The cover page is adapted from Banjo, a painting completed in 1929 by Aaron Douglas. The cover and title pages feature the League Spartan and Sorts Mill Goudy typefaces created in 2014 and 2009 by The League of Moveable Type. en.wikipedia.org/wiki/Aaron_Douglas_(artist)www.theleagueofmoveabletype.com/
Banjo
Capítulos (26)
- Dedication 0:00
- First Part: I: The Ditch 0:04
- II: The Breakwater 29:35
- III: Malty Turned Down 46:09
- IV: Hard Feeding 1:05:31
- V: “Jellyroll” 1:17:16
- Second Part: VI: Meeting-Up 1:41:55
- VII: The Flute-Boy 2:23:25
- VIII: A Carved Carrot 2:42:12
- IX: Taloufa’s Shirttail 2:56:33
- X: Storytelling 3:20:19
- XI: Everybody Doing It 3:55:31
- XII: Bugsy’s Chinese Pie 4:23:01
- XIII: Bugsy Comes Back at Banjo 4:56:25
- XIV: Telling Jokes 5:16:01
- XV: White Terror 5:35:12
- XVI: The “Blue Cinema” 5:54:57
- XVII: Breaking-Up 6:31:13
- Third Part: XVIII: Banjo’s Return 6:40:06
- XIX: Lonesome Blue Again 6:54:24
- XX: The Rock of Refuge 7:10:49
- XXI: Official Fists 7:34:12
- XXII: Reaction 7:58:50
- XXIII: Shake That Thing Again 8:18:42
- XXIV: The Chauffeur’s Lot 8:27:51
- XXV: Banjo’s Ace of Spades 8:57:56
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Banjo, Claude McKay’s second novel, follows a band of beachcombers made up of members of the African diaspora as they live as vagrants in Marseilles. Their de facto leader is the titular Banjo, an easygoing African-American musician and veteran of World War I, who aspires to assemble the band of beach boys into an orchestra. The novel also follows Ray, an itinerant Haitian writer and intellectual who debuted in McKay’s first novel, Home to Harlem. Structured as a series of vignettes, Banjo explores themes of Pan-Africanism and transnational racial identity in its depiction of the international black precariat.