Author Jason Reynolds’ books start the conversations about the difficult issues facing kids today. His experiences, as told through the characters in his stories, are very much like those of the children we serve – which is why we feel it’s so important for them to hear Jason’s voice.
We had the opportunity to talk with Jason about his experiences, his journey to becoming an author, and how he’s seen his books affect young readers.
Our Interview with Jason Reynolds
Were you an avid reader as a child?
Absolutely not. I actually didn’t read much at all, though I had books all around me. Most of them were classics. Canonical literature. But to a kid growing up in the midst of the hip-hop generation, a time where most young people of color were exposed to the hardships of drugs and violence, I gravitated more toward the storytelling of rap music, than I did the dense and seemingly disconnected narrative arc of books (during that time).
What stories or poetry did you connect with as a young person? Did you have trouble connecting with stories as a child?
I had a really hard time connecting with stories as a child, especially within the confines of a book. But I was introduced to poetry by reading the lyrics of Queen Latifah, Tupac, Slick Rick, and lots of other rappers. From there, I started to make connections between their lyrics and the poetry of Langston Hughes and Maya Angelou. But eventually I began reading more traditional narratives, the first being Black Boy, by Richard Wright. It changed my life.
Are there books you’ve read today that you wish you’d been exposed to as a child or young adult?
All of Walter Dean Myers’s work. Also, I wish there would’ve been as much focus on graphic novels back then, as there is now. That would’ve been extremely valuable to me.
We first met you as a writer through your poetry in My Name is Jason. Why did you make the transition into writing novels? And how is your process for writing poetry different than writing novels?
I never wanted to write novels, so you can blame Christopher Myers for that. He’s the one who challenged me to give it a shot. My plan was to be only a poet. But there was something in Walter Dean Myers’s stories — a permission to be myself on the page I hadn’t felt before. So I let myself be myself, let my language live freely on the page without the pretense and pressure of the academy or some phantom scholarship. And turns out, it worked! Now, the poetry was a big help mainly because as a poet I valued the importance of beginning and ending, which has lent itself to my work tremendously.
You toured extensively with Brendan Kiely for All American Boys. Can you recount a few of the most powerful moments you had with students and/or with adults while on tour?
There were so many. One thing that was interesting was, everywhere we went we would ask the students the same two questions:
1.) How many of you know about police brutality? They’d all raise their hands. And, 2.) How many of you have spoken to your friends about it? Ninety percent of the hands went down.
We realized that kids knew about it but weren’t discussing it, but we also deduced that it wasn’t because they didn’t want to talk about it, but instead was because they didn’t have the framework or the safe space to do so. By the end of our presentation, everyone always had questions and comments, ready for the hard conversation.
Some other interesting moments . . . We met a man in Cincinnati, a white man raising two black boys. He came over to us and explained that All American Boys had helped him understand what his sons might be facing outside of his home, and that he needed to be as open as possible and as emotionally and mentally equipped so that he could serve as not only their father, but as their ally. He even said reading the book helped him feel more whole.
I also had a student come to me, a young black girl in Philly, who wanted to know if I ever wished I could change the color of my skin, just because she was afraid of the fear other people have of it. She was in the seventh grade, and in that moment I got to pour into her. Tell her that she was perfect the way she was. I have tons of these stories. Mexican kids in Texas who wondered what their role is. Wealthy white boys in Baltimore forming cultural sensitivity groups in their schools. Even recently watching a group of students perform the theatrical version of All American Boys in Brooklyn.
Young people are ready to talk. And they’re ready to act. We (adults) just have to arm them.
Do you see your teenage self in any of your novels? If so, which one(s) and in what ways?
I’m in all of them. Each and every one of them. I like to pull from actual stories from my teenage years, like Ali and the MoMo party in, When I Was The Greatest, or Matt Miller and his mother’s cancer in, The Boy in The Black Suit. I’m always the protagonist, at least parts of me. Writing is cathartic for me, and a way to process parts of my life that I’ve either worked hard to hold on to, or have desperately tried to forget.
How important was it to have a co-author for Quinn’s voice in All American Boys?
It was paramount. The truth is, I might’ve been able to write a decent book, based around Rashad’s narrative, but what Brendan brings to the story with Quinn is, to me, the most important part of the story. It’s the part we don’t hear about, and the part most necessary to sit with and dissect when it comes to making change. It’s something I’m not sure I could’ve written with the same authenticity as Brendan, and I couldn’t have asked for a better partner on that project.
Why do you feel it’s important for kids of varied backgrounds to read the stories you write?
You know, I think about this often, and I think ultimately what I hope is that they read my books and feel cared for. Feel less alone. There’s an impenetrable power to simple acknowledgement.
Why is it important for kids, especially kids from low-income communities, to have access to brand-new books?
It’s important for kids from low-income communities to have brand-new anything. But if it could be a book, let alone a book that speaks directly to their experiences, then it’s a double-win.
Thanks to the support of Jason Reynolds’ publisher, Simon & Schuster, 20,000 of Reynolds’ young adult and middle grade titles will be distributed to children in need through First Book.
First Book supporters, not currently eligible to join the network, can purchase books through Bookshop.org to still directly impact kids in need; 10% of your order is donated directly to First Book.
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Educators can join First Book’s network — the largest and fastest growing network of educators, schools, and programs serving children in need across the United States and Canada — to bring these titles and many more to your classroom.