The Man in My Basement

Charles Blakey has fallen on hard times. Out of work, heavily in debt, drinking too much, Blakey, a black man, worries about holding on to his family home in Sag Harbor. When a strange white man offers him $50,000 to rent his basement for the summer, Blakey can't refuse. What's the catch? Anniston Bennet wants to be imprisoned for the duration of his stay. Ernie Hudson's performance turns Blakey's dilemma into an exploration of perversity, punishment, repentance, and redemption. His accomplished handling of the exchanges between the two men resonates with truth. Hudson is compelling as Blakey wrestles with the seductiveness of power. In a departure from his popular Easy Rawlins mysteries, Walter Mosley presents a fascinating, if disturbing, look into the human soul. S.J.H. Winner of AUDIOFILE Earphones Award 2005 Audie Award Finalist (c) AudioFile 2004, Portland, Maine

December 15, 2003
Even in his genre fiction, which includes mysteries (the Easy Rawlins, Fearless Jones and Socrates Fortlaw series) and SF (Blue Light
, etc.), Mosley has not been content simply to spin an engrossing action story but has sought to explore larger themes as well. In this stand-alone literary tale, themes are in the forefront as Mosley abandons action in favor of a volatile, sometimes unspoken dialogue between Charles Blakey and Anniston Bennet. Blakey, descended from a line of free blacks reaching back into 17th-century America, lives alone in the big family house in Sag Harbor. Bennet is a mysterious white man who approaches Blakey with a strange proposition—to be locked up in Blakey's basement—that Blakey comes to accept only reluctantly and with reservations. The magnitude of Bennet's wealth, power and influence becomes apparent gradually, and his quest for punishment and, perhaps, redemption, proves unsettling—to the reader as well as to Blakey, who finds himself trying to understand Bennet as well as trying to recast his own relatively purposeless life. The shifting power relationship between Bennet and Blakey works nicely, and it is fitting that Blakey's thoughts find expression more in physicality than in contemplation; his involvements with earthy, sensual Bethany and racially proud, sophisticated and educated Narciss reflect differing possibilities. The novel, written in adorned prose that allows the ideas to breathe, will hold readers rapt; it is Mosley's most philosophical novel to date, as he explores guilt, punishment, responsibility and redemption as individual and as social constructs. While it will be difficult for this novel to achieve the kind of audience Mosley's genre fiction does, the author again demonstrates his superior ability to tackle virtually any prose form, and he is to be applauded for creating a rarity, an engaging novel of ideas.

September 15, 2003
Not a mystery: cashed-strapped Charles Blakey really goofs when he rents out his basement to a stranger.

Copyright 2003 Library Journal, LLC Used with permission.

October 15, 2003
Charles Blakey is an unemployed black man, deep in debt, who drinks too much, has few friends, is awkward with women, and lives alone in a large house where the basement is filled with artifacts of his family's rich history. As in many of Mosley's books, the story begins with a knock on the door: Anniston Bennet, a wealthy white man with mysterious motives, wants to rent Blakey's sizable basement. But while there is mystery here, this is no hunt for a criminal as in Mosley's famous Easy Rawlins series. Instead, an inventive premise lays the groundwork for a philosophical debate. Bennet wants Blakey to hold him prisoner for 65 days, his way of atoning for "crimes against humanity." Blakey is extremely reluctant, but the "rent" is considerable and his options are dwindling, so he agrees. At first, he's afraid of his voluntary prisoner, but the balance of power begins shifting unpredictably as the two men engage in heated question-and-answer sessions. In a way, Blakey finds his connection to his family and to the world as he explores relationships between the powerful and the disempowered, between world-changing evil and peaceful apathy. And when Bennet asks, "You think that you can have the easy life of TV and gasoline without someone suffering and dying somewhere?" the book's timeliness is irrevocably established. This is fine, provocative writing from the prolific Mosley, whose gifts extend well beyond his excellent mysteries.(Reprinted with permission of Booklist, copyright 2003, American Library Association.)