48 pages • 1 hour read
Walter MosleyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The novel’s setting in 1948 Los Angeles, California, takes on historical and thematic significance. In his introduction to the 30th anniversary edition of the novel, Mosley comments:
When I wrote Devil I had a simple thought in mind. I wanted to tell a story about Los Angeles that highlighted black life and the black contribution to culture within a mirror-darkly that partially reflected the American experience within a shadowy landscape of national shame. In Devil I talked about how poor black people migrated from the Deep South to Southern California, of how they flourished and ultimately failed; only to rise again, flourish again, fail again but in the end, pressing the envelope of that contest forward each and every time (iii-iv).
To that end, Mosley considers the migration from the South to the West from several angles. Easy recalls the dreams of prosperity that drew him and others to California, as well as the disappointment of discovering LA’s “workaday” lifestyle to be, somehow, “Too much!” Despite this disappointment, many migrants choose to remain, such that, when Easy visits John’s place, he jokingly estimates that “half of Houston was there” (30). In the face of the city’s crime, corruption, prejudice, and economic challenges, Easy and others like him carve out a niche of their own, including a rich cultural life: Billie Holiday and several other “big names in Negro music” are known to perform at John’s place, for instance (30). Easy’s advancement over the course of the novel in terms of home and business ownership, including his self-employment as a detective, offers an optimistic but grounded view of the potential for social and economic progress even in such a sordid setting.
Evoking the style of Raymond Chandler, an author of hardboiled mysteries noted for his use of simile to comedic effect, Mosley laces the text with typically wry and occasionally bizarre witticisms that often take the form of unexpected similes or metaphors. Examples include Easy’s observation, at John’s place, that “there was barely any space to dance, but there were a dozen or so couples wrestling out there between the tables” (31); his description of the blood surrounding Richard’s dead body as “so thick you could have dished it up like Jell-O” (95); and a momentary chill he compares to the emptiness of outer space. Language like this adds personality and color to Easy’s narration, revealing his emotional side as well as his critical outlook on the world around him.
By Walter Mosley