Erasure is a 2001 novel by American writer Percival Everett. It was originally published by the University Press of New England. The novel satirizes the dominant strains of discussion related to the publication and reception of African-American literature, and was later adapted by Cord Jefferson into a film titled American Fiction, starring Jeffrey Wright.^[1]

Erasure's protagonist, Thelonious "Monk" Ellison, a professor of English literature and novelist, is in a rut. He writes novels that are highly academic and philosophical, often with reference to Greek mythology and literary theory. The book establishes itself during a trip to Washington, DC, where Ellison presents a paper to a literary society. During the visit, he witnesses his aging mother, now cared for full-time by his sister, suffering from declining memory and health issues.

Ellison struggles to get his books published because, as his agent repeatedly explains to him, publishing houses do not believe his writing to be "black enough". Ellison is also confronted with the success of a novel, We's Lives In Da Ghetto, by first-time writer Juanita Mae Jenkins. Despite Ellison finding the book full of cliches and lazy stereotypes, it becomes a bestseller and makes Jenkins an instant critical darling. Ellison's sister dies unexpectedly, and he moves to DC to replace her as his mother's caregiver.

Frustrated with his job prospects in DC, Ellison sits down to write a "black" novel that will be palatable to the publishers. Using the assumed identity of a black convict named Stagg R. Leigh, Monk quickly composes a satirical response to Jenkins' text, based in part on Richard Wright's Native Son (1940) and Sapphire's Push (1996). He calls his own novel My Pafology, before changing its title to simply Fuck.

Fuck is written in ten chapters, as a novel within a novel. The plot is an exaggerated story of a young black man who has several babies by different women whom he abuses as he falls into a life of delinquency and crime with his friends. The dialogue is deliberately written in a style that relies heavily on African-American English and phonetic spellings that reflect that variety of English.

To Ellison's shock, his agent is able to quickly get a publishing deal for Fuck, earning him half a million dollars in advance fees. The novel quickly becomes his best-selling work to date and gets optioned by a film producer. Throughout the process of selling and optioning the film, Ellison fashions a persona as the convicted "author" Leigh in order to maintain his credibility.

In his personal life, his mother's mental health goes downhill. They take a "last vacation" to their weekend home on the Chesapeake, where Ellison briefly strikes up a relationship with a local woman. At the end of the novel, Leigh wins a major publishing award for the success of Fuck. As Ellison approaches the stage to accept it, he hallucinates the people he's known throughout his life and imagines himself looking in a mirror and seeing Leigh.

Erasure critiques the publishing industry's tendency to reward literature that conforms to racial stereotypes, particularly those that depict Black life in a way that aligns with white readers' expectations. The character of Monk represents an African American intellectual who resists being defined by such narrow portrayals.^[2]

The novel employs a metafictional structure, including excerpts from Monk’s literary works and letters and the full text of My Pafology. By embedding this satirical novel within the main narrative, Everett critiques both the publishing industry's racial politics and the broader cultural expectations placed on Black writers.^[3]

The Guardian review described the book as a "skillful, extended parody of ghetto novels such as Sapphire's Push."^[4]

Through Monk’s transformation into Stagg R. Leigh, the novel explores how media representation and commercial success can shape and distort an author’s public persona. The book suggests that even deliberate satire can be misinterpreted and absorbed into the very system it seeks to critique.^[5]

Erasure has generated significant scholarly attention since its publication, with academic analyses approaching the novel through various theoretical frameworks. Gergely Vörös's analysis in the journal Language, Literature, and Interdisciplinary Studies examines how the novel "enters into a dialogue with the dominant racial representations of the contemporary United States in the hope of deracialising the American imaginary".^[2]

Irene Rose De Lilly provides a Freudian analysis of the novel, attempting to demonstrate that "Everett is, in fact, the two main characters he has created".^[6] This psychoanalytic approach suggests that the novel's exploration of divided identity operates on multiple levels, including potential connections between the author's experiences and fictional creations.

The scholarship from books.openedition.org places "Erasure" within broader discussions of identity and iconography in Everett's fiction, noting how the novel "blurs the lines between real and unreal, authentic and fake, waking and dream, to offer provocative critiques of how race operates in American society".^[3] This analysis connects the novel's formal experimentation with its thematic concerns, suggesting that Everett's narrative techniques serve his critical project of challenging fixed notions of racial identity.

The novel was well received. According to Book Marks, primarily from American publications, the book received a "rave" consensus, based on thirteen critics: nine "rave", three "positive", and one "mixed".^[7] The Daily Telegraph reported on reviews from several publications with a rating scale for the novel out of "Love It", "Pretty Good", "Ok", and "Rubbish": Daily Telegraph, Guardian, Times, Sunday Times, and TLS reviews under "Love It" and Independent and Sunday Telegraph reviews under "Pretty Good".^[8]

Darryl Pinckney's review in The Guardian focused on the dark comedy that Erasure represents, describing it as moving towards "bleakest comedy" and "sly work."^[4] Ready Steady Book focused on the novel being "full of anger" about the African-American literary establishment and said that the most redeeming elements of the plot come from a "moving portrait of a son coming to terms with his mother's life."^[9]

• Erasure won the inaugural Hurston/Wright Legacy Award in 2002.^[10]

• In 2024, it was listed on The Atlantic's The Great American Novels list.^[11]
• It is listed #20 on The New York Times' 100 Best Books of the 21st Century list.^[12]

After receiving literary praise for the novel, Everett was initially reluctant to license the novel for adaptation.^[13] American filmmaker Cord Jefferson, however, presented a compelling case for an adaptation and the changes to the plot and story in the script satisfied Everett.^[14]

After several years of production, the film adaption was released in 2023 under the title American Fiction, written and directed by Jefferson and starring Jeffrey Wright, Tracee Ellis Ross, Erika Alexander, Sterling K. Brown, and Leslie Uggams.^[1] The film won the Toronto International Film Festival People's Choice Award at the Toronto Film Festival that year.^[15] The film received five nominations at the 96th Academy Awards, including Best Picture and won Best Adapted Screenplay.^[16]

• Russett, Margaret (2005). "Race Under Erasure". Callaloo. 28 (2): 358–368. doi:10.1353/cal.2005.0059. ISSN 1080-6512. S2CID 162296410. Retrieved April 25, 2014.
• Eaton, Kimberly (2006). "Deconstructing the Narrative: Language, Genre, and Experience in Erasure" (PDF). Nebula. 3 (2/3): 220–232.
• Moynihan, Sinead (2008). "Living Parchments, Human Documents: Racial Identity and Authorship in Percival Everett's Erasure and Hannah Crafts' The Bondwoman". Engaging Tradition, Making It New: Essays on Teaching Recent African American Literature. Cambridge Scholars Publishing. pp. 103–21. ISBN 9781847185280.