wont em."

The supervisor frowned as his Homeland Security training came to mind. He gave the customer a good once-over, for information-gathering sake. Barlowe was a big-boned, corn-fed country boy. His face, the shade of cocoa, bore a slightly weathered look, like the faces you see on faded photos of people toiling in cotton fields. With thick, kinky hair, and lips full and broad, he looked a bit like Otis Redding before he'd made it big.

What stood out most about Barlowe, though, were the hands. The hands were rough as sandpaper. The hands were clean but harsh and stained with ink: red, blue, brown, yellow and black ink from the print shop where he worked.

Another postal worker, seeing his supervisor's frustration, sidled over to investigate. "Everythang all right here?" A short, dumpy man with jet-black skin and thick white hair, he brought to mind Uncle Remus storybook tales.

The supervisor turned to Remus and whispered: "This man says he wants stamps, but he won't buy flags."

Barlowe pointed again at the likeness of the brown lady. "I wont her." He nodded toward the supervisor. "He say he ain't got time to get some more."

Remus shrugged. "We bout to close up shop now, partner. You gotta do somethin." He turned and waddled off.

That gruff response wouldn't have seemed so off-putting if the two men hadn't met before. Some time back, Barlowe had come in that same branch to mail a package. He asked for a book of stamps, and the way old Remus acted you would have thought Barlowe handed him the winning lotto ticket. Remus slapped a vintage book of Duke Ellington commemoratives on the counter and hooked his thumbs around his suspenders, which stretched taut across his big belly like a pair of rubber bands about to snap. He poked out his chest, as proud as if he'd designed the things himself.

The stamps were so beautiful a full month passed before Barlowe could bring himself to mail a single one.

Now Remus headed to the front counter and pulled down the steel cage, to close up shop.

Barlowe turned to the supervisor. "I think I'll jus get my money back, then." "The machine doesn't give refunds, sir."

Barlowe pressed the change button anyway, but nothing happened. He nodded toward the counter. "Then I'll get it there."

"The counter is closed...I'm telling you, sir: You have to get the flags."

There was no persuading Barlowe Reed once he made up his mind about something. When he made up his mind about something, pressure of the sort now being applied only served to stiffen his resolve. When the supervisor finished saying his piece, babbling on about what Barlowe had to do, he calmly shook his head. "No."

The red light on the stamp machine began blinking.

"You're gonna lose your money."

Shortly, the blinking stopped.

"Toldja. Now we're officially closed." The supervisor walked away.

Barlowe took a few steps back to collect himself. He stood there a moment, his eyes flitting around in disbelief. He cursed, charged forward and rammed a knuckle into the machine. Whack! He banged it again, determined to knock his five dollars loose. Whack! Whack!

The third punch shattered the glass. The few Model Ts, and all the flag stamps, tumbled out. Barlowe stood back, surprised that the glass had caved so easy. He hadn't intended for it to break.

The supervisor returned when he heard the noise. He homed in on all the stars and stripes lying on the floor, desecrated. His lips quivered, like he wanted to speak, but no sound spilled out. He glared at Barlowe and wagged a finger, then turned and rushed from the room.

Within moments — seconds it seemed — the post office door flung open, and three police officers burst inside. The postal supervisor pointed downward. "Look! Right there!"

The cops panned the shattered glass and scattered stamps. They eyed Barlowe standing there, nodding slowly, like he knew how the thing might play out. The cops unsnapped their gun straps and started forward. "Aw right, buddy! Aw right! This is it!"

It wouldn't be so easy for them this time around. Barlowe Reed was experienced at this sort of thing. He came from a long line of people who were experienced at this sort of thing.

Before the police could get the whipping going, he calmly turned his back to them. Without being told, he placed both hands behind him and held the wrists close together, inviting the cops to clamp on cuffs.

The officers stood there looking dumb, trying to think this one through. Finally, one cop, the only woman among them, stepped forward and slapped on cuffs. Her partners shot her a disgusted look.

While the post office employees looked on, the officers escorted Barlowe through the double doors. They shoved him into the squad car and sped him off toward jail.

Along the way, the city whizzed by in a lightning blur. Barlowe sat handcuffed in the backseat, a mixture of sadness and triumph gripping him.

I have survived this one, he thought. I have survived this one.

Survival or no, he had also done the very thing he always took pains not to do. He had delivered himself to Caesar. And, too, he would be late filing his tax returns.

Copyright © 2007 by Nathan McCall

Reading Group Guide

Questions and Topics for Discussion
1. Discuss the book's title. What is its meaning? How is the word "them" used throughout the novel, and in what ways does its significance change?
2. This book is divided into three parts. Why do you think Nathan McCall chose this structure?
3. Though their differences are obvious, what characteristics do Sandy and Barlowe share? In spite of different worldviews that complicate their relationship, why do you think these two are ultimately able to bond?
4. "If Barlowe could have assembled the words that reflected his knowing, he might have said something like this: 'Between two people with perceptions shaped by realities as alien as ours, some things really are inscrutable; one person's truths can transcend another's language, rendering them utterly incapable of seeing eye to eye'" (p. 225). What does this mean? Do you agree?
5. Though the overarching conflict of the novel may be between the blacks and the whites who inhabit the Old Fourth Ward, some discord emerges within each race as well. In what instances do stereotypes inspire misunderstandings among residents of the same race?
6. Were you surprised to discover that Sean turned The Hawk in to the police? Do you think his action was justified?
7. Though Viola's official cause of death was liver failure, people in the neighborhood assumed she died of heartbreak after The Hawk mysteriously disappeared. Do you believe Sean is therefore implicated in Viola's death?
8. Contrast and compare how Sean and Barlowe each dealt with the occasional intrusions of Viola and The Hawk. Would you characterize Viola's death as a sad yet ultimately necessary result of gentrification, or a needless tragedy set in motion when the neighborhood's balance is thrown off kilter?
9. Although Sean and Sandy are obviously not welcome in the neighborhood, and in spite of several dangerous personal attacks, Sandy resists Sean's pressure to leave the Old Fourth Ward. Do you think her resolve is admirable or foolish? Is she to blame for what happens to Sean in the novel's violent climax?
10. In what ways does the author make statements about black self-sufficiency?
11. The Gilmores ultimately leave the Old Fourth Ward. Were there any instances throughout the novel when you believed that they would establish a happy life there?
12. Though they didn't intend to make a negative impact on the neighborhood, the Gilmores, like other whites, certainly did. Were there ways in which their presence produced positive results?
13. Do you think that, in leaving the neighborhood, the Smiths helped resolve a personal dilemma? Did they inadvertently help advance the process of gentrification?
14. Throughout the novel, Barlowe struggles with the feeling of "not knowing how to live" (p. #83). What does this mean? Are there other characters who deal with similar internal conflict?
15. Discuss Barlowe's transformation throughout the novel. What events and relationships inspire changes in his feelings, reactions, and goals? What ultimately enables him to feel at peace with himself by the end of book?
16. The instances in the book that involve segregated meetings or gatherings among ward residents primarily result in each group's strengthened dedication to remaining segregated. Do you think those actions symbolize continued racial divisions in this country? If so, how?
17. Is the issue of gentrification about race or class?
18. In the story, Barlowe shares this quote with Sandy: "They say liberals conduct their lynchins from shorter trees" (p. #206). What do you suppose that means? What is it's significance to the story?
19. How is it possible that in Atlanta, a city with an African American mayor, blacks in neighborhoods such as the Old Fourth Ward are powerless to hold off encroachment on their communities?
20. How might Barlowe's challenges in figuring out "how to live" have affected his ability to find fulfilling relationships with women?
21. What, if any, symbolic significance do you see in Tyrone's pigeons?
Enhance Your Book Club
1. Research the history of Atlanta's Old Fourth Ward. Share your findings with the group.
2. Think about the social dynamic and ethnic makeup of your neighborhood. If it is at all homogenous, how would current residents react if people of other races or social classes moved in? If your neighborhood is racially or economically diverse, how is the social dynamic affected by that diversity? Share your opinions and feelings with the group.
3. Read Nathan McCall's Makes Me Wanna Holler as a companion text. In what ways might McCall's personal story have inspired Them?

Introduction

Questions and Topics for Discussion

1. Discuss the book's title. What is its meaning? How is the word "them" used throughout the novel, and in what ways does its significance change?

2. This book is divided into three parts. Why do you think Nathan McCall chose this structure?

3. Though their differences are obvious, what characteristics do Sandy and Barlowe share? In spite of different worldviews that complicate their relationship, why do you think these two are ultimately able to bond?

4. "If Barlowe could have assembled the words that reflected his knowing, he might have said something like this: 'Between two people with perceptions shaped by realities as alien as ours, some things really are inscrutable; one person's truths can transcend another's language, rendering them utterly incapable of seeing eye to eye'" (p. 225). What does this mean? Do you agree?

5. Though the overarching conflict of the novel may be between the blacks and the whites who inhabit the Old Fourth Ward, some discord emerges within each race as well. In what instances do stereotypes inspire misunderstandings among residents of the same race?

6. Were you surprised to discover that Sean turned The Hawk in to the police? Do you think his action was justified?

7. Though Viola's official cause of death was liver failure, people in the neighborhood assumed she died of heartbreak after The Hawk mysteriously disappeared. Do you believe Sean is therefore implicated in Viola's death?

8. Contrast and compare how Sean and Barlowe each dealt with the occasional intrusions of Viola and The Hawk. Would you characterize Viola's death as a sad yet ultimately necessary result ofgentrification, or a needless tragedy set in motion when the neighborhood's balance is thrown off kilter?

9. Although Sean and Sandy are obviously not welcome in the neighborhood, and in spite of several dangerous personal attacks, Sandy resists Sean's pressure to leave the Old Fourth Ward. Do you think her resolve is admirable or foolish? Is she to blame for what happens to Sean in the novel's violent climax?

10. In what ways does the author make statements about black self-sufficiency?

11. The Gilmores ultimately leave the Old Fourth Ward. Were there any instances throughout the novel when you believed that they would establish a happy life there?

12. Though they didn't intend to make a negative impact on the neighborhood, the Gilmores, like other whites, certainly did. Were there ways in which their presence produced positive results?

13. Do you think that, in leaving the neighborhood, the Smiths helped resolve a personal dilemma? Did they inadvertently help advance the process of gentrification?

14. Throughout the novel, Barlowe struggles with the feeling of "not knowing how to live" (p. #83). What does this mean? Are there other characters who deal with similar internal conflict?

15. Discuss Barlowe's transformation throughout the novel. What events and relationships inspire changes in his feelings, reactions, and goals? What ultimately enables him to feel at peace with himself by the end of book?

16. The instances in the book that involve segregated meetings or gatherings among ward residents primarily result in each group's strengthened dedication to remaining segregated. Do you think those actions symbolize continued racial divisions in this country? If so, how?

17. Is the issue of gentrification about race or class?

18. In the story, Barlowe shares this quote with Sandy: "They say liberals conduct their lynchins from shorter trees" (p. #206). What do you suppose that means? What is it's significance to the story?

19. How is it possible that in Atlanta, a city with an African American mayor, blacks in neighborhoods such as the Old Fourth Ward are powerless to hold off encroachment on their communities?

20. How might Barlowe's challenges in figuring out "how to live" have affected his ability to find fulfilling relationships with women?

21. What, if any, symbolic significance do you see in Tyrone's pigeons?

Enhance Your Book Club

1. Research the history of Atlanta's Old Fourth Ward. Share your findings with the group.

2. Think about the social dynamic and ethnic makeup of your neighborhood. If it is at all homogenous, how would current residents react if people of other races or social classes moved in? If your neighborhood is racially or economically diverse, how is the social dynamic affected by that diversity? Share your opinions and feelings with the group.

3. Read Nathan McCall's Makes Me Wanna Holler as a companion text. In what ways might McCall's personal story have inspired Them?

Editorial Reviews

"Nathan McCall's debut novel, Them, a mirror of our time and souls, is awesome and destined to become a contemporary classic." — Eric Jerome Dickey, New York Times bestselling author

"What should we write about in our complex and changing world? And how? These are the questions that a writer constantly asks....Nathan McCall masterfully provides us with an answer. His novel could be taken as a model for modern writing." — Maryse Condé,award-winning author of The Story of the Cannibal Woman

"Them is a character-driven, insightful novel that gives readers an entertaining and balanced glance at gentrification. Nathan McCall has done a brilliant job of showcasing his talent, while at the same time showing his compassion for human nature." — Zane, New York Times bestselling author of Afterburn

"Nathan McCall's honesty and insight captivated the nation in Makes Me Wanna Holler, and those qualities drive his sure-handed leap to fiction in McCall's beautifully written first novel,Them. With painstaking balance and vivid characters both black and white, Them is a gripping and timely dispatch from the unfolding story of race relations in America. Nathan McCall is a national treasure." — Tananarive Due, American Book Award-winning author of Joplin's Ghost and Freedom in the Family: A Mother-Daughter Memoir of the Fight for Civil Rights

"Complex and flawed characters weave a story that tests our own contradictory feelings about gentrification and racial and class bias. A compelling read." — Erica Simone Turnipseed, author of A Love Noire, Hunger, and the upcoming My Name Is Zanzibar

From the Publisher

The embattled characters who people McCall's trenchant, slyly humorous debut novel (following the 1994 memoir Makes Me Wanna Hollerand a 1997 essay collection) can't escape gentrification, whether as victim or perpetrator. As he turns 40, Barlowe Reed, who is black, moves to buy the home he's long rented in Atlanta's Old Fourth Ward, the birthplace of Martin Luther King Jr. His timing is bad: whites have taken note of the cheap, rehab-ready houses in the historically black neighborhood and, as Barlowe's elderly neighbor says to him, "They comin." Skyrocketing housing prices and the new neighbors' presumptuousness anger Barlowe, whose 20-something nephew is staying with him, and other longtime residents, who feel invaded and threatened. Battle lines are drawn, but when a white couple moves in next door to Barlowe, the results are surprising. Masterfully orchestrated and deeply disturbing illustrations of the depth of the racial divide play out behind the scrim of Barlowe's awkward attempts to have conversations in public with new white neighbor Sandy. McCall also beautifully weaves in the decades-long local struggle over King's legacy, including the moment when a candidate for King's church's open pulpit is rejected for "linguistic lapses... unbefitting of the crisp doctoral eloquence of Martin Luther King." McCall nails such details again and again, and the results, if less than hopeful, are poignant and grimly funny. (Nov.)

Copyright 2007 Reed Business Information

Publishers Weekly

McCall (MakesMe Wanna Holler) follows up his autobiography with a first novel that focuses directly on the old Fourth Ward of Atlanta, the former home of Dr. Martin Luther King Jr. Now the neighborhood is changing, as white couples find this the perfect place to resettle. The "gentrification" of the area begins next door to Barlowe Reed, an African American through whom McCall filters the anger, tensions, and sensibilities of the community. With his new neighbor Sandy and her husband, Sean, old grievances, beliefs, and hopes are explored and tested. McCall manages to make the characters fully genuine, and narrator Mirron Willis brings them quite expertly to life. Much more happens within the minds of these characters than in many more action-packed stories. Recommended.
—Joyce Kessel Copyright 2007 Reed Business Information

School Library Journal

From memoirist and journalist McCall (What's Going On: Personal Essays, 1997, etc.), a debut novel about an Atlanta neighborhood undergoing gentrification-or invasion, depending on your point of view. The Old Fourth Ward, birthplace of Martin Luther King Jr., is a little run-down now that affluent blacks have been siphoned off to the integrated suburbs, but it's still a cozy African-American community that's tolerant of the old men who sit gabbing every day outside the Auburn Avenue Mini Mart, of the drunk couple often staggering along the sidewalks and of the homeless man always hustling for odd jobs. The Fourth suits Barlowe Reed, who dreams of buying the shabby house he rents at 1024 Randolph St., if he can just get a decent raise out of his cracker boss at the Copy Right Print Shop. It also appeals to Sean and Sandy Gilmore, part of an influx of whites drawn to the handsome old houses available "for the cost of a ham sandwich." Sean and Sandy want to be good neighbors; they can't understand why everyone regards them with hostility and suspicion. Readers will get it, as potholes neglected for years are filled in, police patrols appear out of nowhere to roust the drunks, and whites get elected to all the offices of the Fourth Ward Civic League, which promptly calls for an end to outdoor card-playing (so rowdy) and frontyard barbecues ("those hideous steel drums"). The tentative friendship between next-door neighbors Sandy and Barlowe doesn't stand a chance in this increasingly tense atmosphere as tires are slashed and fires started in the mailboxes of white-owned homes. McCall's characterizations are vivid rather than deep: With the exception of Sandy, all white folks are cluelesslyarrogant, and among the somewhat more fully drawn African-Americans, only Barlowe has any real depth. The plot is similarly schematic; what matters here is McCall's painfully honest portrait of a nation racked by racial mistrust. Squirm-inducing, which surely was the author's intention. Agent: Faith Childs/Faith Childs Literary Agency Inc.

Kirkus Reviews

Mirron Willis relates this sensitive and often disturbing story of a white couple taking up residence in the largely black neighborhood of Atlanta’s Fourth Ward. The story varies in its tone and could have been a challenge for even the most experienced narrator. However, Willis is a narrator who not only assumes the identity of the story’s central character but also skilfully steps back into impartiality with the story’s omniscient narrator. Willis’s theatrical experience as a member of the Oregon Shakespeare Festival is apparent from his deep and inspired reading, though he never allows it to sound over the top or forced. The result is a perfect combination for a memorable listening experience. L.B. © AudioFile 2008, Portland, Maine

APR/MAY 08 - AudioFile