34 pages • 1 hour read
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The protagonist is a young, unnamed African American man of unspecified age who lives in New York City. He is a nomenclature consultant who develops product names; he is a genius at this, and names come to him so instinctively that he often creates product names for the people, places, and things around him. Less than a year ago he was the star consultant at a prestigious firm, but he left after his injured and infected toe was amputated. Now, he walks with a psychosomatic limp and is a recluse. His lack of a name is ironic given his profession, and it raises the question of whether naming is as important as the plot suggests.
The protagonist is cerebral and betrays little emotion during the course of the novel. Armed with a wry sense of humor, he is obsessed with the practice and process of naming—a job that puts into conflict the function of names as representations of truth and the function of branding as obfuscation of the negative. The protagonist’s commission to decide on a new name for the town of Winthrop makes this conflict come to the fore, as the proposed town names each in their way occlude the town’s difficult history and erase the injustice done to one of its founders.
The protagonist embodies the same problem as the town, preferring to hide the traumas that bedevil him: the repeatedly injured toe that he literally disguises with a bandage until it gets so infected that it must be removed, or the interior of his hotel room that he refuses hotel staff to clean. At the same time, he cultivates an urbanely branded exterior: He relies on being a Quincy alumnus to forge immediate connections with powerful male characters like Roger Tipple and Albie Winthrop, who also went to this fictional Ivy League university.
Regina Goode is Winthrop’s first Black mayor and a descendant of one of the town’s founding families. She is elegant, professional, and interested in signifiers of status and upward mobility, as demonstrated in her welcome gift of an expensive bottle of wine. Regina belongs to a distinguished lineage—her name literally means “queen.” Streets on the historically Black side of town are named after her family, and she is striving to bring back the town’s original name, Freedom, created by her ancestor Abraham Goode. This will ensure her family’s legacy and cement Regina’s standing as a town celebrity.
Regina hopes that by telling the protagonist about Winthrop’s Black history, she will win his favor, possibly because he is also African American. She attempts to woo him to her side by telling him an uplifting version of the original Black settlers, formerly enslaved people who traveled west in the late 1860s for the rare opportunity to live in an all-Black town without segregation. In her rendition, Reginald Goode’s decision—to save Freedom by allowing Sterling Winthrop to establish his factory there—was a way to preserve the Black community. Regina thinks her chosen name will uplift this now-marginalized population. In the end, although the protagonist does harken back to the African American founders for the town name, he resurrects the name proposed by a town founder who did not have any descendants, preserving true history rather than a branded version.
Lucky Aberdeen is a tech entrepreneur who wields considerable authority due to his status as a business leader in the community. He is a fast-talking salesman and, and in the novel, he represents the legacy and history-destroying effects of capitalism.
Like the original Winthrop, Lucky wants to rename—or more accurately, rebrand—the town to reflect his identity and values. His business headquarters is even located in the old Winthrop factory. However, he does not want to name the town after himself; rather, his instinct is to erase heritage. Happy to poorly co-opt and appropriate other cultures, Lucky wears a gaudy leather vest with fringe and turquoise sequins that he calls his “Indian vest” (16); similarly, he brings in a group of white settlers who are eager to gentrify the town by buying up property in the historically Black section. It is not surprising that Lucky relies on consumer culture to rename the town, hiring the protagonist’s former company to come up with New Prospera.
Lucky hopes to sway the protagonist because, like him, Lucky sees the world in terms of branding. Instead of building his case on emotional rapport, Lucky stages the weekend and its finale to demonstrate why New Prospera should win. It is not clear whether the name Struggle will negatively impact Lucky’s plans—whether it is the brand name that matters, or if, as the bartender believes, a place will stay same regardless of its name.
Albie Winthrop, an older man with white hair and an eccentric personality, is the last heir of the Winthrop family, for whom the town was renamed after one of its original founders betrayed the other by making a deal with Winthrop’s barbed wire tycoon ancestor.
Albie represents history as a whitewashed delusion: He assumes he is beloved in town, but in reality, most people avoid him; he commissions a revised history of Winthrop that glosses over the misdeeds of his family; and he wants the town to retain the name Winthrop because he believes that he is the upholder of a meaningful legacy that must be preserved. However, reality is crumbling around Albie. The Winthrop estate is in disrepair, and his only source of income is the Hotel Winthrop, which is usually empty. He is divorced and has no children, which means no one stands to inherit the Winthrop name and heritage when he passes away. As soon as the protagonist renames the town Struggle, Albie will suffer the same fate that his ancestor inflicted on forgotten town founder Field—erasure.
The older system of generational wealth transference is being replaced by corporate wealth agglomeration, a system that is no less exclusionary, even if the exclusion is based on different principles.
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