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Loading... Sing, Unburied, Singby Jesmyn Ward
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Sign up for LibraryThing to find out whether you'll like this book. No current Talk conversations about this book. A searing, eviscerating, story presented in gorgeous writing, Sing, Unburied, Sing was a hard book to read. The characters’ pasts and present lives are filled with pain and longing, addiction, racism, and the prison system shattering lives. The young boy JoJo emerges as a quiet hero, his little sister Kayla’s refuge. Their father is in prison, their mother self-involved and addicted to meth. Their grandparents nurtured them, but Mam is dying of cancer and Pop is struggling with her dying. When JoJo’s father is to be released from prison, his mother takes the children on a road trip to meet him at the prison. Kayla is ill the entire trip, clinging to her older brother, thie children’s’ needs are not only unmet but irritating to the adults. At the prison, the spirit of a boy, Richie, who died there joins the family; he seeks JoJo’s grandfather who had protected the him while in prison. He believes that if Pop can tell him how he died, he will be released from this world. Richie realizes how little life has changed since he was alive. “Sometimes I think it done changed. And then I sleep and wake up, and it ain’t changed none.” Black boys and men are still targeted, still end up in prison for minor crimes. The climax reveals a horrendous choice Pop had to make. Yet, JoJo takes his Pop’s strength and dignity as a mantle, learns to live with the ghosts, and we hope that he can transcend the past, taking Kayla with him, into a better future. Now available in paperback. Raw and heartbreaking Those familiar with Jesmyn Ward's work know that she takes readers on a journey through places we would rather not see. Lands where adults have long-since given themselves over to their demons, and children lose their innocence at an unfathomably-early age. Such is the case again in her latest novel, "Sing, Unburied, Sing." With the skill of a poet, Ward introduces readers to tween-aged JoJo, his toddler-aged sister Kayla, and his drug-addicted mother Leonie as they travel to pick up his father who has just been released from the state penitentiary. Ward uses the novel to explore racism, poverty, memories and family bonds. While Ward is an extraordinarily talented writer (I highly recommend "Salvage the Bones"), I found it a bit more difficult to immerse myself in this book. I appear to be an outlier as this book is getting strong accolades pretty much across the board. The book includes sections that are narrated by "ghosts". Perhaps I am too much of a realist, but I found these sections to be a distraction. 3.5 stars Thank you to Scribner and NetGalley for a galley of this book in exchange for an honest review. I thought I would like it more than I did. Ward is a gifted writer, with a flair for dramatic language. Each chapter is in the voice of one of three characters (alive or dead). Unfortunately, the overly dramatic language did not always ring true for some of the characters, especially Leoni. It would have been interesting to have other characters, such as Michael or Pop narrate a chapter. The ending was a disappointment for me. This novel is about a poor black/mixed race family in modern day Mississippi but there are a lot of flashbacks to earlier 1900s. The mom and kids are on a road trip to pick up dad from prison. The grandmother is dying of cancer. Many of the characters scan see ghosts and have conversations with them. The writing is very beautiful and poetic, but the plot moved very slowly especially in the first half. The second half was much better, though a little hard to follow, at least on audiobook. Jojo and Pop saved the book; the other characters I mostly found annoying and beyond stupid, making one bad decision after another. Even the 3 year old was just annoying as hell. The story is so so sad, horrific is parts, with hemes of death, home, and family. I can't say I enjoyed the book, though I think it was well written, just not for me.
At just 304 pages long, “Sing, Unburied, Sing” is a road novel, a ghost story, a family epic, and damning testimony bearing witness to terrible crimes. It is also unforgettable. ...Ward is seeking something more from (or perhaps for) her characters. And so the road trip, and the drug drama, and the struggle for wholeness unfold against a series of more mysterious events.... For each of these characters, living or dead, what lies unasked or unspoken becomes an impediment not just to happiness or social mobility but to literal deliverance — and each must decide whether to rise to the occasion, whether to let what he or she harbors sound out. Maybe that’s the miracle here: that ordinary people whose lives have become so easy to classify into categories like rural poor, drug-dependent, products of the criminal justice system, possess the weight and the value of the mythic — and not only after death; that 13-year-olds like Jojo might be worthy of our rapt attention while their lives are just beginning.... Such feats of empathy are difficult, all too often impossible to muster in real life. But they feel genuinely inevitable when offered by a writer of such lyric imagination as Ward. “Sing, Unburied, Sing” is many things: a road novel, a slender epic of three generations and the ghosts that haunt them, and a portrait of what ordinary folk in dire circumstances cleave to as well as what they — and perhaps we all — are trying to outrun. This is a lyrical howl of a book that knows exactly when to go quiet and when to make its cries almost unbearable. It's a story of unfinished business, for both a country still struggling to live up to its ideals and for the ghosts that walk through these pages ... The past is its own character in Sing, Unburied, Sing, ready to burst in without a moment's notice and remind everyone it never really went away. If William Faulkner mined the South for gothic, stream-of-consciousness tragedy, and Toni Morrison conjured magical realism from the corroding power of the region's race hatred, then Ward is a worthy heir to both. This is not praise to be taken lightly. Ward has the command of language and the sense of place, the empathy and the imagination, to carve out her own place among the literary giants. The title Sing, Unburied, Sing seems to echo the opening of the Iliad, when Homer asks the muse to sing of unburied bodies left on the battlefield of Troy "a feast for dogs and birds," while the dead men's souls descend to Hades. Homer's poems were meant to act as immortal grave markers for the war dead, even as the physical graves and bodies would rot away. We're still singing for those Greek corpses; why not, Jesmyn Ward asks, sing for the generations of black Southerners undone by racism and history, lynched, raped, enslaved, shot, and imprisoned? In this lush and lonely novel, Ward lets the dead sing. It's a kind of burial. However eternal its concerns, “Sing, Unburied, Sing,” Ward’s new book, is perfectly poised for the moment. It combines aspects of the American road novel and the ghost story with a timely treatment of the long aftershocks of a hurricane and the opioid epidemic devouring rural America....With the supernatural cast to the story, everything feels heightened. The clearest influence is Toni Morrison’s “Beloved” — the child returning from the dead, bitter and wronged and full of questions. The echoes in the language feel like deliberate homage.... The ghosts — most of them, at any rate — want to rest, but they need restitution first. They need to know what happened to them, and why. It’s the unfinished business of a nation, playing out today in the calls for the removal of statues of Confederate soldiers and in the resurgence of the Klan. AwardsDistinctionsNotable Lists
Jojo and his toddler sister, Kayla, live with their grandparents, Mam and Pop, and the occasional presence of their drug-addicted mother, Leonie, on a farm on the Gulf Coast of Mississippi. Leonie is simultaneously tormented and comforted by visions of her dead brother, which only come to her when she's high; Mam is dying of cancer; and quiet, steady Pop tries to run the household and teach Jojo how to be a man. When the white father of Leonie's children is released from prison, she packs her kids and a friend into her car and sets out across the state for Parchman farm, the Mississippi State Penitentiary, on a journey rife with danger and promise. No library descriptions found. |
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This is a story of a broken family. Addictions is a major factor in the brokenness. Of course there is more. This is a biracial couple with two children that are either in prison or using drugs so they're not available to their children. It is sad situation. The main character is JoJo or (Joseph). He is the son and he is the one that takes care of his little sister, Kayla. The story is told by three narrators: JoJo is 13; Leonie the mother of JoJo and Kayla; Richie the ghost. Through the elements of magical realism, ghosts, the author can bring forward to the present the past abuses but also demonstrates the ongoing prejudices by the episode of the police officer stopping their car and putting people into handcuffs without cause. The book has been a coming of age story, a road trip fiction, thriller (I don't see this) and Southern Fiction. There is some African Voodoo culture in the book. ( )