QUOTES by Jesmyn Ward
Find most favourite and famour Authors from A.A Milne to Zoe Kravitz.
I dabbled in writing, wrote really bad poetry in high school. I also took a few writing classes when I was an undergrad at Stanford. I was so intimidated.
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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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My people are still poor. They're still working class. All of the characters that I write about are inspired by the community that I'm from.
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Physical books are still my favorite, but I own an e-book reader. They're convenient for travel.
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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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Because everyone grows up together in my small hometown, everyone knows everyone else. And there are such large extended families that a lot of people are related to each other.
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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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My mother helped to integrate the local elementary school in the nineteen-sixties.
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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 can't stop thinking about the devaluation of black life, and I find it seeping into everything I write.
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While I admire writers who are able to write with a vitality based on order and action, I work in a different vein. I often feel that if I can get the language just right, the language hypnotizes the reader.
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After I finished my first draft of 'Salvage the Bones,' I felt that I wasn't political enough. I had to be more honest about the realities of the community I was writing about.
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I feel like the kind of people I write about are the kind of people I grew up with, the families that I know in my community. Most everyone is working-class, and there are some intact families, but a lot of families aren't.
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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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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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I read the last Harry Potter, and I cried for at least the last 70 pages. Awful! I was curled into a ball and I just kept sobbing. It was embarrassing. I was loud, and I just kept wiping tears away so I could see the page.
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I'm from a small town on the bottom edge of Mississippi, very near New Orleans and the Louisiana border. My family has lived there for generations.
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My mother worked for a white family that lived in one of the mansions on the beach. The husband in the family was a lawyer; he worked for a firm in New Orleans.
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When I read 'Absalom, Absalom!,' I remember being really excited about it and telling all my friends they had to read it, especially my writer friends.
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I think that often in the United States we're very blind to the ways that history lives in the present.
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I'm still a bit of a reading glutton, I think, because I browse, read a bit of the back copy, flip through the book, read a bit of the text, and if it still seems fascinating, I read it. That's why my bedside table is so cluttered: I want to imbibe it all.
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Part of me is stuck in my childhood in the Eighties. I actually watch 'The Neverending Story,' 'Labyrinth,' and 'Legend' over and over again. Also, 'Willow' and 'The Goonies.'
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That's why I write fiction, because I want to write these stories that people will read and find universal.
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I think art, especially literature, has the particular power to immerse the viewer or reader into another world. This is especially powerful in literature, when a reader lives the experience of the characters. So if the characters are human and real enough, then readers will feel empathy for them.
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I wrote the first draft of my first novel at Michigan, and then I wrote the first draft of 'Salvage the Bones' at Stanford. So I workshopped the entire thing.
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My mom is the kind of mom, when we would go to a friend of the family's house, and they would offer us something to drink or offer us something to eat, my mother would always say, 'Tell them no.' You could be starving - you could be dehydrated - but as kids, we were supposed to tell the host, 'No.'
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I always understood my ancestry, like that of so many others in the Gulf Coast, to be a tangle of African slaves, free men of color, French and Spanish immigrants, British colonists, Native Americans - but in what proportion, and what might that proportion tell me about who I thought I was?
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I thought about all those people whose suffering had been erased, and I thought, 'Why can't they speak? Why can't I undo some of that erasure?'
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I think that the first book that made me think that I could try to be a writer - or that made me aware that a young black woman from the South could write about the South - was Alice Walker's 'The Color Purple,' which I read for the first time when I was in junior high.
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The reason that I like to use classical myths as models is because African American writers and African American stories are usually understood as occurring in some kind of vacuum - because of slavery.
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Hip-hop, which is my generation's blues, is important to the characters that I write about. They use hip-hop to understand the world through language.
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History and socio-economic inequality and all those things had, like, borne down upon my family and my community and really sort of narrowed our choices.
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One of the things that is so striking to me about the South, especially living here now as an adult, is that I see a lot more mixed-race couples than I saw when I was growing up in the 1980s and the 1990s. I feel like living across the color lines has become something that's more expected.
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I've found that in fiction - and this is just the kind of writer I am - I can't really work from an outline. I have a vague idea of the characters at the beginning of the book, and then I have a vague idea of whatever the end of the book will be, but I can't approach creative nonfiction like that.
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I think people make certain assumptions about what they're interested in reading or what others would be interested in reading, and when they think of poor black people in the South, they don't think people are interested in reading about those people.
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It took me a long time to write again because Katrina destroyed the home I loved, and that robbed me of hope.
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I love creating that community and writing about that place, because I think, in some ways, Bois Sauvage is like the DeLisle of my past; it's like the DeLisle of the '80s that I can never return to. So in some ways, when I write about Bois Sauvage, I'm writing about a home that I've lost.
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It's always hard for a writer to make herself into a character; I had to figure out what my defining characteristics were, and that's something I had to work through multiple drafts to figure out.
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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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