White Rat

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Originally published in 1977, White Rat contains twelve provocative tales that explore the emotional and mental terrain of a diverse cast of characters, from the innocent to the insane.

In each, Jones displays her unflinching ability to dive into the most treacherous of psyches and circumstances: the title story examines the identity and relationship conundrums of a black man who can pass for white, earning him the name “White Rat” as an ...
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Overview

Originally published in 1977, White Rat contains twelve provocative tales that explore the emotional and mental terrain of a diverse cast of characters, from the innocent to the insane.

In each, Jones displays her unflinching ability to dive into the most treacherous of psyches and circumstances: the title story examines the identity and relationship conundrums of a black man who can pass for white, earning him the name “White Rat” as an infant; “The Women” follows a girl whose mother brings a line of female lovers to live in their home; “Jevata” details eighteen-year-old Freddy’s relationship with the fifty-year-old title character; “The Coke Factory” tracks the thoughts of a mentally handicapped adolescent abandoned by his mother; and “Asylum” focuses on a woman having a nervous breakdown, trying to protect her dignity and her private parts as she enters an institution.

In uncompromising prose, and dialect that veers from northern, educated tongues to down-home southern colloquialisms, Jones illuminates lives that society ignores, moving them to center stage.
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Editorial Reviews

Library Journal
Jones's 1977 volume is a collection of 12 short stories in which she tackles some heavy-duty themes and complex characters. Copyright 2005 Reed Business Information.
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Product Details

  • ISBN-13: 9780767922135
  • Publisher: Broadway Books
  • Publication date: 11/22/2005
  • Series: Harlem Moon Classics Series
  • Edition description: Reprint
  • Pages: 176
  • Product dimensions: 5.53 (w) x 8.16 (h) x 0.50 (d)

Meet the Author

GAYL JONES is the critically acclaimed author of several novels and books of poetry, including Corregidora, Eva’s Man, The Healing, Mosquito, and Song for Anninho.

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Read an Excerpt

White Rat


By Gayl Jones

Random House

Gayl Jones
All right reserved.

ISBN: 0767922131


Chapter One

WHITE RAT


I learned where she was when Cousin Willie come down home and said Maggie sent for her but told her not to tell nobody where she was, especially me, but Cousin Willie come and told me anyway cause she said I was the lessen two evils and she didn't like to see Maggie stuck up in the room up there like she was. I asked her what she mean like she was. Willie said that she was pregnant by J. T. J. T. the man she run off with because she said I treat her like dirt. And now Willie say J. T. run off and left her after he got her knocked up. I asked Willie where she was. Willie said she was up in that room over Babe Lawson's. She told me not to be surprised when I saw her looking real bad. I said I wouldn't be least surprised. I asked Willie she think Maggie come back. Willie say she better.

The room was dirty and Maggie looked worser than Willie say she going to look. I knocked on the door but there weren't no answer so I just opened the door and went in and saw Maggie laying on the bed turned up against the wall. She turnt around when I come in but she didn't say nothing. I said Maggie we getting out a here. So I got the bag she brung when she run away and put all her loose things in it and just took her by the arm and brung her on home. You couldn't tell nothing was in her belly though.

I been taking care of little Henry since she been gone but he 31Ú2 years old and ain't no trouble since he can play hisself and know what it mean when you hit him on the ass when he do something wrong.

Maggie don't say nothing when we get in the house. She just go over to little Henry. He sleeping in the front room on the couch. She go over to little Henry and bend down an kiss him on the cheek and then she ask me have I had supper and when I say Naw she go back in the kitchen and start fixing it. We sitting at the table and nobody saying nothing but I feel I got to say something.

"You can go head and have the baby," I say. "I give him my name."

I say it meaner than I want to. She just look up at me and don't say nothing. Then she say, "He ain't yours."

I say, "I know he ain't mine. But don't nobody else have to know. Even the baby. He don't even never have to know."

She just keep looking at me with her big eyes that don't say nothing, and then she say, "You know. I know."

She look down at her plate and go on eating. We don't say nothing no more and then when she get through she clear up the dishes and I just go round front and sit out on the front porch. She don't come out like she used to before she start saying I treat her like dirt, and then when I go on in the house to go to bed, she hunched up on her side, with her back to me, so I just take my clothes off and get on in the bed on my side.


Maggie a light yeller woman with chicken scratch hair. That what my mama used to call it chicken scratch hair cause she say there weren't enough hair for a chicken to scratch around in. If it weren't for her hair she look like she was a white woman, a light yeller white woman though. Anyway, when we was coming up somebody say, "Woman cover you hair if you ain't go'n' straightin' it. Look like chicken scratch." Sometime they say look like chicken shit, but they don't tell them to cover it no more, so they wear it like it is. Maggie wear hers like it is.

Me, I come from a family of white-looking niggers, some of 'em, my mama, my daddy musta been, my half daddy he weren't. Come down from the hills round Hazard, Kentucky most of them and claimed nigger cause somebody grandmammy way back there was. First people I know ever claim nigger, 'cept my mama say my daddy hate hoogies (up North I hear they call em honkies) worser than anybody. She say cause he look like he one hisself and then she laugh. I laugh too but I didn't know why she laugh. She say when I come, I look just like a little white rat, so tha's why some a the people I hang aroun with call me "White Rat." When little Henry come he look just like a little white rabbit, but don't nobody call him "White Rabbit" they just call him little Henry. I guess the other jus' ain't took. I tried to get them to call him little White Rabbit, but Maggie say naw, cause she say when he grow up he develop a complex, what with the problem he got already. I say what you come at me for with this a complex and then she say, Nothin, jus' something I heard on the radio on one of them edgecation morning shows. And then I say Aw. And then she say Anyway by the time he get seven or eight he probably get the pigment and be dark, cause some of her family was. So I say where I heard somewhere where the chil'ren couldn't be no darker'n the darkest of the two parent and bout the best he could do would be high yeller like she was. And then she say how her sister Lucky got the pigment when she was bout seven and come out real dark. I tell her Well y'all's daddy was dark. And she say, "Yeah." Anyway, I guess well she still think little Henry gonna get the pigment when he get to be seven or eight, and told me about all these people come out lighter'n I was and got the pigment fore they growed up.

Like I told you my relatives come down out of the hills and claimed nigger, but only people that believe 'em is people that got to know 'em and people that know 'em, so I usually just stay around with people I know and go in some joint over to Versailles or up to Lexington or down over in Midway where they know me cause I don't like to walk in no place where they say, "What's that white man doing in here." They probably say "yap"-that the Kentucky word for honky. Or "What that yap doing in here with that nigger woman." So I jus' keep to the places where they know me. I member when I was young me and the other niggers used to ride around in these cars and when we go to some town where they don't know "White Rat" everybody look at me like I'm some hoogie, but I don't pay them no mind. 'Cept sometime it hard not to pay em no mind cause I hate the hoogie much as they do, much as my daddy did. I drove up to this filling station one time and these other niggers drove up at the same time, they mighta even drove up a little ahead a me, but this filling station man come up to me first and bent down and said, "I wait on you first, 'fore I wait on them niggers," and then he laugh. And then I laugh and say, "You can wait on them first. I'm a nigger too." He don't say nothing. He just look at me like he thought I was crazy. I don't remember who he wait on first. But I guess he be careful next time who he say nigger to, even somebody got blonde hair like me, most which done passed over anyhow. That, or the way things been go'n, go'n be trying to pass back. I member once all us was riding around one Saturday night, I must a been bout twenty-five then, close to forty now, but we was driving around, all us drunk cause it was Saturday, and Shotgun, he was driving and probably drunker'n a skunk and drunken the rest of us hit up on this police car and the police got out and by that time Shotgun done stop, and the police come over and told all us to get out the car, and he looked us over, he didn't have to do much looking because he probably smell it before he got there but he looked us all over and say he gonna haul us all in for being drunk and disord'ly. He say, "I'm gone haul all y'all in." And I say, "Haul y'all all." Everybody laugh, but he don't hear me cause he over to his car ringing up the police station to have them send the wagon out. He turn his back to us cause he know we wasn goin nowhere. Didn't have to call but one man cause the only people in the whole Midway police station is Fat Dick and Skinny Dick, Buster Crab and Mr. Willie. Sometime we call Buster, Crab Face too, and Mr. Willie is John Willie, but everybody call him Mr. Willie cause the name just took. So Skinny Dick come out with the wagon and hauled us all in. So they didn't know me well as I knew them. Thought I was some hoogie jus' run around with the niggers instead of be one of them. So they put my cousin Covington, cause he dark, in the cell with Shotgun and the other niggers and they put me in the cell with the white men. So I'm drunkern a skunk and I'm yellin' let me outa here I'm a nigger too. And Crab Face say, "If you a nigger I'm a Chinee." And I keep rattling the bars and saying "Cov', they got me in here with the white men. Tell 'em I'm a nigger too," and Cov' yell back, "He a nigger too," and then they all laugh, all the niggers laugh, the hoogies they laugh too, but for a different reason and Cov' say, "Tha's what you get for being drunk and orderly." And I say, "Put me in there with the niggers too, I'm a nigger too." And then one of the white men, he's sitting over in his corner say, "I ain't never heard of a white man want to be a nigger. 'Cept maybe for the nigger women." So I look around at him and haul off cause I'm goin hit him and then some man grab me and say, "He keep a blade," but that don't make me no difrent and I say, "A spade don't need a blade." But then he get his friend to help hole me and then he call Crab Face to come get me out a the cage. So Crab Face come and get me out a the cage and put me in a cage by myself and say, "When you get out a here you can run around with the niggers all you want, but while you in here you ain't getting no niggers." By now I'm more sober so I jus' say, "My cousin's a nigger." And he say, "My cousin a monkey's uncle."

By that time Grandy come. Cause Cov' took his free call but didn't nobody else. Grandy's Cov's grandmama. She my grandmama too on my stepdaddy's side. Anyway, Grandy come and she say, "I want my two sons." And he take her over to the nigger cage and say, "Which two?" and she say, "There one of them," and points to Cov'ton. "But I don't see t'other one." And Crab Face say, "Well, if you don't see him I don't see him." Cov'ton just standing there grinning, and don't say nothing. I don't say nothing. I'm just waiting. Grandy ask, "Cov, where Rat?" Sometime she just call me Rat and leave the "White" off. Cov' say, "They put him in the cage with the white men." Crab Face standing there looking funny now. His back to me, but I figure he looking funny now. Grandy says, "Take me to my other boy, I want to see my other boy." I don't think Crab Face want her to know he thought I was white so he don't say nothing. She just standing there looking up at him cause he tall and fat and she short and fat. Crab Face finally say, "I put him in a cell by hisself cause he started a rucus." He point over to me, and she turn and see me and frown. I'm just sitting there. She look back at Crab Face and say, "I want them both out." "That be about five dollars a piece for the both of them for disturbing the peace." That what Crab Face say. I'm sitting there thinking he a poet and don't know it. He a bad poet and don't know it. Grandy say she pay it if it take all her money, which it probably did. So the police let Cov' and me out. And Shotgun waving. Some of the others already settled. Didn't care if they got out the next day. I wouldn't a cared neither, but Grandy say she didn like to see nobody in a cage, specially her own. I say I pay her back. Cov' say he pay her back too. She say we can both pay her back if we just stay out a trouble. So we got together and pay her next week's grocery bill.

Well, that was one 'sperience. I had others, but like I said, now I jus' about keep to the people I know and that know me. The only other big sperience was when me and Maggie tried to get married. We went down to the courthouse and fore I even said a word, the man behind the glass cage look up at us and say, "Round here nigger don't marry white." I don't say nothing just standing up there looking at him and he looking like a white toad, and I'm wondering if they call him "white toad" more likely "white turd." But I just keep looking at him. Then he the one get tired a looking first and he say, "Next." I'm thinking I want to reach in that little winder and pull him right out of that little glass cage. But I don't. He say again, "Around here nigger don't marry white." I say, "I'm a nigger. Nigger marry nigger, don't they?" He just look at me like he think I'm crazy. I say, "I got rel'tives blacker'n your shit. Ain't you never heard a niggers what look like they white." He just look at me like I'm a nigger too, and tell me where to sign.


Excerpted from White Rat by Gayl Jones Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Reading Group Guide

Originally published in 1977, White Rat contains twelve provocative tales that explore the emotional and mental terrain of a diverse cast of characters, from the innocent to the insane.
In each, Jones displays her unflinching ability to dive into the most treacherous of psyches and circumstances: the title story examines the identity and relationship conundrums of a black man who can pass for white, earning him the name "White Rat" as an infant; "The Women" follows a girl whose mother brings a line of female lovers to live in their home; "Jevata" details eighteen-year-old Freddy's relationship with the fifty-year-old title character; "The Coke Factory" tracks the thoughts of a mentally handicapped adolescent abandoned by his mother; and "Asylum" focuses on a woman having a nervous breakdown, trying to protect her dignity and her private parts as she enters an institution.
In uncompromising prose, and dialect that veers from northern, educated tongues to down-home southern colloquialisms, Jones illuminates lives that society ignores, moving them to center stage.

1. Jones often makes parallels between loneliness, alienation, and mental stability. How are these themes emphasized in "Your Poems Have Very Little Color in Them," "Asylum," and "Version 2"?

2. What devices does she employ to underscore the relationship between social and mental wellness throughout the collection?

3. How does Jones's use of language inform the reader about the social, economic, historical, and emotional status of her characters?

4. Children appear in several of the short stories, most prominently in "The Women." Why do you think Jones chose to tell this story through Winnie Flynn's voice?Do you find Winnie's "voice" plausible? Why? Why not? How does Winnie's mother's sexuality inform Winnie's awareness of self? On the whole, discuss how children throughout the stories play a role in etching the identity and stability of the main characters.

5. In the stories "White Rat," "Jevata," "The Return: A Fantasy," and "The Women," Jones constructs families that are far from mainstream. How are these families defined? What makes them unique? What aspects of them do we see reflected in today's households?

6. White Rat's stories were written in the 1970s. Does this time period impact the stories? If so, how? Does knowing when they were written impact your perspective on their content? Why or why not?

7. How does the author use race (sometimes never mentioning a character's racial background) and sexuality to draw out her plots? In which stories do you think this was most effective? Why?

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