Reading Well-Read Black Girl, an anthology of essays by Black women writers, is like finding your favorite books compiled in one place and then getting to see the radiance and sorrow and joy that went into their creation. Glory Edim’s book includes work by Jesmyn Ward, Marita Golden, Tayari Jones, Kaitlyn Greenidge, Dhonielle Clayton, Gabourey Sidibe, and Jacqueline Woodson, to name a few. Each contributor offers a personal account of her literary journey, how it felt growing up without Black characters on the page, and/or the joy of finding themselves mirrored in literature. They describe how their own reading and writing weaves into their larger community stories.
Before she published Well-Read Black Girl, Edim had developed an enthusiastic following of readers who eagerly lap up her book club recommendations and participate in her annual festival celebrating literature by Black women. I had the good fortune to catch up with her at Washington, D.C.’s Busboys and Poets. Glory had just come from visiting the elementary school where her brother teaches. The students there wanted to become writers, and sought her advice on finding literary agents (!).
Glory was appearing in conversation with acclaimed DC-based writer Marita Golden. Among a lifetime of marvelous literary contributions, Marita founded the Hurston Wright Foundation, which supports emerging and midcareer Black writers and preserves and disseminates the rich legacy of African American writing. Marita’s essay in Well-Read Black Girl, “Zora and Me,” is a poignant journey through her own literary maturation:
Like Zora I lost my mother at a young age and warred with a father I loved, it seemed, more than life. Like Zora I stepped over the ashes and debris of loss and struck out on my own, carrying grief and anger on my shoulders.
Zora’s mother told her to jump at the sun. My mother told me that one day I would write a book.
Marita pointed out that book clubs are part of the Emancipation story. Following the Civil War, African-American women played a huge role in keeping books in print; books were an important social and economic force.
The Millions: Can you tell us how you got started reading and writing?
Glory Edim: My parents are Nigerian. They came here in search of a better life. I think about how life could have been completely different if they had taken a different path. I grew up in Washington, D.C., and being here is like a homecoming.
After my parents divorced, my father moved back to Nigeria, and we traveled back and forth every summer. Those travels are so much part of who I am.
My mother was a huge influence. She took us to the Smithsonian museums. She would ask us to find a painting that we would like to put on our living room wall and have us talk about it. She took us to all kinds of D.C. cultural events. D.C. was our playground. She read to me every night. Reading aloud is to witness ourselves.
I went to Howard University and was incredibly inspired to be around so much Black excellence in a space that was like love. A big part of my book is trying to recreate the feeling I had at Howard.
After Howard, I worked at the Lincoln Theatre in D.C., where I saw many wonderful plays, and began to think about dialogue in novels. That work made me think about what pulls a reader into a book. What generates an emotional response? I found that it’s important to think across art forms, and study great works of art for their structures.
TM: Tell us about the origin of Well-Read Black Girl, the persona.
GE: My partner gave me a tee shirt for my 31st birthday that said “Well-Read Black Girl.” By then I was living in New York. When I wore it, all kinds of people stopped me to talk about books they loved and ask for book recommendations. The level of interest inspired me to start a book club. More than anything, I wanted to make connections and foster relationships. I saw that people in New York were craving community.
I have a special interest in debut novels. I invited Naomi Jackson to our first book club to talk about her debut novel, The Star Side of Bird Hill. She brought along her friend Natalie Diaz, an incredible poet who just won a MacArthur Genius award. Things went from there.
I was lucky to have a job at Kickstarter, which is filled with techies who read and are engaged in other creative pursuits. I was able to use Kickstarter to launch the Well-Read Black Girl Festival in 2017, which is a cultural event, meant to promote community.
Timing is everything. My work coincided with the start of the Black Lives Matter movement, and online organizing was catching on quickly. Social media is an important part of what I do. Still, there is nothing like holding a real paper book in your hand; there’s nothing like reading a book from the library. One reason for this collection is to take the conversation offline and onto the pages of a book.
TM: Readers are always interested in process. Can you talk a little about that?
GE: I read widely and deeply. I’ve always been curious about the stories of writers. Who inspired them to write? When did they first declare themselves a writer? Beginnings have a significance. In the anthology, we discover how it began for each writer.
When I read for the book club, I read both as a facilitator and as an editor. These are two different roles. I am a lover of art; I study how people put things together.
TM: How did you decide to organize your collection?
GE: I organized it according to my personal taste. I considered my own literary memories and pulled from there. The essays are meant to feel like a conversation. As I prepared to invite contributors, I returned to the pivotal work of Toni Morrison, Cade Bambara, Zora Neale Hurston, and Audre Lorde. The essays I selected are heartfelt, precise, and genuine. Whether you are 16 or 65, I want the reader to be hit with a sense of nostalgia. My hope is that the collection encourages readers to share their own stories.
TM: How did you reach out to other writer/contributors and what was their response?
GE: I had a relationship with a majority of authors—as mentors, book club authors, or fans on social media. Each contributor was generous with their time.
TM: What’s next for you?
GE: You mean beyond growing our community?
I am working on a memoir with my mother. She was severely depressed while I was in college. The whole family came together to help her. Since this was a deeply private experience for her, she is the only one who can tell that story. But it is so much about my family’s legacy that I hope to get it on the page.
I’m always reading. Have you read Dr. Imani Perry’s Looking for Lorraine? It’s about author and playwright and activist Lorraine Hansberry. It’s a must read!