Furo Wariboko, a young Nigerian, awakes the morning before a job interview to find that he's been transformed into a white man. In this condition he plunges into the bustle of Lagos to make his fortune. With his red hair, green eyes, and pale skin, it seems he's been completely changed.Read more...
Furo Wariboko, a young Nigerian, awakes the morning before a job interview to find that he's been transformed into a white man. In this condition he plunges into the bustle of Lagos to make his fortune. With his red hair, green eyes, and pale skin, it seems he's been completely changed. Well, almost. There is the matter of his family, his accent, his name. Oh, and his black ass. Furo must quickly learn to navigate a world made unfamiliar and deal with those who would use him for their own purposes. Taken in by a young woman called Syreeta and pursued by a writer named Igoni, Furo lands his first-ever job, adopts a new name, and soon finds himself evolving in unanticipated ways.
A. Igoni Barrett's "Blackass" is a fierce comic satire that touches on everything from race to social media while at the same time questioning the values society places on us simply by virtue of the way we look. As he did in "Love Is Power, or Something Like That," Barrett brilliantly depicts life in contemporary Nigeria and details the double-dealing and code-switching that are implicit in everyday business. But it's Furo's search for an identity--one deeper than skin--that leads to the final unraveling of his own carefully constructed story.
Publishers Weekly® Reviews
- Reviewed in: Publishers Weekly, page .
- Review Date: 2016-01-04
- Reviewer: Staff
On the morning of a long-awaited job interview, Furo Wariboko, a black Nigerian, wakes to find that he’s white. Rushing out of the house to avoid being seen, Furo ends up trekking across Lagos’s traffic-choked sprawl, sans phone, money, or an explanation for why he looks white and sounds Nigerian. But as he soon discovers, being an oyibo, or light-skinned person, comes with significant perks. Watching Furo as he shifts from trying to cope with his new circumstances to trying to profit from them is compelling, and Syreeta, who picks Furo up in a mall and invites him to share her sugar daddy–funded apartment, is a memorable character. For Americans unfamiliar with Nigeria, Lagos functions as another character in the book, a fascinating and chaotic megacity populated by people trying to move up in the world—some honestly, some less so. It’s no coincidence that Furo’s new job is selling self-help books. All this would be plenty, but Barrett, initially in the book as a bystander from whom Furo cadges a drink, becomes more central, as he too begins to undergo a transformation. The problem is that this second transformation—complete except for one key detail—feels less organic, more like a literary device. Nevertheless, Barrett’s debut novel is an original take on both metamorphosis and The Metamorphosis. (Mar.)