Jesmyn Ward

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?

In the South, there is more overt racism. It's more willfully ignorant and brazen. But it's not as if by moving I'm going to be able to escape institutionalized racism. It's not as though my life won't be twisted and impacted by racism anymore. It will.

The ugly heart of the South still beats with this idea that one group of people is worth less.

Katrina silenced me for two years. I wrote a 12-page essay on my experience in Katrina, and that's it. I didn't write anything for, like, two, two and a half years after Katrina hit because it was so traumatic.

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.

With all the main characters that I write, it's always very important to me that they have good and bad aspects of their personality. It's important to me that they're complicated and that they're human.

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.

I feel a lot of pressure when I'm writing because I know, you know, if they looked at a synopsis of the book, what they read could only confirm all the stereotypes that they have about us and about people like us.

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.

When I was writing my first novel, 'Where the Line Bleeds,' which had young black men as its main characters, I was very invested in telling the story and also very worried about the effects the story would have.

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.

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.

My family and I survived Hurricane Katrina in 2005; we left my grandmother's flooding house, were refused shelter by a white family, and took refuge in trucks in an open field during a Category Five hurricane. I saw an entire town demolished, people fighting over water, breaking open caskets searching for something that could help them survive.

I'm a failed poet. Reading poetry helps me to see the world differently, and I try to infuse my prose with figurative language, which goes against the trend in fiction.

I wanted to be my own heroine.

I think, when I write, one of the things that I'm really attempting to do is I'm attempting to humanize my characters.

I could stifle my voice, or strip it. I know that I could, because we can do anything we put our minds to. I know that I could, but it feels very unnatural for me to strip my prose like that, in part because place is so important to me.

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.

Throughout my career, when I have been rejected, there was sometimes subtext, and it was this: People will not read your work because these are not universal stories.

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.

One of the ways my first novel failed was that I was too in love with my characters.