Mississippi is like my mother. I am allowed to complain about her all I want, but God help the person who raises an ill word about her around me, unless she is their mother too.

I WROTE THE HELP while living in New York, which I think was easier than writing it in Mississippi, staring in the face of it all. The distance added perspective. In the middle of a whirring, fast city, it was a relief to let my thoughts turn slow and remember for a while.

The Help is fiction, by and large. Still, as I wrote it, I wondered an awful lot what my family would think of it, and what Demetrie would have thought too, even though she was long dead. I was scared, a lot of the time, that I was crossing a terrible line, writing in the voice of a black person. I was afraid I would fail to describe a relationship that was so intensely influential in my life, so loving, so grossly stereotyped in American history and literature.

I was truly grateful to read Howell Raines’s Pulitzer Prize-winning article, “Grady’s Gift”:

There is no trickier subject for a writer from the South than that of affection between a black person and a white one in the unequal world of segregation. For the dishonesty upon which a society is founded makes every emotion suspect, makes it impossible to know whether what flowed between two people was honest feeling or pity or pragmatism.

I read that and I thought,How did he find a way to put it into such concise words? Here was the same slippery issue I’d been struggling with and couldn’t catch in my hands, like a wet fish. Mr. Raines managed to nail it down in a few sentences. I was glad to hear I was in the company of others in my struggle.

Like my feelings for Mississippi, my feelings forThe Help conflict greatly. Regarding the lines between black and white women, I am afraid I have told too much. I was taught not to talk about such uncomfortable things, that it was tacky, impolite, they might hear us.

I am afraid I have told too little. Not just that life was so much worse for many black women working in the homes in Mississippi, but also that there was so much more love between white families and black domestics than I had the ink or the time to portray.

What Iam sure about is this: I don’t presume to think that I know what it really felt like to be a black woman in Mississippi, especially in the 1960s. I don’t think it is something any white woman on the other end of a black woman’s paycheck could ever truly understand. But trying to understand isvital to our humanity. InThe Help there is one line that I truly prize:

Wasn’t that the point of the book? For women to realize,We are just two people. Not that much separates us. Not nearly as much as I’d thought.

I’m pretty sure I can say that no one in my family ever asked Demetrie what it felt like to be black in Mississippi, working for our white family. It never occurred to us to ask. It was everyday life. It wasn’t something people felt compelled to examine.

I have wished, for many years, that I’d been old enough and thoughtful enough to ask Demetrie that question. She died when I was sixteen. I’ve spent years imagining what her answer would be. And that is why I wrote this book.

ABOUT THE AUTHOR

Kathryn Stockett was born and raised in Jackson, Mississippi. After graduating from the University of Alabama with a degree in English and creative writing, she moved to New York City, where she worked in magazine publishing and marketing for nine years. She currently lives in Atlanta with her husband and their daughter. This is her first novel.

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