“How to be a Black Author”
After Lorrie Moore and Kiese Laymon. You chose this program based on money and because you never had a Black person of any gender teach you anything about writing or reading.
The author chose a writing program primarily for financial reasons, specifically to receive funding. This decision was also influenced by the absence of Black instructors in their previous education, including in writing and literature courses. The author mentions having studied math and Black Studies, but highlights that these subjects did not include instruction from Black educators. Black Studies refers to academic disciplines focused on the history, culture, politics, and experiences of Black people, often emerging from civil rights movements in the 1960s and 1970s in the United States. The author’s choice reflects a broader context where Black voices in literature and education were historically underrepresented or excluded from mainstream academic spaces.
The author references two prominent figures in literature—Lorrie Moore and Kiese Laymon—as influences for their writing journey. Lorrie Moore is an American writer known for her short stories and novels, often characterized by dark humor and keen observations of human behavior. Kiese Laymon is a Black American author and professor whose works, such as Heavy: An American Memoir, explore themes of race, family, and identity. The author’s decision to join the program was shaped by the desire to learn from writers who could provide perspectives and guidance that were missing in their earlier education. This highlights the importance of representation in literary mentorship and the impact of having instructors who share similar cultural or racial backgrounds.
The article underscores a systemic issue in education and literature: the lack of Black instructors in creative writing programs and literature courses. This absence meant the author had no prior exposure to Black writers as teachers, despite studying subjects like Black Studies. The context here is the historical marginalization of Black voices in academia and publishing, which has persisted despite progress in other areas. The author’s experience reflects a broader pattern where Black scholars and writers have been excluded from positions of authority or visibility in educational institutions, limiting the diversity of perspectives available to students.
The primary motivation for joining the writing program was financial, as the author sought funding opportunities. This financial aspect is a common consideration for students pursuing graduate programs, where tuition costs and living expenses can be significant. The article does not specify the amount of funding or the program’s name, but it implies that the financial support was a decisive factor in the author’s choice. This reflects a broader economic reality where access to higher education, including creative writing programs, is often contingent on financial resources or the ability to secure scholarships and stipends.
