Born in New York in 1937, William Melvin Kelley was an African-American writer known for his satirical explorations of race relations in America. He was just twenty-four years old when his debut novel, A Different Drummer, was first published in 1962, earning him critical comparisons to William Faulkner and James Baldwin. Considered part of the Black Arts Movement, Kelley was in 2014 officially credited by the Oxford English Dictionary with coining the political term 'woke,' in a 1962 New York Times article entitled 'If You're Woke You Dig It'. He died in February of 2017, aged 79.

Every so often, a 'forgotten classic' is rediscovered around which the literary world rallies with praise and prediction of a 'Stoner effect' . . . A Different Drummer more than lives up to the hype, both in terms of its literary accomplishment and in the power of its political vision . . . Today the book offers us an unflinching study of the southern white American psyche at the cusp of the civil rights movement: its belligerence against change, the incomprehension and anger. It is woeful to think that almost 60 years later, Kelley's story seems just as timely and as urgent, but what a gift to literature that we have rediscovered it.

Born in New York in 1937, William Melvin Kelley was an African-American writer known for his satirical explorations of race relations in America. He was just twenty-four years old when his debut novel, A Different Drummer, was first published in 1962, earning him critical comparisons to William Faulkner and James Baldwin. Considered part of the Black Arts Movement, Kelley was in 2014 officially credited by the Oxford English Dictionary with coining the political term 'woke,' in a 1962 New York Times article entitled 'If You're Woke You Dig It'. He died in February of 2017, aged 79.

Every so often, a 'forgotten classic' is rediscovered around which the literary world rallies with praise and prediction of a 'Stoner effect' . . . A Different Drummer more than lives up to the hype, both in terms of its literary accomplishment and in the power of its political vision . . . Today the book offers us an unflinching study of the southern white American psyche at the cusp of the civil rights movement: its belligerence against change, the incomprehension and anger. It is woeful to think that almost 60 years later, Kelley's story seems just as timely and as urgent, but what a gift to literature that we have rediscovered it.