Jesmyn Ward Quotes
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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 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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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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I always think about Faulkner, and I would argue that there can be a difference between the way that characters express themselves internally and externally.
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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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As an artist, I feel a certain responsibility to write about difficult subject matter.
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I celebrate my blackness. I love the artistic vibrancy of the culture I was born to.
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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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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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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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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.
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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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Biblical myth is as integral to the spirit of the South as the heat and humidity.
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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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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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My father owned pit bulls when I was young. He sometimes fought them. My brother and a lot of the men in my community owned pit bulls as well: sometimes they fought them for honor, never for money.
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We salvage the bones of our lives every day, through small tragedies and big tragedies.
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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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If I can get a page out in a day, I am celebrating.
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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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In the past, I travelled with 'The Hero and the Crown' by Robin McKinley: I suffer from a fear of flying, and I felt a bit safer knowing I carried the book and characters with me.
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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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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.'