{"id":158462,"date":"2022-04-07T10:22:21","date_gmt":"2022-04-07T14:22:21","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=158462"},"modified":"2022-04-07T12:04:46","modified_gmt":"2022-04-07T16:04:46","slug":"jamaica-kincaids-rope-of-live-wires","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/04\/07\/jamaica-kincaids-rope-of-live-wires\/","title":{"rendered":"Jamaica Kincaid\u2019s Rope of Live Wires"},"content":{"rendered":"<div id=\"attachment_158463\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/04\/jamaica.png\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-158463\" class=\"wp-image-158463 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/04\/jamaica.png\" alt=\"\" width=\"1000\" height=\"786\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/04\/jamaica.png 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/04\/jamaica-300x236.png 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/04\/jamaica-768x604.png 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-158463\" class=\"wp-caption-text\">IN HER STUDY AT HOME IN NORTH BENNINGTON, 2018. INTERVIEW STILL FRAME COURTESY OF STEPHANIE BLACK.<\/p><\/div>\n<p>The first novel I read by Jamaica Kincaid was <em>Annie John<\/em>, the first novel she wrote. She drafted it\u2014as I recently learned from a long-awaited <a href=\"https:\/\/theparisreview.us17.list-manage.com\/track\/click?u=b6c161007733f0d4c084f3fde&amp;id=0ca51ea3e6&amp;e=5cde3c4a48\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/theparisreview.us17.list-manage.com\/track\/click?u%3Db6c161007733f0d4c084f3fde%26id%3D0ca51ea3e6%26e%3D5cde3c4a48&amp;source=gmail&amp;ust=1649258004635000&amp;usg=AOvVaw2MtAGoVQHtx50PwiDGbo0I\">Art of Fiction<\/a> interview conducted by Darryl Pinckney, which appears in the <em>Review<\/em>\u2019s <a href=\"https:\/\/theparisreview.us17.list-manage.com\/track\/click?u=b6c161007733f0d4c084f3fde&amp;id=19943d6cf1&amp;e=5cde3c4a48\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/theparisreview.us17.list-manage.com\/track\/click?u%3Db6c161007733f0d4c084f3fde%26id%3D19943d6cf1%26e%3D5cde3c4a48&amp;source=gmail&amp;ust=1649258004635000&amp;usg=AOvVaw2iGCZHkAuiOmGMjlwlXxT_\">Spring issue<\/a>\u2014out loud in the bath, while pregnant with her daughter, Annie Shawn. Reading Kincaid, I felt emboldened by her wild, inimitable sentences\u2014an invitation to abandon some of the conventions I had learned in school (which\u00a0no doubt made my own early attempts at creative writing hard to tolerate). Her work provided me and many other readers with something vital, as it did for Kincaid herself. \u201cWhen I was young, younger than I am now,\u201d she writes in <em>My Brother<\/em>, her devastating memoir of her youngest brother\u2019s slow and too-soon death, \u201cI started to write about my own life and I came to see that this act saved my life.\u201d<!--more--><\/p>\n<p>None of Kincaid\u2019s books\u2014five novels, a collection of stories, a children\u2019s book, and five works of nonfiction\u2014has been published under her given name, Elaine Potter Richardson. \u201cElaine couldn\u2019t write about Elaine,\u201d she explains to Pinckney, \u201cbut Jamaica can write about Elaine.\u201d Jamaica writes about Elaine, who in the process becomes Annie, or Lucy, figures who run through Kincaid\u2019s oeuvre like a stubborn rope of live wires. For me, the distinction between memoir and fiction in her work is not determined by proximity to documentary fact\u2014it\u2019s more a question, in each book, of just how much Elaine and her surroundings had to be remade in order to feel real. There is an obsessive quality to Kincaid\u2019s storytelling, and also to her prose. The same anecdote about a mother who burns her daughter\u2019s books might appear in a memoir as an account of the mother\u2019s desire for control, or in an interview as a sign of the world\u2019s unjust disposition toward writers. And in fiction, the daughter is permitted to fantasize about revenge: Lucy, the narrator of Kincaid\u2019s second novel, contemplates burning her mother\u2019s letters at the corners and sending them back unread. It\u2019s a gesture she has \u201cread somewhere, of one lover rejecting another.\u201d<\/p>\n<p>\u201cI\u2019m constantly folding my own memories into the things I\u2019ve learned,\u201d Kincaid tells Pinckney, \u201clike when you\u2019re adding an egg to batter.\u201d Of course, if what she read as a child has since been altered in her memory, she has a better excuse than most of us: her stolen library books were literally destroyed. Kincaid has found ingenious ways to revive and reinvent some of these lost works, even the ones she hated. In school, she was forced to read Wordsworth, whose poems, as she puts it, were used as a \u201cweapon of empire.\u201d Lucy likewise has to read \u201cI Wandered Lonely as a Cloud,\u201d and as a consequence despises daffodils. And yet, as soon as Kincaid had a garden of her own, she planted twenty thousand of them.<\/p>\n<p>&nbsp;<\/p>\n<p><i>Maya Binyam is a contributing editor at<\/i> The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cThere is an obsessive quality to Kincaid\u2019s storytelling, and also to her prose.\u201d<\/p>\n","protected":false},"author":1409,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[4364,67827,7470,4902,5706],"class_list":["post-158462","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-daffodils","tag-featured","tag-gardening","tag-jamaica-kincaid","tag-journals"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Jamaica Kincaid\u2019s Rope of Live Wires by Maya Binyam<\/title>\n<meta name=\"description\" content=\"April 7, 2022 \u2013 \u201cThere is an obsessive quality to Kincaid\u2019s storytelling, and also to her prose.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2022\/04\/07\/jamaica-kincaids-rope-of-live-wires\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jamaica Kincaid\u2019s Rope of Live Wires by Maya Binyam\" \/>\n<meta property=\"og:description\" content=\"April 7, 2022 \u2013 \u201cThere is an obsessive quality to Kincaid\u2019s storytelling, and also to her prose.\u201d\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2022\/04\/07\/jamaica-kincaids-rope-of-live-wires\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2022-04-07T14:22:21+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-04-07T16:04:46+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/04\/jamaica.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"786\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Maya Binyam\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Maya Binyam\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/04\/07\/jamaica-kincaids-rope-of-live-wires\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/04\/07\/jamaica-kincaids-rope-of-live-wires\/\"},\"author\":{\"name\":\"Maya Binyam\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/5b6210e57ebf9280e0a242f9da932001\"},\"headline\":\"Jamaica Kincaid\u2019s Rope of Live Wires\",\"datePublished\":\"2022-04-07T14:22:21+00:00\",\"dateModified\":\"2022-04-07T16:04:46+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/04\/07\/jamaica-kincaids-rope-of-live-wires\/\"},\"wordCount\":543,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/04\/07\/jamaica-kincaids-rope-of-live-wires\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/04\/jamaica.png\",\"keywords\":[\"daffodils\",\"Featured\",\"gardening\",\"Jamaica Kincaid\",\"Journals\"],\"articleSection\":[\"Arts &amp; 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