African American Women Writers

An intimate portrait of a family and an epic tale of hope and struggle, Sing, Unburied, Sing journeys through Mississippi's past and present, examining the ugly truths at the heart of the American story and the power--and limitations--of family bonds. Jojo is thirteen years old and trying to understand what it means to be a man. He doesn't lack in fathers to study, chief among them his Black grandfather, Pop. But there are other men who complicate his understanding: his absent White father, Michael, who is being released from prison; his absent White grandfather, Big Joseph, who won't acknowledge his existence; and the memories of his dead uncle, Given, who died as a teenager. His mother, Leonie, is an inconsistent presence in his and his toddler sister's lives. She is an imperfect mother in constant conflict with herself and those around her. She is Black and her children's father is White. She wants to be a better mother but can't put her children above her own needs, especially her drug use. Simultaneously tormented and comforted by visions of her dead brother, which only come to her when she's high, Leonie is embattled in ways that reflect the brutal reality of her circumstances. When the children's father is released from prison, Leonie packs her kids and a friend into her car and drives north to the heart of Mississippi and Parchman Farm, the State Penitentiary. At Parchman, there is another thirteen-year-old boy, the ghost of a dead inmate who carries all of the ugly history of the South with him in his wandering. He too has something to teach Jojo about fathers and sons, about legacies, about violence, about love.

A hurricane is building over the Gulf of Mexico, threatening the coastal town of Bois Sauvage, Mississippi, and Esch's father is growing concerned. A hard drinker, largely absent, he doesn't show concern for much else. Esch and her three brothers are stocking food, but there isn't much to save. Lately, Esch can't keep down what food she gets; she's fourteen and pregnant. Her brother Skeetah is sneaking scraps for his prized pitbull's new litter, dying one by one in the dirt. While brothers Randall and Junior try to stake their claim in a family long on child's play and short on parenting. As the twelve days that comprise the novel's framework yield to the final day and Hurricane Katrina, the unforgettable family at the novel's heart - motherless children sacrificing for each other as they can, protecting and nurturing where love is scarce - pulls itself up to struggle for another day.

Where the Line Bleeds is Jesmyn Ward's gorgeous first novel and the first of three novels set in Bois Sauvage--followed by Salvage the Bones and Sing, Unburied, Sing--comprising a loose trilogy about small town southern family life. Joshua and Christophe are twins, raised by a blind grandmother and a large extended family in rural Bois Sauvage, on Mississippi's Gulf Coast. They've just finished high school and need to find jobs, but after Katrina, it's not easy. Joshua gets work on the docks, but Christophe's not so lucky and starts to sell drugs. Christophe's downward spiral is accelerated first by crack, then by the reappearance of the twins' parents: Cille, who left for a better job, and Sandman, a dangerous addict. Sandman taunts Christophe, eventually provoking a shocking confrontation that will ultimately damn or save both twins. Where the Line Bleeds takes place over the course of a single, life-changing summer. It is a delicate and closely observed portrait of fraternal love and strife, of the relentless grind of poverty, of the toll of addiction on a family, and of the bonds that can sustain or torment us. Bois Sauvage, based on Ward's own hometown, is a character in its own right, as stiflingly hot and as rich with history as it is bereft of opportunity.

n the South, one notion of 'being ugly' implies inappropriate or coarse behavior that transgresses social norms of courtesy. While popular stereotypes of the region often highlight southern belles as the epitome of feminine power, women writers from the South frequently stray from this convention and invest their fiction with female protagonists described as ugly or chastised for behaving that way. Monica Carol Miller reveals how authors from Margaret Mitchell to Monique Truong employ 'ugly' characters to upend the expectations of patriarchy and open up more possibilities for southern female identity. Reading works by canonical writers like Zora Neale Hurston, Flannery O'Connor, and Eudora Welty, along with recent texts by contemporary authors like Helen Ellis, Lee Smith, and Jesmyn Ward, Being Ugly offers an important new perspective on how southern women writers confront ideologies that insist upon limited roles for women.

Exploring postapocalypticism in the Black literary and cultural tradition, this book extends the scholarly conversation on Afro-futurist canon formation through an examination of futuristic imaginaries in representative twentieth and twenty-first century works of literature and expressive culture by Black women in an African diasporic setting. The author demonstrates the implications of Afro-futurist literary criticism for Black Atlantic literary and critical theory, investigating issues of hybridity, transcending boundaries, temporality and historical recuperation. Covering writers including Octavia Butler, Edwidge Danticat, Nalo Hopkinson, Toni Morrison, Jesmyn Ward and Beyoncé, this book examines the ways Black women artists attempt to recover a raced and gendered heritage, and how they explore an evolving social order that is both connected to and distinct from the past.

Eden Wales Freedman articulates a theory of reading (or dual-witnessing) that explores how narrators and readers can witness trauma together. She places these original theories of traumatic reception in conversation with the African American literary tradition to speak to the histories, cultures, and traumas of African Americans, particularly the repercussions of slavery, as witnessed in African American literature. The volume also considers intersections of race and gender and how narrators and readers can cross such constructs to witness collectively. The book analyzes emancipatory narratives by Sojourner Truth, Harriet Jacobs, and Elizabeth Keckley and novels by Zora Neale Hurston, Margaret Walker, Toni Morrison, and Jesmyn Ward.