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Julie Barer Wikipedia: Does she have one? The answer is no, but her husband Colson Whitehead has one as an American novelist.
Julie Barer is a celebrity wife and also a literary agent. Born and raised in New York City, Julie began her career as a bookseller at Shakespeare & Company. There she discovered her joy in putting books into people’s hands.
Julie’s first publishing job was at Sanford J. Greenburger Associates. After that she founded her own agency Barer Literary in 2004.
Some Facts On Julie Barer
Colson and Julie Barer have 2 children and they are a stepdaughter Madeline aged 15 and a son Beckett aged 6 who was published via The Guardian.
Julie was born on August 26, 1974 and is now 46 years old.
Talented agent Julie Barer’s net worth hasn’t been released yet. Still, with a good career, Julie must have an impressive net worth to herself.
To date, no information about Julie Barer’s parents can be found on the Internet.
Until now, Julie Barer’s religion has not been in the public eye.
Julie works specifically to showcase LGBTQ characters, immigrant family stories, and novels about the experience of being different or being different, which unfolds in the book group.
Is Julie Barer Jewish?
To date, no information is known that Julie Barer is Jewish. There are also no facts about her husband’s religion.
Surname
Julie Baer
birthday
26.8
Age
46 years
gender
Feminine
profession
literary agent
Married single
Married
Husband
Colson Weisskopf
children
Madeleine and Beckett
@juliebarer
Colson Whitehead Wife And Family
Julie Barer is the wife of Colson Whitehead who is a prominent American writer.
Julie speaks for a variety of authors across a literary spectrum. She has been so successful that her clients have been finalists and winners of numerous grants and awards, including the National Book Award and more. Julie is particularly interested and spoiled for representing a diverse voice from a we range of backgrounds and from around the world. Julie cares deeply about bringing underrepresented and undiscovered stories to light, regardless of race, and sexuality, and relishes the opportunity to be challenged and educated through fiction.
Julie Barer Wikipedia
Julie Barer Wikipedia is not yet available.
However, her husband is featured on mainstream platforms like Wikipedia and others.
Who is Colson Whitehead’s wife?
Early in his career, Whitehead lived in Fort Greene, Brooklyn. He lives in Manhattan and also owns a home in Sag Harbor on Long Island. His wife, Julie Barer, is a literary agent and they have two children.
Does Colson Whitehead have siblings?
Whitehead was the third of four children, with two older sisters and a brother 10 months his junior.
Who are the parents of Colson Whitehead?
Born Arch Colson Whitehead on November 6, 1969, novelist Colson Whitehead spent his formative years in Manhattan, New York with his parents, Arch and Mary Anne Whitehead, who owned a recruiting firm, and three siblings.
Who is Julie Barer?
Julie Barer, partner
Born and raised in New York City, Julie Barer began her career as a bookseller at Shakespeare & Company, where she discovered the joy of putting books into people’s hands. Her first job in publishing was at Sanford J. Greenburger Associates, and she started her own agency, Barer Literary, in 2004.
Is Colin Whitehead married?
What nationality is Colson Whitehead?
Where did Colson Whitehead go to college?
What is Colson Whitehead’s full name?
Colson Whitehead, in full Arch Colson Chipp Whitehead, (born November 6, 1969, New York City, New York, U.S.), American author known for innovative novels that explore social themes, including racism, while often incorporating fantastical elements.
Is Sag Harbor autobiographical?
“Sag Harbor,” which came out on Monday, is, strictly speaking, Mr. Whitehead’s fourth novel. It’s also a first novel that he has only just now got around to writing: an autobiographical, first-person, adolescent-coming-of-age story — exactly the kind of book he was determined not to write when he was getting started.
Is the book The Nickel Boys based on a true story?
Colson Whitehead’s new novel, The Nickel Boys, came out this month, a fictional story based on the Dozier School for Boys in Florida. Whitehead’s novel follows one wrongfully indicted boy and the abuse experienced at a school modeled after Dozier.
What year is the Underground Railroad set in?
The Underground Railroad takes place around 1850, the year of the Fugitive Slave Act’s passage. It makes explicit mention of the draconian legislation, which sought to ensnare runaways who’d settled in free states and inflict harsh punishments on those who assisted escapees.
Who is Lily King’s agent?
Her agent, Julie Barer of the Book Group, says, “When I finished reading Writers & Lovers, I was glad I hadn’t seen it before. I was so overcome with emotion and awe. Lily writes about being a woman—the feelings of wanting, of rejection.
How old is Madeline Miller?
Who is Alice Sebold’s agent?
Alice Sebold – David Higham Associates.
Julie Barer
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Julie Barer: Get To Know Colson Whitehead Wife And Family
The answer is no but her husband Colson Whitehead has one as an American Novelist. Advertisement. Julie Barer is a celebrity spouse and also a Literary Agent.
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Julie Barer: Get To Know Colson Whitehead Wife And Family
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Colson Whitehead
American writer (born 1969)
Arch Colson Chipp Whitehead (born November 6, 1969) is an American writer. He is the author of eight novels, including his 1999 debut The Intuitionist and The Underground Railroad (2016), for which he won the 2016 National Book Award for Fiction and the 2017 Pulitzer Prize for Fiction; In 2020 he again won the Pulitzer Prize for Fiction for The Nickel Boys.[1][2] He has also published two non-fiction books. In 2002 he received a MacArthur Genius grant.
life [edit]
Arch Colson Chipp Whitehead[3] was born on November 6, 1969 in New York City and grew up in Manhattan.[4] He is one of four children of successful entrepreneurial parents who owned an executive recruitment firm. As a child in Manhattan, Whitehead went by his first name, Arch. He later switched to Chipp before joining Colson.[7] He attended Trinity School in Manhattan and graduated from Harvard University in 1991. In college he befriended the poet Kevin Young.[8]
Early in his career, Whitehead lived in Fort Greene, Brooklyn.[9] He lives in Manhattan and also owns a home in Sag Harbor on Long Island. His wife Julie Barer is a literary agent and they have two children.[10]
Career [edit]
After graduating from college, Whitehead wrote for The Village Voice.[11][12] While working at The Voice, he began drafting his first novels.
Since then, Whitehead has produced ten book-length works—eight novels and two non-fiction works, including a meditation on life in Manhattan in the style of E.B. White’s famous essay Here Is New York. His books are 1999’s The Intuitionist; 2001 the John Henry Days; 2003 The Colossus of New York; 2006’s Apex Hides the Hurt; Sag Harbor from 2009; Zone One, a 2011 New York Times bestseller; 2016’s The Underground Railroad, which won a National Book Award for Fiction; and The Nickel Boys from 2019.[13][14] Esquire magazine named The Intuitionist the best first novel of the year, and GQ named it one of the “Novels of the Millennium.”[15] Novelist John Updike, reviewing The Intuitionist in The New Yorker, called Whitehead “ambitious,” “dazzling,” and “strikingly original,” adding, “The young African-American writer to watch could well be a 31-year-old.” his Harvard graduate with the lively name of Colson Whitehead.”[15]
Whitehead’s The Intuitionist has been nominated for a Common Novel at the Rochester Institute of Technology (RIT). The Common Novel nomination was part of a longstanding tradition at the Institute that has included authors such as Maya Angelou, Andre Dubus III, William Joseph Kennedy, and Anthony Swofford.
Whitehead’s nonfiction, essays, and reviews have appeared in numerous publications, including The New York Times, The New Yorker, Granta, and Harper’s.[16]
His non-fiction book on the 2011 World Series of Poker, The Noble Hustle: Poker, Beef Jerky & Death was published by Doubleday in 2014.
Whitehead has taught at Princeton University, New York University, University of Houston, Columbia University, Brooklyn College, Hunter College, and Wesleyan University. He has been writer-in-residence at Vassar College, the University of Richmond, and the University of Wyoming.
In the spring of 2015, he joined the New York Times Magazine to write a column on language.
His 2016 novel The Underground Railroad was a selection from Oprah’s Book Club 2.0 and was chosen by President Barack Obama as one of five books on his summer vacation reading list. In January 2017, it was awarded the Carnegie Medal for Excellence in Fiction at the American Library Association’s Mid-Winter Conference in Atlanta, GA.[19] Colson was honored with the 2017 Hurston/Wright Award for Fiction presented by the Zora Neale Hurston/Richard Wright Foundation.[20] The Underground Railroad won the 2017 Pulitzer Prize for Fiction. The judges called the novel “an intelligent fusion of realism and allegory that blends the violence of slavery and the drama of flight in a myth that appeals to contemporary America.”[21]
Whitehead’s seventh novel, The Nickel Boys, was published in July 2019. The novel was inspired by the real-life story of the Dozier School for Boys in Florida, where children convicted of minor offenses were violently abused.[22] In conjunction with the release of The Nickel Boys, Whitehead was featured on the cover of Time magazine for the July 8, 2019 issue, alongside the headline “America’s Storyteller”. The Nickel Boys won the 2020 Pulitzer Prize for Fiction.[23] The award jury called the novel “a sparse and harrowing exploration of abuse in a Jim Crow-era Florida correctional facility that is ultimately a powerful tale of human perseverance, dignity and redemption.”[24] It is Whitehead’s second win, making him the fourth writer in history to win the award twice.[25]
Whitehead’s eighth novel, Harlem Shuffle, was conceived and begun before he wrote The Nickel Boys. It is a crime novel set in Harlem in the 1960s.[5] Whitehead spent years writing the novel, eventually completing it in “bite-sized chunks” during months spent in quarantine in New York City during the COVID-19 pandemic.[26] Harlem Shuffle was released by Doubleday on September 14, 2021.[27]
honors [edit]
For the intuitionist
Quality Paperback Book Club New Voices Award
Finalist, Hemingway Foundation/PEN Awards
For the John Henry days
For Apex hides the pain
For Sag Harbor
For zone one
For the subway
For the Nickel Boys
work [edit]
fiction [ edit ]
essays[edit]
Short stories[edit]
References[edit]
Further Reading[edit]
July 8th, 2019 Vol. 194, No. 2 U.S.
Wayne Lawrence for ZEIT
Up ahead is Colson Whitehead, minutes before our appointed time, loitering on the corner of 126th Street and Fifth Avenue, dressed in skinny jeans and Chelsea boots, his dreadlocks cutting a clean line down his back. I’m content to stand half a block between us and watch. By the way, Whitehead’s gang isn’t what the youngsters would call pretentious. Swagger is mimicking, and the way Whitehead moves is less reminiscent of a strut simulacrum and more of an acceptance of his stature and physiology, most notably that he’s long and lean and a little knock-kneed. He pulls up at 127th Street, and since I’m a few feet behind him and don’t want him to turn and look after me, I call his name. He rips wired headphones out of his ears and holds out his hand—our first. “Nice to meet you,” I say. “I think we’re going in the same direction.” He smiles and the sun hits the blue of his glasses. “Yes, I think so,” he says, and together we stroll half the block until we reach our destination: the Langston Hughes House.
Whitehead is on track to become a milestone in African American history in more ways than one. Three years ago he published a novel, The Underground Railroad, which catapulted him to literary fame. He became only the second writer of color and the sixth writer to win both a National Book Award and a Pulitzer Prize for the same novel. The book, which envisions a real railroad for transporting enslaved people in search of freedom, was also an Oprah’s Book Club selection, sold over a million copies and was praised by President Obama. Barry Jenkins, the Oscar-winning director of Moonlight and If Beale Street Could Talk, is adapting it in a limited series.
Where are you going after that? For Whitehead, it’s the Jim Crow era. His next novel, The Nickel Boys, out July 16, follows two boys as they struggle through their sentences at an abusive correctional facility in the 1960s under the specter of segregation. It’s a book that will continue to cement its place in the pantheon of influential American writers.
In his 20-year career, he has written seven nonfiction books and two nonfiction books. And even before The Underground Railroad, it had earned accolades and become a bestseller. The exploration of race and history extends from his early works – his first and second novels, The Intuitionist and John Henry Days – to the present. But Whitehead is not willing to be locked into any school of thought, any kind of creation. He has also written satire (Apex Hides the Hurt), zombie horror (Zone One), and a hilarious non-fiction book about poker (The Noble Hustle). George Saunders, an acclaimed contemporary, writes to TIME: “He is a superbly talented writer with more range than any other American writer currently working – he can be funny, lyrical, satirical, serious – whatever the work requires.”
Though it’s turned up or down in each book, I read a constant thread of humor in his work, that he’s having a hell of a time making it, and also that he’s both his subject matter and the conventions of a particular genre mastered, allowing him to transform them.
Whitehead’s two most recent novels are notable for being most directly commissioned by W.E.B. Du Bois, co-founder of the NAACP, for black writers to create works in the service of justice. Books about the past have always helped us understand our present; Whiteheads, in particular, feel critical to understanding our current cultural and social climate. At a moment when Senate Majority Leader Mitch McConnell has made headlines for discrediting the need for slavery reparations, and former Vice President and current presidential candidate Joe Biden is under fire for his past work with segregationists has apologized, Whitehead’s books are an important reminder that American racism is far from gone. “I’d never read anything with an enslaved person as the main character that really made me feel this sense of fear, claustrophobia and limited choice,” recalls two-time National Book Award winner Jesmyn Ward, who wrote The Subway has won. “I felt that the book could be a groundbreaking experience for some people.”
As we near the home of one of the most famous black writers of all time, I tell Whitehead it’s now home to the I, Too, Arts Collective, a nonprofit organization dedicated to nurturing voices from underrepresented communities in the arts—a , with whom I have collaborated an author. The program director greets us at the door. She offers us a tour of the house, which today smells of the polish used to polish the dark wooden floors to a high shine. Whitehead obeys, but not before hanging his coat in the hallway (“I didn’t mean to disrespect Langston’s house,” he will say later) and follows her through the old brownstone. She leads us past a sitting room adorned with a grand piano and Hughes’ typewriter perched on the ledge above a fireplace. Whitehead asks questions, lingers in each room for a moment, taking it all in. He seems to ponder the meaning of Hughes’ legacy, how he moves through a writer’s space that has given way to him.
One of Hughes’ most famous poems is “Harlem” – named after the neighborhood that produced the most famous renaissance in African American literature. The poem begins with the verse: “What happens to a dream that is postponed? / Does it dry up / Like a raisin in the sun?” Hughes was referring to the dreams of African Americans in Jim Crow America, but his question could also be put to the dreams of an author. The greatest of these have garnered critical acclaim, awards, strong sales and, for a select few, a place in the zeitgeist. For most writers, such dreams are put off, sometimes forever. For Whitehead, who’s only 49, they’re a rare reality.
If greatness is enduring excellence, then Whitehead is unquestionably one of the greatest of his generation. Indeed, judging by his age, recognition, productivity, and persistence, he is one of the greatest living American writers.
Photo by Wayne Lawrence for TIME
Arch Colson Chipp Whitehead left Chipp as a kid, thought the name was too “preppy” and switched to Colson when he was 21. He only learned a few years ago that Colson, his maternal grandfather’s name, was also the name of an enslaved Virginia ancestor who bought his and his daughter’s freedom.
Whitehead was the third of four children with two older sisters and a brother ten months younger. His parents owned an executive recruiting company, a business that enabled them to send their children to elite private schools, travel, and—as he writes in his most personal book, Sag Harbor—spend summers in the Long Island village which serves as a vacation spot for wealthy black people. But his home was not without trials. “My dad was a bit of a drinker, had a temper,” says Whitehead. “His personality was like the weather in the house.” Whitehead’s father was not close to his extended family; However, he has been vocal about his views on freedom in relation to his people. “He was apocalyptic in his racial view of America,” says Whitehead. He adds that his father held that view “with good reason,” suggesting it influences his point of view as well.
Whitehead explains that he and his brother, who died last year, have retreated into comics, books, music and television in response to his father’s whims. He played a lot of Dungeons and Dragons and the video game Wizardry – he still turns to video games in his spare time – and practiced for a short time in a band called Jose Cuervo and the Salty Lemons. (Imagine if they just staged one show.) Gen X-er that he is, loves Sonic Youth’s “Daydream Nation” and Prince’s “Purple Rain” so much that he listens to them while watching the latter writes pages of his books.
During high school, Whitehead also read fiction that influenced his decision to pursue writing—Gabriel García Márquez’s One Hundred Years of Solitude and Jean Toomer’s Cane; also Shirley Jackson’s story “The Lottery” and a chapter of Ralph Ellison’s Invisible Man. Whitehead recalls thinking he might one day do what Ellison did.
A self-proclaimed “diligent student,” he went to Harvard. Imani Perry, now the Princeton Professor of African American Studies, attended Yale and recalls seeing Whitehead at a get-together for black Ivy League students when she was in college. “He was definitely social, but he was also kind of above the fray,” Perry recalls. “He seemed thoughtful and introspective.”
Whitehead thought he had become a “super-experimental writer”. Harvard’s English faculty, which he described as “conservative” at the time, didn’t teach many courses on the modern American novel, so Whitehead studied it alone, reading books by innovators like Thomas Pynchon and John Barth and Black Absurdists like Ishmael Reed.
After college he returned to New York in 1991 and lived unemployed with his parents for a while. He began writing for the Village Voice. In the meantime, he’s finished his first novel manuscript about a hapless child star and landed an agent. More than 20 rejections later, she dropped him. “I became a writer not because I wanted to write comics or be a journalist,” he explains. “But I’m just saying I’ll do it again. Nobody else is going to write it for me, so I might as well start.”
Nicole Aragi, now his longtime agent, sold his second attempt at a novel, The Intuitionist. Whitehead’s debut about a black elevator inspector was a critical success and caught the attention of a future employee. “Before Moonlight, before Beale Street, I had dreams about turning his first book into a movie,” says Jenkins. “And there’s no way that could have happened because you know Colson was always big and it took me a while to catch up.”
Whitehead doesn’t present himself as someone who thinks he’s going to make it big. In fact, I detect no hint of complacency in the several hours we spend together. Nor, to his credit, has he tracked the possible commercial success of writers who, when their work finds a wide audience, make more of it. Instead, he has taken the harder route, following the imperatives of his interests and imagination to produce unique work. Then you took the same risk again.
Lest you think that Whitehead spends his days alone in his study, he lives a family-oriented routine. Raising his 14-year-old daughter and 5-year-old son with his wife, literary agent Julie Barer, he writes while his children are at school and is the ideal parent for cooking dinner. Imagine him dropping his boy off at preschool and then writing one of those great monologues for Ridgeway, the slaver on The Underground Railroad: “I prefer the American spirit that called us from the Old World to the New World conquer and build and civilize. And destroy what needs to be destroyed. To uplift the lower races. If not, submit. And if not subdue, destroy.”
Wayne Lawrence for ZEIT
Oh, I have my theories about the critical reception of creative work that explores the institution of slavery. Without writing a mini-dissertation, I’d say it’s the perfect topic for simultaneously affirming white privilege and relieving white guilt. Still, the subject alone doesn’t make a good book. It’s what the author does with the subject: in this case, tell a story that demands reckoning with America’s enduring ills. And it’s a testament to Whitehead’s talent that he transformed an issue of national unrest into an indelible work of art, one that only he could have created.
If The Underground Railroad told how whites asserted their privilege and power over blacks through slavery, in his new novel The Nickel Boys, Whitehead focuses on the trauma inherited by his descendants. The novel is set at the Nickel Academy Reform School in the 1960s and follows two high school students, Elwood and Turner, as they debate the possibilities of surviving a racist America. The school was based on the real Arthur G. Dozier School for Boys in Florida, notorious for its mental, physical and sexual abuse, which closed in 2011; Dozens of bodies were found buried on the school grounds. Whitehead intended to visit but never made it. “The further I got into the book, the more depressed and angry I got about going to the place, until I only went there if I had a can of kerosene and a match,” he says.
Whitehead saw himself in the divergent views of Elwood, an optimist who treats the words of Martin Luther King Jr. as gospel, and Turner, a cynic who inspires an anger and disillusionment that will resonate with many readers. He used that tension to bring the characters to life. “Artwork really works when you see yourself in the main characters and in the villains,” says Whitehead. “You see yourself in the supporting and leading characters, which barring a twist of fate, you could be in with them — that could consist of growing up as an African-American male in America.”
De jure, Jim Crow ended with President Lyndon B. Johnson signing the Civil Rights Act of 1964 and the Voting Rights Act the following year, but even a light examination of the United States — its neighborhoods, school systems, criminal justice policies, re-emerging brazen hate crimes – Plenty of evidence is found that Jim Crow’s evil heirloom endures.
Whitehead knows what every black person should do: that no amount of achievement or wealth can liberate one from that legacy. “It’s inside me when I see a squad car slowly cruising past me, and I wonder if this is the day things will take my life in a different direction,” he says. “It is present in most young black men and women. Here politicians can appeal to people’s lowest prejudices and against their economic interests because their fears, their irrational weaknesses, are stronger than doing what is right for them. It’s with us when scheming men try to figure out how to maneuver their state to steal brown people’s votes, figure out which polling stations need to be closed so people have a hard time taking time off and traveling, to register or be elected. A lot of energy is expended maintaining the various means of controlling black people under slavery, under segregation, and now under whatever you want to call this contemporary form.
Historian Nell Painter, Professor Emeritus at Princeton, describes a “willful ignorance” of the most painful aspects of our history. “A lot of Americans can’t say the word black without tripping over it first,” she says. “So it’s a challenge that so many American readers have avoided forever and that many are now ready to take on.” The Nickel Boys dramatizes the truth of Jim Crow and its reverberations while presenting a hopeful, or at least honest, story about the human ability to endure the horrors of injustice.
Whitehead has proven his mastery of his craft. However, it took him some time to accept his own place in the literary world. About a decade ago, on the Princeton campus, he met Toni Morrison – who he says is the great American writer. She invited him for coffee. “I thought, ‘I don’t deserve to have coffee with Toni Morrison. That’s ridiculous,” he says. He never went through with it. “I was too embarrassed that she invited me. It’s like getting someone else’s mail.”
Would he have accepted the invitation today? “I’m less confident now,” he says. “I have fewer hooks.”
A few days after meeting him in Harlem, I drive to Whitehead’s new second home in East Hampton, which I learn is 4,000 square feet and sits on two acres of land. As I pull up, I can see him through the floor-to-ceiling windows that look into the kitchen. There he is over the stove. He waves and rushes to the orange front door. He’s wearing a t-shirt, blue jeans and red Chuck Taylors – worn just the right amount. Whitehead makes smoked pork (his smoker is popular) and potatoes and offers to share the recipes. Lunch won’t be ready for a while, but he has snacks.
Hours later he serves me a plate. He warns against sharpness and pours me a glass of water. While he is busy elsewhere in the house, I eat the meal alone in his kitchen, grateful for his kindness and culinary prowess. If you’re wondering, the food is delicious.
I’d seen Whitehead a couple of times in New York at literary events, and because we hadn’t spoken, exchanged a handshake or dab, or the black man’s universal endorsement known as “the nod,” I’d classified him as a definite Type. But our conversations have been easy, and his current hospitality feels genuine, and well, call me a softy, but so quick, it’s almost like he’s a literary big homie I don’t see some Sundays.
Some authors impress critics and win awards; others count robust sales. Whitehead is the rare writer to have achieved both. “I was definitely broke,” he admits. “Most of my life I’ve lived from control to control.” But please believe that he no longer lives from check to check. He leads me through the house, amazing. Upstairs, he shows me a master bedroom the size of my old Harlem apartment, and there’s an in-ground swimming pool at the back. His home is what I hoped it would be, for he is a paragon of literary careers, and I certainly welcome the evidence that what he has achieved can deserve such a life.
We sit down in his office to chat and he offers to show me a draft from The Underground Railroad. He opens the file and points to the beginning. There are no roman numerals or numbers or letters, just phrases, many of which describe things I remember from the book. “I know the beginning and the end,” he says. “Then it gets blurry and things fall in and out.” He’s already working on his next project, one he began before he wrote The Nickel Boys: a crime novel set in 1960s Harlem.
As we talk, I notice markings on one of the moldings. He later tells me that these are dated height measurements of the children of the previous owners of the house. I notice that Whitehead didn’t delete it, but added an entry for his son. This small decision might explain part of his writing practice, the act of taking old forms or themes and filtering them through his imagination, maintaining the confidence that one need not try to erase what came before to create something new.
Whitehead steps away and while he’s gone I lift medals to feel their weight, pull a framed certificate off the shelf and read the fine print, leaf through the stack of framed posters. I wonder how it must feel for him to work in this room, looking across at the insignia of his achievements, looking out the window at the forest that is his courtyard. It seems to me that Langston Hughes and the other Whitehead ancestors might have found it difficult to fathom his achievements that he might just be beyond their dreams.
Jackson is the author of The Residue Years and Survival Math. His twitter is @MitchSJackson.
Arch Colson Colson Whitehead (1969- ) •
Born Arch Colson Whitehead on November 6, 1969, novelist Colson Whitehead spent his formative years in Manhattan, New York with his parents Arch and Mary Anne Whitehead, who owned a recruitment firm, and three siblings. He tells of his childhood that he prefers to read science fiction and fantasy and watch horror films. He attended Trinity School in New York, NY, and later Harvard University in Massachusetts, where he majored in English and Comparative Literature. At Harvard, Whitehead befriended classmate Kevin Young, a poet and current director of the Schomburg Center for Research in Black Culture. After graduating with a B.A. In 1991, Whitehead worked for Village Voice as a music, book, and television critic. He left the newspaper in the late 1990s and has since taught at several universities, including Columbia, the University of Houston in Texas, and Princeton in New Jersey. He is married to literary agent Julie Barer, with whom he has two children.
To date, Whitehead has published a total of eight books. His six novels include The Intuitionist (1999); John Henry Days (2001); Apex Hides the Pain (2006); Sag Harbor (2009); Zone One (2011); and The Subway (2016). His two non-fiction books include a collection of essays, The Colossus of New York (2003) and his memoir, The Noble Hustle: Poker, Beef Jerky & Death (2011). Likened to Ralph Ellison’s 1952 novel Invisible Man, the intuitionist established Whitehead as a talented writer early in his career. The novel is both a speculative detective story and a parable of racial progress. It follows Lila Mae Watson, an intuitionistic elevator inspector, an affiliation of inspectors at odds with the empiricists. Whitehead writes across a variety of fictional genres, including horror (Zone One), social realism (Sag Harbor), absurdist fiction (John Henry Days, Apex Hides the Hurt), and fabulistic fiction (The Underground Railroad).
The Underground Railroad won the 2016 National Book Award and the 2017 Pulitzer Prize for Fiction and was instrumental in bringing its author wider recognition. Set in the United States before the Civil War, the novel follows Cora, an escaped slave whose journey to freedom involves a redesigned underground railroad, which is literally a set of underground railroad tracks.
In addition to the Pulitzer Prize for Fiction, Whitehead has received several other literary awards. His awards include a Whiting Writers’ Award, a Guggenheim Fellowship, a MacArthur Fellowship, and a PEN Oakland Award for Apex Hides the Hurt.
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