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The Underground Railroad (Pulitzer Prize Winner) (National Book Award Winner) (Oprah's Book Club)

A Novel

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Best Seller
Hardcover
$27.95 US
6.48"W x 9.53"H x 1.16"D  
On sale Aug 02, 2016 | 320 Pages | 9780385542364
Grades 9-12 + AP/IB
Winner of the Pulitzer Prize
Winner of the National Book Award
Oprah Book Club 2016 Selection

 
From prize-winning, bestselling author Colson Whitehead, a magnificent tour de force chronicling a young slave's adventures as she makes a desperate bid for freedom in the antebellum South

Cora is a slave on a cotton plantation in Georgia. Life is hell for all the slaves, but especially bad for Cora; an outcast even among her fellow Africans, she is coming into womanhood—where even greater pain awaits. When Caesar, a recent arrival from Virginia, tells her about the Underground Railroad, they decide to take a terrifying risk and escape. Matters do not go as planned—Cora kills a young white boy who tries to capture her. Though they manage to find a station and head north, they are being hunted.
     In Whitehead’s ingenious conception, the Underground Railroad is no mere metaphor—engineers and conductors operate a secret network of tracks and tunnels beneath the Southern soil. Cora and Caesar’s first stop is South Carolina, in a city that initially seems like a haven. But the city’s placid surface masks an insidious scheme designed for its black denizens. And even worse: Ridgeway, the relentless slave catcher, is close on their heels. Forced to flee again, Cora embarks on a harrowing flight, state by state, seeking true freedom.
     Like the protagonist of Gulliver’s Travels, Cora encounters different worlds at each stage of her journey—hers is an odyssey through time as well as space. As Whitehead brilliantly re-creates the unique terrors for black people in the pre–Civil War era, his narrative seamlessly weaves the saga of America from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once a kinetic adventure tale of one woman’s ferocious will to escape the horrors of bondage and a shattering, powerful meditation on the history we all share.

“[A] potent, almost hallucinatory novel that leaves the reader with a devastating understanding of the terrible human costs of slavery. It possesses the chilling matter-of-fact power of the slave narratives collected by the Federal Writers’ Project in the 1930s, with echoes of Toni Morrison’s Beloved, Victor Hugo’s Les Misérables, Ralph Ellison’s Invisible Man, and brush strokes borrowed from Jorge Luis Borges, Franz Kafka and Jonathan Swift. . . . [S]urreal elements inject the narrative with a mythic dimension. . . . One of the remarkable things about this novel is how Mr. Whitehead found an elastic voice that accommodates both brute realism and fable-like allegory, the plain-spoken and the poetic—a voice that enables him to convey the historical horrors of slavery with raw, shocking power. . . . The harrowing tale he tells here is the back story to the injustices African-Americans and immigrants continue to suffer today, but the back story only in the sense, as Faulkner put it, that ‘the past is never dead. It’s not even past.’ . . .  [H]e memorializes the yearning for freedom that spurs one generation after another to persevere in the search for justice—despite threats and intimidation, despite reversals and efforts to turn back the clock. He has told a story essential to our understanding of the American past and the American present.” —Michiko Kakutani, The New York Times

“The Underground Railroad is inquiring into the very soul of American democracy, measuring the promise of its ideals against the facts of its history . . . a stirring exploration of the American experiment.”  Sam Sacks, Wall Street Journal

“Far and away the most anticipated literary novel of the year, The Underground Railroad marks a new triumph for Whitehead. . . . The MacArthur “genius” has nimbly explored America’s racial consciousness—and more—with an exhilarating blend of comedy, history, horror and speculative fiction. In this new book, though, those elements are choreographed as never before. The soaring arias of cleverness he’s known for have been modulated in these pages. The result is a book that resonates with deep emotional timbre. The Underground Railroad reanimates the slave narrative, disrupts our settled sense of the past and stretches the ligaments of history right into our own era.” —Ron Charles, Washington Post
 
“You will want to fasten your seatbelts when you take a ride on Colson Whitehead’s The Underground Railroad. . . . [A] modern masterpiece. . . . If you’ve been dazzled by Whitehead’s limitless imagination in works such as John Henry Days, Zone One, and Sag Harbor, you will marvel at the literary leaps and bounds the storyteller takes with this daring new tale. . . . By the time we get to the novel’s conclusion, not only has Whitehead satisfied us on the real meaning of freedom, but in so many ways, how we’ve arrived at today’s crossroads in American life.” —Essence
 
“The first thing about Colson’s Whitehead’s new novel, The Underground Railroad, is that it’s really good—good, in fact, in just about every way a novel can be good…Whitehead gives us a grave and fully realized masterpiece, a weird blend of history and fantasy that will have critics rightfully making comparisons to Toni Morrison and Gabriel García-Márquez. . . . Lovely and rare, dark and imaginative, The Underground Railroad’ is Whitehead’s best work and an important American novel.” The Boston Globe
 
“In the past few decades, adventurous and resourceful African-American writers have sought and achieved greater imaginative license over their shared history, especially the centuries of bondage. . . . Colson Whitehead’s new novel, The Underground Railroad, has raised the bar—and the stakes—for such fiction by yoking all the attributes of those aforementioned novels (as well as the classic slave narratives of 19th century) into a boldly imaginative allegory rooted in brutal historical truths. Whitehead’s masterwork summons terrors and insights palpable enough to be recognized in our present-day world as in the alternate universe where this book takes place. . . . As much as any literary classic, Whitehead’s novel poses beautifully shaped questions that speak not just to history, or to the present day, but to eternity itself. This is a great book.” —Newsday
 
“You’ll be shaken and stunned by Whitehead’s imaginative brilliance, which shifts our actual history just a little off-center in order to all the more clearly depict the horrifying realities which are an undeniable part of America’s past—and which, to this day, continue to deeply affect and poison our present. The Underground Railroad is a book both timeless and timely. It is a book for now; it is a book that is necessary.” Buzzfeed
 
“[F]uses social realism and speculative invention as even [Whitehead’s] most celebrated work has never quite done.” Vulture
 
“[A] successful amalgam: a realistically imagined slave narrative and a crafty allegory; a tense adventure tale and a meditation on America’s defining values. . . . [An] ingenious novel.” —Minneapolis Star Tribune

“[M]asterful, urgent. . . . The vivid, heart-clutching narrative of [Cora’s] escape takes care of its own implications about the enormity that is America slavery…a major American novelist. . . . A tragic, disturbing necessity: that describes the feeling of The Underground Railroad. . . . The result is one of the finest novels written about our country’s still unabsolved original sin.” USA Today
 
“[T]hink Toni Morrison (Beloved), Alex Haley (Roots); think 12 Years a Slave. Now here comes Colson Whitehead and with an extraordinary new take . . . an electrifying novel . . . a great adventure tale, teeming with memorable characters. At times, it's almost too sad to bear, but you'll keep reading, inspired by Cora and all the others who struggled to keep their humanity alive while trapped in America's ‘peculiar institution’ of slavery. Tense, graphic, uplifting and informed, this is a story to share and remember.”
People

“Kept me up at night, had my heart in my throat, almost afraid to turn the next page. Get it, then get another copy for someone you know because you are definitely going to want to talk about it once you read that heart-stopping last page.” —Oprah Winfrey, (Oprah’s Book Club 2016 Selection)
 
“Ingenious. . . . Whitehead brilliantly recreates the unique terrors for black people in the pre-Civil War era, his narrative seamlessly weaves the saga of America from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once a kinetic adventure tale of one woman's ferocious will to escape the horrors of bondage and a shattering, powerful meditation on the history we all share.”
CBS
© Madeline Whitehead
Colson Whitehead is the #1 New York Times bestselling author of The Underground Railroad, which in 2016 won the Pulitzer Prize in Fiction and the National Book Award and was named one of the Ten Best Books of the Year by The New York Times Book Review, as well as The Noble Hustle, Zone One, Sag Harbor, The Intuitionist, John Henry Days, Apex Hides the Hurt, and The Colossus of New York. He is also a Pulitzer Prize finalist and a recipient of the MacArthur and Guggenheim Fellowships. He lives in New York City.

Colson Whitehead is available for select speaking engagements. To inquire about a possible appearance, please contact Penguin Random House Speakers Bureau at speakers@ penguinrandomhouse.com or visitwww.prhspeakers.com. View titles by Colson Whitehead
THE first time Caesar approached Cora about running north, she said no.
This was her grandmother talking. Cora’s grandmother had never seen the ocean before that bright afternoon in the port of Ouidah and the water dazzled after her time in the fort’s dungeon. The dungeon stored them until the ships arrived. Dahomeyan raiders kidnapped the men first, then returned to her village the next moon for the women and children, marching them in chains to the sea two by two. As she stared into the black doorway, Ajarry thought she’d be reunited with her father, down there in the dark. The survivors from her village told her that when her father couldn’t keep the pace of the long march, the slavers stove in his head and left his body by the trail. Her mother had died years before.
Cora’s grandmother was sold a few times on the trek to the fort, passed between slavers for cowrie shells and glass beads. It was hard to say how much they paid for her in Ouidah as she was part of a bulk purchase, eighty-eight human souls for sixty crates of rum and gunpowder, the price arrived upon after the standard haggling in Coast English. Able-bodied men and child- bearing women fetched more than juveniles, making an individual accounting difficult.
The Nanny was out of Liverpool and had made two previous stops along the Gold Coast. The captain staggered his purchases, rather than find himself with cargo of singular culture and disposition. Who knew what brand of mutiny his captives might cook up if they shared a common tongue. This was the ship’s final port of call before they crossed the Atlantic. Two yellow-haired sailors rowed Ajarry out to the ship, humming. White skin like bone.
The noxious air of the hold, the gloom of confinement, and the screams of those shackled to her contrived to drive Ajarry to madness. Because of her tender age, her captors did not immedi- ately force their urges upon her, but eventually some of the more seasoned mates dragged her from the hold six weeks into the pas- sage. She twice tried to kill herself on the voyage to America, once by denying herself food and then again by drowning. The sailors stymied her both times, versed in the schemes and inclinations of chattel. Ajarry didn’t even make it to the gunwale when she tried to jump overboard. Her simpering posture and piteous aspect, recognizable from thousands of slaves before her, betrayed her intentions. Chained head to toe, head to toe, in exponential misery.
Although they had tried not to get separated at the auction in Ouidah, the rest of her family was purchased by Portuguese trad- ers from the frigate Vivilia, next seen four months later drifting ten miles off Bermuda. Plague had claimed all on board. Authori- ties lit the ship on fire and watched her crackle and sink. Cora’s grandmother knew nothing about the ship’s fate. For the rest of her life she imagined her cousins worked for kind and generous masters up north, engaged in more forgiving trades than her own, weaving or spinning, nothing in the fields. In her stories, Isay and Sidoo and the rest somehow bought their way out of bondage and lived as free men and women in the City of Pennsylvania, a place she had overheard two white men discuss once. These fantasies gave Ajarry comfort when her burdens were such to splinter her into a thousand pieces.
The next time Cora’s grandmother was sold was after a month in the pest house on Sullivan’s Island, once the physicians certified her and the rest of the Nanny’s cargo clear of illness. Another busy day on the Exchange. A big auction always drew a colorful crowd. Traders and procurers from up and down the coast converged on Charleston, checking the merchandise’s eyes and joints and spines, wary of venereal distemper and other afflictions. Onlook- ers chewed fresh oysters and hot corn as the auctioneers shouted into the air. The slaves stood naked on the platform. There was a bidding war over a group of Ashanti studs, those Africans of renowned industry and musculature, and the foreman of a lime- stone quarry bought a bunch of pickaninnies in an astounding bargain. Cora’s grandmother saw a little boy among the gawk- ers eating rock candy and wondered what he was putting in his mouth.
Just before sunset an agent bought her for two hundred and twenty-six dollars. She would have fetched more but for that sea- son’s glut of young girls. His suit was made of the whitest cloth she had ever seen. Rings set with colored stone flashed on his fin- gers. When he pinched her breasts to see if she was in flower, the metal was cool on her skin. She was branded, not for the first or last time, and fettered to the rest of the day’s acquisitions. The coffle began their long march south that night, staggering behind the trader’s buggy. The Nanny by that time was en route back to Liverpool, full of sugar and tobacco. There were fewer screams belowdecks.
You would have thought Cora’s grandmother cursed, so many times was she sold and swapped and resold over the next few years. Her owners came to ruin with startling frequency. Her first mas- ter got swindled by a man who sold a device that cleaned cotton twice as fast as Whitney’s gin. The diagrams were convincing, but in the end Ajarry was another asset liquidated by order of the magistrate. She went for two hundred and eighteen dollars in a hasty exchange, a drop in price occasioned by the realities of the local market. Another owner expired from dropsy, whereupon his widow held an estate sale to fund a return to her native Europe, where it was clean. Ajarry spent three months as the property of a Welshman who eventually lost her, three other slaves, and two hogs in a game of whist. And so on.
Her price fluctuated. When you are sold that many times, the world is teaching you to pay attention. She learned to quickly adjust to the new plantations, sorting the nigger breakers from the merely cruel, the layabouts from the hardworking, the inform- ers from the secret-keepers. Masters and mistresses in degrees of wickedness, estates of disparate means and ambition. Sometimes the planters wanted nothing more than to make a humble living, and then there were men and women who wanted to own the world, as if it were a matter of the proper acreage. Two hundred and forty-eight, two hundred and sixty, two hundred and seventy dollars. Wherever she went it was sugar and indigo, except for a stint folding tobacco leaves for one week before she was sold again. The trader called upon the tobacco plantation looking for slaves of breeding age, preferably with all their teeth and of pliable disposi- tion. She was a woman now. Off she went.
She knew that the white man’s scientists peered beneath things to understand how they worked. The movement of the stars across the night, the cooperation of humors in the blood. The temper- ature requirements for a healthy cotton harvest. Ajarry made a science of her own black body and accumulated observations. Each thing had a value and as the value changed, everything else changed also. A broken calabash was worth less than one that held its water, a hook that kept its catfish more prized than one that relinquished its bait. In America the quirk was that people were things. Best to cut your losses on an old man who won’t survive a trip across the ocean. A young buck from strong tribal stock got customers into a froth. A slave girl squeezing out pups was like a mint, money that bred money. If you were a thing—a cart or a horse or a slave—your value determined your possibilities. She minded her place.
Finally, Georgia. A representative of the Randall plantation bought her for two hundred and ninety-two dollars, in spite of the new blankness behind her eyes, which made her look simple- minded. She never drew a breath off Randall land for the rest of her life. She was home, on this island in sight of nothing.
Cora’s grandmother took a husband three times. She had a pre- dilection for broad shoulders and big hands, as did Old Randall, although the master and his slave had different sorts of labor in mind. The two plantations were well-stocked, ninety head of nig- ger on the northern half and eighty-five head on the southern half. Ajarry generally had her pick. When she didn’t, she was patient.
Her first husband developed a hankering for corn whiskey and started using his big hands to make big fists. Ajarry wasn’t sad to see him disappear down the road when they sold him to a sugar- cane estate in Florida. She next took up with one of the sweet boys from the southern half. Before he passed from cholera he liked to share stories from the Bible, his former master being more liberal- minded when it came to slaves and religion. She enjoyed the stories and parables and supposed that white men had a point: Talk of salvation could give an African ideas. Poor sons of Ham. Her last husband had his ears bored for stealing honey. The wounds gave up pus until he wasted away.
Ajarry bore five children by those men, each delivered in the same spot on the planks of the cabin, which she pointed to when they misstepped. That’s where you came from and where I’ll put you back if you don’t listen. Teach them to obey her and maybe they’ll obey all the masters to come and they will survive. Two died miserably of fever. One boy cut his foot while playing on a rusted plow, which poisoned his blood. Her youngest never woke up after a boss hit him in the head with a wooden block. One after another. At least they were never sold off, an older woman told Ajarry. Which was true—back then Randall rarely sold the little ones. You knew where and how your children would die. The child that lived past the age of ten was Cora’s mother, Mabel.
Ajarry died in the cotton, the bolls bobbing around her like whitecaps on the brute ocean. The last of her village, keeled over in the rows from a knot in her brain, blood pouring from her nose and white froth covering her lips. As if it could have been anywhere else. Liberty was reserved for other people, for the citi- zens of the City of Pennsylvania bustling a thousand miles to the north. Since the night she was kidnapped she had been appraised and reappraised, each day waking upon the pan of a new scale. Know your value and you know your place in the order. To escape the boundary of the plantation was to escape the fundamental principles of your existence: impossible.
It was her grandmother talking that Sunday evening when Caesar approached Cora about the underground railroad, and she said no.
Three weeks later she said yes.
This time it was her mother talking.

Educator Guide for The Underground Railroad (Pulitzer Prize Winner) (National Book Award Winner) (Oprah's Book Club)

Classroom-based guides appropriate for schools and colleges provide pre-reading and classroom activities, discussion questions connected to the curriculum, further reading, and resources.

(Please note: the guide displayed here is the most recently uploaded version; while unlikely, any page citation discrepancies between the guide and book is likely due to pagination differences between a book’s different formats.)

  • WINNER | 2017
    Andrew Carnegie Medal for Excellence in Fiction
  • WINNER | 2017
    Chicago Tribune Heartland Prize
  • WINNER | 2017
    Pulitzer Prize (Fiction)
  • WINNER | 2017
    Arthur C. Clarke Award
  • WINNER | 2016
    National Book Award
  • WINNER | 2016
    New York Times 10 Best Books of the Year
  • LONGLIST | 2017
    Man Booker Prize for Fiction
  • FINALIST | 2017
    Dayton Literary Peace Prize for Fiction
  • AWARD | 2016
    New York Times 10 Best Books of the Year
WINNER OF THE PULITZER PRIZE, THE NATIONAL BOOK AWARD, THE ALA ANDREW CARNEGIE MEDAL AND THE HURSTON/WRIGHT AWARD ** NAMED A BEST BOOK OF THE YEAR BY NEW YORK TIMES BOOK REVIEW, WALL STREET JOURNAL, WASHINGTON POST, TIME, PEOPLE, NPR AND MORE ** #1 NEW YORK TIMES BESTSELLER

“Get it, then get another copy for someone you know because you are definitely going to want to talk about it once you read that heart-stopping last page.”
--Oprah Winfrey (Oprah's Book Club 2016 Selection)

“[A] potent, almost hallucinatory novel... It possesses the chilling matter-of-fact power of the slave narratives collected by the Federal Writers’ Project in the 1930s, with echoes of Toni Morrison’s Beloved, Victor Hugo’s Les Misérables, Ralph Ellison’s Invisible Man, and brush strokes borrowed from Jorge Luis Borges, Franz Kafka and Jonathan Swift…He has told a story essential to our understanding of the American past and the American present.”
--Michiko Kakutani, The New York Times

“Think Toni Morrison (Beloved), Alex Haley (Roots); think 12 Years a Slave…An electrifying novel…a great adventure tale, teeming with memorable characters…Tense, graphic, uplifting and informed, this is a story to share and remember.”
--People, (Book of the Week)
 
"With this novel, Colson Whitehead proves that he belongs on any short list of America's greatest authors--his talent and range are beyond impressive and impossible to ignore. The Underground Railroad is an American masterpiece, as much a searing document of a cruel history as a uniquely brilliant work of fiction."
--Michael Schaub, NPR

“Far and away the most anticipated literary novel of the year, The Underground Railroad marks a new triumph for Whitehead…[A] book that resonates with deep emotional timbre. The Underground Railroad reanimates the slave narrative, disrupts our settled sense of the past and stretches the ligaments of history right into our own era...The canon of essential novels about America's peculiar institution just grew by one.”
--Ron Charles, Washington Post

Colson Whitehead (author of The Underground Railroad) | What I'm Reading

Colson Whitehead on his early writing | Author Shorts

How writing about race in the past evokes the present | Author Colson Whitehead

About

Winner of the Pulitzer Prize
Winner of the National Book Award
Oprah Book Club 2016 Selection

 
From prize-winning, bestselling author Colson Whitehead, a magnificent tour de force chronicling a young slave's adventures as she makes a desperate bid for freedom in the antebellum South

Cora is a slave on a cotton plantation in Georgia. Life is hell for all the slaves, but especially bad for Cora; an outcast even among her fellow Africans, she is coming into womanhood—where even greater pain awaits. When Caesar, a recent arrival from Virginia, tells her about the Underground Railroad, they decide to take a terrifying risk and escape. Matters do not go as planned—Cora kills a young white boy who tries to capture her. Though they manage to find a station and head north, they are being hunted.
     In Whitehead’s ingenious conception, the Underground Railroad is no mere metaphor—engineers and conductors operate a secret network of tracks and tunnels beneath the Southern soil. Cora and Caesar’s first stop is South Carolina, in a city that initially seems like a haven. But the city’s placid surface masks an insidious scheme designed for its black denizens. And even worse: Ridgeway, the relentless slave catcher, is close on their heels. Forced to flee again, Cora embarks on a harrowing flight, state by state, seeking true freedom.
     Like the protagonist of Gulliver’s Travels, Cora encounters different worlds at each stage of her journey—hers is an odyssey through time as well as space. As Whitehead brilliantly re-creates the unique terrors for black people in the pre–Civil War era, his narrative seamlessly weaves the saga of America from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once a kinetic adventure tale of one woman’s ferocious will to escape the horrors of bondage and a shattering, powerful meditation on the history we all share.

“[A] potent, almost hallucinatory novel that leaves the reader with a devastating understanding of the terrible human costs of slavery. It possesses the chilling matter-of-fact power of the slave narratives collected by the Federal Writers’ Project in the 1930s, with echoes of Toni Morrison’s Beloved, Victor Hugo’s Les Misérables, Ralph Ellison’s Invisible Man, and brush strokes borrowed from Jorge Luis Borges, Franz Kafka and Jonathan Swift. . . . [S]urreal elements inject the narrative with a mythic dimension. . . . One of the remarkable things about this novel is how Mr. Whitehead found an elastic voice that accommodates both brute realism and fable-like allegory, the plain-spoken and the poetic—a voice that enables him to convey the historical horrors of slavery with raw, shocking power. . . . The harrowing tale he tells here is the back story to the injustices African-Americans and immigrants continue to suffer today, but the back story only in the sense, as Faulkner put it, that ‘the past is never dead. It’s not even past.’ . . .  [H]e memorializes the yearning for freedom that spurs one generation after another to persevere in the search for justice—despite threats and intimidation, despite reversals and efforts to turn back the clock. He has told a story essential to our understanding of the American past and the American present.” —Michiko Kakutani, The New York Times

“The Underground Railroad is inquiring into the very soul of American democracy, measuring the promise of its ideals against the facts of its history . . . a stirring exploration of the American experiment.”  Sam Sacks, Wall Street Journal

“Far and away the most anticipated literary novel of the year, The Underground Railroad marks a new triumph for Whitehead. . . . The MacArthur “genius” has nimbly explored America’s racial consciousness—and more—with an exhilarating blend of comedy, history, horror and speculative fiction. In this new book, though, those elements are choreographed as never before. The soaring arias of cleverness he’s known for have been modulated in these pages. The result is a book that resonates with deep emotional timbre. The Underground Railroad reanimates the slave narrative, disrupts our settled sense of the past and stretches the ligaments of history right into our own era.” —Ron Charles, Washington Post
 
“You will want to fasten your seatbelts when you take a ride on Colson Whitehead’s The Underground Railroad. . . . [A] modern masterpiece. . . . If you’ve been dazzled by Whitehead’s limitless imagination in works such as John Henry Days, Zone One, and Sag Harbor, you will marvel at the literary leaps and bounds the storyteller takes with this daring new tale. . . . By the time we get to the novel’s conclusion, not only has Whitehead satisfied us on the real meaning of freedom, but in so many ways, how we’ve arrived at today’s crossroads in American life.” —Essence
 
“The first thing about Colson’s Whitehead’s new novel, The Underground Railroad, is that it’s really good—good, in fact, in just about every way a novel can be good…Whitehead gives us a grave and fully realized masterpiece, a weird blend of history and fantasy that will have critics rightfully making comparisons to Toni Morrison and Gabriel García-Márquez. . . . Lovely and rare, dark and imaginative, The Underground Railroad’ is Whitehead’s best work and an important American novel.” The Boston Globe
 
“In the past few decades, adventurous and resourceful African-American writers have sought and achieved greater imaginative license over their shared history, especially the centuries of bondage. . . . Colson Whitehead’s new novel, The Underground Railroad, has raised the bar—and the stakes—for such fiction by yoking all the attributes of those aforementioned novels (as well as the classic slave narratives of 19th century) into a boldly imaginative allegory rooted in brutal historical truths. Whitehead’s masterwork summons terrors and insights palpable enough to be recognized in our present-day world as in the alternate universe where this book takes place. . . . As much as any literary classic, Whitehead’s novel poses beautifully shaped questions that speak not just to history, or to the present day, but to eternity itself. This is a great book.” —Newsday
 
“You’ll be shaken and stunned by Whitehead’s imaginative brilliance, which shifts our actual history just a little off-center in order to all the more clearly depict the horrifying realities which are an undeniable part of America’s past—and which, to this day, continue to deeply affect and poison our present. The Underground Railroad is a book both timeless and timely. It is a book for now; it is a book that is necessary.” Buzzfeed
 
“[F]uses social realism and speculative invention as even [Whitehead’s] most celebrated work has never quite done.” Vulture
 
“[A] successful amalgam: a realistically imagined slave narrative and a crafty allegory; a tense adventure tale and a meditation on America’s defining values. . . . [An] ingenious novel.” —Minneapolis Star Tribune

“[M]asterful, urgent. . . . The vivid, heart-clutching narrative of [Cora’s] escape takes care of its own implications about the enormity that is America slavery…a major American novelist. . . . A tragic, disturbing necessity: that describes the feeling of The Underground Railroad. . . . The result is one of the finest novels written about our country’s still unabsolved original sin.” USA Today
 
“[T]hink Toni Morrison (Beloved), Alex Haley (Roots); think 12 Years a Slave. Now here comes Colson Whitehead and with an extraordinary new take . . . an electrifying novel . . . a great adventure tale, teeming with memorable characters. At times, it's almost too sad to bear, but you'll keep reading, inspired by Cora and all the others who struggled to keep their humanity alive while trapped in America's ‘peculiar institution’ of slavery. Tense, graphic, uplifting and informed, this is a story to share and remember.”
People

“Kept me up at night, had my heart in my throat, almost afraid to turn the next page. Get it, then get another copy for someone you know because you are definitely going to want to talk about it once you read that heart-stopping last page.” —Oprah Winfrey, (Oprah’s Book Club 2016 Selection)
 
“Ingenious. . . . Whitehead brilliantly recreates the unique terrors for black people in the pre-Civil War era, his narrative seamlessly weaves the saga of America from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once a kinetic adventure tale of one woman's ferocious will to escape the horrors of bondage and a shattering, powerful meditation on the history we all share.”
CBS

Author

© Madeline Whitehead
Colson Whitehead is the #1 New York Times bestselling author of The Underground Railroad, which in 2016 won the Pulitzer Prize in Fiction and the National Book Award and was named one of the Ten Best Books of the Year by The New York Times Book Review, as well as The Noble Hustle, Zone One, Sag Harbor, The Intuitionist, John Henry Days, Apex Hides the Hurt, and The Colossus of New York. He is also a Pulitzer Prize finalist and a recipient of the MacArthur and Guggenheim Fellowships. He lives in New York City.

Colson Whitehead is available for select speaking engagements. To inquire about a possible appearance, please contact Penguin Random House Speakers Bureau at speakers@ penguinrandomhouse.com or visitwww.prhspeakers.com. View titles by Colson Whitehead

Excerpt

THE first time Caesar approached Cora about running north, she said no.
This was her grandmother talking. Cora’s grandmother had never seen the ocean before that bright afternoon in the port of Ouidah and the water dazzled after her time in the fort’s dungeon. The dungeon stored them until the ships arrived. Dahomeyan raiders kidnapped the men first, then returned to her village the next moon for the women and children, marching them in chains to the sea two by two. As she stared into the black doorway, Ajarry thought she’d be reunited with her father, down there in the dark. The survivors from her village told her that when her father couldn’t keep the pace of the long march, the slavers stove in his head and left his body by the trail. Her mother had died years before.
Cora’s grandmother was sold a few times on the trek to the fort, passed between slavers for cowrie shells and glass beads. It was hard to say how much they paid for her in Ouidah as she was part of a bulk purchase, eighty-eight human souls for sixty crates of rum and gunpowder, the price arrived upon after the standard haggling in Coast English. Able-bodied men and child- bearing women fetched more than juveniles, making an individual accounting difficult.
The Nanny was out of Liverpool and had made two previous stops along the Gold Coast. The captain staggered his purchases, rather than find himself with cargo of singular culture and disposition. Who knew what brand of mutiny his captives might cook up if they shared a common tongue. This was the ship’s final port of call before they crossed the Atlantic. Two yellow-haired sailors rowed Ajarry out to the ship, humming. White skin like bone.
The noxious air of the hold, the gloom of confinement, and the screams of those shackled to her contrived to drive Ajarry to madness. Because of her tender age, her captors did not immedi- ately force their urges upon her, but eventually some of the more seasoned mates dragged her from the hold six weeks into the pas- sage. She twice tried to kill herself on the voyage to America, once by denying herself food and then again by drowning. The sailors stymied her both times, versed in the schemes and inclinations of chattel. Ajarry didn’t even make it to the gunwale when she tried to jump overboard. Her simpering posture and piteous aspect, recognizable from thousands of slaves before her, betrayed her intentions. Chained head to toe, head to toe, in exponential misery.
Although they had tried not to get separated at the auction in Ouidah, the rest of her family was purchased by Portuguese trad- ers from the frigate Vivilia, next seen four months later drifting ten miles off Bermuda. Plague had claimed all on board. Authori- ties lit the ship on fire and watched her crackle and sink. Cora’s grandmother knew nothing about the ship’s fate. For the rest of her life she imagined her cousins worked for kind and generous masters up north, engaged in more forgiving trades than her own, weaving or spinning, nothing in the fields. In her stories, Isay and Sidoo and the rest somehow bought their way out of bondage and lived as free men and women in the City of Pennsylvania, a place she had overheard two white men discuss once. These fantasies gave Ajarry comfort when her burdens were such to splinter her into a thousand pieces.
The next time Cora’s grandmother was sold was after a month in the pest house on Sullivan’s Island, once the physicians certified her and the rest of the Nanny’s cargo clear of illness. Another busy day on the Exchange. A big auction always drew a colorful crowd. Traders and procurers from up and down the coast converged on Charleston, checking the merchandise’s eyes and joints and spines, wary of venereal distemper and other afflictions. Onlook- ers chewed fresh oysters and hot corn as the auctioneers shouted into the air. The slaves stood naked on the platform. There was a bidding war over a group of Ashanti studs, those Africans of renowned industry and musculature, and the foreman of a lime- stone quarry bought a bunch of pickaninnies in an astounding bargain. Cora’s grandmother saw a little boy among the gawk- ers eating rock candy and wondered what he was putting in his mouth.
Just before sunset an agent bought her for two hundred and twenty-six dollars. She would have fetched more but for that sea- son’s glut of young girls. His suit was made of the whitest cloth she had ever seen. Rings set with colored stone flashed on his fin- gers. When he pinched her breasts to see if she was in flower, the metal was cool on her skin. She was branded, not for the first or last time, and fettered to the rest of the day’s acquisitions. The coffle began their long march south that night, staggering behind the trader’s buggy. The Nanny by that time was en route back to Liverpool, full of sugar and tobacco. There were fewer screams belowdecks.
You would have thought Cora’s grandmother cursed, so many times was she sold and swapped and resold over the next few years. Her owners came to ruin with startling frequency. Her first mas- ter got swindled by a man who sold a device that cleaned cotton twice as fast as Whitney’s gin. The diagrams were convincing, but in the end Ajarry was another asset liquidated by order of the magistrate. She went for two hundred and eighteen dollars in a hasty exchange, a drop in price occasioned by the realities of the local market. Another owner expired from dropsy, whereupon his widow held an estate sale to fund a return to her native Europe, where it was clean. Ajarry spent three months as the property of a Welshman who eventually lost her, three other slaves, and two hogs in a game of whist. And so on.
Her price fluctuated. When you are sold that many times, the world is teaching you to pay attention. She learned to quickly adjust to the new plantations, sorting the nigger breakers from the merely cruel, the layabouts from the hardworking, the inform- ers from the secret-keepers. Masters and mistresses in degrees of wickedness, estates of disparate means and ambition. Sometimes the planters wanted nothing more than to make a humble living, and then there were men and women who wanted to own the world, as if it were a matter of the proper acreage. Two hundred and forty-eight, two hundred and sixty, two hundred and seventy dollars. Wherever she went it was sugar and indigo, except for a stint folding tobacco leaves for one week before she was sold again. The trader called upon the tobacco plantation looking for slaves of breeding age, preferably with all their teeth and of pliable disposi- tion. She was a woman now. Off she went.
She knew that the white man’s scientists peered beneath things to understand how they worked. The movement of the stars across the night, the cooperation of humors in the blood. The temper- ature requirements for a healthy cotton harvest. Ajarry made a science of her own black body and accumulated observations. Each thing had a value and as the value changed, everything else changed also. A broken calabash was worth less than one that held its water, a hook that kept its catfish more prized than one that relinquished its bait. In America the quirk was that people were things. Best to cut your losses on an old man who won’t survive a trip across the ocean. A young buck from strong tribal stock got customers into a froth. A slave girl squeezing out pups was like a mint, money that bred money. If you were a thing—a cart or a horse or a slave—your value determined your possibilities. She minded her place.
Finally, Georgia. A representative of the Randall plantation bought her for two hundred and ninety-two dollars, in spite of the new blankness behind her eyes, which made her look simple- minded. She never drew a breath off Randall land for the rest of her life. She was home, on this island in sight of nothing.
Cora’s grandmother took a husband three times. She had a pre- dilection for broad shoulders and big hands, as did Old Randall, although the master and his slave had different sorts of labor in mind. The two plantations were well-stocked, ninety head of nig- ger on the northern half and eighty-five head on the southern half. Ajarry generally had her pick. When she didn’t, she was patient.
Her first husband developed a hankering for corn whiskey and started using his big hands to make big fists. Ajarry wasn’t sad to see him disappear down the road when they sold him to a sugar- cane estate in Florida. She next took up with one of the sweet boys from the southern half. Before he passed from cholera he liked to share stories from the Bible, his former master being more liberal- minded when it came to slaves and religion. She enjoyed the stories and parables and supposed that white men had a point: Talk of salvation could give an African ideas. Poor sons of Ham. Her last husband had his ears bored for stealing honey. The wounds gave up pus until he wasted away.
Ajarry bore five children by those men, each delivered in the same spot on the planks of the cabin, which she pointed to when they misstepped. That’s where you came from and where I’ll put you back if you don’t listen. Teach them to obey her and maybe they’ll obey all the masters to come and they will survive. Two died miserably of fever. One boy cut his foot while playing on a rusted plow, which poisoned his blood. Her youngest never woke up after a boss hit him in the head with a wooden block. One after another. At least they were never sold off, an older woman told Ajarry. Which was true—back then Randall rarely sold the little ones. You knew where and how your children would die. The child that lived past the age of ten was Cora’s mother, Mabel.
Ajarry died in the cotton, the bolls bobbing around her like whitecaps on the brute ocean. The last of her village, keeled over in the rows from a knot in her brain, blood pouring from her nose and white froth covering her lips. As if it could have been anywhere else. Liberty was reserved for other people, for the citi- zens of the City of Pennsylvania bustling a thousand miles to the north. Since the night she was kidnapped she had been appraised and reappraised, each day waking upon the pan of a new scale. Know your value and you know your place in the order. To escape the boundary of the plantation was to escape the fundamental principles of your existence: impossible.
It was her grandmother talking that Sunday evening when Caesar approached Cora about the underground railroad, and she said no.
Three weeks later she said yes.
This time it was her mother talking.

Guides

Educator Guide for The Underground Railroad (Pulitzer Prize Winner) (National Book Award Winner) (Oprah's Book Club)

Classroom-based guides appropriate for schools and colleges provide pre-reading and classroom activities, discussion questions connected to the curriculum, further reading, and resources.

(Please note: the guide displayed here is the most recently uploaded version; while unlikely, any page citation discrepancies between the guide and book is likely due to pagination differences between a book’s different formats.)

Awards

  • WINNER | 2017
    Andrew Carnegie Medal for Excellence in Fiction
  • WINNER | 2017
    Chicago Tribune Heartland Prize
  • WINNER | 2017
    Pulitzer Prize (Fiction)
  • WINNER | 2017
    Arthur C. Clarke Award
  • WINNER | 2016
    National Book Award
  • WINNER | 2016
    New York Times 10 Best Books of the Year
  • LONGLIST | 2017
    Man Booker Prize for Fiction
  • FINALIST | 2017
    Dayton Literary Peace Prize for Fiction
  • AWARD | 2016
    New York Times 10 Best Books of the Year

Praise

WINNER OF THE PULITZER PRIZE, THE NATIONAL BOOK AWARD, THE ALA ANDREW CARNEGIE MEDAL AND THE HURSTON/WRIGHT AWARD ** NAMED A BEST BOOK OF THE YEAR BY NEW YORK TIMES BOOK REVIEW, WALL STREET JOURNAL, WASHINGTON POST, TIME, PEOPLE, NPR AND MORE ** #1 NEW YORK TIMES BESTSELLER

“Get it, then get another copy for someone you know because you are definitely going to want to talk about it once you read that heart-stopping last page.”
--Oprah Winfrey (Oprah's Book Club 2016 Selection)

“[A] potent, almost hallucinatory novel... It possesses the chilling matter-of-fact power of the slave narratives collected by the Federal Writers’ Project in the 1930s, with echoes of Toni Morrison’s Beloved, Victor Hugo’s Les Misérables, Ralph Ellison’s Invisible Man, and brush strokes borrowed from Jorge Luis Borges, Franz Kafka and Jonathan Swift…He has told a story essential to our understanding of the American past and the American present.”
--Michiko Kakutani, The New York Times

“Think Toni Morrison (Beloved), Alex Haley (Roots); think 12 Years a Slave…An electrifying novel…a great adventure tale, teeming with memorable characters…Tense, graphic, uplifting and informed, this is a story to share and remember.”
--People, (Book of the Week)
 
"With this novel, Colson Whitehead proves that he belongs on any short list of America's greatest authors--his talent and range are beyond impressive and impossible to ignore. The Underground Railroad is an American masterpiece, as much a searing document of a cruel history as a uniquely brilliant work of fiction."
--Michael Schaub, NPR

“Far and away the most anticipated literary novel of the year, The Underground Railroad marks a new triumph for Whitehead…[A] book that resonates with deep emotional timbre. The Underground Railroad reanimates the slave narrative, disrupts our settled sense of the past and stretches the ligaments of history right into our own era...The canon of essential novels about America's peculiar institution just grew by one.”
--Ron Charles, Washington Post

Media

Colson Whitehead (author of The Underground Railroad) | What I'm Reading

Colson Whitehead on his early writing | Author Shorts

How writing about race in the past evokes the present | Author Colson Whitehead

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