Sing, Unburied, Sing is a poignant novel by Jesmyn Ward that explores themes of family, loss, and the haunting legacy of the past. The story follows Jojo, a thirteen-year-old boy, as he navigates the complexities of his family's history while dealing with the challenges of growing up in rural Mississippi. As Jojo embarks on a road trip with his mother, Leonie, to retrieve his father from prison, he encounters the spirits of his ancestors, who guide him through his journey. This novel is essential reading for fans of contemporary literature and those interested in the intersections of race, memory, and identity. It delves into the struggles of a mixed-race family and the impact of generational trauma, making it a significant work for discussions in literature and cultural studies.

Key Points

  • Explores the themes of family and loss through Jojo's perspective
  • Highlights the impact of generational trauma in a mixed-race family
  • Follows a road trip that reveals ancestral connections and memories
  • Set in rural Mississippi, reflecting on the complexities of identity
newtopiccyclegrowin
Author:Jesmyn Ward
217 pages
Language:English
Type:Novel
Literature
newtopiccyclegrowin
Author:Jesmyn Ward
217 pages
Language:English
Type:Novel
Literature
154
/ 217
Chapter 1
Jojo
I
like to think I know what death is. I like to think that it’s something I could
look at straight. When Pop tell me he need my help and I see that black knife
slid into the belt of his pants, I follow Pop out the house, try to keep my back
straight, my shoulders even as a hanger; that’s how Pop walks. I try to look like
this is normal and boring so Pop will think I’ve earned these thirteen years, so
Pop will know I’m ready to pull what needs to be pulled, separate innards
from muscle, organs from cavities. I want Pop to know I can get bloody.
Today’s my birthday.
I grab the door so it don’t slam, ease it into the jamb. I don’t want Mam or
Kayla to wake up with none of us in the house. Better for them to sleep. Better
for my little sister, Kayla, to sleep, because on nights when Leonie’s out
working, she wake up every hour, sit straight up in the bed, and scream. Better
for Grandma Mam to sleep, because the chemo done dried her up and
hollowed her out the way the sun and the air do water oaks. Pop weaves in and
out of the trees, straight and slim and brown as a young pine tree. He spits in
the dry red dirt, and the wind makes the trees wave. It’s cold. is spring is
stubborn; most days, it won’t make way for warmth. e chill stays like water
in a bad-draining tub. I le my hoodie on the oor in Leonie’s room, where I
sleep, and my T-shirt is thin, but I don’t rub my arms. If I let the cold goad
me, I know when I see the goat, I’ll inch or frown when Pop cuts the throat.
And Pop, being Pop, will see.
“Better to leave the baby asleep,” Pop says.
Pop built our house himself, narrow in the front and long, close to the road
so he could leave the rest of the property wooded. He put his pigpen and his
goat yard and the chicken coop in small clearings in the trees. We have to walk
past the pigpen to get to the goats. e dirt is black and muddy with shit, and
ever since Pop whipped me when I was six for running around the pen with no
shoes on, I’ve never been barefoot out here again. You could get worms, Pop had
said. Later that night, he told me stories about him and his sisters and
brothers when they were young, playing barefoot because all they had was one
pair of shoes each and them for church. ey all got worms, and when they
used the outhouse, they pulled worms out of their butts. I don’t tell Pop, but
that was more eective than the whipping.
Pop picks the unlucky goat, ties a rope around its head like a noose, leads it
out the pen. e others bleat and rush him, butting his legs, licking his pants.
“Get! Get!” Pop says, and kicks them away. I think the goats understand
each other; I can see it in the aressive butts of their heads, in the way they
bite Pop’s pants and yank. I think they know what that loose rope tied around
the goat’s neck means. e white goat with black splashes on his fur dances
from side to side, resisting, like he catches a whi of what he is walking
toward. Pop pulls him past the pigs, who rush the fence and grunt at Pop,
wanting food, and down the trail toward the shed, which is closer to the
house. Leaves slap my shoulders, and they scratch me dry, leaving thin white
lines scrawled on my arms.
“Why you ain’t got more of this cleared out, Pop?”
“Ain’t enough space,” Pop says. “And don’t nobody need to see what I got
back here.”
“You can hear the animals up front. From the road.”
“And if anybody come back here trying to mess with my animals, I can hear
them coming through these trees.”
“You think any of the animals would let themselves get took?”
“No. Goats is mean and pigs is smarter than you think. And they vicious,
too. One of them pigs’ll take a bite out of anybody they ain’t used to eating
from.”
Pop and I enter the shed. Pop ties the goat to a post he’s driven into the
oor, and it barks at him.
“Who you know got all they animals out in the open?” Pop says. And Pop is
right. Nobody in Bois has their animals out in the open in elds, or in the
front of their property.
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FAQs

What is the main theme of Sing, Unburied, Sing?
The main theme of Sing, Unburied, Sing revolves around the complexities of family relationships and the haunting effects of history on the present. The novel illustrates how the past shapes the identities and experiences of its characters, particularly Jojo, who grapples with his family's legacy. Through the interactions with ancestral spirits, the story emphasizes the importance of memory and the need to confront painful truths to move forward. Additionally, it addresses issues of race and identity, making it a profound commentary on the African American experience.
Who are the main characters in Sing, Unburied, Sing?
The main characters in Sing, Unburied, Sing include Jojo, a thirteen-year-old boy who is the protagonist, and his mother, Leonie, who struggles with her own demons and the challenges of motherhood. Jojo's younger sister, Kayla, also plays a significant role, representing innocence amidst the family's turmoil. The character of Pop, Jojo's grandfather, and the spirits of their ancestors, including the ghost of Jojo's uncle, contribute to the narrative's exploration of family history and memory. Each character's journey intertwines, revealing the complexities of their relationships.
How does the setting influence the story in Sing, Unburied, Sing?
The setting of rural Mississippi is crucial to the narrative of Sing, Unburied, Sing, as it reflects the deep-rooted history and cultural landscape that shape the characters' lives. The natural environment, with its beauty and harsh realities, mirrors the emotional struggles of the characters. The novel's backdrop serves as a reminder of the legacy of slavery and the ongoing impact of systemic racism, which influences the family's dynamics. The physical journey through this landscape also symbolizes the characters' internal journeys as they confront their past and seek healing.
What narrative techniques does Jesmyn Ward use in Sing, Unburied, Sing?
Jesmyn Ward employs a rich narrative style in Sing, Unburied, Sing, utilizing multiple perspectives and a blend of magical realism. The shifting viewpoints between Jojo and Leonie provide a deeper understanding of their struggles and motivations. The incorporation of ancestral spirits adds a layer of magical realism, allowing the past to interact with the present in a tangible way. Ward's lyrical prose and vivid imagery create an immersive reading experience, drawing readers into the emotional and physical landscapes of the characters' lives.
What is the significance of the title Sing, Unburied, Sing?
The title Sing, Unburied, Sing carries significant meaning within the context of the novel. It reflects the themes of memory, legacy, and the need to acknowledge and honor the past. The act of singing symbolizes a connection to ancestral voices and the importance of storytelling in preserving history. The phrase 'unburied' suggests that the past cannot be forgotten or ignored; instead, it must be confronted and understood. This title encapsulates the essence of the characters' journeys as they navigate their personal and collective histories.

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