Last year, Everett released “James,” a reimagining of Mark Twain’s “The Adventures of Huckleberry Finn” told from the perspective of the enslaved character Jim. In this parody, Everett gives Jim agency and eloquence that was lacking in the original text. Retaining the essence of Twain’s story, Everett adds a satirical edge to the narrative, exploring themes of language, subversion, and Black American satire.
The novel follows the character of James as he teaches Black children the art of signifying, a form of semantic indirection often used in satire. Signifying, as defined by Henry Louis Gates Jr., exposes the figurative differences between literal and metaphorical meanings. Everett’s use of satire is reminiscent of the Black oral tradition, where signifying and humor were used as tools of resistance and subversion.
In the 19th century, Black American satirists used forms of satire to lampoon the behaviors of white masters, often through subtle comic subversions. This tradition continued into blackface minstrelsy, where white performers would caricature Black expressions and linguistic fluency. However, some Black performers, like Bert Williams, subverted these stereotypes through satirical sophistication, paving the way for more nuanced representations of Black humor in the 20th century.
“James” showcases the power of satire as a tool for marginalized communities to critique and subvert dominant narratives. Through the character of James, Everett explores the complexities of language, power, and agency, highlighting the enduring legacy of Black American satire.
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