The winners of the 75th National Book Awards, which are presented annually in categories such as Young People’s Literature, Translation, Poetry, Nonfiction, and Fiction, will be announced next week at a ceremony in New York City hosted by Kate McKinnon at Cipriani Wall Street.
Leading up to the event, Literary Hub had the opportunity to speak with almost all of the finalists to discuss their books, reading habits, and writing processes.
When asked about how they handle writer’s block, one finalist mentioned that they don’t force themselves to write and instead fill the time with reading until the inspiration strikes. They also shared a list of books they enjoy rereading, including works by Toni Morrison, Andrés Barba, and Han Kang.
In terms of deciding what to read next, finalists mentioned that they rely on recommendations from friends, their own TBR pile, and what aligns with their writing at the time. Other questions touched on procrastination techniques, the best and worst writing advice received, and significant influences on their writing education.
One author, Kaveh Akbar, discussed their writing routine and the impact of a high school English teacher on their development as a writer. Another finalist, Percival Everett, shared insights into their writing process, influences, and favorite ways to procrastinate.
Miranda July, author of « All Fours, » revealed who she hopes will read her book and how she approaches writer’s block by showing herself love and patience.
Overall, the finalists shared a diverse range of insights into their writing lives, influences, and reading preferences leading up to the National Book Awards ceremony. Not only do I have love for myself, but also for music, other people’s books, nature, humans, and life. The world is vast and vibrant, so it’s okay if you’re not actively creating something right now. Just bask in the glory of the world, absorb it, and feel free. Much of writing is like tending to a garden so that things can grow (yes, I use the garden metaphor frequently. I often advise friends to tend to their gardens or refill their cups. There’s no need to be original in this area!)
What aspect of your writing routine do you think would surprise your readers?
I don’t drink coffee, never have. However, during a challenging period of writing « All Fours, » I would buy a bottled coffee at the beginning of the week, take a sip every day, and then put it back in the fridge. My friend Isabelle gently reminded me that I should probably throw out the bottle if it had been two weeks and I was still working on it. I thought it would last forever, like soy sauce.
What was the first book you fell in love with?
It might have been « The Secret Garden » or « The Little Princess, » books where a lonely girl creates a safe, secret, beautiful world for herself.
What do you always want to discuss in interviews but never get the chance to?
I’m always accumulating tips and tricks related to nutrition, skincare, and daily functioning. As a woman, I realize that it’s a significant accomplishment to be asked about my work rather than my tips and tricks, but they are always on the tip of my tongue. As a child, I avidly read « Hints From Heloise » in the newspaper.
Hisham Matar, author of « My Friends »
What time of day do you write?
I write in the morning because that’s when I feel bold, and then again in the afternoon because that’s when I become more critical.
How do you overcome writer’s block?
I’ve never experienced writer’s block, but there are times when I feel weary, lazy, or uninspired. In those moments, I copy out what I wrote the day before by hand, which slows down the process and often leads to editing, rewriting, and new sentences. However, I also believe that sometimes it’s beneficial to stop writing and do something else.
Who or what has had the most significant impact on your writing education?
The practice of engaging in social interactions that are spontaneous and not transactional. I have a deep belief in such exchanges, whether with strangers or familiar faces. Any perspective on life that does not appreciate this kind of free human connection leaves me cold. I have learned as much, if not more, from the people I’ve met as I have from the books I’ve read.
What part of your writing routine do you think would surprise your readers?
I spend a couple of hours on the phone at midday talking to friends or family members. I never engage in video calls because I find the phone to be more intimate.
What was the first book you fell in love with?
As a child, I had a fear of things coming to an end, which is why I found « Arabian Nights » so captivating. The stories were both frightening, due to the risk of execution faced by Shahrazad each morning, and comforting, because of her ability to keep her would-be executioner engrossed in her tales.
If you weren’t a writer, what would you do instead?
After graduating from university, I trained as a stonemason and worked in that field for a year or two. I miss the tactile sensation and scent of stone, the way it constantly draws inward, and the time it takes to shape it, altering one’s perception of time. However, I wasn’t particularly skilled at it.
What’s the best or worst writing advice you’ve ever received?
The best advice I’ve received is to read my work aloud during the editing process. This has been transformative for me because there’s nothing more humbling than hearing how poorly crafted a supposedly well-written sentence sounds when spoken aloud.
Who is the person, place, or practice that has had the most significant impact on your writing education?
My friend Willy Vlautin, a writer and musician, has long been an inspiration to me. I derive a great deal of motivation from his books and albums, and I turn to him for encouragement when I’m feeling low and need reassurance. Once, when I was struggling with a chapter in my first book, I sought his advice, and he told me, « You can’t fix a trainwreck without a train. » That piece of advice has stuck with me whenever I face writer’s block.
Which non-literary piece of culture could you not imagine your life without?
I couldn’t imagine writing without the music of Bruce Springsteen and Jason Isbell.
Which books do you reread?
I reread works by authors such as Jesmyn Ward, Cormac McCarthy, Willy Vlautin, and Fernanda Melchor.
What do you always want to talk about in interviews but never get the chance to?
I always want to discuss the book I plan to write about the band Fishbone and their cultural, political, and musical significance in the late 1980s and early 1990s.
Who do you most wish would read your book?
I would love for those struggling with weight loss as well as those who feel superior due to their thinness to read my book. The idea that we do not have complete control over our bodies can be both challenging and comforting for many individuals, often in unexpected ways. For me, writing early in the morning before any other tasks has become a routine that I find incredibly beneficial. I also found solace in writing during my daughter’s naptime, where I could focus guiltlessly and silently for a few hours. When faced with writer’s block, I have learned that pushing through is not always the answer; sometimes a shower, walk, or nap can do wonders. I have come to accept that I have about two good hours of writing in me each day before I start going down rabbit holes.
Despite being perceived as hardworking and productive, I prioritize getting at least ten hours of sleep to ensure I am at my best creatively and emotionally. Additionally, I have a unique writing routine where I read my work aloud and listen to it on text-to-speech to ensure the rhythm of the sentences is right. Writing is my passion, and I often procrastinate from other tasks by diving into it because it makes me feel grounded and alive.
If I were not a writer, I would likely pursue a career as a food writer or possibly explore journalism. Being a writer allows me to feel a sense of connection with my readers, whether they are familiar with the topics in my work or discovering them for the first time. The feedback and impact of my writing on others, especially my elders, hold great significance for me. In my writing journey, the merging of my childhood storytelling experiences with academic studies has shaped my voice and perspective. I wish more Indigenous accomplishments were celebrated in educational settings to boost self-worth and appreciation for diverse contributions.
One book I wish I had read earlier in life is « 1491: New Revelations of the Americas Before Columbus » by Charles C. Mann, as it could have enriched my understanding of Indigenous history and achievements. In interviews, I hope to discuss the novel-like quality of my work, environmental contradictions, and themes of Indigenous reclamation more in-depth. If I were not a writer, I might have continued exploring the world through travel and experiences, observing people and cultures while saving up for new adventures. Les idées sont des courtisanes. Comment abordez-vous le blocage de l’écrivain? Avant d’écrire l’un de mes travaux, je fais le tour plusieurs fois, et je me persuade de venir avec moi. -John Cage. Quel est le meilleur ou le pire conseil d’écriture que vous ayez jamais reçu? Commencez au milieu. Qui est la personne, ou quel est l’endroit ou la pratique qui a eu le plus grand impact sur votre éducation en écriture? Mme Cowan, le professeur de latin du lycée qui m’a appris le grec ancien pendant ma pause déjeuner. Quel a été le premier livre dont vous êtes tombé amoureux? L’Iliade d’Homère. Quels livres relisez-vous? L’Iliade d’Homère. Quel livre a suscité la réaction émotionnelle la plus intense de votre part (vous a fait rire, pleurer, être en colère)? L’Iliade d’Homère. De quoi avez-vous toujours envie de parler dans les interviews mais n’avez jamais l’occasion? La médiocrité des interviews.
Fady Joudah, auteur de […]. Qui souhaiteriez-vous le plus que lise votre livre? Quiconque quarante ans après ma mort. Comment abordez-vous le blocage de l’écrivain? Je ne m’attaque pas aux fantômes. Qui est la personne, ou quel est l’endroit ou la pratique qui a eu le plus grand impact sur votre éducation en écriture? C’est certainement mon éducation en arabe. Quels livres relisez-vous? Ceux que j’ai parsemés de notes en marge, d’extraits surlignés, de passages soulignés. Qui souhaiteriez-vous le plus que lise ce livre? Ils sont tous morts (mon père, Mikel, qui était central dans « frank: sonnets » et la personne en couverture, John Keats) à l’exception d’un seul – mon premier amour, lorsque j’étais à peine adolescent, qui m’a abandonné et ne lirait pas un livre de poèmes même si on lui payait.
Quel a été le premier livre dont vous êtes tombé amoureux? C’était une sainte trinité de livres favoris et ils sont tous arrivés en même temps : Un livre de contes de fées de Grimm, acheté pour moi par un ami de la famille lorsque j’avais la varicelle; un livre de « Better Homes and Gardens » sur la grossesse et l’accouchement; et une bible illustrée. Je suis revenu à une seule image dans chaque livre. Dans les Grimm, l’histoire de « Barbe-Bleue », quand la jeune épouse découvre la chambre secrète de son riche mari remplie des corps de ses précédentes épouses, suspendus à des crochets; dans le livre sur la grossesse et l’accouchement, la description et l’illustration de ce qu’il faut faire en cas de mamelons inversés; et dans la bible illustrée, le dessin de femmes méchantes se noyant dans le grand déluge, et l’arche de Noé perchée à la surface de l’eau, regardant. J’aimais l’intensité criarde de chacun, et le sentiment qui accompagnait l’infraction. Chacun était une leçon d’objet sur les joies douteuses d’habiter un corps féminin. Quel est le meilleur ou le pire conseil d’écriture que vous ayez jamais reçu? Le meilleur conseil d’écriture : « Sors tes poèmes de sous le lit, Emily Dickinson! » Pire conseil d’écriture : « Sors tes poèmes de sous le lit, Emily Dickinson! »
Quelle pièce de culture non littéraire – film, émission de télévision, peinture, chanson – ne pourriez-vous pas imaginer votre vie sans? « The Price is Right ». C’est une leçon quotidienne sur le système de classes économiques de l’Amérique. Et j’adore quand les gens qui vivent dans le désert sont ravis de gagner un bateau à moteur. C’est le Sodome et Gomorrhe du capitalisme. La réaction de mon fils est toujours la même : « Vends cette merde! » Qui est la personne, ou quel est l’endroit ou la pratique qui a eu le plus grand impact sur votre éducation littéraire? Ma mère. Ses parents ne voulaient pas payer pour qu’elle aille à l’université après le lycée, probablement à cause de son sexe. Ils étaient à peine de la classe ouvrière, mais pouvaient financer les études universitaires de son frère cadet. Ils étaient prêts à payer pour qu’elle aille à l’école de secrétariat. Elle a assisté à quelques cours, puis a séché le reste, passant ces heures dans la serre Potawatomi à South Bend, en Indiana. Elle a rencontré mon père, juste de retour de son temps dans la marine pendant la Seconde Guerre mondiale, où il se cachait dans la chaufferie pendant les combats.
Ils se sont mariés après s’être connus pendant quelques mois, il a passé le GED, puis est allé à l’université pour obtenir un diplôme d’enseignement. Après avoir eu ma sœur et moi, et qu’il a obtenu un poste d’enseignant en arts industriels dans un petit lycée, conduisant un bus avant et après l’école pour gagner de l’argent supplémentaire, il est tombé malade, probablement à cause de l’amiante dans le ventre de ce navire où il se cachait, et est décédé à l’âge de 36 ans, et ma mère, à 34 ans. Peu de temps après que la dernière pelletée de terre ait été jetée sur son cercueil, elle a décidé de reprendre ses études universitaires. « Pourquoi ai-je fait ça? » m’a-t-elle demandé l’autre soir au téléphone. « Comment ai-je eu le courage? Comment avons-nous réussi financièrement? » Il lui a fallu cinq ans de trajet jusqu’à l’université, tout près de cette serre où elle se promenait autrefois, pour terminer son diplôme en anglais, avec un certificat d’enseignement. Pendant ces cinq ans, elle a apporté des livres dans notre maison. Elle a construit une bibliothèque en briques et en planches dans le salon, qui s’est lentement remplie des textes qu’elle a miraculeusement payés. Portrait de l’artiste en jeune homme. Finnegan’s Wake. Mrs. Dalloway. Heart of Darkness et Nostromo. Moby Dick. Et un petit volume étroit avec une couverture cerise rouge et blanc fleuri : Modern Poetry. Je n’étais pas encore assez vieux pour lire les livres, mais cela n’avait pas d’importance. Elle les lisait. Ma mère. Elle écrivait à leur sujet, sur une machine à écrire manuelle qui, m’a-t-elle dit, est toujours dans le fond du placard de sa chambre. Elle tapait jusque tard dans la nuit, nous gardant ma sœur et moi éveillés, dans cette maison biscornue où elle vit toujours. Dois-je être explicite? Elle s’est permis, et donc m’a permis.
À quel moment de la journée écrivez-vous? Pendant de nombreuses années, lorsque j’avais de jeunes enfants à la maison, j’écrivais le matin quand ils étaient à l’école ou occasionnellement très tard le soir. Je n’ai plus vraiment de routine maintenant, mais j’ai toujours une affection pour ce moment du matin, les heures du deuxième café, après l’énergie frénétique de la famille qui se précipite vers leurs mondes, lorsque la maison se plonge dans un calme qui semble invitant et générateur. Quel est le meilleur ou le pire conseil d’écriture que vous ayez jamais reçu? Le meilleur a été de laisser de côté un texte qui me tourmente. Donner du temps et de l’espace à l’écriture pour respirer. As you age, you realize that writing goes through a growth cycle, evolving on the page and in your mind with each revision.
My writing has been heavily influenced by my childhood experiences of moving between different cultures and languages. Despite the challenges, I now see it as a valuable gift. One place that significantly impacted my writing was my grandparents’ home in Amman, Jordan, where my grandfather, a writer, would write amidst the chaos of his many grandchildren. The house was filled with books in various languages, and the atmosphere of family gatherings shaped my writing.
The first book that captured my heart was « Hameed Al Ballam, » a story of a young Iraqi fisherman resisting British occupation.
I often reread books like Elena Ferrante’s Neapolitan quartet and Etel Adnan’s « In the Heart of the Heart of Another Country. » Additionally, curating a collection of Palestinian poetry has allowed me to revisit works like Mahmoud Darwish’s « Memory for Forgetfulness. »
I wish my children would read my book. I work in the mornings, occasionally in two shifts, and write for about 9 hours on a good day. When faced with writer’s block, I switch genres or write about childhood experiences.
The best or worst writing advice I’ve received depends on the context. I have a routine writing process and enjoy daydreaming, writing, and taking walking breaks. I treasure the illustrated classics and fairy tales from my childhood and often reread works by Gabriel Garcia Márquez.
When procrastinating, I find myself washing dishes, researching new books, or watching the world outside. I used to write translations by hand before switching to typing, but I still find handwriting passages helpful when struggling. If I weren’t a translator, I would aspire to be an Olympic medalist in running.
My family has had the most significant impact on my literary education, with our household filled with books. To overcome writer’s block, I read something completely different from my current work. I have experienced translation burnout and am now focused on taking better care of myself while juggling my responsibilities and relationships. When facing writer’s (or translator’s) block, I step away from the text for a while. Sometimes, a solution will come to me when I least expect it, or the problem will become clearer after a break.
The first book I fell in love with was « The Little White Horse » by Elizabeth Goudge, given to me on my eighth birthday. I was captivated by the lyrical fairy tale, its brave heroine, and its colorful characters. I have read it countless times and still cherish my copy.
To procrastinate, I enjoy playing word games like Waffle, Wordle, and Al-Wird. When deciding what to read next, I rely on podcasts for recommendations, such as the Bulaq podcast for Arabic books and the BBC World Book Club for English books.
If I weren’t a translator, I would either be a librarian or return to coding. As for culture outside of literature, I cannot imagine my life without engaging with paintings, as they offer a unique way of seeing and experiencing time.
I often reread works by Anton Chekhov, Nils-Aslak Valkeapää, Toni Morrison, Elizabeth Bishop, and Ingeborg Bachmann. When procrastinating, I enjoy looking at sewing patterns and envisioning the garment in my mind. If I weren’t a writer, I would likely pursue a career in carpentry.
As a translator, I work in the morning before my child wakes up, reserving that time for writing. The best writing advice I received was to view the page as a place where everything can be exactly as I want it to be, allowing my first drafts to be terrible before improving them. My favorite way to procrastinate is by engaging in various activities and tasks, ultimately realizing that I may need a break.
In deciding what to read next, I often rely on the availability of books from the Los Angeles Public Library, adding an element of randomness to my reading choices. I enjoy a mix of pleasure reading, work-related reading, and research for my novel-in-progress. One of my favorite moments is when my child and I pick out books to read together at bedtime. He either chooses books from the shelf or I introduce him to some of my old favorites. Currently, he is really enjoying the « Bunnicula » series.
If I weren’t a writer or a translator, I would love to paint. There is something truly special about working with colors and basking in the light. It’s a visceral experience for me.
I don’t have a fixed time of day when I work. The writing process varies depending on the text or book I am working on. Some texts need daylight to thrive, while others require late-night or early-morning sessions. The rhythm of writing is dictated by the characters and the story itself. I believe that literary creation is a multi-stage process that can happen at any hour.
Due to the scarcity of reading materials in my hometown, I and my brother read anything we could find, from geography manuals to cookbooks. Even today, I still read the Bible, along with works of psychology and philosophy, out of habit.
The best writing advice I ever received was to read extensively. Reading not only broadens your imagination but also equips you with the technical skills needed for creating a fictional world, developing characters, and crafting a compelling plot.
I view writing as a form of manual labor, akin to welding or mining. Before and after writing, I always take a bath to cleanse myself. My texts are filled with the sensations of bodies, sweat, and odors, reflecting the world around me.
The environment in which I grew up has had a significant impact on my writing. Living and writing in a Germanophone space while being from Katanga province in the Congo has shaped my creativity and relationship with the French language. The juxtaposition of languages and cultures adds depth to my work.
I find it challenging to be creative before mid-afternoon. My most productive hours are in the evening when my imagination is at its peak. Balancing work with fatherhood has its challenges, but I try to make the most of my creative time in the evenings.
Cinema has been a major influence on my creative life. The sensory and imaginative stimuli of film have greatly impacted my work as a writer and translator. The depth of cinematic experience continues to inspire me in my creative endeavors. I often listen to film soundtracks while I translate, finding that it helps me focus. Currently, I have Cliff Martinez’s soundtrack for Drive playing in my headphones. Last week, it was Eduard Artemyev. When translating Fiston’s Tram 83, I was inspired by Edgar Rothermich’s reproduction of Vangelis’ OST for Blade Runner. It’s no surprise that some of my favorite books include Neuromancer by William Gibson, works by Sam Shepard, Bruce Chatwin, and Virginie Despentes. Their lapidary style, saying the most through what is left unsaid, resonates with me.
I often find myself procrastinating by diving deep into research while translating. I enjoy looking up meanings, synonyms, idioms, and historical references. Social media and YouTube also provide distractions, but I sometimes miss the simplicity of the digital realm in earlier days. If I wasn’t a translator, I would likely have pursued a career in theater, drawing from my background in lighting design.
I work most efficiently after midnight, when I can focus on writing without distractions. When faced with writer’s block, I take a break to exercise before returning to my work. Surprisingly, I listen to Taiwanese pop music while writing, finding inspiration in artists like Jay Chou and Stefanie Sun.
I cannot imagine my life without manga, which I aspired to create before becoming a novelist. In terms of procrastination, I enjoy playing mobile games like Disney Tsum Tsum and Candy Crush Saga. Despite these distractions, I find that starting wherever it’s easiest to start is the best writing advice I’ve received. I often do first drafts by hand, and I enjoy a variety of cultural content, from British detective dramas to Japanese idols and political podcasts. I observe them moving around, appearing to be influenced by the break of dawn as if it were the sole factor allowing them to progress and shift.
The worst advice I ever received was that I should wait for inspiration to come to me naturally, without any work plan, discipline, order, or diligence.
I revisit Dante’s Divine Comedy, A Thousand and One Nights, Melville’s Moby-Dick, all of Hanna Arendt’s books, Judith Butler, and more.
I have never experienced this, as I have been sitting regularly at my desk working on my books for many years. When I struggle to write or face a writer’s block, I sit in front of my computer screen for extended periods until I can write again.
My reading choices are influenced by my journalistic work and documentary books on war and memory. Additionally, my interest in feminist issues shapes my reading. I read fiction and poetry daily, as it is essential to me, and I keep up with global publications and translations.
I overcome writer’s block by setting deadlines for myself and thinking about my bills. The best or worst writing advice I received was simply to « just get on with it. » Depending on my mood, this advice could be helpful or not.
I usually reread Italo Calvino’s Invisible Cities, but I tend to revisit all books eventually. I recently bought Your Wish is My Command by Deena Mohamed and suspect that will be my next read.
I used to procrastinate on Twitter, but now I turn to Ask a Manager and Captain Awkward for entertainment, as well as eBay for mindless scrolling. I also enjoy updating a detailed work progress spreadsheet with percentage calculations and other unnecessary details.
The book that has evoked the most intense emotional reaction from me is Alaa Abd El-Fattah’s You Have Not Yet Been Defeated. It fills me with anger every time I pick it up. On a lighter note, I have yet to finish Elena Ferrante’s Neapolitan Quartet due to being upset with the protagonist’s behavior in the third book.
I hope that a young person who has never heard of the Indian Residential School System reads my book and starts a conversation about this important topic. I write whenever I have free time, often while traveling for performances or games, as that is when I am most productive.
My children have had the most significant impact on my writing education. They inspire me to write about our Native culture and how it intersects with modern society, as they are curious about navigating both worlds.
I think readers would be surprised by how inspiration strikes me while I am driving and having conversations with my family, leading to sudden breakthroughs in my writing that I must jot down before they slip away. I always have notepads and pens with me wherever I go—in my purse, the car, and even hidden under the couch! While I could use the voice recorder on my phone, there’s something special about seeing my own words written down in my own handwriting. It helps me understand where I’m going in the moment of writing.
When it comes to deciding what to read next, I always have a few books in rotation. I make sure to have a backup book ready after finishing an amazing read. I have a comfort book for reading in bed, a book in my purse for reading at my kid’s activities, and a new book at home to motivate me to finish chores and emails so I can reward myself with reading. It may sound chaotic, but it works for me.
Shifa Saltagi Safadi, the author of « Kareem Between, » wishes that her younger self would read her book. Growing up as a Muslim Syrian immigrant in America during 9/11, she faced anti-Muslim rhetoric and struggled with her identity. Her book is about rising above peer pressure, standing up for oneself, and being proud of who you are. Shifa wishes she had this book when she was younger.
Shifa writes in the morning, right after her morning coffee kicks in. This is when her energy is highest, thoughts are clearest, and creativity is at its peak. If she doesn’t write in the morning, it’s unlikely she’ll write at all. Writer’s block prompts her to reevaluate her plot and characters, and stepping away for a few days helps her come back with a fresh perspective.
The person who had the most significant impact on Shifa’s writing education is S.K. Ali, author of « Saints and Misfits. » This book was the first Muslim book Shifa read, and it made her feel seen and inspired her to pursue her dream of writing. Shifa’s favorite way to procrastinate from writing is by reading books, especially fantasy novels with magic, intrigue, and strong female characters.
While Shifa believes her book is for everyone, she is most eager to reach boys and men, especially those who may not have been exposed to literature that challenges patriarchal norms. She hopes to inspire readers to dismantle patriarchy and create a more inclusive society. Can I honestly write about the flaws, blind spots, and fears of boys, while also challenging the societal norms that restrict them to harmful versions of masculinity? In my books, I portray messy, real boys who struggle under societal pressures but find new ways to express and validate their masculinity.
During my struggle with disordered eating while writing, I felt alone as a man with bulimia and orthorexia. Men often face body anxieties and eating disorders, yet we aren’t encouraged to talk about them. The media and research that helped me were primarily for women.
It’s important for men to listen to women’s stories and learn from them. However, there’s a lack of media addressing these issues directly to boys. I wanted to write a story that encourages boys to think differently about their bodies and women’s bodies.
Marilee Swirczek, a mentor in Carson City, had a significant impact on my writing education. She critiqued my work with tough love, pushing me to improve without making me feel like a failure. Her belief in me was a gift I cherish.
I’m obsessed with television and movies, finding them instructive as a storyteller. My tastes range from indie films to reality TV. Despite being in an MFA program, I indulge in guilty pleasures like « Dance Moms » and « America’s Next Top Model. »
Patrick Ness’s « A Monster Calls » elicited intense emotions in me during treatment. The story helped me acknowledge and process painful emotions I had suppressed for years. Reading Ness’s work has been transformative for me.
If I weren’t a writer, I would likely pursue a career in academia, balancing my passion for writing, teaching, and printmaking. Alors que je semble réussir le plus évidemment avec mon écriture (et cela occupe un peu ma vie à cause de cela !), si je devais choisir une seule chose à faire pour le reste de mes jours, ce serait en fait ma pratique d’artiste visuelle. J’étais Montessorienne dans ma première carrière, et le Dr Montessori a qualifié la main de « l’instrument de l’esprit ». Je pensais tout le temps à cet adage lorsque j’étais en traitement et que j’utilisais activement ma pratique d’artiste pour m’aider à guérir.
Je ne suis jamais aussi connectée à mon esprit que lorsque je me salis avec de l’encre ou que je manie des gouges de découpe. Rien ne calme et n’énergise mon âme comme le fait de mettre en plomb pour un projet de typographie. La physicalité et le type d’attention nécessaires ne peuvent être reproduits en écrivant, aussi important que soit l’écriture pour moi. Une grande partie de mon travail en tant que graveur et artiste du livre nécessite l’accès à des presses à gravure et des presses Vandercook, ces espaces raréfiés que les gens de ma discipline habitent. C’est mon rêve de devenir un jour professeur, ce qui me permettrait cette facilité d’accès.
Quel était le premier livre dont vous êtes tombée amoureuse ? « The Very Worried Walrus » de Richard Hefter. C’est l’histoire d’un morse qui veut apprendre à faire du vélo, mais qui s’inquiète de tous les désastres qui pourraient lui arriver. « The Very Worried Walrus » faisait partie de la collection Sweet Pickles, une série de livres pour enfants très populaire dans les années 1980. C’était mon livre préféré de la série. Je me suis tellement identifiée à ce morse. Je m’inquiétais tout le temps quand j’étais enfant. Parfois, mes inquiétudes m’empêchaient de dormir. Chaque fois que je lisais ce livre, j’étais rappelée qu’il y avait d’autres personnes (ou morses, en l’occurrence) qui étaient comme moi.
Si vous n’étiez pas écrivain, que feriez-vous à la place ? Il y a tellement de choses qui m’intéressent, mais si je devais en choisir une, je serais enseignante. J’adore enseigner. Je pourrais me voir enseigner à plein temps dans une salle de classe universitaire, mais je pourrais aussi me voir enseigner au collège – en particulier en sixième année.
Comment abordez-vous le blocage de l’écrivain ? Je ne ressens pas vraiment le blocage de l’écrivain. Si quoi que ce soit, j’ai le problème inverse : trop d’idées qui bouillonnent dans ma tête et pas assez de temps pour les écrire. Je passe beaucoup de temps à écrire dans ma tête avant de m’asseoir avec un cahier, donc c’est rare que je ne sache pas quoi écrire. C’est encore plus rare que je n’aie pas envie d’écrire. L’écriture est thérapeutique pour moi – je ne sais pas comment je fonctionnerais sans elle.
Quel est le meilleur ou le pire conseil d’écriture que vous ayez jamais reçu ? « Vous devez écrire tous les jours. » C’est le pire conseil d’écriture que j’aie jamais reçu. Pour certains, il n’est pas possible d’écrire tous les jours. Il y a quelques années, j’étais une jeune mère célibataire, travaillant à temps plein et allant à l’école, et il n’était tout simplement pas réalisable que j’aie la capacité émotionnelle ou mentale d’écrire tous les jours. Chaque écrivain a son propre processus. Certains écrivent tous les jours. Certains non. Vous devez faire ce qui a du sens pour vous, votre processus créatif et votre style de vie.
De quoi avez-vous toujours envie de parler dans les interviews mais n’avez jamais l’occasion ? L’importance de soutenir, d’encourager et de célébrer d’autres auteurs – en particulier les voix marginalisées qui sont actuellement activement réprimées par des interdictions de livres et une censure soft.
Quel livre vous a procuré la réaction émotionnelle la plus intense ? J’ai lu « The Good Girls: An Ordinary Killing » de Sonia Faleiro cet été et j’y pense tous les jours depuis. Il s’agit d’un récit de non-fiction sur la mort de deux adolescentes, Padma et Lalli Shakya, à Badaun, Uttar Pradesh, en Inde. Le livre est émotionnellement difficile, mais j’ai été totalement fascinée par la vie des filles, la réaction à leur mort et le paysage sociopolitique de l’Inde. Parfois, je m’endors en pensant à Padma et Lalli. C’est le pouvoir des livres. Me voilà, en train de penser à deux adolescentes que je n’ai jamais rencontrées, qui vivent dans un pays où je ne suis jamais allée, dont le monde est si différent du mien, en souhaitant qu’elles aient eu une meilleure fin.
Qui aimeriez-vous le plus que lise votre livre ? J’espère que toutes les filles et femmes noires qui peuvent mettre la main sur le livre le liront. En fait, j’ai écrit « The Unboxing of a Black Girl » spécifiquement pour elles. Je suis heureuse (et j’espère) qu’avec la nomination pour le National Book Award, beaucoup plus pourront le faire.
À quel moment de la journée écrivez-vous ? Je n’ai pas d’heure spécifique à laquelle j’écris. J’ai toujours été une créative active, donc j’écris lorsque mon emploi du temps le permet. Équilibrer tout cela peut être délicat, mais j’utilise des blocs de temps entre les cours, pendant les week-ends, ou parfois tôt/tard dans la nuit pour avancer sur les différents projets sur lesquels je travaille.
Quelle œuvre culturelle non littéraire – film, série télévisée, peinture, chanson – ne pourriez-vous pas imaginer votre vie sans ? L’esprit créatif de Quincy Jones. Si vous me suivez sur les réseaux sociaux ou si vous êtes familier avec l’un de mes livres, vous savez à quel point je l’adore. Sa contribution à la culture noire a façonné ma façon de penser en tant que créative et m’a façonnée en tant que conteuse. Avec son récent décès, j’ai revisité son travail, écouté sa musique et simplement réfléchi à son impact sur ma vie. Je veux dire, il y a littéralement un poème intitulé « I Was Obsessed with Quincy Jones Growing Up » dans « The Unboxing of a Black Girl ». LOL.
De quoi avez-vous toujours envie de parler dans les interviews mais n’avez jamais l’occasion ? Lorsque je parle de « The Unboxing of a Black Girl », j’ai souvent envie de parler de l’artisanat ; en particulier du choix entre la forme et la fonction dans le livre. Je suis un peu nerd et étrangement attirée par le récit expérimental, donc en plus de parler des grands thèmes du livre, je veux parler des haïkus et des nouvelles formes poétiques avec lesquelles je joue.
Si vous n’étiez pas écrivain, que feriez-vous à la place ? C’est facile, je reviendrais là où j’ai commencé… dans la salle de classe.
Comment réécrire un article sans plagiat
Lorsque l’on souhaite réécrire un article sans plagiat, il est important d’utiliser ses propres mots et de reformuler les idées de manière originale. Il est essentiel d’éviter le contenu dupliqué afin de ne pas enfreindre les droits d’auteur.
Utiliser ses propres mots
Pour réécrire un article sans plagiat, il est primordial d’utiliser ses propres mots et de ne pas recopier le texte original. Il est recommandé de bien comprendre le sujet traité et de reformuler les idées de manière personnelle.
Éviter le contenu dupliqué
Afin de ne pas enfreindre les droits d’auteur, il est crucial d’éviter le contenu dupliqué. Pour cela, il est conseillé de ne pas copier-coller le texte original et de reformuler les phrases de manière unique.
En suivant ces conseils, il est possible de réécrire un article sans plagiat et de proposer un contenu original et de qualité. L’article doit d’abord être fourni pour que je puisse le réécrire.
