I have never written a novel that volleys back and forth between a couple of different first person perspectives. It's definitely a challenge because I had to think about who knows what, when do they know it, when are they sharing what they know or what they think they know, how the reader's perspective affects things. Telling the story in that way is challenging. It does require a lot of revision.
Jesmyn WardI'm writing about the things I see all around me. Growing up in Mississippi, I've seen how these backward ideas about class and race and healthcare and education and housing and racism impact everyday lives. For example, my mother wouldn't let me go to my homecoming dance because the yacht club where they were having the dance threw a fundraiser for David Duke, an ex-Klan member, when he was running for governor of Louisiana. So I grew up seeing how personal politics could be.
Jesmyn WardThat's why I write fiction, because I want to write these stories that people will read and find universal.
Jesmyn WardI wanted to write about voodoo tradition that I feel has been very important to survival of black people here: people of the African diaspora, people of this region, and throughout the south.
Jesmyn WardI was thinking about the difference in voice between the different characters. Each voice has to be unique. Hypothetically you should be able to read each chapter without the heading that tells you who is telling the story.
Jesmyn WardI'm a failed poet. Reading poetry helps me to see the world differently, and I try to infuse my prose with figurative language, which goes against the trend in fiction.
Jesmyn WardWhen I decided to write about my brother and friends, I was attempting to answer the question why. Why did they all die like that? Why so many of them? Why so close together? Why were they all so young? Why, especially, in the kinds of places where we are from? Why would they all die back to back to back to back? I feel like I was writing my way towards an answer in the memoir.
Jesmyn Ward