![]() ![]() I feel that I benefited greatly from the experience of reading The Sellout, from its humour to its wit and insight. Perhaps its very cleverness stood in the way of me settling into the story, and of me suspending disbelief enough to fully engage with the story.īut, does that matter? Do readers need to feel part of a story to appreciate the artistry before them? I don’t think so. Although I found that it was difficult to read the book as a whole, there were many passages within the book that deserved to be savoured and re-read. It was wickedly funny, unremittingly clever and as lively as a hyperactive three-year-old, providing an alternative view of racism, rich with sarcasm and irony.īut, it was no easy-read. I never felt like I was fully engaged with the story, as impressed as I was with the witty and startlingly original ideas that Beatty put on the page. He comes up with ways of addressing wrongs in his own way, touching on issues of slavery and segregation. Narrated by the son of a single father, a sociologist psychopathically obsessed with racism, who was killed in a drive-by shooting. The Sellout was entirely different to any other book I had read. That was the case when I started reading The Sellout by Paul Beatty. Their characters are unfamiliar and the situations unrecognisable, and even bizarre. ![]() Some books are so unlike any others that it takes a while to understand what is happening when you start reading them. ![]()
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