WINNER of the NATIONAL BOOK AWARD and A NEW YORK TIMES TOP 10 BEST BOOK OF THE YEAR A finalist for the Kirkus Prize, Andrew Carnegie Medal, Aspen Words Literary Prize, and a New York Times bestseller, this majestic, stirring, and widely praised novel from two-time National Book Award winner Jesmyn Ward, the story of a family on a journey through rural Mississippi, is a “tour de force” (O, The Oprah Magazine) and a timeless work of fiction that is destined to become a classic. Jesmyn Ward’s historic second National Book Award–winner is “perfectly poised for the moment” (The New York Times), an intimate portrait of three generations of a family and an epic tale of hope and struggle. “Ward’s writing throbs with life, grief, and love… this book is the kind that makes you ache to return to it” (Buzzfeed). 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. Rich with Ward’s distinctive, lyrical language, Sing, Unburied, Sing is a majestic and unforgettable family story and “an odyssey through rural Mississippi’s past and present” (The Philadelphia Inquirer).
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The first novel from two-time National Book Award winner Jesmyn Ward, a timeless Southern fable of brotherly love and familial conflict Joshua and Christophe are twins, raised by a blind grandmother and a large extended family in a rural town on Mississippi's Gulf Coast. Over the course of a single, life-changing summer, as they struggle to find work and contend with the reappearance of their parents – Cille, who left town for a better job, and Sandman, a dangerous addict – the brothers are forced into a series of decisions that will ultimately damn or save them. A delicate and closely observed portrait of fraternal love and strife and the bonds that can sustain and torment us, Where the Line Bleeds marks the beginning of Jesmyn Ward's extraordinary career in fiction.
Named one of the Best Books of the Century by New York Magazine Two-time National Book Award winner Jesmyn Ward (Salvage the Bones, Sing, Unburied, Sing) contends with the deaths of five young men dear to her, and the risk of being a black man in the rural South. “We saw the lightning and that was the guns; and then we heard the thunder and that was the big guns; and then we heard the rain falling and that was the blood falling; and when we came to get in the crops, it was dead men that we reaped.” -Harriet Tubman In five years, Jesmyn Ward lost five young men in her life-to drugs, accidents, suicide, and the bad luck that can follow people who live in poverty, particularly black men. Dealing with these losses, one after another, made Jesmyn ask the question: Why? And as she began to write about the experience of living through all the dying, she realized the truth-and it took her breath away. Her brother and her friends all died because of who they were and where they were from, because they lived with a history of racism and economic struggle that fostered drug addiction and the dissolution of family and relationships. Jesmyn says the answer was so obvious she felt stupid for not seeing it. But it nagged at her until she knew she had to write about her community, to write their stories and her own. Jesmyn grew up in poverty in rural Mississippi. She writes powerfully about the pressures this brings, on the men who can do no right and the women who stand in for family in a society where the men are often absent. She bravely tells her story, revisiting the agonizing losses of her only brother and her friends. As the sole member of her family to leave home and pursue higher education, she writes about this parallel American universe with the objectivity distance provides and the intimacy of utter familiarity. A brutal world rendered beautifully, Jesmyn Ward's memoir will sit comfortably alongside Edwidge Danticat's Brother, I'm Dying, Tobias Wolff's This Boy's Life, and Maya Angelou's I Know Why the Caged Bird Sings.
Winner of the National Book Award Jesmyn Ward, two-time National Book Award winner and author of Sing, Unburied, Sing, delivers a gritty but tender novel about family and poverty in the days leading up to Hurricane Katrina. 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. Meanwhile, 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 make up the novel's framework yield to their dramatic conclusion, this unforgettable family--motherless children sacrificing for one another as they can, protecting and nurturing where love is scarce--pulls itself up to face another day. A big-hearted novel about familial love and community against all odds, and a wrenching look at the lonesome, brutal, and restrictive realities of rural poverty, Salvage the Bones is muscled with poetry, revelatory, and real.
A surprise New York Times bestseller, these groundbreaking essays and poems about race—collected by National Book Award winner Jesmyn Ward and written by the most important voices of her generation—are “thoughtful, searing, and at times, hopeful. The Fire This Time is vivid proof that words are important, because of their power to both cleanse and to clarify” (USA TODAY). In this bestselling, widely lauded collection, Jesmyn Ward gathers our most original thinkers and writers to speak on contemporary racism and race, including Carol Anderson, Jericho Brown, Edwidge Danticat, Kevin Young, Claudia Rankine, and Honoree Jeffers. “An absolutely indispensable anthology” (Booklist, starred review), The Fire This Time shines a light on the darkest corners of our history, wrestles with our current predicament, and imagines a better future. Envisioned as a response to The Fire Next Time, James Baldwin’s groundbreaking 1963 essay collection, these contemporary writers reflect on the past, present, and future of race in America. We’ve made significant progress in the fifty-odd years since Baldwin’s essays were published, but America is a long and painful distance away from a “post-racial society”—a truth we must confront if we are to continue to work towards change. Baldwin’s “fire next time” is now upon us, and it needs to be talked about; The Fire This Time “seeks to place the shock of our own times into historical context and, most importantly, to move these times forward” (Vogue).
An urgent manifesto and a dramatic memoir of awakening, this is the story of revolutionary love. “In a world stricken with fear and turmoil, Valarie Kaur shows us how to summon our deepest wisdom.”—Elizabeth Gilbert, author of Eat Pray Love How do we love in a time of rage? How do we fix a broken world while not breaking ourselves? Valarie Kaur—renowned Sikh activist, filmmaker, and civil rights lawyer—describes revolutionary love as the call of our time, a radical, joyful practice that extends in three directions: to others, to our opponents, and to ourselves. It enjoins us to see no stranger but instead look at others and say: You are part of me I do not yet know. Starting from that place of wonder, the world begins to change: It is a practice that can transform a relationship, a community, a culture, even a nation. Kaur takes readers through her own riveting journey—as a brown girl growing up in California farmland finding her place in the world; as a young adult galvanized by the murders of Sikhs after 9/11; as a law student fighting injustices in American prisons and on Guantánamo Bay; as an activist working with communities recovering from xenophobic attacks; and as a woman trying to heal from her own experiences with police violence and sexual assault. Drawing from the wisdom of sages, scientists, and activists, Kaur reclaims love as an active, public, and revolutionary force that creates new possibilities for ourselves, our communities, and our world. See No Stranger helps us imagine new ways of being with each other—and with ourselves—so that together we can begin to build the world we want to see.
What happens to members of the United States Armed Forces after they die? Why do soldiers endanger their lives to recover the remains of their comrades? Why does the military spend enormous resources and risk further fatalities to recover the bodies of the fallen, even decades after the cessation of hostilities? Soldier Dead is the first book to fully address the complicated physical, social, religious, economic, and political issues concerning the remains of men and women who die while serving their country. Michael Sledge traces the changes in the handling of our Soldier Dead over time and their reflection of advances in technology and the shifting attitudes of the public, government, and military. He also considers the emotional stress experienced by those who handle the dead; the continuing efforts to retrieve bodies from Korea and elsewhere; and how unresolved issues regarding the treatment of enemy dead continue to affect U.S. foreign relations.