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A preacher called Deke O'Malley's been selling false hope: the promise of a glorious new life in Africa for just $1,000 a family. But when thieves with machine guns steal the proceeds - and send one man's brain matter flying - the con is up. Now Grave Digger Jones and Coffin Ed mean to bring the good people of Harlem back their $87,000, however many corpses they have to climb over to get it.
Cotton Comes to Harlem is a non-stop ride, with violence, sex, double-crosses, and the two baddest detectives ever to wear a badge in Harlem.
With a new Introduction by Will Self.
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Deke O'Malley is sponsoring a rally for his Back-to-Africa Movement, which he organized soon after being released from Atlanta's state penitentiary. At the rally, he collects $87,000 from gullible families reserving space on one of his three non-existent ocean liners. The money is stolen by white gunmen and hidden in a bale of cotton. The cotton is picked up by Uncle Bud, a junkman, and eventually finds its way to Billie Belle, an exotic dancer at the Cotton Club. Grave Digger and Coffin Ed are relentless in their search for the cotton, Deke O'Malley and anyone else who may help in solving the crime. One such person is Colonel Robert L. Calhoun of Birmingham, Alabama and the Back-to-the-Southland Movement.
There is very little waste in this book. The dialogue and descriptions are very authentic. The writing is loaded with humor. I found it hard to put down right from the beginning.
A film based on the novel was produced by Samuel Goldwyn, Jr. for United Artists in 1970. The screenplay was written by Ossie Davis and Arnold Perl. Godfrey Cambridge and Raymond St. Jacques starred as Coffin Ed Johnson and Gravedigger Jones, respectively. Red Foxx was Uncle Bud.
Raymond Chandler wrote that detectives must walk the mean streets, but they must not themselves be mean. Well, Grave Digger and Coffin Ed walk the mean streets just fine, but the "not being mean" part gives them trouble; they doubt the feasibility of solving a case without, say, slapping around a few witnesses or firing a few shots into a crowd. Despite the detectives' unhesitating brutality, this novel compares well to the best of Raymond Chandler and Robert B. Parker. This is due not only to the spot-on dialogue and the stark, vivid character depictions, but also the detectives' uncompromising determination to bring justice to Harlem. The plot is better, i.e., less predictable, than any of Parker's, and Himes's depiction of 1960s Harlem is so bizarre, yet compelling, that it invites comparison to Carl Hiassen's Florida rather than Chandler's LA. Add to this Himes's unique, excruciatingly honest depiction of race relations in the 1960s, and you have one of the best detective novels I have read in years.
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