2018 Finalist

Sing Unburied - web
“Sing, Unburied, Sing”

Scribner | Simon & Schuster
ISBN: 9781501126062

Combo image - Ward

Jesmyn Ward received her MFA from the University of Michigan and was a recipient of a Stegner Fellowship, a John and Renee Grisham Writers Residency, and the Strauss Living Prize. She is currently an associate professor of creative writing at Tulane University and author of the novels “Where the Line Bleeds” and “Salvage the Bones,” which won the 2011 National Book Award. She is also the author of the memoir, “Men We Reaped,” which was a finalist for the National Book Critics Circle Award and won the Chicago Tribune Heartland Prize and the Media for a Just Society Award. She lives in Mississippi.

Q&A with Jesmyn

Why did you write Sing, Unburied, Sing?
I’m always thinking about race, the legacy of the South, and the ways that black people survive when I’m thinking about an idea for a novel; those are the concepts that animate all of my work. But for Sing, Unburied, Sing, in particular, it was the characters that drew me forward — Jojo, really, who I saw very clearly before I saw any of the rest of the story. He was so compelling to me that I had to write about him, and then I also wanted to explore the issues that he struggles with, how he’s a mixed-race boy working to become a man in the contemporary South with all that brutal history riding alongside.

What was the most challenging thing about writing this book?
I’ve always been drawn to big, mythical elements in my writing; I was thinking about Medea while I wrote Salvage the Bones and The Odyssey while I wrote Sing, Unburied, Sing. At the same time, though, I’d never written anything but realism before this novel, and it was difficult to give myself permission to create a fantastical element in the story. That was my first and my biggest challenge.

How might fiction help us to explore contemporary issues?
I’m a writer, but I’m also living in this world and responding to what I see and experience and read about. It’s almost impossible for my writing, I think, or anyone’s writing, not to explore contemporary issues. Because I’m a black writer, and because of the legacy and present of racism and racist violence in this country, all my work engages with contemporary issues whether I like it or not.

What was an early experience where you learned that language had power?
I was an obsessive reader when I was young, and I think I first learned language had power through reading: The books I loved were expansive and fantastical and set my imagination alight. But I was also exposed to racism as a very young child, as most black people are in the United States. The cruelty of some of the racist remarks I heard then marked me very powerfully.

What book(s) have made you see the world differently? How?
Like I’ve said, reading was my escape as a child – and particularly fantasy books like The Hero and the Crown and the Narnia series. They opened up a magical world for me, a world of imagination and adventure, and since I was particularly drawn to books about independent girls, they showed me the kind of person I wanted to be. As I grew up, older black writers like Alice Walker, James Baldwin, and Toni Morrison proved to me that I could exist on the page, as I was, in a uniquely important way. Some of the research I did for Sing, Unburied, Sing, particularly Worse Than Slavery by David Oshinsky, helped me really see our shared history for what it is, in all its brutality – and some of the research I’m doing for my current novel has taught me about the slave trade in a similar manner. Almost everything I’ve read has shifted or opened up in my perspective in some way.