53 pages • 1 hour read
Sportcoat visits his childhood friend, Rufus, who lives in the adjacent housing project, the Watch Houses. Rufus—who was a founding member of the local church before dropping out of the community 14 years before the story—suggests that Sportcoat travel out to the nursing home of Five End’s oldest member Sister Paul, who used to be in charge of the Christmas collection. Rufus says she used to have a hiding place for the Christmas box and might help Sportcoat.
Rufus also relates the story of the church’s origin: Sister Paul was involved with its construction, as well as a taciturn Italian man who got along well with Sister Paul. He insisted on painting a large picture of Jesus on the church lot’s back wall, with the heading “May God Hold You in the Palm of His Hand” (a line from a traditional Irish blessing mentioned by the Governor in Chapter 5). The presence of the mysterious Italian, the heading, and the wall suggest that Elefante’s father might have hidden the mysterious “Venus” artifact there. Elefante doesn’t know about the mural at Five Ends, so the characters don’t yet make the connection between the mural and Venus.
Sportcoat leaves Rufus. Earl, who has been hiding in a broom closet waiting for Sportcoat, attempts to attack him with a pipe. As he’s advancing on Sportcoat from behind, however, two boys hit him in the head with a baseball, knocking him down and sending Sportcoat safely on his way without realizing Earl was behind him.
Jet was transferred to Queens, so Potts is assigned to Sportcoat’s shooting case and shows up at Five Ends looking for the shooter. (It’s later revealed that the police have mixed up Hot Sausage and Sportcoat because the two share a driver’s license.) Five End’s pastor’s wife, Sister Gee, is at the church and appoints herself as the representative of the community to speak with him. Both she and Potts are attracted to each other as they converse, even though they’re married to other people. Sister Gee doesn’t tell Potts much about Sportcoat because she doesn’t want to turn him in and is deliberately vague about what she knows about the shooting. As Potts is leaving, Sister Gee invites him to come see her at the church again.
The Cause residents gather on the plaza between the buildings to celebrate the release of one of their young men, Soup, from prison. One of the residents, a numbers runner, has a band and they play Latin music out on the steps of a building. As everyone is dancing to the music, Sportcoat comes out, one of his first appearances since the shooting. Everyone stares at him and urges him to get out of town. The mix-up with the name Potts gave Sister Gee is explained by the shared driver’s license.
Soup, a huge 6’10” man who continues to have a penchant for children’s television shows like Captain Kangaroo and Mister Rogers’ Neighborhood, comes out onto the plaza, reigniting the celebration. A huge brawl between nearly all of the residents breaks out after a fight between a resident and her ex-husband, the numbers runner. Earl is there and again tries to come after Sportcoat but is hit over the head with a bottle of brandy and knocked unconscious. At that point, the residents hear police sirens and Sister Gee breaks up the brawl, sending everyone away but Soup, whom she commissions to carry Earl’s unconscious body to the train station. One of the residents who works as a subway teller holds back a crowd of passengers so Soup and Sister Gee can wait for Earl to come around and put him on the right train. Meanwhile, Sportcoat and Hot Sausage slip away to the boiler room where Hot Sausage works.
The novel’s point-of-view shifts from the Cause back to Elefante. He’s about to go to the Bronx to meet the Governor and find out more about the Venus job; he says goodbye to his mother, whom he lives with. His mother is one of Sportcoat’s odd-jobs employers and tells Elefante that Sportcoat will be coming by to help her dig up plants around the city—she’s a voracious gardener and believes in herbal remedies for ailments. She can’t remember Sportcoat’s name, and Elefante doesn’t know that his men pulled Sportcoat’s wife Hettie out of the harbor after she drowned.
Elefante is about to get in his car when Joe Peck drives up and asks him to receive a “Lebanon shipment” (code for heroin) at his dock for him. Elefante is leery because it will involve sending a barge out to deeper waters in the harbor to a freighter, then unloading the drug shipment again on shore. He refuses the job, not liking the other man’s style of doing business with people he doesn’t trust, even though Peck claims that this is his last job in the drug trade. Peck drives away angrily, and his interaction with the other man makes Elefante reflect on his life, relationships, and loneliness.
The first mention of Sportcoat and Elefante’s connection through Elefante’s mother in Chapter 11 suggests that the relationship between the Elefante family and the Five Ends community, formed a generation before, will be reestablished. Elefante’s personal storyline and the communal one of the Cause Houses will gradually become intertwined as the two groups work together to find and retrieve the Venus—a connection that is still lost on the characters but will become apparent as the book progresses. McBride’s decisions about where to place the novel’s point-of-view take on greater meaning as the reader begins to understand that the threads of the story will eventually be woven together into a coherent whole. These chapters demonstrate that all the seemingly unconnected characters—including Sister Paul, who’s discussed in Chapter 9—will eventually play a role in Deacon King Kong’s overarching narrative.
In addition to becoming more central to the story’s plotline, Elefante’s emotional arc is also introduced. He longs for companionship in the form of a romantic partner and is dissatisfied and disillusioned with his life of crime. Sturgess’s daughter Melissa—who Elefante meets in the next group of chapters—and the promise of earning enough money through his reward for finding the statue are both connected to the Venus. This explains Elefante’s motivation for trying to find the Venus—he could help Melissa’s father, thereby staying connected to her, and earn enough money to leave the world of crime. McBride is laying the groundwork for making Elefante’s involvement in the Venus hunt believable and in keeping with his character.
This group of chapters also contains farcical elements that add to the humor of the novel while reenforcing the upending of the reader’s expectations. Sportcoat, a bumbling elderly man who struggles with alcohol dependency, seems unlikely to defend himself against a young, ruthless hit man like Bunch. Yet, through a series of mishaps and coincidences, Earl is thwarted twice from attacking Sportcoat. The reader’s expectations about who will triumph in a battle of wills or physical altercation will be upended again later in the book through the character of Haroldeen, and by Hot Sausage and Sportcoat’s defense of younger Cause men.
The brawl among the Cause residents is also a comedic scene that illustrates the complex bonds between the residents—they experience intense camaraderie but also harbor petty disagreements and grudges against each other, and they’re quick to unleash anger against each other as well as to extend friendship. McBride uses these instances to create nuanced characters and to suggest a wryly optimistic outlook on the story’s outcome. McBride mentions this intent in a video interview, saying he meant to portray this community in a “…caricature or funny way” (Award-Winning Author… 01:38-01:40). He also states that he meant to give the novel a positive outlook: “It’s easy to cite the negative. But it’s better and stronger and more forceful and gives you a wider range of choices as a writer if you work with the positive” (Award-Winning Author… 07:11-07:18).
Interview source: “Award-Winning Author James McBride on Social Justice and ‘Deacon King Kong.’” YouTube, uploaded by Amanpour and Company, 3 Aug. 2020. www.youtube.com/watch?v=6xsfzaF1KUY.
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