Women Authors From The United States

"(Chapter Twenty-Four )"

"(Chapter Thirty-Six )"

"After I perform the ritual and bring magic back, after Baba is safe and sound. I’ll rally a group of Grounders to sink this monstrosity into the sand. That announcer will pay for every wasted divîner life. Every noble will answer for their crimes."

"I arch my eyebrow at Amari and think back to her mention of a training accident. I assumed the scar came from her brother’s sword, but was she holding a sword, too? Despite her escape from Lagos, I can’t imagine the princess locked in battle."

"(Chapter Thirteen)"

"(Chapter Eleven)"

"Though the royal seal is etched into the clay wall, it waves in my mind like the velvet banners in Father’s throne room. After the Raid, he abolished the old seal, a gallant bull-horned lionare that always used to make me feel safe. Instead, he proclaimed that our power would be represented by the snow leopanaires: ryders who were ruthless. Pure."

"(Chapter Twenty-Seven )"

"(Chapter Twenty-Two)"

"Zélie’s memories don’t hold the villains Father always warned of. Only families he tore apart. Duty before self. His creed rings through my ears. My father. Her king. The harbinger of all this suffering."

"(Chapter Seventy-One)"

"Deep down, I know the truth. I knew it the moment I saw the maji of Ibadan in chains. The gods died with our magic."

"(Chapter One)"

"Fool yourself all you want, little prince, but don’t feign innocence with me. I won’t let your father get away with what he’s done. I won’t let your ignorance silence my pain."

"He wants to believe that playing by the monarchy’s rules will keep us safe, but nothing can protect us when those rules are rooted in hate"

"I’ve been a sheep. A sheep when my kingdom needed me to act like a king."

"It doesn't matter how strong I get, how much power my magic wields. They will always hate me in this world."

"(Chapter Two )"

"It avoids rather than hurts, it hurts rather than maims, it maims rather than kills—the staff does not destroy.” “I teach you to be warriors in the garden so you will never be gardeners in the war. I give you the strength to fight, but you all must learn the strength of restraint.” Mama turns to me, shoulders pinned back. “You must protect those who can’t defend themselves. That is the way of the staff."

"“Everyone else feels like being caught in the rain. You’re the whole tsunami."

"I begin to realise how far others will go to keep us down."

"No matter how much I crave peace, the gods have other plans."

"I don't know what shocks me more--- the power in my voice or the words themselves"

"Love is too strong, too intense, for what I feel. For what I am allowed to feel."

"Reality and logic don’t matter to her. She needs this so badly, failure isn’t even in the realm of possibilities."

"You must protect those who can’t defend themselves. Mama Agba’s words from this morning seep into my head."

"Power is not the answer. It will only intensify the fight."

"(Which writers — novelists, playwrights, critics, journalists, poets — working today do you admire most?) For novelists, I’m a forever-fan of Sabaa Tahir. Her debut fantasy — “An Ember in the Ashes” — was the epic tale that inspired me to write “Children of Blood and Bone.” It moved me in ways a story hadn’t moved me before and gave me a chance to imagine a fantasy world with characters I’d never gotten to see before. For journalists, Shaun King. The work Shaun does for the black community is incredible. I respect his strength, tenacity and passion, and I admire him deeply for the commitment to getting our stories out."

"When I read, I like to go somewhere else in my mind with stories that touch our real world without taking place in it."

"…I had a lot of different reasons for writing the book but at its core was the desire to write for black teenage girls growing up reading books they were absent from. That was my experience as a child. Children of Blood and Bone is a chance to address that. To say you are seen."

"(What makes for a good fantasy novel?) I think the most magical fantasies will always be the ones with a world you want to live in forever…I think great worlds are important because they allow readers to play in that world with their imagination long after the book is done, but a great world isn’t complete without a great protagonist."

"People say you’ve got to write honestly and that sounds great but also, what does that mean? I think part of that is knowing there are some things black people go through that are universal and those things are how the world shapes you…if you’re in a racist encounter, they’re not going to say, “Oh, you’re Jamaican, oh, you’re Nigerian; oh, you’re full African American; your ancestors were brought here on slave ships.” That’s not what other people see. In the outside world, we have a kind of universal experience but it also changes depending on whether you’ve grown up in predominantly white spaces or predominantly black spaces…"

"The thing is that underneath we are all humans…Everyone has people they love and people they want to protect, everyone has things they are afraid of or that cause them pain."

"(What moves you most in a work of literature?) Acts of love. Be it familial, friendly or romantic. A beautifully described, tender act of love destroys me…I’ve always loved sweeping romances and magical fantasies. I’ve loved headstrong, determined female protagonists and epic battles. I still like to read the same things. I think the difference now is that I get to read all the things I like with characters who look like me. My childhood stories didn’t give me that. Even in the stories I wrote myself, I was only writing white characters and biracial characters. I didn’t realize it at the time, but that erasure was painful and damaging to my sense of self. So getting to create and read stories that fight that erasure and build on my sense of self is the only significant change in my reading tastes."

"I saw the opportunity to show the beauty in the culture and show that these words sound magical. We’re so used to using Latin, but if J.K. Rowling saw magic in that, you can see magic in your own culture. And if you can see it, you can help other people to see it."

"When I first started writing, I was thinking of it as a book about mass incarceration, and mass incarceration is not a plot. It’s not a story. It’s not a character. I was at Harvard doing research on this subject, and I felt like I had a lot of information, but I had not yet found my story because I had to realize that I am a novelist. I’m not a sociologist. I’m not a documentarian. I’m not an ethnographer. And I found the story, actually, through eavesdropping…"

"There’s also very little room for diverse expressions of black female identity. There is a place in society for a black man who comes off as uneducated but street-smart. That is respected in a certain kind of way. And there’s also the Obama model of the black man who’s been to the Ivy League. There’s a lot of room. But I feel like with black women, when it comes to credibility, that respectability is crucial."

"(What books or authors have most inspired you? What books did you read while working on Ordinary Girls?) JD: Jesmyn Ward’s Men We Reaped, for starters. It felt like she was speaking to me...also, I think of Jesmyn Ward as one of the best thinkers and sentence stylists working right now."

"All of these characters are trying to figure out the extent to which they are allowed to be self-interested in the face of this larger cultural crisis…In many ways, it is a question of modern African-American life. What is the balance between your desires and your responsibilities?..."

"I’ve always wanted to be a writer…And I have accepted that my niche is this quiet space. I’ve never been one of those writers who says writing is the hardest job in the world. Look at the jobs my grandparents had. Can I really say a job I’m able to do in my pajamas is the hardest job in the world? This is not a quiet title. And this is not a quiet story. I was a little intimidated by claiming this title for myself. But this novel caused me to challenge myself. I feel really good about it now."

"You have your duty and your heart. To chose one means the other must suffer."

"(Chapter Five )"

"(What’s the last great book you read?) “The Half Has Never Been Told: Slavery and the Making of America Capitalism,” by Edward E. Baptist. It taught me so much about slavery and how slavery enabled America to become America. Every time I left my house after reading it, I saw the world differently. I saw the legacy of human misery underpinning it all...(If you could require the president to read one book, what would it be?) “The Half Has Never Been Told.” It’s an essential book for anyone who seeks to understand the America we live in now."

"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."

"So I kept pulling my punches. And later I realised that was a mistake. Life doesn’t spare the kind of people who I write about, so I felt like it would be dishonest to spare my characters in that way."

"Place is important to my writing; I believe that if a reader gets a clear picture of the place where a character is from, then they can understand what motivates the character, what limits him or her…"

"(Any favorite Mississippi or Louisiana authors you’d like to recommend?) There are so many: Ernest Gaines, Natasha Trethewey, Donna Tartt, Richard Wright, Margaret Walker and Robert Olen Butler are just a few I love."

"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. I feel like in the reading I did when I was growing up, and also in the way that people talk and tell stories here in the South, they use a lot of figurative language. The stories that I heard when I was growing up, and the stories that I read, taught me to use the kind of language that I do. It's hard for me to work against that when I am writing."

"(Which writers – novelists, playwrights, critics, journalists, poets – working today do you admire most?) there are so many: Jacqueline Woodson; Colson Whitehead; Celeste Ng; Natalie Bakopoulos; Justin St. Germain; Molly Antopol; J. M. Tyree; Michael McGriff; Quan Barry; Kevin Young; Jericho Brown; Clint Smith; Daniel José Older; and Kima Jones are a few."

"The reason that I like to use classical myths as models is because African American writers and African American stories are usually understood as occurring in some kind of vacuum — because of slavery."