Men We Reaped

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Overview

Finalist for the National Book Critics' Circle Award

Nominee for the Hurston/Wright Legacy Award

A New York Times Notable Book

 

“We saw the lightning and that was the guns; and then we heard the thunder and that was the big guns; and then we heard the rain falling and that was the blood falling; and when we came to get in the crops, it...

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Men We Reaped: A Memoir

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Overview

Finalist for the National Book Critics' Circle Award

Nominee for the Hurston/Wright Legacy Award

A New York Times Notable Book

 

“We saw the lightning and that was the guns; and then we heard the thunder and that was the big guns; and then we heard the rain falling and that was the blood falling; and when we came to get in the crops, it was dead men that we reaped.” —Harriet Tubman

In five years, Jesmyn Ward lost five young men in her life—to drugs, accidents, suicide, and the bad luck that can follow people who live in poverty, particularly black men. Dealing with these losses, one after another, made Jesmyn ask the question: Why? And as she began to write about the experience of living through all the dying, she realized the truth—and it took her breath away. Her brother and her friends all died because of who they were and where they were from, because they lived with a history of racism and economic struggle that fostered drug addiction and the dissolution of family and relationships. Jesmyn says the answer was so obvious she felt stupid for not seeing it. But it nagged at her until she knew she had to write about her community, to write their stories and her own.

Jesmyn grew up in poverty in rural Mississippi. She writes powerfully about the pressures this brings, on the men who can do no right and the women who stand in for family in a society where the men are often absent. She bravely tells her story, revisiting the agonizing losses of her only brother and her friends. As the sole member of her family to leave home and pursue higher education, she writes about this parallel American universe with the objectivity distance provides and the intimacy of utter familiarity. A brutal world rendered beautifully, Jesmyn Ward’s memoir will sit comfortably alongside Edwidge Danticat’s Brother, I'm Dying, Tobias Wolff's This Boy’s Life, and Maya Angelou’s I Know Why the Caged Bird Sings.

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Editorial Reviews

From Barnes & Noble

It was the death of her 19-year-old brother at the hands of a drunken driver that inspired Jesmyn Ward to become a writer. Unfortunately, that spur was not the only tragic loss of a young black man from her Mississippi hometown that affected her life. In this insightful, beautifully written memoir, she pays poignant tribute to five "men we reaped." The first nonfiction work by the 2011 National Book Award winner.

The New York Times Book Review - Tayari Jones
Jesmyn Ward…chronicles our American story in language that is raw, beautiful and dangerous. Her National Book Award-winning novel, Salvage the Bones, claimed the Gulf Coast as her literary territory, but with Men We Reaped, it's clear the region has claimed her in return…Ward's singular voice and her full embrace of her anger and sorrow set this work apart from those that have trodden similar ground.
The New York Times - Dwight Garner
This at times somber book is also shot through with life, with a sense of rural community and what it felt like to be adolescent and footloose on hot Mississippi nights…Men We Reaped reaffirms Ms. Ward's substantial talent. It's an elegiac book that's rangy at the same time.
Publishers Weekly
In this riveting memoir of the ghosts that haunt her hometown in Mississippi, two-time novelist and National Book Award–winner Ward (Salvage the Bones) writes intimately about the pall of blighted opportunity, lack of education, and circular poverty that hangs over the young, vulnerable African-American inhabitants of DeLisle, Miss., who are reminiscent of the characters in Ward’s fictionalized Bois Sauvage. The five young black men featured here are the author’s dear friends and her younger brother, whose deaths between 2000 and 2004 were “seemingly unrelated,” but all linked to drug and alcohol abuse, depression, and a general “lack of trust” in the ability of society—and, ultimately, family and friends—to nurture them. The first to die (though his story is told last in the book) was her brother, Joshua, a handsome man who didn’t do as well in school as Ward and was stuck back home, doing odd jobs while his sister attended Stanford and later moved to N.Y.C. Joshua died senselessly after being struck by a drunk driver on a dark coastal road one night. The “wolf” that tracked all of these young men—and the author, too, when she experienced the isolation of being black at predominantly white schools—was the sense of how little their lives mattered. Ward beautifully incorporates the pain and guilt woven her and her brother’s lives by the absence and failure of their father, forcing their mother to work as a housekeeper to keep the family afloat. Ward has a soft touch, making these stories heartbreakingly real through vivid portrayal and dialogue. (Sept.)
From the Publisher
Top 10 Books of the Year

San Francisco Chronicle, Salon, Oregonian, BookPage, New York Magazine

Top 10 Non-Fiction Books of the Year

Time, Publishers Weekly

One of the Best Books of the Year

New York Times, Vogue, Daily Beast, NPR.org, Chicago Tribune, Los Angeles Times, Christian Science Monitor, Slate, Cosmopolitan, Kansas City Star, Milwaukee Journal Sentinel, Times-Picayune, The Progressive, Kirkus Reviews, BuzzFeed, Complex.com, New Statesman, BookRiot, Shelf Awareness, Flavorpill, Times Literary Supplement "Eloquent... Men We Reaped reaffirms Ms. Ward's substantial talent." - Dwight Garner, The New York Times

 

"An important, and perhaps even essential, book." - Skip Horack, San Francisco Chronicle

 

"[Ward] chronicles our American story in language that is raw, beautiful and dangerous… [Her] singular voice and her full embrace of her anger and sorrow set this work apart from those that have trodden similar ground… With loving and vivid recollection, she returns flesh to the bones of statistics and slows her ghosts to live again… [It’s a] complicated and courageous testimony."—Tayari Jones, The New York Times Book Review

 

"Heart-wrenching… A brilliant book about beauty and death… at once a coming-of-age story and a kind of mourning song… filled [with] intimate and familial moments, each described with the passion and precision of the polished novelist Ward has become… Ward is one of those rare writers who’s traveled across America’s deepening class rift with her sense of truth intact. What she gives back to her community is the hurtful honesty of the best literary art." —Hector Tobar, Los Angeles Times

 

"A memoir about loss in rural Mississippi that burns with brilliance."—Harper’s Bazaar

 

"A memoir that is as searing as her fiction, as poignant and as timely... in a country that is supposed to be post racial but still seems hell-bent on the epidemic destruction of young black men." - Edwidge Danticat, The Progressive

 

"A memoir that, in plainsong prose punctuated with sudden poetic flashes, schools us in the unforgiving experiences from which [Ward] has drawn her triumphal fiction… It paints in unshowy colors her impoverished coming-of-age in the narrow strip of lowlands where Mississippi touches the Gulf of Mexico… [Ward is an] eloquent envoy from a forgotten part of America… [Men We Reaped is an] unvarnished and penetrating view into the infernal machinery of race hatred, pervasive mistrust, self-loathing, drugs, guns, and life’s bloody accidents." —Ben Dickinson, Elle

 

"Devastating… Ward is a vivid, urgent writer, and here she is bearing witness to poverty and racism, the inequality that plagues her community and so many others like it… Her story shines a light on this darkness, reminding us we will never be able to lift it if we do not at least look." —Oprah.com

 

"An important contemporary voice: a sensitive, lyrical narrator of difficult stories from the land of Faulkner and Welty." —The New York Times

 

"A lovely book about stuff so painful that Ward must have written it in a kind of fever… The final chapters are so moving you have to avert your eyes, both for the trauma and the tenderness." –Entertainment Weekly

 

"[A] riveting memoir of the ghosts that haunt her hometown in Mississippi… Ward has a soft touch, making these stories heartbreakingly real through vivid portrayal and dialogue." – Publishers Weekly

 

"A vivid and searing look at the legacy of racism in the U.S. by a writer with exceptional narrative gifts... In [Ward’s] hands, the cultural and personal are inseparable… Men We Reaped is a stunning look at racism, the people it marginalizes and how we are all implicated. It is moving, honest, compassionate and rigorous. It is loving and raw, full of grief and anger, personal and objective, shocking and inevitable. Ward stands alongside writers like Edwidge Danticat, Alice Walker and Maya Angelou as a gifted chronicler of the crucible of an inequitable culture." – Shelf Awareness

 

"Ward closely examined the heartbreakingly relentless deaths of her young relatives and friends growing up in [her] small town… [She] lovingly profiles each of those she lost, including a brother, a cousin, and close friends, and their tragic ends as she weaves her family history and details her own difficulties of breaking away from home and the desperate need to do so. This is beautifully written homage, with a pathos and understanding that come from being a part of the culture described." - Booklist

 

"An assured yet scarifying memoir by young, supremely gifted novelist Ward… A modern rejoinder to Black Like Me, Beloved and other stories of struggle and redemption—beautifully written, if sometimes too sad to bear." – Kirkus Reviews (starred review)

 

"Jesmyn Ward left her Gulf Coast home for education and experience, but it called her back. It called on her in most painful ways, to mourn. In Men We Reaped, Jesmyn unburies her dead, that they may live again. And through this emotional excavation, she forces us to see the problems of place and race that led these men to their early graves. Full of beauty, love, and dignity, Men We Reaped is a haunting and essential read." –Natasha Trethewey, US Poet Laureate, author of Thrall and Native Guard, winner of the Pulitzer Prize

Library Journal
In her National Book Award-winning Salvage the Bones (one of my favorite novels ever), Ward writes so sharply and affectingly of African American life in the rural South that everyone should be anticipating this memoir-cum-social observation. Over five years, Ward saw the death (by drugs, suicide, accident, and more) of her brother and four other young men to whom she was close, and she came to realize what seemed so obvious in hindsight: they all died as a consequence of the limited economic opportunity and fractured family life that is the legacy of long-standing racism. As she reflects on her losses, telling the stories of her community, she gives us an intimate understanding of deep-rooted social issues.
Kirkus Reviews
An assured yet scarifying memoir by young, supremely gifted novelist Ward (Salvage the Bones, 2011, etc.). Like the author's novels, this study of life on the margins--of society, of dry land against the bayou, of law--takes place in the stunning tropical heat of southern Mississippi. Her parents had tried to leave there and make new lives in the freedom, vast horizon and open sky of California: "There were no vistas in Mississippi, only dense thickets of trees all around." But they had returned, and in the end, the homecoming broke them apart. Ward observes that the small town of her youth was no New Orleans; there was not much to do there, nor many ennobling prospects. So what do people do in such circumstances? They drink, take drugs, reckon with "the dashed dreams of being a pilot or a doctor," they sink into despair, they die--all things of which Ward writes, achingly, painting portraits of characters such as a young daredevil of a man who proclaimed to anyone who would listen, "I ain't long for this world," and another who shrank into bony nothingness as crack cocaine whittled him away. With more gumption than many, Ward battled not only the indifferent odds of rural poverty, but also the endless racism of her classmates in the school she attended on scholarship, where the only other person of color, a Chinese girl, called blacks "scoobies": " ‘Like Scooby Doo?' I said. ‘Like dogs?' " Yes, like dogs, and by Ward's account, it's a wonder that anyone should have escaped the swamp to make their way in that larger, more spacious world beyond it. A modern rejoinder to Black Like Me, Beloved and other stories of struggle and redemption--beautifully written, if sometimes too sad to bear.
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Product Details

  • ISBN-13: 9781608195213
  • Publisher: Bloomsbury USA
  • Publication date: 9/17/2013
  • Edition number: 1
  • Pages: 272
  • Sales rank: 136,001
  • Lexile: 1020L (what's this?)
  • Product dimensions: 5.70 (w) x 8.30 (h) x 1.10 (d)

Meet the Author

Jesmyn Ward grew up in DeLisle, Mississippi. She received her MFA from the Univ. of Michigan and has been a Stegner Fellow at Stanford and a Grisham Visiting Writer in Residence at the Univ. of Mississippi. She is currently an assistant professor of creative writing at the Univ. of South Alabama. She is the author of the novels Where the Line Bleeds and Salvage the Bones, for which she won the 2011 National Book Award, and was a finalist for the NYPL Young Lions Literary Award and the Dayton Literary Peace Prize, as well as a nominee for the IMPAC Dublin Literary Award.

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Interviews & Essays

Barnes & Noble Review Interview with Jesmyn Ward

Readers of Jesmyn Ward's National Book Award–winning Salvage the Bones already know how harrowing the stories she tells can be. That novel followed a family living in the path of Hurricane Katrina — and before the arrival of the storm, numerous devastations have already befallen them. Men We Reaped turns away from fiction to draw more directly on the writer's own life, as well as the lives and deaths of five men, including her brother. The book that emerges may be hard to classify, but it's unquestionably powerful: Ward marshals the history family and community through the accumulation of small, potent details.

More than a memorial to lives tragically cut short and a portrait community dealing with their loss, Men We Reaped takes on broader societal concerns, exposing tears in the social fabric too easily overlooked. That blend of memoir, reportage, and political extrapolation has a long and storied history — George Orwell's Down and Out in Paris and London comes to mind — and Ward's book makes it clear why this form remains essential.

I talked with Ward via email to discuss the origins of the book's title, the ways in which her personal geography has affected the settings of her fiction, and how myths and archetypes continue to inform her writing. —Tobias Carroll

The Barnes & Noble Review: The Harriet Tubman quote that gives Men We Reaped both its title and one of its epigraphs is immediately striking. I was wondering where you first encountered it, and when it was that you knew that it would apply to your memoir.

Jesmyn Ward: I first came upon this Harriet Tubman quote online, actually. When beginning a book, I'll often search for epigraphs in the hope that I can find a few that will serve as clues or hints of what will come in the rest of the book. "We saw the lightening and that was the guns; and then we heard the thunder and that was the big guns; and then we heard the rain falling and that was the blood falling; and when we came to get in the crops, it was dead men that we reaped." It's difficult not to be moved by this — that was my first reaction to it; and I love her use of metaphor. Also, I wanted to make the sad connection between that war, the Civil War, and the unspoken war against young Black people in the United States today. And to refer to the era of slavery, from whence all of our national issues of racism began, and from which my family and our problems grew.

BNR: Men We Reaped features two parallel timelines, moving in chronological order through one series of events and in reverse order through the other. How did you arrive at the structure of your memoir?

JW: Because this tells my story, my family's and community's story, and also the stories of five dead young men, it was not an easy book to structure. When I first started thinking about it, I knew it had to end with my brother. That was the hardest of the deaths for me, as he was the closest. Chronologically, however, his death was the first. So I decided to tell my family's story and my story moving forward through time, ending just before my brother died. I then revisited each of the five young men who died, moving backward in time, from the last death to the first, with the hope that when the two stories met with my brother, this most impactful moment in my life, I'd better understand why all of this happened.

BNR: Beyond the story of your life and the lives of the five men at the book's heart, Men We Reaped has a sociopolitical aspect as well, particularly as with the statistics about race and poverty cited in the book's conclusion. At what point, as you wrote and edited it, did you realize that this additional dimension was needed?

JW: In a way, the whole purpose of the book is to humanize the statistics we all read in the newspaper. Out of context, they're so easy to dismiss. That's why I wrote Salvage the Bones, at least in part, so people would understand why some families stayed put during Hurricane Katrina. That's why I wrote this memoir. I wanted to say, hey, we're not numbers. We're here, we're human beings. We have families and jobs and fun and sorrow, just like everyone else. The final chapter of the book, "We Are Here," is really my reckoning with all the loss and the reasons for it. And it's only here that I bring in the statistics, as a way of making the individual story more universal. As a way of also saying, we are many. Too many.

BNR: In the section of the book focusing on Demond Cook, you talk about how, at the time, you told friends and relatives that you didn't write about "real-life stuff." You have since written realist fiction and nonfiction; what ultimately changed your mind?

JW: For me, there's a distinction between "real-life stuff" and realistic fiction. My two novels were definitely drawn from my life and my community, but they were works of imagination. They were fiction, albeit of a realistic nature. The memoir is obviously something different, my version of the truth. At the time Demond was alive, and we were joking about the potential or lack of potential in his life story as a subject for a book, I didn't imagine myself writing about him or any of the other young men in the book. In a way, all of the loss forced me to confront an actual truth, rather than an imagined one. While I can play the benevolent god in a work of fiction, protect my characters — although I try not to — real life has not spared us.

BNR: When you spoke with The Paris Review in 2011, you wrote about the influence of classical figures on Salvage the Bones. In Men We Reaped, you say about yourself growing up, "I wanted to be my own heroine." When writing nonfiction, how do you deal with classical archetypes?

JW: There's a theme that runs through the memoir, beginning with the dedication to my brother that states, "For Joshua Adam Dedeaux, who leads while I follow." I'm the older sister, so the expectation was that I would lead. And I did, for many years. I took care of him. I left home first. He led at times, too. He had responsibilities and pressures at home that I never did. My brother and I use to take car rides together through the murmuring southern pines, under a hot, high sun, listening to rap music on the stereo. In this way we traveled together, and I loved those moments. Now that my brother has left us, now that he's died, I can't follow. I don't want to, not yet. But at times I think of him as the heroic traveler, an Odysseus in a dull blue '85 Cutlass. And me, I'm back at home, waiting — and living, too, and writing and enjoying my family — but still, waiting, to hear about his journeys and to ride with him again.

BNR: As someone who also came of age in the late '80s and early '90s, the pop culture details definitely hit home for me. What did returning to that time period invoke in you, and how does writing from recalled memory differ from reporting on the lives of others?

JW: On some level, it was really wonderful to revisit that period. Not only because my brother and his friends were still alive, but for the particulars: the books I was reading, the music my family and I listened to, the television programs, the movies we watched together. I'm a consumer of popular culture still: movies and music, particularly. I feel like these are the signposts of our lives. When we share an era, we collectively share all of these memories, even if the particulars are individualized. So I'm glad to hear the details resonated with you. I've never really written reported nonfiction, and in writing Men We Reaped, I was very lucky to have my sisters, my mother, and several friends around to help me remember some of the details. The challenge for me was less in recalling the stories, more in drawing out the larger themes the stories illustrated.

BNR: The "buffer" woods you wrote about in Men We Reaped reminded me of a similar location in Salvage the Bones. To what extent has the area in which you grew up had an effect on the geography featured in your novels?

JW: The geography of my home is the geography of my novels. It will likely be the geography of my next novel, too. When I lived away from home, I longed for it and recreated it in my fiction. Even though I'm now living among those "buffer" woods again, I don't think I'll want my characters to inhabit any other landscape. Those woods, the bayous, the simple, squat houses — this place is part of who I am and part of what I want to explore as a writer. How does place form who we are?

BNR: A number of the details in Men We Reaped abound with thematic implications. I'm thinking particularly of your discovery that a town graveyard could eventually supplant a playground. How did you go about learning this?

JW: Yes, that is a sad fact I learned from Lucretia Lott, who is an older cousin. She's actually of my mother's generation, and she told me this fact while we were at the graveyard for the funeral of the young woman who was stabbed to death by her boyfriend. (I mention her death in the book.) In Lucretia's generation, they actually played baseball where my brother's grave is situated. Years later, our local park was the place where we hung out, away from our parents, out under the sky. We sat on the bleachers, talking; we shot goals on the basketball courts; we huddled in our cars, listening to music. This is where our lives happened. And that these same young people who lived and breathed and laughed in that park could occupy it in death, well, that's too great an irony to ignore.

BNR:Have you written any fiction since completing Men We Reaped? Have you found that writing a work of nonfiction has changed the way you approach writing as a whole?

JW: Men We Reaped was a tough book to write, on many levels. I struggled to get distance from the subject; I struggled emotionally. It's hard to be in those moments again. While I do get attached to my fictional characters, it's nothing like the cold reality of real-life loss. So getting back to fiction will be a relief. I'm in the early stages of writing my next novel, also set in Bois Sauvage. I must say, after facing the emotional challenges of memoir, I'm really looking forward to thinking about character and plot, rather than my own unhappy story.

September 19, 2013

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Sort by: Showing all of 4 Customer Reviews
  • Anonymous

    Posted September 17, 2013

    I Also Recommend:

    Jesmyn Ward writes a powerful story. She tells of the losses (on

    Jesmyn Ward writes a powerful story. She tells of the losses (one after another) of relatives and friends. The 5 men she accounts for are all from poverty. Some are drug addicts. She does a fine job describing her loss and theorizing why is wasn't just bad luck that these losses occurred. I applaud Ms. Ward on a stunning memoir that will stick with me for a long time.

    5 out of 5 people found this review helpful.

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  • Anonymous

    Posted December 27, 2013

    She very vividly presents her community. But as someone who liv

    She very vividly presents her community. But as someone who lives in MS and works in an alternative school where young black men are the majority of our students, I question her analysis that the deaths of the 3 black young men (I haven't finished the entire book yet) are primarily the result of the racist environment they inhabit. Children learn what they live and it's next to impossible to replace that learning with something else when they are older. In our program we find that if students get clean and sober, most of the other obstacles they face become manageable. In MS if you do some type of forced intervention with these very troubled young men, you're racist with no regard for their culture and if you don't try to intervene you're part of a racist system that just doesn't care about them.

    1 out of 2 people found this review helpful.

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  • Anonymous

    Posted December 5, 2013

    Immerse yourself in another world

    Ms. Ward has done an amazing job of eloquently presenting her world, the world in which young people full of potential lose hope and lose their lives because not much has changed in terms of the way that African American, and specifically poor African American men and women are treated in the South. Immersive, powerful, gripping, and highly recommended. Ms. Ward, I HEAR YOU. Amazing. Leave your cynicism behind and allow the power of this work to speak to you.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted November 27, 2013

    DISTRICT 1 REAPING

    Put age, name, looks, and talents here for reaping))

    1 out of 4 people found this review helpful.

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