Jesmyn Ward Quotes
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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 wrote the first draft of my first novel at Michigan, and then I wrote the first draft of 'Salvage the Bones' at Stanford. So I workshopped the entire thing.
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Great trouble breeds great art, I think.
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People are not afraid to be activists, to be vocal. And I think back to my years in college, and that wasn't the case.
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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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'As I Lay Dying,' I reread that often. That's the first work of Faulkner's that I read that so amazed me and that I responded to emotionally and viscerally. I admired it so much, and I think that's why I keep rereading it.
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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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I think art, especially literature, has the particular power to immerse the viewer or reader into another world. This is especially powerful in literature, when a reader lives the experience of the characters. So if the characters are human and real enough, then readers will feel empathy for them.
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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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One of the things that is so striking to me about the South, especially living here now as an adult, is that I see a lot more mixed-race couples than I saw when I was growing up in the 1980s and the 1990s. I feel like living across the color lines has become something that's more expected.
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By the time I wrote my memoir, 'Men We Reaped,' I had been running from writing it for a long time. When the events in the book were happening, I knew I'd probably write about them one day. I didn't want to. I'd studied fiction, and I was committed to establishing myself as a fiction writer first.
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A lot of times, real life is more surreal than writing.
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I am grateful to the activists and women who created the Black Lives Matter movement because I feel like they let me know I wasn't crazy.
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Faulkner is a really important figure in southern literature. I wrestle with him and his legacy every time I sit down and write a piece of fiction.
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People ask me about staying here. I think they assume that I wouldn't want to come back to a place like Mississippi, which is so backward and which frustrates me a lot. The responsibility that I feel to tell these stories about the people and the place that I'm from is what pulls me back.
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One of the most important things that I want for my kids is I want them to live. You know, I want them to live to see 21 and beyond.
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It took me a long time to write again because Katrina destroyed the home I loved, and that robbed me of hope.
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My mom is the kind of mom, when we would go to a friend of the family's house, and they would offer us something to drink or offer us something to eat, my mother would always say, 'Tell them no.' You could be starving - you could be dehydrated - but as kids, we were supposed to tell the host, 'No.'
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On one hand, I can say, you know, I had many family members - I had many people in my extended family who left right after Katrina, who relocated to different cities, right? Houston, Atlanta. Right? Most of them have come back.
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When I was writing my first novel, 'Where the Line Bleeds,' which had young black men as its main characters, I was very invested in telling the story and also very worried about the effects the story would have.
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I read the last Harry Potter, and I cried for at least the last 70 pages. Awful! I was curled into a ball and I just kept sobbing. It was embarrassing. I was loud, and I just kept wiping tears away so I could see the page.
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I can't stop thinking about the devaluation of black life, and I find it seeping into everything I write.
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I'm always thinking about time. That's one of themes I return to in my work, the way the past bears on the present, the way that time is not linear, and how that expresses itself in people's everyday lives.
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I thought about all those people whose suffering had been erased, and I thought, 'Why can't they speak? Why can't I undo some of that erasure?'