SING, UNBURIED, SING
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Sing, Unburied, Sing by Jesmyn Ward
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.
Rich with Ward’s distinctive, lyrical language, Sing, Unburied, Sing is a majestic and unforgettable family story and “an odyssey through rural Mississippi’s past and present” ( The Philadelphia Inquirer).
"Ghosts, literal and literary, haunt nearly every page of Sing, Unburied, Sing — a novel whose boundaries between the living and the dead shift constantly, like smoke or sand. Set on the Gulf Coast of Mississippi (a place rich in oil rigs and atmosphere, if almost nothing else), the book’s Southern gothic aura recalls the dense, head-spinning prose of William Faulkner or Flannery O’Connor. But the voice is entirely Ward's own, a voluptuous magical realism that takes root in the darkest corners of human behavior ... Ward, whose Salvage the Bones won a National Book Award, has emerged as one of the most searing and singularly gifted writers working today. Grade: A."
— Entertainment Weekly
"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."
— The New York Times
"Staggering ... even more expansive and layered [than Salvage the Bones]. A furious brew with hints of Toni Morrison and Homer’s “The Odyssey,” Ward’s novel hits full stride when Leonie takes her children and a friend and hits the road to pick up her children’s father, Michael, from prison. On a real and metaphorical road of secrets and sorrows, the story shifts narrators — from Jojo to Leonie to Richie, a doomed boy from his grandfather’s fractured past — as they crash into both the ghosts that stalk them, as well as the disquieting ways these characters haunt themselves."
— Boston Globe
" 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.”
— New York Times Book Review
" Sing, Unburied Sing is Ward’s third novel and her most ambitious yet. Her lyrical prose takes on, alternately, the tones of a road novel and a ghost story ... Sing, which is longlisted for a 2017 National Book Award, establishes Ward as one of the most poetic writers in the conversation about America’s unfinished business in the black South."
— The Atlantic