Tag Archives: #BIPOCwriters

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If Beale Street Could Talk, by James Baldwin

beale

This is a story of young love up against a society determined to keep them apart, yet it’s a story like none you’ve heard before. Tish, 19 years old, and Fonny, 21, have known each other most of their lives, friends first, then lovers, and now pledged to marry. However, in 1970s New York, like today, it can be a crime to be black. Fonny has been jailed for raping a Puerto Rican woman, framed by a white policeman who was still smarting from an earlier encounter with Fonny.

It’s also a story of family, the strength of black families despite the stereotypes that tell you otherwise. Tish’s family not only supports her in her pregnancy but love Fonny as a son, and all—mother, father and sister—join forces to find a way to get him out of jail. Fonny’s family is dominated by his self-righteous mother who believes her religion puts her above others.

It was like there was nothing, nothing, nothing you could ever hope to say to her unless you wanted to pass through the hands of the living God: and He would check it out with her before He answered you.

Fonny’s sisters follow their mother’s lead and there are wonderful snarky scenes between them and Tish’s sister. However, Fonny’s father Frank defies his womenfolk and puts himself on the line to help his son.

“It’s a miracle to realize that somebody loves you.” This is Tish talking about her beloved, but it is also true of the gift of familial love. You can’t take it for granted. One of my friends is concerned about the lack of stories—books, movies, television, news articles—about the strong bonds of love within black families like her own. Something to set against the flood of stories of gangsters and drug dealers, the abused and the abusers. Here is one such story.

I guess it can’t be too often that two people can laugh and make love, too, make love because they are laughing, laugh because they’re making love. The love and the laughter come from the same place: but not many people go there.

Tish’s voice conveys love in a fresh, unsentimental way. It reflects her hard-won understanding of how the world works: when to speak up against injustice, when to just keep going; how to hold onto dreams without getting lost in them. In giving us Tish’s inner thoughts, Baldwin expertly navigates the steady heartbeat of being black in America, almost never shouting, letting the events speak for themselves.

This is also a story about prison and what it does to a man, not just Fonny unjustly locked up, but also his childhood friend Daniel. Only recently released from prison on a charge of which he was innocent, though guilty of holding weed, Daniel is a shadow of his former self. Unfortunately, as Fonny’s alibi, he is also the target of the white policeman determined to make sure Fonny goes down.

The structure of the story reflects another of Baldwin’s themes. While the main storyline follows Tish from when she is three months pregnant to when she gives birth, we constantly dip into the past. Ranging from scenes of their childhood to their attempts to find a loft to rent to the events that led to Fonny’s arrest, Baldwin’s shifts in time are expertly handled, reflecting the rhythms of jazz and blues that he’s known for. More significantly, they summon thoughts about time itself.

Time, the word tolled like the bells of a church. Fonny was doing: time. In six months’ time, our baby would be here. Somewhere, in time, Fonny and I had met; somewhere, in time, we had loved; somewhere, no longer in time, but, now, totally, at time’s mercy, we loved.

The contrast of being in time and being at time’s mercy reflect the long, slow path to equality for the black people brought against their will to this country. I am reminded of the early days of the Civil Rights movement when whites and blacks (though mostly whites) told the protestors to be patient, to set aside their songs and marches, that things were getting better, but slowly.

Things are better than they were in the early 1960s, mostly due to those protesters, but not enough.

This subtle book, full of love, unsettled by the dark currents of racism, is as relevant today as it was when it came out in 1974.

Have you read this book or one of Baldwin’s other novels? What are your thoughts about it?

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The Nickel Boys, by Colson Whitehead

Nickel

As a high school student in Tallahassee, Florida in the 1960s, Ellwood Curtis studies hard and is chosen to attend classes at the university. When he isn’t studying, he listens to a record of Martin Luther King, Jr.’s speeches which fires his idealistic determination to stand up to injustice.

However, it only takes one innocent misstep to suck him into the criminal justice system. As one member of my book club who is a lawyer remarked, we don’t see the trial. Another pointed out that for a black teenager it was a foregone conclusion that he would be incarcerated.

Ellwood is sent to the Nickel Academy, a reform school for boys that Whitehead based on Florida’s actual Dozier School, which was not closed until 2011 amid longstanding accusations of beatings, sexual abuse, and even murder. For Ellwood, a young man from a protected environment, cared for and encouraged by his grandmother, the gritty truth of Nickel is a shock.

A member of my book club noted how quickly things can go wrong—something I well recall from my time on welfare—saying, “One thing unravels, and if you don’t have anyone to help it’s like a pebble rolling down a hill creating an avalanche.” Ellwood’s grandmother tries to help, hiring a lawyer, but he takes the money and disappears.

Luckily, Ellwood is befriended by Turner, another inmate who understands the system at Nickel and how to work it. A member of my book club pointed out that Turner is a fascinating character because he is so adaptable, finding ways not just to survive but to thrive even in this horrific environment. The two boys—so different—admire and support each other. Turner’s cynical realism makes him try to persuade Ellwood to keep quiet rather than speak truth to power. Yet Ellwood clings to his earlier role model: Dr. King.

The boys’ time at Nickel is framed by a story set in the 1960s where Ellwood is a successful business owner living in New York City. News stories of graves found at the now-closed Nickel Academy lead him to remember his time there.

Most of us in my book club had some quibbles about the ending, but all attested to the power of the writing.

As a writer, I paid particular attention to Whitehead’s treatment of the abuse. He himself has talked of how difficult it was for him to write about such subjects, saying in a USA Today interview, “I think if I was angry or sad every day I couldn’t create art. So the subject of slavery and the subject of the abuse in the reform school had to be held at a distance on a day to day basis.”

In order to start reading what was obviously going to be a serious book, many of us in my book club had to summon our resolve. We knew that we would be confronted by painful and terrible truths, yet knew too that it was important our eyes be opened and that we bear witness.

Though we thought that we would not be able to read some of the scenes, in fact the author pulled back and left the details to our imagination, giving us instead scenes of the aftermath, the wounds, the scars—physical and emotional: an effective technique. This is a good book to study to see how we as writers can handle shocking or gruesome scenes so that they don’t turn off readers while still moving them.

I found myself thinking of a recent talk by Heather Cox Richardson about the news of graves being found at indigenous schools in Canada. She reminded us that the people who originally created the schools were do-gooders who thought they were helping the children. They meant well. Today we see them as misguided, but at the time most white people believed that indigenous people were “savages” who needed to be “civilised” if they were to succeed in what had become a white man’s world.

How did things go so wrong? How did benevolent intentions become institutions even worse than Charlotte Brontë’s Lowood School? I’m afraid I’ve become as cynical as Turner. Too many people are willing to exchange whatever moral code they have for the rewards of corruption and power.

As Turner himself thinks, in response to Ellwood’s invocation of King’s nonviolence, “The law was one thing. You can march and wave signs around and change a law if you convinced enough white people . . . You can change the law, but you can’t change people and how they treat each other.”

How people treat each other. Starve them in order to steal food and medicine and sell it elsewhere. Sexual abuse. Power plays. It can be hard to believe that human beings can be so selfish, so unfeeling, so greedy, especially when it comes to children. But there it is.

Whether this cruelty is simply human nature or learned behaviour is not a question I can answer. The only way I can think of to combat it is to expose it and bear witness to the suffering of the victims.

Have you read this important and timely novel? What did you think of it?

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The Vanishing Half, by Brit Bennett

vanishing

As this popular novel opens, a 30-year-old woman returns to her hometown. Residents are shocked to see her, and word quickly travels around that one of the Vignes twins has been spotted. There are two reasons for this outsized reaction, one being that Desiree and her sister Stella have not been seen since they disappeared when they were 16 while everyone else was at the Founder’s Day Dance, dismayed that their mother pulled them out of school to start working as domestic servants. But the greater reason for the town’s shock is the dark-skinned daughter Desiree brings with her, described by the owner of the diner as “blue-black . . . like she flown direct from Africa.”

Mallard, Louisiana is an all-black town, like Eatonville in Zora Neale Hurston’s Their Eyes Were Watching God. Fictional—though based on a real town the author’s mother heard of—Mallard has a peculiar philosophy, created by the town’s founder: the best way to combat racism is to lighten their skin by always having children with lighter- and lighter-skinned people.

By the time of this story, most people in town can pass for white, which is exactly what Stella began doing when she applied for a job in New Orleans. She married a white man and neither he nor their daughter knows Stella grew up identifying as black.

Rebellious Desiree married the darkest-skinned man she could find, hence her daughter Jude’s dark skin. Now, in 1968, only a few weeks after Martin Luther King, Jr.’s assassination, she’s come home with a scarf hiding the bruises on her neck, hoping her husband won’t be able to find her. Unknown to her, he has hired a bounty hunter to find her.

There’s plenty to like about this story. The situation carries dramatic potential: Desiree adjusting to being back in the small town; Jude suffering the prejudice against her due to her skin color; Desiree and her mother trying to find a new connection; Stella wrestling with her reaction when a black family moves into their all-white neighborhood; and the threat of the bounty hunter on top of all that.

I was particularly interested in Stella’s story, having recently read Nella Larsen’s Passing. I’m fascinated by the strain of pretending to be someone you’re not. Of course, it’s not hard, and even fun, to do it for a little while, but to keep it up for years would not only make you feel as though you are always in danger, but would also cut you off from your past. Those memories and the narrative through-line that we create from our life experiences are foundations of our identity, so walling off part of them must have consequences.

There’s another aspect of this story that is fascinating: the hold that the culture we grow up in continues to assert on our actions and reactions, our emotions and desires. We may think we’ve left those childhood beliefs behind, no matter how hard our parents drilled them into us, but they crop up when we least expect it.

As a writer, one thing I’m taking away from this book is the subtle way we can use the works of our literary forebears. In addition to Hurston and Larsen, there are also references to Lorraine Hansberry’s A Raisin in the Sun. If the reader recognizes these works, the references add depth to the story and provide a sense of familiarity. At the same time, the story stands alone; a reader who doesn’t know these works won’t notice the difference.

What underpins the entire story is the one-drop rule, that one drop of black blood makes you black. Of course, that terrible rule was commonly accepted in 1968, so it’s appropriate for the story. However, we still see its effects today in who identifies as white and who as black. There are other aspects of racial prejudice, such as descriptions of people as an Oreo or a snowball, and colorism itself. And of course, the concept of race itself is a social construct. Still, Mallard’s obsession with lightening their skin through successive generations makes me wonder when, if ever, they would consider themselves white. What vanishes? What remains?

Have you read this best-selling novel? What did you think of it?

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The Secret Lives of Church Ladies, by Deesha Philyaw

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The nine brilliant short stories in this award-winning collection center on black women whose conflicts are influenced by their relationship to the church. I knew that the church’s influence on the black community was strong, but welcomed this frank look at how that plays out in individual lives.

In the first story “Eula” two forty-year-old women are getting ready to celebrate the last New Year’s Eve of the twentieth century. They have been friends for many years and, more recently, occasional sexual partners. Yet while our narrator is honest about her sexuality, Eula still wants a church-approved marriage. Most women will remember, as I did, the many times a female friend has ditched them for a man, real or fantasy. Still, it’s hard to resist those lifelong teachings. Setting the story at the turn of the century adds metaphorical resonance to this intimate story.

“Peach Cobbler” explores a teenaged girl’s conflicts with her mother, here lifted out of the ordinary by the mother’s longtime affair with their pastor. The push and pull of the young narrator with her mother, the pastor, and the church drive the story and add subtlety and nuance to the whirl of emotions teenaged girls experience.

Each story is a master class in voice. The women who narrate them are different in many ways—age, sexuality, experience, location—giving each a voice that is more than distinctive; it is unforgettable. As with any voice that we create on a page, each is formed by what the character says—the vocabulary they use, the details they notice, the opinions they voice—and how they say it—the diction, sentence structure, even the sounds of the words. Along with these, voice comes from the character’s values and biases, their dreams and regrets, the weight of their life experience.

We’ve been talking in my writing workshops about allowing ourselves to be vulnerable. Whether introvert or extrovert, we all have developed ways to protect our private selves. Yet this reticence is exactly what we must set aside to write. Risky? You bet.

New York Times best-selling author Robin LaFevers says:

In order to take our writing to the next level we must embrace our strange, unique, and often embarrassing selves and write about the things that really matter to us . . . We need to be willing to peel our own layers back until we reach that tender, raw, voiceless place. We need to get some skin in the game. It should cost us something emotionally to tell our stories.

Award-winning children’s and young adult author Meg Rosoff suggests exploring our unconscious to open up our stories:

Authentic voice comes from unconscious. Examine the connection between the conscious (small) and the unconscious (big, scary; conflict, darkness and death) mind . . . Your past is stored in the unconscious, your own ghosts, the things you don’t want to think about. The best, most surprising, most thrilling writing comes from the unconscious, not the conscious mind. Conscious writing won’t resonate, and your reader won’t feel that they’ve connected with a real person

Fiction gives us a way to explore these raw, sometimes scary places. Through the characters in a story, both writers and readers can go where we might otherwise hesitate to venture.

What makes these stories so powerful are the characters, their strong voices, their willingness to open their hearts. Their vulnerability enables readers to recognise all that we have in common no matter how different our individual experience might be.

And this is the great gift stories offer us.

What book of short stories have you read recently?

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Sing, Unburied, Sing, by Jessmyn Ward

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Ward’s widely praised second novel takes the reader into the lives of a black family in Mississippi. It starts with Jojo’s grandfather inviting the boy to help kill a goat as part of celebrating Jojo’s thirteenth birthday. The horror of seeing the slaughter—vividly described—makes the boy throw up.

Jojo and his baby sister Kayla are being raised by their grandparents—though their grandmother is bedridden with cancer at this time—because their father Michael is in prison for drugs and their mother Leonie is not interested in caring for them. Between work, hanging out with her white friend (a co-worker named Misty) and her own drug use, Leonie has many reasons to be absent physically and emotionally. Moreover, as we learn later, she is still passionately in love with Michael to the exclusion of all else.

Leonie, who alternates narrating chapters with Jojo, gets a call that Michael is being released and decides to pick him up from Parchman, taking the children and Misty, whose black boyfriend is also imprisoned there. The road trip is a series of escalating disasters, with Jojo trying desperately to care for Kayla while Leonie and Misty ignore her or complain about her.

Jojo thinks about his grandfather’s often-told story of his own time at Parchman where he tried to care for a twelve-year-old boy, Richie, who had been sent there for stealing food for his nine siblings. When they arrive at Parchman, Jojo can actually see and talk with Richie’s unquiet ghost; Jojo’s blood family all have certain powers or ties to the spirit world. Richie returns in the car with them because he is desperate to confront Jojo’s grandfather. Several short chapters are narrated by Richie.

I found this fierce and troubling novel almost too vividly written. Even second-hand, the travails of this family are hard to bear. There is value in enduring them, of course, in bearing witness, no matter how much we think we already know about the effects of systemic racism on families.

Some of my friends have complained that the author packed in all the expected tropes: racial slurs, carceral injustice, drugs, children being raised by grandparents, even driving while black. Yet to me, the concatenation of problems is only too realistic. Any young person, even one from a stable family like the one Leonie grew up in, can make a wrong decision and—without the kind of wealth or family connections that enable more privileged young people to escape the consequences of their actions—start down this only too familiar trajectory. All of which is exacerbated by racism of course.

Some of the parallels seemed a little too obvious, such as the goat’s insides being pulled out and Jojo emptying his—there’s a lot of vomiting in this book—and Leonie and Misty’s reversed interracial relationships. Also, part of the ending was—for me, at least—a bit of a letdown.

Another quibble is that sometimes the characters’ voices don’t ring true. However, the multiple points of view are handled very well, which is difficult to do.

I loved the strong tie between Jojo and Kayla. Even more powerful to me was the relationship between Richie and Jojo’s grandfather. These are beautifully drawn. There’s a lot of love here, as well as pain.

Have you read a story that made you think about hidden sources of resilience?