‘Sixty years after it was first published, this shocking novel takes us on an astonishing black global journey that is historical but feels totally alive, energized and contemporary.’ — Bernardine Evaristo, author of Girl, Woman, Other ‘[A]n idiosyncratic, rancorous compound of roman à clef, sociocultural history, bildungsroman, and international thriller complete with an apocalyptic ending that patched disquietingly into our worst nightmares of what white America ultimately had in mind for us. Imagine a chronicle with the sweep, breadth, and momentum of Honoré de Balzac’s Lost Illusions morphing plausibly into one of Eric Ambler’s darker and more acerbic spy melodramas. Only with Black people – sad, mad, and fiercely articulate – in the foreground.’ — Gene Seymour, Bookforum ‘It is a blockbuster, a hydrogen bomb.... This is a book white people are not ready to read yet; neither are most black people.... But [it] is the milestone produced since Native Son. Besides which, and where I should begin, it is a damn beautifully written book.’ — Chester Himes, author of Rage in Harlem ‘Magnificent ... obviously in the Baldwin and Ellison class.’ — John Fowles, author of The Magus ‘If The Man Who Cried I Am were a painting it would be done by Brueghel or Bosch. The madness and the dance is never-ending display of humanity trying to creep past inevitable Fate.’ — Walter Mosley, author of Devil in a Blue Dress ‘It’s an immensely entertaining, wacky novel with an impishness and melancholy that deals with mortality, as well as the then controversial subject of interracial relationships; and that, in some way, prefigures the paranoiac mode of much American cinema and literature of the 1970s. A great rediscovery.’ — Bartolomeo Sala, Something Curated