Dying in the Dark by Valerie Wilson Wesley

I'm a writer whose certainly not in my 20s or 30s. Do you prefer to craft mature characters because they seem richer on the page, or because you want to acknowledge that segment of the population? Randall's carrying that particular burden around, as Medora is with her father, which is why she gives Randall so much flack.īIBR: Your relationship novels are filled with mature folk in their 40s and 50s who've met challenges in love and in life. If she had been, perhaps she wouldn't have been such a bitch. Certainly, Randall is doing that with women and his dreadful mother, Lydia, an artist who wasn't able to do her craft. Very often we work out issues that we had in our past relationships in our present ones. VWW: There's a legacy that you give children-a love legacy. What effect can parental love or lack of it, have on romantic relationships? I think the world of creative women and art collectors is fascinating and, in terms of black women, often not recognized.īIBR: The characters, who have dysfunctional relationships with their parents, also have dysfunctional relationships with the opposite sex. I've always been fascinated with that world. I also have a lot of very good friends who are artists and a couple who are dealers.

VWW: I love art, and if I had a lot of money I'd do nothing but collect art. In her latest book, Always True to You in My Fashion, Wesley further explores relationships between lovers, families and friends.īIBR: What inspired you to set your novel amid the backdrop of the black artists' community? Valerie Wilson Wesley's relationship novel Ain't Nobody's Business If I Do, which debuted in 1999, was awarded Best Fiction for 2000 by the Black Caucus of the American Library Association. APA style: BIBR talks to Valerie Wilson Wesley.BIBR talks to Valerie Wilson Wesley.' Retrieved from MLA style: 'BIBR talks to Valerie Wilson Wesley.' The Free Library.

Dying in the Dark by Valerie Wilson Wesley