I was pleasantly surprised with 'Salvage.' I went to Australia and New Zealand for the novel and met a lot of people who had experienced the earthquakes in Christchurch. They responded very strongly to the book because they had been through these natural disasters and were trying to figure out how to rebuild.
When I was a teenager, I was the only black girl at a small, private Episcopal school, where my tuition was paid by the family my mother worked for. It was hard being the only one, and I faced a fair amount of racist and classist bullying there.
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?'
As a reader, sometimes, I just want to not think. You know, I want to read something that is purely enjoyable: that is, like, escapist.
I'm always thinking about time. That's one of themes I return to in my work, the way the past bears on the present, the way that time is not linear, and how that expresses itself in people's everyday lives.
On one hand, I can say, you know, I had many family members - I had many people in my extended family who left right after Katrina, who relocated to different cities, right? Houston, Atlanta. Right? Most of them have come back.
'As I Lay Dying,' I reread that often. That's the first work of Faulkner's that I read that so amazed me and that I responded to emotionally and viscerally. I admired it so much, and I think that's why I keep rereading it.
I always think about Faulkner, and I would argue that there can be a difference between the way that characters express themselves internally and externally.
Faulkner's characters, too, were uneducated. They were deprived, but they were allowed to have very rich inner lives. I want to advocate for that, for inner lives that are much more complicated and more poetic than we think.
Faulkner is a really important figure in southern literature. I wrestle with him and his legacy every time I sit down and write a piece of fiction.
Young people have a right to optimism, and rightly so; human beings have grown and developed and accomplished wonderful feats in the world. But what mires me in pessimism is the fact that so much of life is pain and sorrow and willful ignorance and violence, and pushing back against that tide takes so much effort, so much steady fight. It's tiring.
By the time I wrote my memoir, 'Men We Reaped,' I had been running from writing it for a long time. When the events in the book were happening, I knew I'd probably write about them one day. I didn't want to. I'd studied fiction, and I was committed to establishing myself as a fiction writer first.
People ask me about staying here. I think they assume that I wouldn't want to come back to a place like Mississippi, which is so backward and which frustrates me a lot. The responsibility that I feel to tell these stories about the people and the place that I'm from is what pulls me back.
I read everything. When I say everything, I read everything: children's literature, Y.A., science fiction, fantasy, romance - I read it all. Each genre fulfills a different need I have. Each book teaches me something.
In my family and in my community, I see people struggling with drug addiction, with poverty and the effects of generational poverty; I see people struggling with lack of access to healthcare.
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.
My mom worked as a housekeeper, and I saw her relationship with her employers - how on the one hand she spent more time with these women than with a lot of her friends, and how in certain ways they were friends. But then they weren't.
Biblical myth is as integral to the spirit of the South as the heat and humidity.
Before Hurricane Katrina, I always felt like I could come back home. And home was a real place, and also it had this mythical weight for me. Because of the way that Hurricane Katrina ripped everything away, it cast that idea in doubt.
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.
