I allude to Back to the Future in the 1985 story to let folks know it was an inspiration and because it literally was the most time-travelly bit of pop culture we had in the mid 80's. I can talk about their tools for considering change. First, the book is metafictive in a traditional sense where I'm showing and telling the reader that the act of writing and reading is a reflexive way to push boundaries of real and literal time travel. Writers and readers are time travellers. The question is what we do with that time we traveled when we leave a book, leave a page.
Kiese LaymonFirst of all, the novel should be a critique of the novels that have come before it in a language that broadens the audience of American literature. Second, it's really got to be invested in a number of what-if questions.
Kiese LaymonI wanted to create a book that was unafraid of black bodies, yet super interested in thinking about the relationship of love to body and sexuality without relying on tired understandings of "gay" "bi" or "straight."
Kiese LaymonThe "How to Slowly Kill Yourself and Others" essay was so hard to write because of the memories, the sensory stuff, but also because it didn't follow the form of any essay that I've ever read. And the truth that I was exploring necessitated that obliteration of traditional form, I think.
Kiese Laymon