From the Publisher
“The first great novel about Katrina.” Kate Tuttle, Boston Globe
“[A] searing, understated, and big-hearted novel.” Salon
“Salvage the Bones is an intense book, with powerful, direct prose that dips into poetic metaphor . . . We are immersed in Esch's world, a world in which birth and death nestle close, where there is little safety except that which the siblings create for each other. That close-knit familial relationship is vivid and compelling, drawn with complexities and detail.” Carolyn Kellogg, Los Angeles Times
“I've just read [Salvage the Bones] and it'll be a long time before its magic wears off...Ward winds private passions with that menace gathering force out in the Gulf of Mexico. Without a hint of pretention, in the simple lives of these poor people living among chickens and abandoned cars, she evokes the tenacious love and desperation of classical tragedy . . . A palpable sense of desire and sorrow animates every page here . . . Salvage the Bones has the aura of a classic about it.” Ron Charles, Washington Post
“A timeless tale of a family that regains its humanity in the face of incalculable loss.” Gina Webb, Atlanta Journal-Constitution
“Jesmyn Ward has claimed her place both as a contemporary witness of life in the rural south and as a descendant of its great originals.” Nicholas Delbanco, author of Sherbrookes and Lastingness: The Art of Old Age
“The narrator's voice sparks with beauty as it urges the reader through this moving story set in the shadow of Katrina. ” Zoë Triska, Huffington Post
“Jesmyn Ward has written . . . the first Katrina-drenched fiction I'd press upon readers now.” Karen R. Long, Plain Dealer (Cleveland)
“Ward's redolent prose conjures the magic and menace of the southern landscape. ” Elizabeth Hoover, Dallas Morning News
“The novel's power comes from the dread of the approaching storm and a pair of violent climaxes. The first is a dog fight, an appalling spectacle given emotional depth by Skeetah's love for the pit bull China (their bond is the strongest and most affecting in the book). When the hurricane strikes, Ms. Ward endows it, too, with attributes maternal and savage: ‘Katrina is the mother we will remember until the next mother with large merciless hands, committed to blood, comes.'” Wall Street Journal
“From its lyrical yet visceral first scene, this novel had me, and I hardly dared to put it down for fear a spell might be broken. But it never was or will be; such are the gifts of this writer.” Laura Kasischke, author of In a Perfect World
“Without a false note . . . A superbly realized work of fiction that, while Southern to the bone, transcends its region to become universal.” Kirkus Reviews (starred review)
“With her tough, tense and taut tale of one rural family's bitter and bloody fight for survival in the days leading up to Hurricane Katrina, [Ward] has secured herself a place among such other great Southern writers as Flannery O'Connor, Harper Lee and William Faulkner. Ward's electrifying, exhilarating, edge-of-your-seat second novel, Salvage the Bones, takes us into the naked heart of one Southern family struggling for both survival and identity. With prose both powerful and poetic, Ward has imagined an unforgettable family.” CityBeat (Cincinnati)
“Ward uses fearless, toughly lyrical language to convey this family's close-knit tenderness [and] the sheer bloody-minded difficulty of rural African American life . . . It's an eye-opening heartbreaker that ends in hope . . . You owe it to yourself to read this book.” Library Journal (starred review)
“Few works of fiction can capture the heart-wrenching emotions attached to a natural disaster, and fewer still can do it in a way that seems palpable and fresh. Salvage the Bones, the latest by rising star Jesmyn Ward, accomplishes this feat, and then some . . . From beginning to end, Jesmyn flirts with perfection in this stunning second novel, and the reader is rewarded for it. ” Free Lance-Star (Fredericksburg, VA)
“A pitch-perfect account of struggle and community in the rural South . . . Though the characters in Salvage the Bones face down Hurricane Katrina, the story isn't really about the storm. It's about people facing challenges, and how they band together to overcome adversity. ” BookPage
“[Salvage the Bones] is uncompromising and frank, showing both beauty and violence, poverty and resilience, in a powerful and poetic voice.” Sun Herald (Biloxi, MS)
…a taut, wily novel, smartly plotted and voluptuously written. It feels fresh and urgent, but it's an ancient, archetypal tale. Think of Noah or Gilgamesh or any soggy group of humans and dogs huddled together, waiting out an apocalyptic act of God or weather. It's an old storyof family honor, revenge, disasterand it's a good one…Jesmyn Ward…plays deftly with her reader's expectations: where we expect violence, she gives us sweetness. When we brace for beauty, she gives us blood.
The New York Times Book Review
On one level, Salvage the Bones is a simple story about a poor black family that's about to be trashed by one of the most deadly hurricanes in U.S. history. What makes the novel so powerful, though, is the way Ward winds private passions with that menace gathering force out in the Gulf of Mexico. Without a hint of pretension, in the simple lives of these poor people living among chickens and abandoned cars, she evokes the tenacious love and desperation of classical tragedy…Salvage the Bones has the aura of a classic about it.
The Washington Post
Ward's poetic second novel (after Where the Line Bleeds) covers the 12 days leading up to Hurricane Katrina via the rich, mournful voice of Esch Batiste, a pregnant 14-year-old black girl living with her three brothers and father in dire poverty on the edge of Bois Sauvage, Miss. Stricken with morning sickness and dogged by hunger, Esch helps her drunken father prepare their home for the gathering storm. She also looks after seven-year-old Junior while her oldest brother, Randall, trains to win a scholarship to basketball camp, and middle son Skeet devotes himself to delivering and raising his fighting bitch China's pit bull puppies. All the while, Esch ponders whether she will have the baby and yearns for its father to love her "once he learns secret." Esch traces in the minutiae of every moment of every scene of her life the thin lines between passion and violence, love and hate, life and death, and though her voice threatens to overpower the story, it does a far greater service to the book by giving its cast of small lives a huge resonance. (Sept.)
It's summer 2005 in Bois Sauvage, MS. Even as she watches her brother Skeetah's beloved pit bull, China, give birth, 15-year-old Esch realizes that she herself is pregnant. Like China in the dog ring, Esch's family is fighting daily just to survive, with her father mostly lost to drink after his wife died giving birth to Junior, and other brother Randall hoping he can win a place at basketball camp and eventually leave their thankless existence in the dust. Now a hurricane is coming, which means boarding up windows as Daddy schemes to make money helping with the inevitable cleanup. But this hurricane is Katrina, and more than cleanup will be needed when it's over. Working through the 12 days building up to and encompassing the hurricane's arrival, Ward (Where the Line Bleeds) uses fearless, toughly lyrical language to convey this family's close-knit tenderness, the sheer bloody-minded difficulty of rural African American life, and what it's like when those hurricane winds sledge-hammer you and the water rises faster than you can stand up. It's an eye-opening heartbreaker that ends in hope. VERDICT Highly recommended; you owe it to yourself to read this book. [See Prepub Alert, 3/21/11.]—Barbara Hoffert, Library Journal
An evocative novel of a family torn apart by grief, hardship, misunderstanding and, soon, the biggest storm any of them has ever seen. Set over a dozen days while awaiting the arrival of Hurricane Katrina, and then dealing with its consequences, Ward's (Where the Line Bleeds, 2008) tale is superficially a simple one: Young Esch, barely a teenager, is pregnant. She is so young, in fact, that her brothers can scare her with a Hansel and Gretel story set in the Mississippi bayou where she lives, yet old enough to understand that the puppies that are gushing forth from the family dog are more than a metaphor. Esch's task is simple, too: She has to disguise the pregnancy from her widowed father, a task that is easier than it might sound, since her father is constantly self-medicated ("Outside the window, Daddy jabbed at the belly of the house with his can of beer") and, much of the time, seems unaware that his children ought to be depending on him. But they don't; Esch and her three brothers are marvels of self-sufficiency, and as the vast storm looms on the horizon, building from tropical depression to category 5 monster, they occupy themselves figuring out what kind of canned meats they need to lay in and how many jugs of water have to be hauled from the store. The bayou has its share of terrors of other kinds, and so do the matters of life and death that children ought to be spared; suffice it to say that there's plenty of blood, and no small amount of vomit, whether owing to morning sickness or alcohol poisoning. (When Esch admonishes her father for drinking while taking antibiotics, he replies, "Beer ain't nothing...Just like a cold drink.") Naturally, in a situation where the children are the adults and vice versa, something has to give—and it does, straight in the maw of Katrina. Yet the fury of the storm yields a kind of redemption, a scenario that could dissolve into mawkishness, but that Ward pulls off without a false note. A superbly realized work of fiction that, while Southern to the bone, transcends its region to become universal.
Read an Excerpt
SALVAGE THE BONES a novel
By JESMYN WARD
Copyright © 2011 Jesmyn Ward
All right reserved.
Chapter One THE FIRST DAY: BIRTH IN A BARE-BULB PLACE
China's turned on herself. If I didn't know, I would think she was trying to eat her paws. I would think that she was crazy. Which she is, in a way. Won't let nobody touch her but Skeet. When she was a big-headed pit bull puppy, she stole all the shoes in the house, all our black tennis shoes Mama bought because they hide dirt and hold up until they're beaten soft. Only Mama's forgotten sandals, thin-heeled and tinted pink with so much red mud seeped into them, looked different. China hid them all under furniture, behind the toilet, stacked them in piles and slept on them. When the dog was old enough to run and trip down the steps on her own, she took the shoes outside, put them in shallow ditches under the house. She'd stand rigid as a pine when we tried to take them away from her. Now China is giving like she once took away, bestowing where she once stole. She is birthing puppies.
What China is doing is nothing like what Mama did when she had my youngest brother, Junior. Mama gave birth in the house she bore all of us in, here in this gap in the woods her father cleared and built on that we now call the Pit. Me, the only girl and the youngest at eight, was of no help, although Daddy said she told him she didn't need any help. Daddy said that Randall and Skeetah and me came fast, that Mama had all of us in her bed, under her own bare burning bulb, so when it was time for Junior, she thought she could do the same. It didn't work that way. Mama squatted, screamed toward the end. Junior came out purple and blue as a hydrangea: Mama's last flower. She touched Junior just like that when Daddy held him over her: lightly with her fingertips, like she was afraid she'd knock the pollen from him, spoil the bloom. She said she didn't want to go to the hospital. Daddy dragged her from the bed to his truck, trailing her blood, and we never saw her again.
What China is doing is fighting, like she was born to do. Fight our shoes, fight other dogs, fight these puppies that are reaching for the outside, blind and wet. China's sweating and the boys are gleaming, and I can see Daddy through the window of the shed, his face shining like the flash of a fish under the water when the sun hit. It's quiet. Heavy. Feels like it should be raining, but it isn't. There are no stars, and the bare bulbs of the Pit burn.
"Get out the doorway. You making her nervous." Skeetah is Daddy's copy: dark, short, and lean. His body knotted with ropy muscles. He is the second child, sixteen, but he is the first for China. She only has eyes for him.
"She ain't studying us," Randall says. He is the oldest, seventeen. Taller than Daddy, but just as dark. He has narrow shoulders and eyes that look like they want to jump out of his head. People at school think he's a nerd, but when he's on the basketball court, he moves like a rabbit, all quick grace and long haunches. When Daddy is hunting, I always cheer for the rabbit.
"She need room to breathe." Skeetah's hands slide over her fur, and he leans in to listen to her belly. "She gotta relax."
"Ain't nothing about her relaxed." Randall is standing at the side of the open doorway, holding the sheet that Skeetah has nailed up for a door. For the past week, Skeetah has been sleeping in the shed, waiting for the birth. Every night, I waited until he cut the light off , until I knew he was asleep, and I walked out of the back door to the shed, stood where I am standing now, to check on him. Every time, I found him asleep, his chest to her back. He curled around China like a fingernail around flesh.
"I want to see." Junior is hugging Randall's legs, leaning in to see but without the courage to stick in more than his nose. China usually ignores the rest of us, and Junior usually ignores her. But he is seven, and he is curious. When the boy from Germaine bought his male pit bull to the Pit to mate with China three months ago, Junior squatted on an oil drum above the makeshift kennel, an old disconnected truck bed dug in the earth with chicken wire stretched over it, and watched. When the dogs got stuck, he circled his face with his arms, but still refused to move when I yelled at him to go in the house. He sucked on his arm and played with the dangling skin of his ear, like he does when he watches television, or before he falls to sleep. I asked him once why he does it, and all he would say is that it sounds like water.
Skeetah ignores Junior because he is focused on China like a man focuses on a woman when he feels that she is his, which China is. Randall doesn't say anything but stretches his hand across the door to block Junior from entering.
"No, Junior." I put out my leg to complete the gate barring Junior from the dog, from the yellow string of mucus pooling to a puddle on the floor under China's rear.
"Let him see," Daddy says. "He old enough to know about that." His is a voice in the darkness, orbiting the shed. He has a hammer in one hand, a clutch of nails in another. China hates him. I relax, but Randall doesn't move and neither does Junior. Daddy spins away from us like a comet into the darkness. There is the sound of hammer hitting metal.
"He makes her tense," Skeetah says.
"Maybe you need to help her push," I say. Sometime I think that is what killed Mama. I can see her, chin to chest, straining to push Junior out, and Junior snagging on her insides, grabbing hold of what he caught on to try to stay inside her, but instead he pulled it out with him when he was born.
"She don't need no help pushing."
And China doesn't. Her sides ripple. She snarls, her mouth a black line. Her eyes are red; the mucus runs pink. Everything about China tenses and there are a million marbles under her skin, and then she seems to be turning herself inside out. At her opening, I see a purplish red bulb. China is blooming.
If one of Daddy's drinking buddies had asked what he's doing to night, he would've told them he's fixing up for the hurricane. It's summer, and when it's summer, there's always a hurricane coming or leaving here. Each pushes its way through the flat Gulf to the twenty-six-mile manmade Mississippi beach, where they knock against the old summer mansions with their slave galleys turned guest houses before running over the bayou, through the pines, to lose wind, drip rain, and die in the north. Most don't even hit us head-on anymore; most turn right to Florida or take a left for Texas, brush past and glance off us like a shirtsleeve. We ain't had one come straight for us in years, time enough to forget how many jugs of water we need to fill, how many cans of sardines and potted meat we should stock, how many tubs of water we need. But on the radio that Daddy keeps playing in his parked truck, I heard them talking about it earlier today. How the forecasters said the tenth tropical depression had just dissipated in the Gulf but another one seems to be forming around Puerto Rico.
So today Daddy woke me up by hitting the wall outside me and Junior's room.
"Wake up! We got work to do."
Junior rolled over in his bed and curled into the wall. I sat up long enough to make Daddy think I was going to get up, and then I lay back down and drifted off . When I woke up two hours later, Daddy's radio was running in his truck. Junior's bed was empty, his blanket on the floor.
"Junior, get the rest of them shine jugs."
"Daddy, ain't none under the house."
Outside the window, Daddy jabbed at the belly of the house with his can of beer. Junior tugged his shorts. Daddy gestured again, and Junior squatted and slithered under the house. The underside of the house didn't scare him like it had always scared me when I was little. Junior disappeared between the cinder blocks holding up the house for afternoons, and would only come out when Skeetah threatened to send China under there after him. I asked Junior one time what he did under there, and all he would say is that he played. I imagined him digging sleeping holes like a dog would, laying on his back in the sandy red dirt and listening to our feet slide and push across floorboards.
Junior had a good arm, and bottles and cans rolled out from under the house like pool balls. They stopped when they hit the rusted-over cow bath Daddy had salvaged from the junkyard where he scraps metal. He'd brought it home for Junior's birthday last year and told him to use it as a swimming pool.
"Shoot," Randall said. He was sitting on a chair under his homemade basketball goal, a rim he'd stolen from the county park and screwed into the trunk of a dead pine tree.
"Ain't nothing hit us in years. They don't come this way no more. When I was little, they was always hitting us." It was Manny. I stood at the edge of the bedroom window, not wanting him to see me. Manny threw a basketball from hand to hand. Seeing him broke the cocoon of my rib cage, and my heart unfurled to fly.
"You act like you ancient—you only two years older than me. Like I don't remember how they used to be," Randall said as he caught the rebound and passed it back to Manny. "If anything hit us this summer, it's going to blow down a few branches. News don't know what they talking about." Manny had black curly hair, black eyes, and white teeth, and his skin was the color of fresh-cut wood at the heart of a pine tree. "Every-time somebody in Bois Sauvage get arrested, they always get the story wrong."
"That's journalists. Weatherman's a scientist," Randall said.
"He ain't shit." From where I was, Manny looked like he was blushing, but I knew his face had broken out, tinged him red, and that the rest of it was the scar on his face.
"Oh, one's coming all right." Daddy wiped his hand along the side of his truck.
Manny rolled his eyes and jerked his thumb at Daddy. He shot. Randall caught the ball and held it. "There ain't even a tropical depression yet," Randall said to Daddy, "and you got Junior bowling with shine bottles."
Randall was right. Daddy usually filled a few jugs of water. Canned goods was the only kind of groceries Daddy knew how to make, so we were never short on Vienna sausages and potted meat. We ate Top Ramen every day: soupy, added hot dogs, drained the juice so it was spicy pasta; dry, it tasted like crackers. The last time we'd had a bad storm hit head-on, Mama was alive; after the storm, she'd barbecued all the meat left in the silent freezer so it wouldn't spoil, and Skeetah ate so many hot sausage links he got sick. Randall and I had fought over the last pork chop, and Mama had pulled us apart while Daddy laughed about it, saying: She can hold her own. Told you she was going to be a little scrappy scrawny thing—built just like you.
"This year's different," Daddy said as he sat on the back of his trunk. For a moment he looked not-drunk. "News is right: every week it's a new storm. Ain't never been this bad." Manny shot again, and Randall chased the ball.
"Makes my bones hurt," Daddy said. "I can feel them coming."
I pulled my hair back in a ponytail. It was my one good thing, my odd thing, like a Doberman come out white: corkscrew curls, black, limp when wet but full as fistfuls of frayed rope when dry. Mama used to let me run around with it down, said it was some throwback trait, and since I got it, I might as well enjoy it. But I looked in the mirror and knew the rest of me wasn't so remarkable: wide nose, dark skin, Mama's slim, short frame with all the curves folded in so that I looked square. I changed my shirt and listened to them talking outside. The walls, thin and uninsulated, peeling from each other at the seams, made me feel like Manny could see me before I even stepped outside. Our high school English teacher, Ms. Dedeaux, gives us reading every summer. After my ninth-grade year, we read As I Lay Dying, and I made an A because I answered the hardest question right: Why does the young boy think his mother is a fish? This summer, after tenth grade, we are reading Edith Hamilton's Mythology. The chapter I finished reading day before yesterday is called "Eight Brief Tales of Lovers," and it leads into the story of Jason and the Argonauts. I wondered if Medea felt this way before she walked out to meet Jason for the first time, like a hard wind come through her and set her to shaking. The insects singing as they ring the red dirt yard, the bouncing ball, Daddy's blues coming from his truck radio, they all called me out the door.
China buries her face between her paws with her tail end in the air before the last push for the first puppy. She looks like she wants to flip over into a headstand, and I want to laugh, but I don't. Blood oozes from her, and Skeetah crouches even closer to help her. China yanks her head up, and her eyes snap open along with her teeth. "Careful!" Randall says. Skeetah has startled her. He lays his hands on her and she rises. I went to my daddy's Methodist church one time with my mama, even though she raised us Catholic, and this is what China moves like; like she has caught the ghost, like the holiest voice moves through her instead of Skeetah's. I wonder if her body feels like it is in the grip of one giant hand that wrings her empty.
"I see it!" Junior squeals.
The first puppy is big. It opens her and slides out in a stream of pink slime. Skeetah catches it, places it to the side on a pile of thin, ripped towels he has prepared. He wipes it.
"Orange, like his daddy," Skeetah says. "This one's going to be a killer."
The puppy is almost orange. He is really the color of the red earth after someone has dug in it to plant a field or pull up stones or put in a body. It is Mississippi red. The daddy was that color: he was short and looked like a big red muscle. He had chunks of skin and flesh crusted over to scabby sores from fighting. When he and China had sex, there was blood on their jaws, on her coat, and instead of loving, it looked like they were fighting. China's skin is rippling like wind over water. The second puppy slides halfway out feet-first and hangs there.
"Skeet," Junior squeaks. He has one eye and his nose pressed against Randall's leg, which he is hugging. He seems very dark and very small, and in the night gloom, I cannot see the color of his clothes.
Skeetah grabs the puppy's rear, and his hand covers the entire torso. He pulls. China growls, and the puppy slides clear. He is pink. When Skeetah lays him on the mat and wipes him off , he is white with tiny black spots like watermelon seeds spit across his fur. His tongue protrudes through the tiny slit that is his mouth, and he looks like a flat cartoon dog. He is dead. Skeetah lets go of the towel and the puppy rolls, stiff as a bowling pin, across the padding to rest lightly against the red puppy, which is moving its legs in small fits, like blinks.
"Shit, China." Skeetah breathes. Another puppy is coming. This one slowly slides out headfirst; a lonely, hesitant diver. Big Henry, one of Randall's friends, dives into the water at the river like that every time we go swimming: heavy and carefully, as if he is afraid his big body, with its whorls of muscle and fat, will hurt the water. And every time Big Henry does so, the other boys laugh at him. Manny is always the loudest of them all: his teeth white knives, his face golden red. The puppy lands in the cup of Skeetah's palms. She is a patchwork of white and brown. She is moving, her head bobbing in imitation of her mother's. Skeetah cleans the puppy. He kneels behind China, who growls. Yelps. Splits.
Even though Daddy's truck was parked right beyond the front door and Junior hit me in my calf with a shine bottle, I looked at Manny first. He was holding the ball like an egg, with his fingertips, the way Randall says a good ball handler does. Manny could dribble on rocks. I had seen him in the rocky sand at the corner of the basketball court down at the park, him and Randall, dribbling and defending, dribbling and defending. The rocks made the ball ricochet between their legs like a rubber paddleball, unpredictable and wild, but they were so good they caught to dribble again nearly every time. They'd fall before they'd let the ball escape, dive to be cut by shells and small gray stones. Manny was holding the ball as tenderly as he would a pit puppy with pedigree papers. I wanted him to touch me that way.
Excerpted from SALVAGE THE BONES by JESMYN WARD Copyright © 2011 by Jesmyn Ward. Excerpted by permission of Bloomsbury USA. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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