Jesmyn Ward Quotes
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I was pleasantly surprised with 'Salvage.' I went to Australia and New Zealand for the novel and met a lot of people who had experienced the earthquakes in Christchurch. They responded very strongly to the book because they had been through these natural disasters and were trying to figure out how to rebuild.
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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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The ugly heart of the South still beats with this idea that one group of people is worth less.
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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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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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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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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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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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There are moments from childhood that attract heat in our memories, some for their sublime brilliance, some for their malignancy. The first time that I was treated differently because of my race is one such memory.
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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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The women here are the ones that hold the families together. So if my mom were to be unhappy with me, in a way, it would be like I would have lost my entire family.
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I do think that people will claim a certain fatigue about talking about race. But I think that even though they do, it's still necessary - completely necessary.
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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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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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'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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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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I was a freshman at Stanford University the first time someone called me a 'bama.' One of my new friends from D.C. said it, laughing, and even though I didn't know what it meant, exactly, I got that it was some kind of insult. I must have smirked or shrugged, which made him laugh harder, and then he called me 'country,' too.
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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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History and socio-economic inequality and all those things had, like, borne down upon my family and my community and really sort of narrowed our choices.
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With all the main characters that I write, it's always very important to me that they have good and bad aspects of their personality. It's important to me that they're complicated and that they're human.
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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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Because everyone grows up together in my small hometown, everyone knows everyone else. And there are such large extended families that a lot of people are related to each other.