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A journal about real and imagined spaces and places of the US South and their global connections

Catastrophe and Hope: Martyn Bone’s The Writings of Jesmyn Ward

...South against a landscape of circumscribed possibilities and lost potential.” This throughline continues in Ward's collection of essays, On Witness and Respair (2026). Since the publication of his second monograph,...

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References
1.	Ward agrees that her work is driven to show the inner workings of racial capitalism. Her MacArthur Foundation profile states that she explores “the enduring bonds of community and familial love among poor African Americans of the rural South against a landscape of circumscribed possibilities and lost potential.”
2.	Martyn Bone, The Postsouthern Sense of Place in Contemporary Fiction (Baton Rouge, LA: 2005): 252.
3.	“Something Beautiful Out of the Darkness,” an interview with Jesmyn Ward by Regina N. Bradley, Southern Cultures 29, no. 4 (Winter 2023): 13.
4.	Bone evaluates the ways Ward’s characters bear out the social trajectories laid out by Saidiya Hartman’s Lose Your Mother, Achille Mbembe’s Necropolitics, and Christina Sharpe’s In the Wake: On Blackness and Being.
5.	Bone attributes putting “neoliberal neglect” in conversation with environmental infrastructure to Rob Nixon’s Slow Violence and the Environmentalism of the Poor, which cites Michael Eric Dyson’s Come Hell or High Water: Hurricane Katrina and the Color of Disaster.
6.	Zygmunt Bauman’s Wasted Lives, Henry Giroux’s Stormy Weather, and historian Sadiya Hartman’s Lose Your Mother inform Bone’s analysis of waste and detritus in Ward’s work to political realities of disposability.
7.	Bone points to final chapter of Men We Reaped, which is called “We Are Here,” and Ward’s personal essay published in Oxford American, “We Do Not Swim in Our Cemeteries.”
8.	Jesmyn Ward, “My True South: Why I Decided to Return Home,” Time, July 26, 2018, https://time.com/5349517/jesmyn-ward-my-true-south/
9.	In “My True South,” Mississippi is, for Ward, family, “pots and pots of shrimp,” the corner store, a “blooming Mississippi night," among others, and each “Flush with joy.”
10.	In an interview on the southern gothic for Southern Cultures, Ward says, “For me it always goes back to the beginnings for us as Black southern people. It always goes back to enslavement, and in relation to white southern writers, for me, that’s the dark heart of everything. I think they tend to write around it. I feel like Black writers,specifically Black southern writers, write more towards it. Maybe because we had less. There was no avoiding it for us. We have always lived with the real ramifications of slavery for hundreds of years.”
11.	Cydney Phillip’s chapter in Jesmyn Ward: New Critical Essays, “Carceral Ecologies: Incarceration and Hydrological Haunting in Jesmyn Ward’s Sing, Unburied, Sing,” and Savannah DiGregorio’s “Martial Meteorology: Carceral Ecology in Jesmyn Ward’s Sing, Unburied, Sing,” in Épistémocritique both outline how carceral ecologies shape Ward’s fictional landscapes.

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