In literary fiction and independent films, certain issues the mainstream culture shies away from, or treats with kid gloves and clichés, sometimes get dealt with in an interesting, truthfully unconventional way.
Race, especially relations between blacks and whites in 21st century urban America is definitely one of these touchy subjects many writers and directors gloss over or approach with obvious bias. Out of fear, mass American culture tends to either romanticize or demonize white-black interaction.
Sidney Poitier or O.J. on one side, Tom Hanks or the Ku Klux Klan on the other. There are exceptions to this rule though. Acclaimed novelist and screenwriter Richard Price, beginning with his novel "Clockers," not to be confused with the bad Spike Lee movie of the same name, and three follow-ups: "Freedomland" (also made into a horrifically bad film), "Samaritan" and most recently, "Lush Life," handle racial relationships with all the complexity and interest they deserve, but often don't get in popular culture.
Another writer, categorized more as a genre (police procedural) artist, who doesn't shy away from complex black-white relationships, often antagonistic, is Washington D.C.-based writer George Pelecanos, Emmy-nominated for scripts he wrote for HBO's incredible series, "The Wire," which introduced a squadron of fine African-American actors to the viewers who loved the show, a five-season drama unparalleled on American television, grittily displaying multiple worlds in decaying inner-city Baltimore.
Long before "The Wire," Pelecanos was writing fine police procedurals set in the Nation's Capital. "The Turnaround" is the latest entry. This novel starts in the early '70s and ends in the changes neighborhood's of today's D.C. The book turns on an incident that became a crime between black and white teens 35 years ago, and explosively ends when the survivors of the night in question crash back into each other's much-changed worlds three decades later.
Tension, well-built characters, a mad pace, and a cleverly plotted tale of revenge and salvation make "The Turnaround" rewarding, intelligent and exciting reading.
But don't take my word for it. Stephen King, you've heard that name, calls Pelecanos, "Perhaps the greatest living American crime writer."
Motoko Rich, in the "New York Times," says" "Pelecanos...is part of a fraternity of writers, including Richard Price and Dennis Lehane ("Mystic River," also made into a great movie) who push the boundaries of crime writing into literary territory...introducing challenging social themes and bucking expectations...."
See for yourself. "The Turnaround" is a good start for ya.
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