Jesmyn Ward Quotes
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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 ask me all the time, 'Why did I move home?' As well as I can articulate it, that's why. I moved home because I love the community that I come from.
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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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I hope that I never have to work in a place that sells large quantities of jeans ever again. Jeans are rough! It used to kill my hands. I know that sounds prissy - I'm not prissy at all. But it did; it killed my hands. It was awful.
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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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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.
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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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I celebrate my blackness. I love the artistic vibrancy of the culture I was born to.
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On one hand, I am very pessimistic, but on the other hand, if I didn't believe that speaking up would do something, I wouldn't have spoken.
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As an artist, I feel a certain responsibility to write about difficult subject matter.
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We salvage the bones of our lives every day, through small tragedies and big tragedies.
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I was raised in Mississippi, in a family and a community that identified as black, and I have the stories and the experiences to go with it. One of my great-great grandfathers was killed by a gang of white Prohibition patrollers.
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The first writer that I think of immediately that I studied with at Michigan is Peter Ho Davies. He was really important to me, tackling that first novel. Just writing it.
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Biblical myth is as integral to the spirit of the South as the heat and humidity.
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My brother died when he was 19, so a part of me indulges and thinks that some part of him that made him uniquely him is out there, on another plane. So inventing the fictional afterlife in 'Sing, Unburied, Sing' was a way of making that wish real.
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It's very hard to deal with true subject matter, especially when you're writing about such weighty issues.
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When I was a teenager, I was the only black girl at a small, private Episcopal school, where my tuition was paid by the family my mother worked for. It was hard being the only one, and I faced a fair amount of racist and classist bullying there.
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My family has been poor and working-class for generations. And we live - I live in this really small community in Southern Mississippi where you don't evacuate, and you have never evacuated because there are too many people in your family to evacuate.
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It infuriates me that the work of white American writers can be universal and lay claim to classic texts, while black and female authors are ghetto-ized as 'other.'
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I recently read a collection of stories called 'Boondock Kollage,' by Regina Bradley. The stories follow multiple characters through the South, through the past and present. I loved reading that book: the first time I read the opening story, I was breathless and incoherent.
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If I can get a page out in a day, I am celebrating.
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I love my community. I love always being able to come back and have a home.
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I'm from a small town on the bottom edge of Mississippi, very near New Orleans and the Louisiana border. My family has lived there for generations.
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At one time, when I was eight years old, my mother and father, my brother and my sisters - we had to move back in with my grandmother, and there were 13 of us living in one house.