Today’s feature is a recent download: Sing, Unburied, Sing, by Jesmyn Ward, is a majestic new work and an unforgettable family story.
I like to think I know what death is. I like to think that it’s something I could look at straight. When Pop tell me he need my help and I see that black knife slid into the belt of his pants, I follow Pop out the house, try to keep my back straight, my shoulders even as a hanger; that’s how Pop walks. I try to look like this is normal and boring so Pop will think I’ve earned these thirteen years, so Pop will know I’m ready to pull what needs to be pulled, separate innards from muscle, organs from cavities. I want Pop to know I can get bloody. Today’s my birthday.
Kayla need to eat. I can tell by the way she keep crying, the way she keep hunching over and then knocking her head back and arching against her seat once we get back on the road. And screaming. I can tell there’s something wrong with her stomach. (p. 107).
Synopsis: In Jesmyn Ward’s first novel since her National Book Award–winning Salvage the Bones, this singular American writer brings the archetypal road novel into rural twenty-first-century America. 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.
What do you think? Do you want to keep reading?