Mr. Sebastian and the Negro Magician [NOOK Book]

Overview

Henry Walker was once a world-class magician, performing to sold-out shows in New York. But now he has been reduced to joining Musgrove's Chinese Circus (which at no point in its tour of the deep South has ever included a single Chinese person) as the shambling Negro Magician, whose dark black skin and electric green eyes bewitch most audiences. But one balmy Mississippi night in 1954, Henry disappears in the company of three rowdy white teens and is never seen again. Wallace pieces together Henry's incredible ...
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Mr. Sebastian and the Negro Magician

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Overview

Henry Walker was once a world-class magician, performing to sold-out shows in New York. But now he has been reduced to joining Musgrove's Chinese Circus (which at no point in its tour of the deep South has ever included a single Chinese person) as the shambling Negro Magician, whose dark black skin and electric green eyes bewitch most audiences. But one balmy Mississippi night in 1954, Henry disappears in the company of three rowdy white teens and is never seen again. Wallace pieces together Henry's incredible vagabond life – from a deal with a bone-white devil known only as Mr. Sebastian, to the heartrending loss of his sister Hannah – and creates an enchanting tale of love, loss, identity, and the limitation of magic.


From the Trade Paperback edition.
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Editorial Reviews

Publishers Weekly

An inept African-American illusionist is dogged by the deal he struck with the devil in Wallace's fourth novel, a circus picaresque that barnstorms its way through the 1950s American South. Henry Walker, once the "greatest magician in the world," has been reduced to a minstrel show–like novelty act in a traveling circus. Henry's story, told by a succession of narrators—including members of the circus and a private detective—begins during the Depression, when Henry's family fell on hard times. While down and out, Henry meets and apprentices with the devilish magician Mr. Sebastian. Henry learns the secrets of magic, but his ambition and ability are crimped when his beloved sister, Hannah, disappears. The truths of Henry's and Mr. Sebastian's identities and the fate of Hannah are gradually revealed, and what appears to be a Faustian tale of a pact with the devil turns out to be something more tragic. Wallace (Big Fish; The Watermelon King) skillfully unravels the tale, and though the conclusion is both startling and inevitable, and Henry is as beguiling and enigmatic a character as Wallace has created, the milieu of carnies, hucksters, tricksters and wanderers isn't as sharp as it could be. (July)

Copyright 2007 Reed Business Information
School Library Journal

Adult/High School During the Depression, 10-year-old Henry Walker meets Mr. Sebastian in the run-down hotel where they live. The man teaches Henry the art of prestidigitation, but at a price as the boy's beloved sister disappears-as does Mr. Sebastian. Then, after decades of performing in blackface as the Negro Magician, Walker himself disappears, and his friends in the small-time traveling circus that is now his venue try to piece his story together, all of them sure that they know the true version. Each individual sheds some light on the illusionist's life, until the carefully crafted imaginings are nothing more than a sad tale about a doomed man. The strengths of the novel are the unexpected twists that it takes. The hook comes in the early pages, with the more magical stories; the unfolding of the truth will engage readers. Set in the American South in the middle of the 20th century, this book about a tortured soul is quality storytelling.-Mary Ann Harlan, Arcata High School, CA

Kirkus Reviews
A magician conjures abject failure in Wallace's (The Watermelon King, 2003, etc.) bleak fourth. Glum protagonist Henry Walker is first seen as a ten year old growing up in a dismal hotel where his drunken father toils as a janitor (after losing his fortune to the Crash and his wife to TB). Henry's sister is his dearest companion until he encounters Mr. Sebastian in Room 702. An otherworldly man with a chalk-white complexion, Sebastian trains Henry in the dark arts, then disappears, spiriting Hannah away. After a police investigation turns up no clues, Henry's father reluctantly apprentices him to a talent agent, Tom Hailey, who, thinking Henry will be more marketable as a Negro magician, places him on a regimen of pigmentation pills. World War II intervenes and Henry (white again) garners a rep for magically deflecting bullets and bombs in France. Upon landing in New York Harbor, he's taken up by an ambitious manager, Eddie Kastenbaum. However, when Henry raises his beloved assistant, and Hannah surrogate, Marianne, from the dead, his career tanks prematurely. In dreamlike sequences, Henry revisits Room 702, trying to parse the enigma of Hannah and Mr. Sebastian. Is Mr. Sebastian really the Devil? Did he murder Hannah? Did Henry kill Mr. Sebastian with a stunt knife? A private eye and the denizens of a traveling Southern circus where Henry has washed up-his magical powers much diminished-narrate their recollections and speculations over an 11-day period in May 1954. The voices of the individual narrators, including the circus proprietor, a strongman and a lady of stone, are as unconvincing as their motives in caring so deeply about Henry, an aloof cipher in their midst. The framingincident, which opens and closes the novel, is the abduction of Henry (now in blackface) by three racist thugs who beat him nearly to death, stopping only when someone accidentally wipes the shoe polish from his face. Quietly elegiac but unnecessarily convoluted tale of missed connections and rotten luck.
From the Publisher
“Poignant and provocative. . . .Wallace's lush verbal invention [is] his real genius.” —Los Angeles Times“Powerful. . . . A magical and thoroughly absorbing story about the dangers and deceptions of appearances.”—Minneapolis-St. Paul Star-Tribune “Wallace writes with a heartbreaking kind of razzle-dazzle.”—USA Today“What a pleasure it is to be able to read a book and be able to say, without qualification, this is terrific. . . .This novel is Daniel Wallace's best.” —National Public Radio
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Product Details

  • ISBN-13: 9780307455697
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 7/8/2008
  • Sold by: Random House
  • Format: eBook
  • Pages: 320
  • Sales rank: 418,029
  • File size: 363 KB

Meet the Author

Daniel Wallace is the author of three novels, Big Fish (1998), Ray in Reverse (2000) and The Watermelon King (2003). His stories have been published far and wide in many magazines and anthologies, including The Yale Review, The Massachusetts Review, Shenandoah and Glimmer Train, and his illustrated work has appeared in the L.A. Times and Italian Vanity Fair. Big Fish has been translated into 18 languages and was adapted for film by Tim Burton and John August, and is now available on DVD loaded with extras - including an interview with the author. He lives in Chapel Hill, North Carolina with his wife and son and teaches at the University of North Carolina, Chapel Hill.


From the Trade Paperback edition.
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Read an Excerpt

A Long Story

May 20th, 1954

Jeremiah Mosgrove—the proprietor of Jeremiah Mosgrove's Chinese Circus—hired Henry Walker four years ago, at the halfway point of the twentieth century, hired him almost as soon as he’d walked into Jeremiah’s office: he needed a magician. He hadn’t had a magician in the show for going on a year, not since Rupert Cavendish. Sir Rupert Cavendish was his full name, and he’d been a skilled prestidigitator—that is, until he lost most of his digits in a thresher. For a while they kept him on as a guesser of weight and age. But he always went high on both counts, and soon people began to avoid him. Last Jeremiah heard, he’d found work at a poultry farm, gutting chickens. Since then, nothing. And what is a circus without magic? You could hardly call it a circus at all.

Before he became proprietor, Jeremiah—a huge man, with hair covering most of his body—was the Human Bear: the tips of his fingers and the glow in his cheeks were the only evidence he had skin at all. But he’d always had dreams, and when the owner of the circus died (surprisingly, in this world of freaks and freak occurrences, of natural causes), Jeremiah used his intimidating size and verbal skills to ascend the throne, where he’d been ever since. Nothing changed during his tenure but the name: though there had never been a Chinese person associated with the circus, Jeremiah liked the sound of it. So Chinese Circus it was.

The day Henry came, Jeremiah’s office was a slat of plywood balanced on two wooden horses, one chair, without walls or ceiling, carpeted in straw and horseshit, at the edge of the field where he’d chosen to set up the show. Henry had appeared from nowhere. Later, some would say they’d seen him wandering a long road alone, or crawling from a gully, or something like that, a story of a mysterious appearance to bookend the mysterious disappearance that, four years later, would follow.

“Show me what you can do,” Jeremiah said to him, all business. But Henry—weak, thin, shaky—-could do almost nothing. The pack of old cards he removed from his pocket fell like confetti from his nervous hands. Finally, he was able to force a card, produce a flower, change water into wine. But the truth was he had little more than his magnificent presence: he was tall, gaunt, doomed—and black. A black man with green eyes—a Negro—and this, in the end, is why Jeremiah hired him. A marketing tool of these dimensions was not something he could let pass by. For a magician was nothing, really, the same way a cow was nothing. But a Negro magician—or, say, a two–headed cow—now, that was something. Better even than a Chinese acrobat. Jeremiah felt that Henry’s inability to do anything truly amazing (Henry thought of it as a kind of impotence, after so many potent years) might actually work in his favor, at least with the crowds of the small Southern towns where Jeremiah made his living. So he hired him, and his prediction came true. Watching a Negro fail was amusing. It was life-affirming. A white magician who performed as Henry did—fumbling his cards, accidentally smothering a bird in his jacket, and who, while sawing a woman in half, almost actually did (she was fine, after they bandaged her up)—would have been a sad and pathetic display of simple ineptitude. But Henry, the Negro Magician—the extremely unmagical Negro magician--well, it was comedy, and the crowds could not get enough of it. He played to a full tent every night.

The night Henry met the three young men was not the first night they’d come; it was their third. He had seen them enough--and overheard them speak to one another—that by now he’d been able to identify them. They were Tarp, Corliss, and Jake. All of them were at the tail end of their teens. Tarp: mean, merciless, lean and hard as rope. Corliss: a lard of mass and muscle, big as a horse but not as smart. And Jake. The quiet one. Tarp’s little brother. Jake wouldn’t hurt you, but he wouldn’t help you much, either, cowed by his brother’s will and Corliss’s size. Each night they sat a bit closer to the front, and now they were in the very first row. Henry’s tent wasn’t that big—everybody, even the fat lady, had a bigger tent than he did—but full was full, and there was some small gratification in that, a minor delight at least. When Henry peeked through the curtain and poured a pail of water on the buckets of dry ice strategically placed out of sight around the stage, he had the illusion of success, which, in his current state, would have to do. Illusion had been his life.

The show began. A carpet of smoky fog set off by a trio of flashlights tied with rope to wooden planks preceded his predictable entrance.

His act, such as it was, was a parody of what everyone already imagined a magic show to be. He wore a fancy black suit with tails, a white shirt, a bow tie, the big top hat—everything. This alone sometimes got a snicker. But Jeremiah had insisted on all of it. “Look the part,” he said. “Even if you can’t play it.”

Adding to the amusement was the expression on Henry’s face. It was deadly serious. He had no smiles for his audience as he took the stage. The smiles would come later. As handsome as any man you were likely to see, black or white, he held them all in his hands with his looks alone. He had a presence. Tall, wide–shouldered, legs like stilts. His face was thin, so thin you could see how it was put together: the high cheekbones, strong chin, and wide forehead. His long, sharp nose. It was his eyes, though, that were mesmerizing: they were shaped like almonds, but green, an emerald green. Every night Henry remained open to the possibility that this was the night his powers would return. Though nothing ever happened in the moments before he took the stage—no inward resurgence, no epiphany; in short, no magic—Henry—when it happened, if it happened—wanted to be ready for it. He wanted to be appropriate. And so he was, at least in the moments immediately before a show, wildly hopeful, even when there was absolutely no reason to be.

It was all a memory, but the strongest kind, the memory of the time when he was more powerful than anyone could ever possibly imagine. Those days were distant now, another life altogether. But this memory was in his eyes, in the fearlessness of his expression, his very stance. He was, simply, proud. And this, too, was amusing to the assembled crowd.

Amusing and—to Corliss and Tarp, especially—infuriating. Henry saw it in their expressions, in their postures, in their actions. The night before, as Henry walked out, Tarp spat into the sawdust floor. Corliss glowered. Jake, the third, brushed the hair out of his eyes—his long, thin brown bangs covered them like a veil—and tried to smile. Though they were all nearly men, newly grown, Jake’s face allowed for the possibility of wonder, like the face of a little boy. He seemed to share with Henry, even on that third night, even after experiencing the two previous dismal failures, the expectation that something good would happen now, that they would all be treated to an evening of real magic. It was hard for Henry to watch Jake’s growing disappointment, salt in the wound of the disappointment he had in himself.

As the last customers filed into the tent that night, Henry could hear JJ the Barker’s daily refrain, which, though word–for–word identical every single time, he somehow managed to invest with the energy of a pulpit preacher coming upon the words for the very first time:…and not just any magician, ladybugs and beetles. Do I look like someone who would ask you to spend your hardearned money on a mere magician, on the tired spectacle of a poor man pulling a rabbit out of his hat, or sawing a beautiful woman in half, or making your wife disappear foreverthough he will do that, sir, if you so desire (and I can see that you do). No! I wouldnt ask you to waste your time viewing such tired and pointless antics. For who and what awaits you beyond these increasingly ancient and semidilapidated tent walls is something much greater than all that. For this is a man who has met the devil himselfthe devil himself!and come away with Lucifers darkest secrets, secrets that were he to tell would melt your very soul. But he will show, not tell. And that is where the magic lies.

Henry and JJ were friends.

That night, Tarp and the rest had refused even to pay. Henry heard them arguing with JJ at the entrance. Tarp said, We’ve already seen his show twice. It’s shit—praise God. And JJ said, That puts me in mind of the woman complaining about an expensive meal: It not only tastes bad, she said, but the servings are small. But JJ let them in, as anyone would have. Corliss, with one of his big arms, could have squeezed the life right out of him.

And so the show began. Seeming to glide through the knee–high fog, Henry stopped at the edge of the stage and regarded the crowd. Then he spoke, his deep voice tinged with the melancholy of a man who now knew he was about to fail as only he could: magnificently.

“Welcome, friends,” he said. “I am Henry Walker, the Negro Magician. But the magic you’ll witness tonight is not my own. The mind–shattering illusions—I could not tell you myself how they are done.”

“Poorly,” Tarp said, so everybody could hear. “Lord knows they are poorly done.”

Henry glanced Tarp’s way, but only briefly.

“The dark arts,” Henry continued, “are dark for many reasons, are dark in many ways. Only the devil himself knows their source, for it is from the devil himself that they come.”

“You got that right,” Tarp said.

Keep an open mind,” Henry continued. He felt more eyes in the audience on Tarp than there were on him. “And if you see the world as a place where magic can happen, you will see magic in your world tonight.”

“Highly unlikely,” Tarp said.

Tarp, of course, was right. From this beginning, the show proceeded in as dismal a fashion as it could have. Henry’s hands were shaking as he produced the first deck of cards and dropped them; they landed facedown at his feet. He quickly knelt to gather them up, nimbly cutting and straightening them as he did. Already the audience gave off a nervous energy. How bad could this possibly be? they wondered. How many conceivable ways are there to fail? And in lieu of magic, is this what they'd actually come to view, what they’d come here to learn—that, no matter how low on the ladder of life they had been dragged down, no matter how miserable they were or would become, there would always be someone clinging to the rung below them, and his name would be Henry Walker?

Yet it was pretty snappy, the way he gathered up the cards. It was almost as if he had never dropped them. He smiled at the audience, a big smile, his teeth so white, so perfect, his eyes so hard and bright, his smile proved to them that his confidence was not remotely shattered. It wasn’t even cracked. This could happen to anybody, and maybe—who knows?—it was a charming sort of forced ineptitude meant to endear: For, though I will amaze you in a moment with magic that will melt your very mind, I am in fact no different from you. I make mistakes just like the next guy—not by a long shot am I perfect, just like you and you and you.

But tonight there were other forces at work. Usually his audiences were composed of simple people who came to be entertained, and at this moment, at night in a small tent at a sideshow fair filled with freaks and weirdos and the concatenation of life’s refuse, who didn't love the unmagical Negro? Most did. They loved him the way you love a three–legged dog, even though they were in northern Alabama now, not far from the spot where some genius got the idea for the Ku Klux Klan. People down here had a different way of looking at things. No, he wouldn’t be welcome in my home, and if he looks at my daughter I’m going to have to kill him. But, sure, he can show me a magic trick. I reckon that’ll be all right. Tonight, though, Henry felt the tent choking with real hatred and a malevolent kind of hunger that could not be quelled by anything except its own satisfaction.

Corliss cleared his throat as Henry neatly fanned the cards. Tarp laughed. Jake sadly shook his head. And when Henry cut his eyes at them, the life drained out of his face.

Tarp had one of his cards. “Looking for something?” he said.

Henry forced a smile. “Yes,” he said, extending an empty hand. “Thank you.”

He reached for the card, and just before he could grab it, Tarp pulled the card back.

“The card,” Henry said. “Please.”

“I’ll give it back,” he said.

“Thank you.”

“First, though,” Tarp said, pausing, lingering in Henry's embarrassment, “first, you tell me what it is. Shouldn’t be hard for a man of your—” Tarp couldn’t think of the word. He elbowed Jake.

“—prodigious,” Jake said softly.

“Okay, right. For a man of your pro–digious talents.”

“What it is?” Henry said. “You mean, which card? The card you hold against your chest?”

“That’s right.”

At this, a few people laughed. But they were all fixated on Henry and his plight, because no one thought, even for a moment, that this was a part of the show. They all knew exactly what was happening, and, good Lord, it was going from bad to worse really quick. Tarp pressed the card against his chest and stared at Henry, bright–eyed, daring him to hazard a guess or, failing that, actually attempt to take it from him. Which, as Henry walked toward him, seemed a real possibility.

But a few feet away, Henry stopped.

“I have a perfect memory,” Henry said. “There is nothing I see that I don’t remember. For instance, you, sir”—and he pointed to a farmer in the third row—“have a kernel of popcorn stuck to the bottom of your left shoe.” The farmer looked, and darn if he didn’t. Gasps all around. “And you, miss,” he said, looking at a young girl just behind the farmer, “you should remove the tag from your dress. Five dollars is indeed a nice price for something so fine as that, but we don’t all need to know it.” The young lady blushed, more than a bit embarrassed. Then Henry looked at Tarp. “So of course I remember each of the fifty–two cards in this deck. In half a second I can look at the cards I am holding and tell you which I have and which I don’t.”

He gave Tarp a moment to take this in.

From the Hardcover edition.

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Reading Group Guide

1. Mr. Sebastian and the Negro Magician employs multiple narrators—JJ, Jeremiah Mosgrove, Jenny, and Carson Mulvaney, the private detective. There are also stories within stories, as when Rudy tells Henry's story to Corliss, Jake, and Tarp. Why has Daniel Wallace chosen to fracture his narrative in this way? What are the advantages of telling a story from multiple points of view rather than from the perspective of a single, omniscient narrator?

2. The tension between truth and fiction, reality and illusion, runs through Mr. Sebastian and the Negro Magician, and the line between them is blurred again and again. Henry told his life story to Rudy, and the narrator observes that “every word he had told Rudy was true-not factual, but true” [p. 22]. How can a story be both “not factual” and “true”? Why is this theme of truth versus illusion so important in the novel?

3. Jeremiah Mosgrove describes Henry as “an American of the highest order: a self-made freak” [p. 84]. What does he mean by this? Why would being a “self-made freak” make one an “American of the highest order”?

4. Jenny says that, “In the end, Henry was a man with two stories: one story was about revenge, and the other was about love” [p. 131]. In what ways is Henry motivated by both revenge and love?

5. Mr. Sebastian makes Henry take the magician's oath “not only to practice illusion, but to live within it, to seem but not to be…” [p. 185]. In what ways does Henry both practice and “live within” illusion?

6. In most instances of racial “passing,” blacks would try to pass for white. In Mr. Sebastian and the Negro Magician, Henry “passes” for a black man. What does the novel reveal about race relations in America during the 1950s?

7. Is Mr. Sebastian and the Negro Magician itself a kind of magic trick or series of illusions? In what ways are readers of the novel similar to an audience at a circus magic show?

8. What is the significance of Mr. Sebastian having a face as white as a sheet and Henry assuming the appearance of a black man? Is Mr. Sebastian the devil or merely a magician or con man?

9. What is the real fate of Henry's sister Hannah? Did Henry make her disappear? Did Mr. Sebastian abduct her? Was she given to Mr. Sebastian by her father? Is she, in fact still alive at the end of the novel, sharing a home with Mr. Sebastian? Does the novel seem to support one of these possibilities over another?

10. What is the larger emotional significance of Henry's bringing Marianne back to life?

11. What qualities does Mr. Sebastian and the Negro Magician share with magical realist works like Gabriel García Márquez's One Hundred Years of Solitude, Isabel Allende's The House of Spirits, Salman Rushdie's Midnight's Children, or Zadie Smith's White Teeth? In what ways does Mr. Sebastian and the Negro Magician challenge conventional distinctions between reality and imagination?

12. In what ways does Henry's family history shape the course of his life? How does his family and personal history intersect with America's economic and racial history?

13. Jenny says that “Henry Walker is a hero, a tragic one” [p. 130]. What does she mean? In what sense is Henry's life both heroic and tragic?

14. As the novel nears its end, Henry appears very close to death. How should readers interpret the novel's final sentences: “Think Henry Walker: Just think it. That's all he'd have to do and it would be done, and he would know” [p. 290]? Does Henry die or live on? What will be “done” and what will Henry “know”? What is Wallace suggesting here about the relationship between imagination and reality?

15. Circuses and magic shows are above all forms of entertainment. What makes Mr. Sebastian and the Negro Magician so entertaining?

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Customer Reviews

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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted December 15, 2008

    I don't recommend it.

    It was in the early 1930¿s when Henry Walker was ten years old and he supposedly met the devil in person. The devil gave him the powers he would have to live with for the rest of his life. Then one day Henry¿s beautiful little sister disappeared and Henry knew it had been the devil who took her. Struggling through his life, motherless and living desperately with his drunken father, Henry (at the brink of being homeless) is given pigmentation pills so that he may lead a life as a Negro magician. At thirty-years-old, he becomes a magician for a traveling circus. Then, one night in 1954, he goes missing. Some circus performers, all of whom are convinced that they are Henry¿s only friend, share what they have learned about Henry¿s past, having been told the story by Henry himself.<BR/><BR/>Mr. Sebastian and the Negro Magician, unfortunately, did not make sense to me at all. It was not only confusing, but didn¿t have a point. At the last page of the book, I still didn¿t know if it really had been the devil whom Henry saw. The only character I liked was Henry and in the end, it made it seem as if he was clueless and that his life was spent for nothing. It didn¿t really ¿end¿, it just stopped. The book seemed to try very hard to end on a good note and describe the setting slowly to make it seem as if it were the end, but it didn¿t convince me. The only reason I kept reading the book was because I wanted to see Henry win. I was disappointed highly. I wouldn¿t recommend this book to anyone because it did nothing for me.<BR/><BR/>*book contains sexual content

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  • Anonymous

    Posted October 22, 2007

    A Strange, Sad Story of Ultimate Illusion

    This was like no other book I had ever read before, and I could not put it down. Just like a great magician, the author has left me with a level of uncertainty about what exactly happened in the life of poor Henry Walker. How much of his life was illusion how much was real? I hesitate to give away the story--but suffice to say that a major, life altering change happens to Henry early on in his young life and the way it is presented to this boy 'who has already suffered more than his fair share of loss' alters his perception of the world from that day forward. From that moment on, his life becomes one of strange illusion and sadness and doom, one we see in bits and pieces through the eyes of those whose lives he touched. The story ended leaving me unsatisfied, and yet, expected.

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  • Anonymous

    Posted May 23, 2012

    No text was provided for this review.

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