Ta-Nehisi Coates is one of the most influential public intellectual in America. Jesmyn Ward, a pretty impressive writer in her own right, recently spent some time with him at the New York City coffee shop where Coates likes to write. Coates has just completed his first novel: The Water Dancer. Ward’s piece at Vanity Fair is an excellent read for what it reveals about Coates and what it reveals about the anxiety that another writer feels when interviewing a public intellectual of Coates’s stature.
Here is a taste:
It’s hard to do that work. Coates articulates this anxiety perfectly when he talks about the difference between the purpose of nonfiction and the purpose of fiction. Creative nonfiction, he thinks, “is not up to the task of humanizing. That’s not what it’s for.” He continues, “Also, I’ve got to tell you, you go to a very different place when you have to imagine a single person, versus write about mass. It’s not the same. I wonder, like, how you deal with the central tragedy and violence and darkness and horribleness that is happening, and the dehumanization without writing a work that itself dehumanizes.” He shakes his head. “My mom, actually, she can’t finish it”—The Water Dancer—“and… I actually feel like I intentionally held back. I feel like Hiram was very privileged in terms of being a slave.” He takes another bite of food. “How do I write about something, as horrible as it is, and not repeat the thing? You know what I’m saying?” And, he repeats, he has to resist the American legacy of myths. He has to resist the lure of the adventure story. He has to resist the lure of the cowboy. He has to resist the lure of the savior. It’s a hard thing to resist the great stories of your youth in an effort to discover new myths, new heroes, new legends that reveal a wider reality.
One of the things Coates must now do is figure out how to balance the two: how to write nonfiction and fiction, how to juggle his renown with his calling. “So many writers and so-called public intellectuals are driven by their desire for fame, celebrity, and money that this is practically all they see when they see someone like Ta-Nehisi. But he does what he does out of a deep sense of responsibility that has never changed,” says Jackson. “It’s a responsibility to his family—to his parents, his wife, his son. But also a sense of responsibility to black people. This is not to say that he fetishizes race or that he’s a nationalist. But that he knows that black people are keepers of a sacred tradition, not just of resistance, but artful, creative, generative, and generous resistance in the name of truth.”
Read the entire piece here.