Published by Atlantic Monthly Press on September 4, 2018
In John Woman, Walter Mosley again proves why his inclusion in my list of three favorite modern crime writers is not just laminated, but anchored in cement. John Woman is a crime novel in the way that Native Son and Crime and Punishment are crime novels. The books combines a crime plot with philosophy, psychology, and Tolstoy’s view that historical truth is elusive if not impossible to discover. It is fresh and original and a masterpiece in concept and execution.
Cornelius “CC” Jones lived with his father, Herman Jones, but he learned about life from his mother’s stories about the gangsters she dated. Herman reveres the English language, suggesting he might be modeled after Mosley, whose love of language is revealed in the lovely language he uses to tell his tales. But Herman is losing his words and finds himself living in the past, robbed of the present by the creeping onset of dementia.
Herman is hospitalized when the novel begins and bedridden for the next several years. CC secretly takes over Herman’s job as a projectionist so that the paychecks will keep coming. In 1955, when CC is 16, he commits a murder and is later seduced by a female cop who (unaware of the murder) enjoys dominating him. His mother has disappeared, apparently having accompanied a mobster who fled from the law.
When the novel shifts ahead to 1974, CC had adopted the identity of John Woman to protect himself from arrest for a murder he knows will eventually be discovered. He is a professor of history at a university founded and operated by members of a new age religion, a subgroup of which is known as the Platinum Path. He teaches his students that historical truth is a mirage shaped by the political, religious, and cultural biases of historians — a view that other faculty members view as undermining history and historians.
John Woman is rooted in a murder, but it is primarily a story of decent people who treat each other decently, people who value life and who understand the importance of generosity, forgiveness, and acceptance. Their decency transcends race or religion. History is full of heroes who spend time shaping a legacy, but life is full of heroes who will never be studied by historians — the friends who sacrifice to help us get through tough times, the strangers who make an effort to be kind to another stranger, the ordinary folk who make a difference in unseen ways that nevertheless change the world.
John Woman reminds us that what we don’t know about the people society regards as historically important vastly exceeds what we do know. We know even less about all the equally important people who shaped but have been lost to history. Making that point in a lecture to the faculty nearly costs Woman his job. His freedom (and thus his life) is at risk because his history as a murderer might be discovered — but it is a history he shares with many murderers, and yet another example of undiscovered historical knowledge.
The novel’s multiple themes include: bringing courage and dignity to death, the importance of understanding history to understanding life, casting off the chains of childhood to become an adult, rejection of false certainties in favor of intellectual inquiry, the nature of fate and destiny (“our purposes are not necessarily our intentions”), the need to shape the future rather than obsessing about the unchangeable past, the possibility of rising above the limited role that society might assign to people of a particular race or origin, the empowering recognition that oppressors are victims of their own oppression, the myth of white identity, the notion that denying someone else’s past (pretending, for example, that people of an oppressed group were never oppressed) is a form of murder, the drive people feel to judge each other and how little right they have to do it. And this: “There’s no value in persecuting someone for overcoming their history in an attempt to forge a better future.”
John Woman is a surprising character — he never does the expected, and is capable of both great empathy and cold calculation, able at any moment to make either the most or the least moral choice. He likens himself to the coyote of mythology, the cunning trickster. The plot of John Woman is also surprising. For all the novel’s surprises, however, it always maintains credibility; none of the plot twists are forced.. The intersection of John’s life with the Platinum Path adds suspense, as does the question of whether John will go to prison (and perhaps be transformed into predator or prey) for the crime he committed almost two decades earlier. Still, this is a novel of ideas (“the most dangerous products of humankind”) rather than thrills, of complex moral choices rather than fights and shootouts. It might be Mosley’s best work.
HIGHLY RECOMMENDED