“People can cry much easier than they can change.” ― James Baldwin
What was the last over-hyped book that left you feeling unsatisfied?
I finished Stamped From The Beginning by Ibram X. Kendi last week for my African-American Literature course and felt as if Auntie ‘Retha had taken up residence in my body.
While it is clear that Kendi put a lot of work into this book, it was very much a “beautiful gowns” type of text for me…or rather “beautiful sources.”
From the offset, it is jarringly clear that this book was written pre-2016 Election when many folks believed they were living in a “post-racial” world and were congratulating themselves for having elected a Black man for president. This sentiment of us being “post-racism” props up Kendi’s book’s thesis that “everyone’s a little bit racist, so no one should really be allowed to call another person out. We’re all equal in ALL ways.” #Paraphrase
And, this is where Kendi lost me.
To be fair, Kendi direct quote about Anti-racism is:
“Anyone can believe both racist and antiracist ideas…[and] to think as an antiracist: [is] to think there is nothing wrong with Black people, to think that racial groups are equal.”
The latter part of this is a beautiful sentiment, but that first part brings us into a sticky territory that teeters very close to absolving racist from the harm they’ve inflicted.
White people’s racism gives you 400+ years of oppression.
It gives you Tulsa and Rosewood.
It gives you the Klan/a corrupt police force, the “school-to-prison” pipeline…
a “not guilty” verdict in the Breonna Taylor case…etc.
A non-Black POC or indigenous person showing anti-Black sentiments hurts my feelings and leaves me baffled. But, it is rare that any of these groups have the power to inflict the level of harm and injustices that I experience at the hands of White people. This isn’t to say that these groups don’t need to dismantle and unlearn their behaviors.
However, the presentation of facts in Kendi’s books makes it seem as if the collective onus is on ALL of us when this work is a top-down process where the colonizer and those in power have to dismantle whole systems to truly bring us “equal.” This contrast to the BIPOC community, who could unlearn every bit of their biases and anti-Black sentiments and still be left without access to participating fully in American systems. This fact contributes to us trying to create hierarchies that would give us some semblance of “power” over each other.
Yet, Kendi’s book repeatedly ignores this fact when analyzing Black historical figures. The narrative he creates does not do enough to dismantle the notion behind “why” these individuals held these racist beliefs. And, even though I, as a #wellreadblackgirl could recognize the “why” behind these Black historical figures’ self-hating beliefs, I worried about the average reader identifying these same reasons when trying to dismantle their racism.
Add to this Kendi’s erasure of Black female scholars and their contributions to each era he spoke of the outside of him using them to prop up the idea that we’ve contributed to the “hatred” and “degradation” of Black men, and you can see why I wasn’t impressed by this book.
I feel as if Kendi’s is too ambitious in the timeline he tries to cover. Yet, I understand why it is beloved by all the #AntiracistBookClubs and why Kendi has become the darling of White America as they strive to become “Anti-Racist™️”. I would just say that there are other books that express the ideas presented in this book more precisely and in a more balanced way.
Fans of Netflix’s On My Block and readers of Elizabeth Acevedo and Angie Thomas will love this debut novel about a girl whose life is turned upside down after one local act of vandalism throws both her relationships and neighborhood into turmoil.
Chinelo, or Nelo as her best friend Kate calls her, is all about her neighborhood Ginger East. She loves its chill vibe, ride-or-die sense of community, and the memories she has growing up there with her friends. Ginger East isn’t what it used to be though. After a deadly incident at the local arcade, most of her friends’ families moved away. Kate, whose family owns the local corner store, is still there and as long as that stays constant, Nelo’s good.
When Kate’s parent’s store is vandalized and the vandal still at large, Nelo is shaken to her core. And then the police and the media get involved and more of the outside world descends upon Ginger East with promises to “fix the neighborhood.” Suddenly, Nelo finds herself in the middle of a drama unfolding on a national scale.
Worse yet, Kate is acting strange. She’s pushing Nelo away at the exact moment they need each other most. Now Nelo’s entire world is morphing into something she hates and she must figure out how to get things back on track or risk losing everything–and everyone–she loves.
A: Congratulations on your debut novel, Like Home, Ms. Onomé! What was the process like writing your first book?
LO: Thank you! The process was honestly pretty fun. I love every stage of writing a book because I tend to treat them as separate opportunities to fine-tune a story. When I was drafting, I had the most fun making things up and throwing things together to see what stuck. My process is a little chaotic. When I was revising (which I learned to do effectively while writing this book), I enjoyed asking myself tougher questions about how each character or each plot point was showing up. Overall, it was such a great learning experience.
A: The neighborhood of Ginger East felt so authentic to the story you’re telling about gentrification and coming of age in a place that others have written off as being “rundown” or “unfavorable.” Did you have any specific places that inspired the creation of Ginger East?
LO: Ginger East was loosely inspired by the neighbourhood I grew up in just west of Toronto. While the place I lived was more residential and had a mix of household incomes, it also had a growing immigrant population and was enriched by the experiences people brought to the neighbourhood. I was honestly very fortunate to have had that experience.
A: There is a strong sense of community that Chinelo constantly references within Like Home. How would you define community and how did you use that definition to influence how you wrote Chinelo and the characters of Ginger East in your novel?
LO: I define community as a place where you are seen and heard for who you authentically are. As such, Nelo really feels at home in Ginger East, not only because she grew up there and doesn’t know anywhere else, but because the people there understand her as well as she understands the area. It was important for me to define it that way because sometimes, as shown in Like Home, we live in communities where not everyone has our backs, but that doesn’t mean that they aren’t a part of the fabric of that neighbourhood.
During the lecture, Lee touched on how gentrification was ruining the local neighborhoods in the boroughs of New York City in his rant asking, “Why does it take an influx of white New Yorkers in the south Bronx, in Harlem, in Bed Stuy, in Crown Heights for the facilities to get better?… What about the people who are renting? They can’t afford it anymore!”
Why was it so important for Chinelo, a sixteen-year-old teenager, to evoke the same disdain and possessiveness over the gentrification of her Ginger East community in your novel as Spike Lee, a then fifty-seven-year-old man, did for his neighborhood of Fort Greene?
LO: That’s such a great quote! In Like Home, Nelo’s possessiveness comes strictly from her inability to accept change. She’s sixteen and all she knows is the place she grew up. To see it change so brazenly without any regard for the people who live there, her family and friends, it begins to make sense how she would have such anger over new businesses moving in or rent prices increasing. Something she knows so well is being pulled out from underneath her by people she knows don’t care about people like her. That feeling of being neglected, of not really being seen, is a strong pain point for her and I think is something a lot of marginalized people can relate to.
A: In the same vein, Chinelo is facing an uphill battle trying to convince people in her age and friend group that fighting against Ginger East’s gentrification is important. This is in direct opposition to Maree, one of Chinelo’s ex-best friends, who becomes a social media influencer and capitalizes off her connection to what she deems her “old trashy neighborhood.” Why was it essential for you to include a character like Maree in Like Home and the discussion of gentrification in contrast to Chinelo?
LO: Great question! It was important to me because a lot of us have to deal with people like Maree in our daily lives. There is a recognition there, unfortunately. Maree represents the largest block that Chinelo has to face when it comes to attitudes about Ginger East and places like it: apathy. It’s one thing to try and change a place, but it’s harder to try and change someone’s mind. Chinelo believes if more people cared, then it would be possible to make a difference, but Maree exists in direct opposition to that in many ways.
A: Black girlhood is a multi-faceted thing that can hold joy and beauty. However, it also can be a scary time in a Black girl’s life. Like Home strikes this wonderful chord where it is perfectly nostalgic of what being a teenager is like in the age of social media while also honoring the fact that Chinelo’s character is the child of immigrants and held to a different standard than others in her age group maybe. Were there any parts of your childhood as a Nigerian-Canadian author that you used as inspiration to writing Chinelo’s character?
LO: Yes I agree! It’s such a delicate time, but so multi-faceted. There were small instances I mined from my experience as a Nigerian-Canadian that I put into Nelo’s experiences, such as the chain messages from family, but not a lot of overt things. Instead, her Nigerian-Canadian identity is more in her way of being and existing in the world. I guess it’s like that for everybody, though.
A: In a blog post you did for the “Her Story: Ladies in Literature” series on Pop Goes the Reader’s last year, you made mention of the fact that when reading, you “[identify] with the quieter characters; ones whose motivations maybe are subtler, or ones who aren’t at the forefront of a conflict….[since] our motivations aren’t always lived out loud.”
This quote really resonated with me because when reading about Chinelo, her character felt relatable. There’s a debate currently in the book community about how #OwnVoices authors are often asked to draw on traumatic or stereotypical experiences to get published, which does not always leave room for a “quiet character” in areas like Black Literature. Did you feel any pressure to make Chinelo or the story you wrote fit into either of these categories?
LO: Thank you, I’m so happy to hear that resonated with you. I’m thankful in that I didn’t feel that kind of pressure to make Chinelo anything other than who she is. I modelled her after the girls I had seen and the girl I had been growing up in the Greater Toronto Area. I know so many Chinelos. She’s not an uncommon figure around here: someone who has opinions, doesn’t always speak when spoken to, and prioritizes her friends and family above all else. I didn’t want to write a character who was meant to be some sort of martyr or one-size-fits-all representation for Black girls, because as we know, Black people aren’t a monolith. I hope readers can find comfort in knowing that even though Chinelo isn’t necessarily what you’d expect of a YA protagonist, she still has value.
A: Often, when I’m reading stories about activism in YA, it feels as if it’s taking place in a parallel universe based on how outlandish the methods and situations authors give their characters to carry out. Yet, the way you write about the grassroots movement Chinelo and her community put together to protest the gentrification of Ginger East feels very “do-able.” Is there a message about community involvement and activism that you want readers to take from Like Home?
LO: Yes, for sure. Oftentimes, labels can be somewhat daunting for those of us who just want to help in any way we can. I’d love for readers to take away the fact that all forms of help are different, and you don’t need to have the loudest voice to move the needle. I think it’s important to recognize that starting where you are, doing what you feel most comfortable with, is still good enough.
A: What are some of your writing influences or authors you deem as “must-reads?”
LO: My biggest writing influences are usually music or video games, because I love to try and recapture emotions. But also, I’m such a fan of Nicola Yoon’s work. I think her writing is so sincere and so magical. I’m a big fan of the characterization in Mary H.K. Choi’s work too.
A: What advice would you give to young writers looking to break into the publishing industry?
LO: Just like with reaching out and helping with causes you care about, it’s important with writing to start where you are. Write what makes you happy, write what makes you sad, write easy things, write hard things, find readers you can trust, take feedback, leave feedback, grow, continue to learn. Be as ready as possible for when your number is called, because it will be!
Thank you so much for your time and for the opportunity to interview you, Ms. Onomé!
“Reading is an exercise in empathy; an exercise in walking in someone else’s shoes for a while.” – Malorie Blackman
What have you been reading this February?!
This year, I have been focusing less on giving books a star rating and more on how books connect across the Africana Diaspora literary canon.
While So Long A Letter by Mariama Bâ is by a Senegalese novel, the issues Bâ covers in this novella mirror topics that so many African-American women have written about.
Bâ speaks of female friendships and how they sustain us, like Toni Morrison in Sula and Alice Walker in The Color Purple.
She speaks of messy affairs in marriages and how love can look different for each person, like bell hooks in All About Love and Changes: A Love Story by Ama Ata Aidoo.
And when I think of scholarly theorist Bâ is communing with, Wicked Flesh by Jessica Marie Johnson and Thick: And Other Essay by Tressie McMillan Cotton, come to mind in the way Bâ stands up for female agency and independence in a society which demands that Black Womanhood appear under the thumb of the patriarchy as a thing of lesser value. Bâ writes about Ramatoulaye, her protagonist, struggle to assert herself as an educated single mother who attempts to assert herself in a society that does not see her as a valuable asset once her husband throws her to the side for his second wife.
Bâ’s writing is intriguing, and to the point, and for anyone who loves a drama-filled read that’s also character-driven, please give this a read.
With her newly completed PhD in astronomy in hand, twenty-eight-year-old Grace Porter goes on a girls’ trip to Vegas to celebrate. She’s a straight A, work-through-the-summer certified high achiever. She is not the kind of person who goes to Vegas and gets drunkenly married to a woman whose name she doesn’t know…until she does exactly that.
– Blurb from Honey Girl by Morgan Rogers
What surprised you most about the process of writing this first novel?
The thing that surprised me most about writing this novel was that it did not become this novel until maybe the fourth or fifth iteration. There were things about Grace Porter that didn’t surface until my very last time editing. Some of her motivations and wishes and desires were still hidden until I had both the input from my amazing editor and also an entirely different headspace. I always hear the phrase, “writing is re-writing,” and I think the depth of that truth didn’t really hit me until I was knee-deep in revisions and realizing, like, wow, I needed so much more time to figure out how to say this, but now I can. Surprise!
In an interview she recorded with Balticon 34 in April 2004, Octavia E. Butler talks about wanting to “desensitize” readers with her writing and show them the “world as she wishes it worked” in her novels. One of the things I really loved about Honey Girl is that you don’t waste time explaining or trying to convince the reader that Grace Porter, your main character, and the rest of her friends, who are LGBTQ+, deserve to exist when it comes to their sexuality.
Instead, your writing creates these characters as messy and flawed human beings doing mundane day-to-day activities, like going to graduate school, trying to live up to their parents’ expectations, and falling in love. Why did you feel this was a significant angle to take with your writing? And did you feel, like Ms. Butler, that you were simply writing the world as you saw it or as you wanted it to be in your writing?
I know in theory it’s significant, but honestly, it doesn’t feel that big to me. Grace Porter is queer. Grace Porter is a lesbian. All her friends are queer. Queer people do really mundane things like work and go to school and date and even disappoint their parents for reasons other than being queer! I wrote a world that is very similar to mine, because I’m a queer person with queer friends and we just do really boring things like complain in our group chats and forget to pay bills. It doesn’t feel revolutionary to me because we are out here living our not-very-exciting lives, but then I remember in the larger scheme of things, us living our lives is revolutionary.
All of that is to say, I didn’t go in with any particular mindset except portraying queerness the way it is in my little corner of the world, and now in Grace’s, too. In academia and the corporate world adjacent to it, the reality is very cis-heteronormative and white, so that’s the reality I put on the page. I wish the world did not work that way, but it does. So, to answer the question, I feel like I was writing the world as I saw it and also how it really is, which is a world in which queer people, especially queer people of color, live and breathe and survive for as long as we can.
There is a strong sense of community and collective care that is frequently referenced in Honey Girl. At times, Grace is treated with more love and acceptance from her “chosen family” than her blood relatives. What made you create such a multilayered approach to family and community care when portraying Grace’s support system?
I say this all the time, seriously, but I feel like “found family” or “chosen family” is such an important component of the varied queer experience. It’s so hard to be alone, especially with people who are your blood, and may still love you, but can’t really understand something that makes up such a huge part of you and influences the other intersections of your identity. You need queer friends and queer friends that feel like family because those are the people you lean on and learn from and support on your respective journeys.
For Grace, her chosen family provides her with unconditional love and unconditional honesty. She makes a lot of mistakes, and she gets in her head a lot, and they are right there to be like, hey, you are not the only person going through this thing. They all have their own lives and issues, and though not every problem revolves around their LGBTQ+ identity, because they are all sharing this queer identity, they are able to be their full, authentic selves when they are vulnerable and asking each other for help.
At the same time, I wanted to show Grace’s mom and dad as people she thinks should be infallible and all-knowing, but she has to realize that’s not possible. Parents are not perfect. Parents don’t know everything, or even half of everything. They are flawed people who make mistakes like anyone else. Sometimes those mistakes can be apologized for and relationships redeemed and repaired, and sometimes not. Sometimes the best thing is for people to break off from their parents entirely. It was important in Grace’s journey for her to start to think about the type of relationship she wanted with her parents that was best for all them and didn’t sacrifice her mental and emotional health. Basically family, in all of its manifestations, can be really complicated and intricate and nuanced, and there are so many different ways to build one or multiple with the different people in your life.
What books have you read recently and loved, that inspired Honey Girl in some way or that you very much look forward to reading?
Recently I’ve read and loved Happily Ever Afters by Elise Bryant, Saving Ruby King by Catherine Adel West, Such A Fun Age by Kiley Reid, The Monster of Elendhaven by Jennifer Giesbrecht, Upright Women Wanted by Sarah Gailey, and of course, Gideon the Ninth by Tamsyn Muir.
There are so, so many books coming out this year that I want in my eyeballs immediately. I can’t list them all, so here’s five:
Thank you to Harper Teen, Simon Teen, and Mahogany L. Browne for allowing me to receive finishing copies of the following books. Originally, these novels were meant for my Instagram Kwanzaa Giveaway. But, I wanted to give back to my subscribers for Martin Luther King, Jr. Day.
Synopsis: This coming-of-age debut novel explores issues of race, class, and violence through the eyes of a wealthy black teenager whose family gets caught in the vortex of the 1992 Rodney King Riots. Ashley Bennett and her friends are living the charmed life. It’s the end of senior year. Everything changes one afternoon in April, when four LAPD officers are acquitted after beating a black man named Rodney King half to death. Suddenly, Ashley’s not just one of the girls. She’s one of the black kids.
As violent protests engulf LA and the city burns, Ashley tries to continue on as if life were normal. With her world splintering around her, Ashley, along with the rest of LA, is left to question who is the us? And who is the them?
Synopsis: A novel-in-verse about a young girl coming-of-age and stepping out of the shadow of her former best friend. Perfect for readers of Elizabeth Acevedo and Nikki Grimes.
She looks me hard in my eyes & my knees lock into tree trunks My eyes don’t dance like my heartbeat racing They stare straight back hot daggers. I remember things will never be the same. I remember things.
With gritty and heartbreaking honesty, Mahogany L. Browne delivers a novel-in-verse about broken promises, fast rumors, and when growing up means growing apart from your best friend.
Synopsis: Justin A. Reynolds, author of Opposite of Always, delivers another smart, funny, and powerful stand-alone YA contemporary novel, with a speculative twist in which Jamal’s best friend is brought back to life after a freak accident . . . but they only have a short time together before he will die again.
Jamal’s best friend, Q, doesn’t know he’s about to die . . . again.
He also doesn’t know that Jamal tried to save his life, rescuing him from drowning only to watch Q die later in the hospital. Even more complicated, Jamal and Q haven’t been best friends in two years—not since Jamal’s parents died in a car accident, leaving him and his sister to carry on without them. Grief swallowed Jamal whole, and he blamed Q for causing the accident.
But what if Jamal could have a second chance? An impossible chance that would grant him the opportunity to say goodbye to his best friend? A new health-care technology allows Q to be reanimated—brought back to life like the old Q again. But there’s a catch: Q will only reanimate for a short time before he dies . . . forever.
Jamal is determined to make things right with Q, but grief is hard to shake. And he can’t tell Q why he’s suddenly trying to be friends with him again. Because Q has no idea that he died, and Q’s mom is not about to let anyone ruin the miracle by telling him. How can Jamal fix his friendship with Q if he can’t tell him the truth?
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I saw in your talk with Madeline Dyer for 2020’s YA Thriller Con that one of the inspirations behind this novel came from the loss of your uncle in Jamaica. I’d first like to extend my condolences for this personal loss. I know as an artist, drawing on personal pain is sometimes a source of inspiration. But, how were you able to balance grieving while also going through the writing process of telling such a detailed story about gang culture, police brutality, and political intrigue without being sucked back into that headspace?
Desmond Hall: I really like what the great actor Francis McDormand said about her art. She felt she had to figuratively pick at her wounds to keep them fresh, so she’d be able to access her pain, and apply it to her work. She actually dreaded the closing of her psychological wounds. This is a type of method acting that I think applies to writing as well.
A: So often, the way that many people get introduced to Jamaica is as a country that’s akin to “paradise.” In my course on Globalization and Transnationalism, we watched the documentary Life and Debt, which spoke about how often we as tourists are never seeing the “real” Jamaica or partaking in the actual culture when we come to this island to visit. This made me think of how when reading your novel, readers are introduced to another viewpoint of your homeland that lingers just under Jamaica’s surface in the form of gang culture. Why did you feel that this story was important to talk about as a Jamaican?
DH:Your Corner Dark is a specific story, but also a universal one. The book touches on police brutality, gang culture, defining masculinity, and political intrigue. Those topics are just as relevant here in the States. I’m just telling the truth that I know.
A: In your talk with Dyer, you mentioned that the title of your book is the Jamaican equivalent of the saying, “between a rock and a hard place.” In true fashion, Frankie is stuck between two worlds. On the one hand, he is a student who aspires to be an engineer and create things that will ease the hardships of he and his neighbors’ lives. Yet, Frankie is also living in a world that wants to box him in and make him become a part of gang culture even though everyone around him acknowledges that Frankie is “too smart” to go down this path. How did you balance telling Frankie’s story between these two realities while making it believable?
DH: I think one of the keys is Frankie’s interiority. We get to know how he experiences the angst of having a father who he feels doesn’t understand him. We understand Frankie’s fear and admiration for a dangerous and charismatic uncle. We sympathize with the evil acts he feels compelled to commit. We also get to feel his shame when he ventures into a social class above his rank, and gets intimidated by sushi.
A: One of my favorite parts of Your Corner Dark is the usage of Jamaican patois, the “unofficial language of Jamaica.” For me, the richness of this dialect draws from hearing Jamaicans speak their language out loud, similar to how I feel about hearing African-American Vernacular English (AAVE) being spoken. This got me thinking about Nate Marshall’s poetry collection, Finna, where he mentions that AAVE isn’t necessarily a dialect that’s meant to be written down but is meant to be spoken. Did you find a similar issue come up with your characters as you shaped their dialogue?
DH: I’m not familiar with Mr. Marshall’s thoughts on the matter, but I do believe It’s important to note that a lot of Jamaicans speak the Queens English as well as patois (Patwah in Jamaica). We have a lot of fun with the language, verbally, and in written form. In fact, a lot of the newspapers run social commentary cartoons, and the characters often speak in a thick patwah.
A: I mention this because, at one point in the story, when Frankie hears Leah “chat patois,” he is shocked because he says that some Jamaicans aren’t comfortable with speaking in patois. As a reader who is not an #OwnVoices reviewer, I was unsure if this was indicative of the class issue between Leah and Frankie, which is a topic that comes up several times, or if there was a variation of the dialect that Frankie, a person from the country would speak, versus Leah, who is from the city.
The Jamaican upper middle class has a tendency to be very conservative, even to the extent of reviling Rastafarians, even though Rastas are featured in our tourism advertising. This disdain also extends to speaking patwah. It’s similar to how some Americans look at the southern drawl (Dolly Parton actually points this out!). Frankie is aware that Leah is from the upper middle class as most kids are in his fancy school, and he worries that Leah may harbor some of those upper middle class tendencies.
A:In your talk with Dyer, you also mention that Your Corner Dark is your “love letter to Jamaica.” What is the one thing you want your readers to take away from this story?
DH: I want them to understand more the complexity of Jamaica. Seven days and six nights at the resort won’t show people the real Jamaica, even with excursions.
A:Your background as a screenwriter really shines in this novel! As I was reading Frankie’s story, I was in awe of the fact that so much of the story’s content’s felt as if they are primed to be on the “big screen.” Have you thought of turning this book into a screenplay?
DH: It’s funny you ask because I’d originally written this story as a screenplay, and back in the day, it was a runner up in the IFP Screenwriting contest in NYC.
Over the last few months, we’ve been having meetings with a few TV producers, so we’ll see.
A:You also mentioned that you moved from Jamaica to Jamaica, Queens in New York City. Does this shift in geographical location have any bearings on the types of stories you write about?
DH: I think all my experiences come into play when I write. I remember talking to the great screenwriter, Budd Schulburg. I asked him how he came up with that great line from the awesome movie, ON THE WATERFRONT. “…I coulda been a contender…instead of a bum.” He said he was in Gleason’s boxing gym, and overheard a palooka saying those words to his manager. Mr. Schulburg said he quickly jotted down the line because he knew he would use it in a script one day. That day didn’t come until many years later, but he knew to catalogue the encounter. Essentially, he was telling me to draw from all my experiences, and use anything relevant to help render the story I want to tell.
A:What are some of your writing influences or authors you deem as “must-read?”
I’m moved by Richard Price, and how he imbues crime stories with so much humanity. I wish I could be as harshly real as James Baldwin or as deep as Toni Morrison.
In the YA space, I love reading Jason Reynolds and Courtney Summers.
A:Do you have any advice for aspiring writers?
-Grubstreet is a great writing school.
-There’s a famous quote about how published authors are the ones who didn’t give up.
-The SAVE THE CAT book(s) are quick and easy ways to add the power of story structure to your arsenal. If you want a more in depth way, take the Mckee Story Class, and buckle up.
Thank you so much for your time and for the opportunity to interview you, Mr. Hall!
Desmond Hall was born in Jamaica, West Indies, and moved to Jamaica, Queens. He has worked as a high school biology and English teacher; counseled teenage ex-cons after their release from Rikers Island; and served as Spike Lee’s creative director at Spike DDB. Desmond has served on the board of the Partnership for Drug-Free Kids and the Advertising Council and judged the One Show, the American Advertising Awards, and the NYC Downtown Short Film Festival. He’s also been named one of Variety magazine’s Top 50 Creatives to Watch. Desmond lives outside of Boston with his wife and two daughters.