I think a lot about race and the burdens of representation. There's an idea that because I'm writing a book set around the time of the Great Migration, and happen to be black, I'm trying to write a definitive account of the Great Migration, the so-called "black experience." That's not what I'm doing, and it can be frustrating.
Ayana MathisFiction writing is an act of imagination, lived experience is secondary in many ways, writing a novel really is all about inventing worlds and people.
Ayana MathisIn America, and no doubt elsewhere, we have such a tendency toward the segregation of cultural products. This is a black book, this is a gay book, this is an Asian book. It can be counterproductive both to the literary enterprise and to people's reading, because it can set up barriers. Readers may think, "Oh, I'm a straight man from Atlanta and I'm white, so I won't enjoy that book because it's by a gay black woman in Brooklyn." They're encouraged to think that, in a way, because of the categorization in the media.
Ayana MathisI think of my success as a kind of fluke. How else could I possibly think of it? And although it's a banal thing to say, I wrote my book because I was writing my book. At first I didn't know I was writing it, and one of the amazing things that happened as I was putting sentences down on paper is that some of the things that are most sacred and important to me rose to the surface of the prose.
Ayana MathisI think being consistent is really important. In the arts there's a misconception that you sit around waiting for the muse to come, and that it's all really mystical and mysterious. In reality, sometimes you have to fake it till you make it.
Ayana MathisI think a lot about race and the burdens of representation. There's an idea that because I'm writing a book set around the time of the Great Migration, and happen to be black, I'm trying to write a definitive account of the Great Migration, the so-called "black experience." That's not what I'm doing, and it can be frustrating.
Ayana Mathis