Jesmyn Ward Quotes
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After I finished my first draft of 'Salvage the Bones,' I felt that I wasn't political enough. I had to be more honest about the realities of the community I was writing about.
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In the South, there is more overt racism. It's more willfully ignorant and brazen. But it's not as if by moving I'm going to be able to escape institutionalized racism. It's not as though my life won't be twisted and impacted by racism anymore. It will.
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I think that the first book that made me think that I could try to be a writer - or that made me aware that a young black woman from the South could write about the South - was Alice Walker's 'The Color Purple,' which I read for the first time when I was in junior high.
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My family and I survived Hurricane Katrina in 2005; we left my grandmother's flooding house, were refused shelter by a white family, and took refuge in trucks in an open field during a Category Five hurricane. I saw an entire town demolished, people fighting over water, breaking open caskets searching for something that could help them survive.
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I feel like the kind of people I write about are the kind of people I grew up with, the families that I know in my community. Most everyone is working-class, and there are some intact families, but a lot of families aren't.
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As a reader, sometimes, I just want to not think. You know, I want to read something that is purely enjoyable: that is, like, escapist.
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One of the ways my first novel failed was that I was too in love with my characters.
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I try to treat writing as part of my daily routine: I write for at least two hours, five days per week. I tend to write at home, in a room I've set aside for the task. I don't work well in cafes or busy, loud spaces, although I wish I could. It would mean greater flexibility for me.
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My people are still poor. They're still working class. All of the characters that I write about are inspired by the community that I'm from.
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I think that often in the United States we're very blind to the ways that history lives in the present.
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I could stifle my voice, or strip it. I know that I could, because we can do anything we put our minds to. I know that I could, but it feels very unnatural for me to strip my prose like that, in part because place is so important to me.
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In American culture at large, but especially in African American culture, it's a sign of weakness to ask for help.
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I'm still a bit of a reading glutton, I think, because I browse, read a bit of the back copy, flip through the book, read a bit of the text, and if it still seems fascinating, I read it. That's why my bedside table is so cluttered: I want to imbibe it all.
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People give the South a bad rap. It's often stereotyped as backwards and close-minded and dogmatic, and all of those things have been true. But I think that the South is changing, slowly but surely.
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If I could chat with anyone, it would be Claire Messud, because I think she could tell me how to get better as a writer as I age.
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While I admire writers who are able to write with a vitality based on order and action, I work in a different vein. I often feel that if I can get the language just right, the language hypnotizes the reader.
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When I read 'Absalom, Absalom!,' I remember being really excited about it and telling all my friends they had to read it, especially my writer friends.
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In my family and in my community, I see people struggling with drug addiction, with poverty and the effects of generational poverty; I see people struggling with lack of access to healthcare.
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Part of me is stuck in my childhood in the Eighties. I actually watch 'The Neverending Story,' 'Labyrinth,' and 'Legend' over and over again. Also, 'Willow' and 'The Goonies.'
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I wanted to write about the experiences of the poor and the black and the rural people of the South.
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There is power in naming racism for what it is, in shining a bright light on it, brighter than any torch or flashlight. A thing as simple as naming it allows us to root it out of the darkness and hushed conversation where it likes to breed like roaches. It makes us acknowledge it. Confront it.
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I read everything. When I say everything, I read everything: children's literature, Y.A., science fiction, fantasy, romance - I read it all. Each genre fulfills a different need I have. Each book teaches me something.
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I've been in so many writing workshops where someone hands in a story, and when the other writers in the workshop are giving feedback, they say, 'This is unbelievable.' And the writer says, 'Well, actually, the events are based in real life. This actually happened.'
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Great trouble breeds great art, I think.