The Memoir Land Author Questionnaire #46: Jasper Joyner

"I’ve been calling it a biomythography, a term coined by Audre Lorde. She described it as a story that combines history, biography, and myth for her memoir Zami. My book is absolutely inspired by it."

Since 2010, in various publications, I’ve interviewed authors—mostly memoirists—about aspects of writing and publishing. Initially I did this for my own edification, as someone who was struggling to find the courage and support to write and publish my memoir. I’m still curious about other authors’ experiences, and I know many of you are, too. So, inspired by the popularity of The Oldster Magazine Questionnaire, I’ve launched The Memoir Land Author Questionnaire.

Here’s the 46th installment, featuring

Jasper Joyner

, author of Pansy: A Black American Memoir. -Sari Botton

---

Jasper Joyner (they/them) is an author, humorist, poet and managing editor at Focus Magazine. They run a self-titled newsletter, as well as digital zine, here to complain. Jasper’s chapbook A Flamboyance with Bottlecap Press and indie YA fantasy novel Juniper Leaves are out now. Pansy: A Black American Memoir will be released October 22, 2024. Follow Jasper on Instagram at @pansythememoir for more.

—

How old are you, and for how long have you been writing?

I’m 34 and I’ve been writing stories since I could scratch out a few letters on a page. Professionally though? Since 2012-ish.

What’s the title of your latest book, and when was it published?

Pansy: A Black American Memoir, coming October 22^nd!

What number book is this for you?

2.5 (I have a chapbook)

How do you categorize your book—as a memoir, memoir-in-essays, essay collection, creative nonfiction, graphic memoir, autofiction—and why?

I’ve been calling it a biomythography, a term coined by the great Audre Lorde. She described it as a story that combines history, biography, and myth for her memoir, Zami, and my book is absolutely inspired by that.

What is the “elevator pitch” for your book?

PANSY is a non-linear, episodic memoir that combines poetry, cultural criticism, and essays. It follows Black transmasc, southern writer Jasper as they fumble through an awkward Memphis upbringing in the 90s and early aughts, an insufferable Nashville Prominently White Institution (PWI), and a fierce New York City queer awakening, all with a poignant throughline of Black exceptionalism, focused on Jasper’s wildly agonizing first publishing experience with novel, JUNIPER LEAVES.

PANSY was an exercise of poetry in that its less about the subject matter and more about the over and undertones of the words used, the shape of them, the order. My personal goal was to amplify the nuances of my existence; as a Black trans person, somebody from the south, a sibling, somebody’s child, someone’s friend, someone’s ex, a jokester, an emo kid…

What’s the back story of this book including your origin story as a writer? How did you become a writer, and how did this book come to be?

I wrote my first novelette at 8 years old. Took me about 15 years after that to make a career of it, but writing has always been an inseparable part of me. This book is, in part, a story of my becoming a confident person and writer after years and years of not feeling quite worthy enough to claim either.

From inception to final draft, PANSY took me about four years to write. The latest occurrences mentioned in the book are at least seven years old and I feel removed enough from those difficult moments to speak about them clearly. But my focus when writing was the perspective with which I spoke to those moments rather than the moments themselves.

PANSY was an exercise of poetry in that its less about the subject matter and more about the over and undertones of the words used, the shape of them, the order. My personal goal was to amplify the nuances of my existence; as a Black trans person, somebody from the south, a sibling, somebody’s child, someone’s friend, someone’s ex, a jokester, an emo kid…

I tried to create a layered piece of work, and I figure everyone will get something a little different from it depending on who and what you are. 

Order the book…

What were the hardest aspects of writing this book and getting it published?

It took me so long to figure out how to tell this story, technically. Even after making an outline of what moments I wanted to include I really struggled, for over a year, before I landed on this particular non-linear storytelling style that seemed to make the most sense for this project. The other hard part was finding my voice. I would go back and read excerpt and couldn’t find myself in my own words. Early versions of PANSY were missing the essence of me—it took me so, so long to get a hold of that. Writing and reading poetry helped.

How did you handle writing about real people in your life? Did you use real or changed names and identifying details? Did you run passages or the whole book by people who appear in the narrative? Did you make changes they requested? 

Generally, with some exception, I changed names and left out identifying details of people I’m not still in contact with. I kept a lot of the names of people I talk to often, but still tried to not be too, too revealing. I let those people close to me read the work and request changes on parts they weren’t comfortable with. I typically obliged.

It took me so long to figure out how to tell this story, technically. Even after making an outline of what moments I wanted to include I really struggled, for over a year, before I landed on this particular non-linear storytelling style that seemed to make the most sense for this project. The other hard part was finding my voice. I would go back and read excerpt and couldn’t find myself in my own words. Early versions of PANSY were missing the essence of me—it took me so, so long to get a hold of that. Writing and reading poetry helped.

Who is another writer you took inspiration from in producing this book? Was it a specific book, or their whole body of work? (Can be more than one writer or book.)

Oh my goodness. I love this question because the authors I’m about to mention have been like mentors to me during this project:

• Audre-mf-Lorde! All of her work, and specifically, her biomythography ZAMI literally altered the trajectory of my life. If it wasn’t for her philosophies there’d be no PANSY.

• Kiese Laymon’s HEAVY is a memoir I recommend to anyone I love. It’s brilliant. Kiese grew up a short distance from Memphis, in Jackson, Mississippi. He’s only about ten years my senior. I think because of our similarities his writing resonates with me on a very deep level, and I continue to look up to him.

• Michael Arceneaux’s I CAN’T DATE JESUS was a big inspiration in terms of bringing an element of humor to my book.

Honestly there are many more authors who inspired this work but we truly don’t have the time. Let’s just say I’m a Black southern writer and everyone who’s come before me has shaped me in some way.

What advice would you give to aspiring writers looking to publish a book like yours, who are maybe afraid, or intimidated by the process?

Here’s what I tell myself: “Take your damn time.” We’re encouraged in this society to rush, to produce—and fast! But I find the best work comes from those who are patient with themselves and their creative process. I’ll be the first to say my initial PANSY draft was trash, but you have to start somewhere. That doesn’t mean that first draft has to mean anything but the beginning of something great. I wish every writer enough space and time to mold our work into something great.

What do you love about writing? 

I love it so much in so many ways, but I will just share one way for time’s sake; I love the rhythm of it—the poetry! Whether intentionally writing poetry or not, the rhythm in writing for me is as vital as breathing and I cherish it.

What frustrates you about writing?

Oddly enough, what frustrates me most about writing has very little to do with actually writing. It’s the business of writing, the fighting to have your work valued in a capitalist system. That frustrates me. I wish there were more opportunities for writers to share our work in substantial ways. More and better opportunities for us to live off of our writing alone. 

What about writing surprises you?

I’m always fascinated by the difference between a first and final draft. A writer can write a whole book worth of words for one essay. It’s beautiful. It’s tiring, strenuous, awe-inspiring. Persistently surprising.

Does your writing practice involve any kind of routine or writing at specific times? 

I try to write everyday but that’s become tougher with a full-time job (vs. freelancing). I love mornings, so I prefer to write earlier in the day and to keep it going for a few hours before I stop.

Honestly there are many more authors who inspired this work but we truly don’t have the time. Let’s just say I’m a Black southern writer and everyone who’s come before me has shaped me in some way.

Do you engage in any other creative pursuits, professionally or for fun? Are there non-writing activities do you consider to be “writing” or supportive of your process?

I love cooking, baking, drawing. Much better at the former than the latter. In terms of non-writing activities that influence my writing process—reading! Reading, reading, reading.

I’m trying to read more, so I just started an in-person mystery book club in Memphis. I also teach and mentor through a couple programs and am consistently inspired by my students and mentees.

What’s next for you? Do you have another book planned, or in the works?

I have a collection of poetry on its way, and I’ve begun the early stages of a fantasy novel inspired by Black southern spiritual practices.

---

Previously Jasper Joyer wrote “Phil’s Carbon Copy,” an essay for Oldster Magazine. Check out all the interviews in The Memoir Land Author Questionnaire series.