“Crooked” is the most frequently used metaphor for criminal in this text. Indeed, a derivation of the word appears even in the title: Crook Manifesto. This period slang reflects the novel’s commitment to a realistic representation of 1970s-era Harlem. However, the word “crooked” is much more than a motif. A core contention of the novel is that both criminality and law-abiding behavior are situational—that individuals shift fluidly from the “right” to the “wrong” side of the law depending on changing circumstances. “Crooked” and “straight” describe different points along the same line, and anyone can “bend” under the right kind of pressure. Through multiple, repeated representations of characters whose criminality is as situational as their ability to abide by the law, Whitehead wants his readers to question fixed notions of morality, ethics, and character. He effectively deconstructs the binary between “good” and “evil,” illustrating the role that experiences, situations, and the actions of others play in each person’s individual choices. Although readers might expect to encounter “good” politicians and police officers and “bad” criminals, Whitehead complicates such straightforward characterizations. Crook Manifesto is full of characters who are both “crooked” and “straight,” who move fluidly between the two poles depending on the day and situation.