Bio:
I was born in Mandeville, Jamaica. We moved to New York when I was twelve—my mother, like many immigrant mothers, believed that she could better provide for her three children in the States, where three of her sisters lived. As a child, moving to the United States was a fulfilled dream because I had observed that everyone believed that the U.S. was superior to any other place in the world. The realities were different, painful—I was navigating the distance from the country of my childhood, and the fact that my family wanted so badly to build a future in a country that was unwelcome to foreigners. As I grew, in some ways I recognized myself as an American and in other ways I was Jamaican. Over time, I started to explore this tension of belonging and distance through my writing. I started writing “How to Love a Jamaican” when I was twenty-four and finished when I was twenty-eight, but in a way it feels that I was writing those stories for even longer than that because I’ve been asking certain questions since I was a kid.
I’ve always loved storytelling. Growing up, my parents in the Jamaican tradition were good storytellers. As a teenager, I would read under my sheets with a flashlight. I read YA novels about white suburban teenagers, girls who were unlike me in most ways, which intrigued me. The first book that inspired me as both a reader and writer was “The House on Mango Street” by Sandra Cisneros. It was the first time I read a book that reflected my urban, immigrant life, and the kinds of people I knew.
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I’ve wanted to be a writer since I was twelve. I tried for a long time to be something else, something more practical. I didn’t have the kind of economic upbringing where I could forsake everything to become a writer. I considered law school, or becoming a vet, which I might actually enjoy because I love animals. I really struggled emotionally after graduate school, when I was still living in Iowa City, working awful part-time jobs. I knew that if I moved back to New York to reunite with family and friends I would give up too much writing time in a job to make the high price of rent. There isn’t a roadmap for a creative life, and I felt especially lost coming from a family like mine, where everyone made more traditional career choices. I’m still figuring out what it means to be a creative, and to live a creative life. I feel so very grateful to share parts of myself, through my writing. If you’ve read anything I’ve written, thank you.
A LITTLE MORE
I teach fiction writing, when the opportunity arises. I’ve taught high school students at the Iowa Young Writers’ Studio, undergraduates at the University of Iowa, and I facilitated a graduate workshop at the Iowa Writers’ Workshop during fall 2018.
FUN FACT
I live with two Persian cats, Cous Cous, who is twelve years old, and Fable, who is a few months old. They make me smile every day.
Tenderness and cruelty, loyalty and betrayal, ambition and regret – Alexia Arthurs navigates these tensions to extraordinary effect in her debut collection about Jamaican immigrants and their families back home. Sweeping from close-knit island communities to the streets of New York City and Midwestern university towns, these eleven stories form a portrait of a nation, a people, and a way of life.
Alexia Arthurs emerges in this vibrant, lyrical, intimate collection as one of fiction’s most dynamic and essential authors.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).