In this episode of NPR's Book of the Day, author Marlon James discusses his novel about a violent 1988 mob attack on gay men in Kingston, Jamaica. James explains his approach to depicting violence in fiction, arguing that all violence is inherently gratuitous and should disturb rather than entertain readers. He explores how he briefly enters the minds of attackers to reveal the disturbing logic behind mob violence without granting them narrative power.
The conversation also examines how disappearance functions as both a form of erasure and a survival strategy for marginalized people. Drawing on his own experience growing up gay in Jamaica, James describes the various ways his characters cope with trauma, from denial and self-reinvention to vengeance and voluntary vanishing. Additionally, James discusses his methodology for historical fiction, explaining why he distrusts official records and instead gathers stories from community members to honor the experiences of those whose traumas were never formally documented.

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Marlon James explains his decision to briefly enter the minds of violent attackers in his novel, not to grant them narrative power, but to demystify mob mentality. He emphasizes that perpetrators are real people who often see themselves as good and moral despite their harmful actions, revealing the disturbing logic behind violence rather than treating attackers as a faceless beast.
James challenges the notion that violence in fiction can ever be non-gratuitous. He argues that all violence is inherently gratuitous, asking pointedly, "What is too much rape? ... What is just enough rape? There's no such thing." For James, depictions of violence should disturb readers, not entertain them—leaving them with a sense that real damage has occurred. He believes it's his responsibility to portray violence authentically, refusing to exaggerate or sensationalize while honestly showing its impact.
Juana Summers notes that disappearance in James's novel functions as both literal erasure imposed by others and a voluntary survival strategy used by marginalized people. James shares his personal experience in homophobic Jamaica, where he stopped speaking between ages 15 and 17 to avoid detection as gay, and took alternative bus routes to escape hostile peers at school.
The novel depicts various post-trauma responses including denial, self-reinvention, revenge, and vanishing. James describes how the character who chooses vengeance ultimately loses their sense of self and stability, showing that even justified retribution carries a psychological cost. Other characters pursue harmony, acceptance, normalcy, or simply wish to disappear, illustrating the complex ways survival and disappearance intersect in coping with trauma.
In late spring of 1988, a group of gay men gathered in Kingston, Jamaica to rehearse a play—an inherently dangerous act since sex between men was outlawed. During one rehearsal, a murderous mob attacked. James explains how the AIDS crisis worsened conditions for gay Jamaicans as churches weaponized AIDS as God's punishment, driving gay clubs underground and forcing communities into secrecy. He recalls how the AIDS crisis even eclipsed the fear of nuclear war as Jamaica's predominant existential threat during the 1980s.
James openly distrusts official records, noting they're often shaped by colonial, upper-class, or political interests. Instead, he gathers information from streets, mountains, alleyways, and community elders like grandmothers to uncover suppressed narratives. A pivotal moment came when James confirmed a fictional attack in his book was based on a real event by speaking with a Canadian asylum survivor, validation that nearly brought him to tears. This confirmation deepened his commitment to respectfully and accurately portray real victims' stories, ensuring his fiction honors the experiences of those whose traumas were never formally recorded.
1-Page Summary
Marlon James explains that he made the difficult decision to enter the minds of violent attackers in his novel to help readers think differently about violence. He intentionally keeps this section of the book brief, emphasizing that he did not want to grant narrative agency or power to those who inflict harm on marginalized groups. By exploring the perspective of the attackers, he seeks to demystify the idea of a mob acting as a faceless beast. Instead, James stresses that these perpetrators are real people—individuals who may see themselves as good, loving, and moral, despite participating in acts of violence. He mentions that many do not view themselves as evil; some are loving parents who return home to families, while harboring hateful beliefs or performing harmful actions. James’s approach aims to reveal the logic or reasoning behind violent acts, as suggested by Grace Paley’s advice: to get another rock of the character’s reasoning.
James challenges the commonly held idea that violence in fiction can be non-gratuitous. He argues that all violence is inherently gratuitous, and that attempting to define an acceptable threshold for violence is inherently contradictory. He pointedly asks, "What is too much rape? ... What is just enough rape? There’s no such thing." For James, any assertion of "not too much" violence in fiction is problematic because it implies there could ever be an appropriate amount. He insists that depictions of violence should disturb readers; they are not ...
Violence in Fiction: Complex Perpetrators
Disappearance is not only an action imposed by others but also a coping strategy individuals use for survival, especially those from marginalized groups. Juana Summers notes that the title suggests disappearing can be both a literal erasure enacted by external forces and a voluntary self-concealment as a mode of survival.
Juana Summers highlights that disappearance isn’t only done to people, but is also something people do to themselves. Disappearance acts as both a physical erasure and a psychological or strategic withdrawal to navigate danger, especially for marginalized individuals.
Disappearance becomes a key survival tactic for those exposed to persecution in hostile societies. Concealment and withdrawal are deliberate strategies to avoid harm, maintain safety, and escape detection.
Marlon James shares that as a teenager in Jamaica, he recognized how the sound of his voice could expose him to violence and ridicule for being gay. As a result, between the ages of 15 and 17, he virtually stopped speaking, limiting himself to as few words as possible in an effort to stay unnoticed and avoid danger.
James also recalls a pattern of modifying his daily routine, such as taking a later bus to avoid the homophobic “cool kids.” By leaving for school at 6:15 am instead of 6:00, he ensured that he would not encounter those who might target him, entering and leaving school unseen.
Following trauma, characters in the novel exhibit a spectrum of responses. Some exist in denial about the trauma, while others attempt to reinvent themselves, seek revenge, or disappear entirely. James notes that these coping mechanisms are neither wholly r ...
Survival Strategies and Disappearance in Trauma Response
In late spring of 1988, a group of gay men gathered in Kingston, Jamaica, aiming to stretch their acting skills and put on a play. At this time, even such gatherings were inherently dangerous. Sex between men was outlawed, making any assembly of gay men for any reason a risk. Homophobia was rampant and intense, so much so that, during one rehearsal, a murderous, hateful mob attacked. The illegality of homosexual conduct amplified the danger for gay Jamaicans, forcing them to assemble with constant fear for their safety.
As the AIDS crisis unfolded, the environment for gay Jamaicans worsened. Churches in Jamaica weaponized AIDS as a tool for increased condemnation, proclaiming it as God's final punishment against homosexuals. This religious framing deepened the stigma and justified widespread persecution. According to Marlon James, gay clubs were driven underground because people began to associate these venues and their patrons with the spread of the "plague"—AIDS. The belief was especially strong among those who feared for "decent Christian people," even blaming AIDS transmission on blood transf ...
1980s Jamaica: Homophobia, Criminalization, Aids Crisis
Marlon James openly distrusts official records, emphasizing that these often come with agendas influenced by colonial, upper-class, or political interests. He believes that the narratives found in formal documentation are frequently shaped or distorted by those in power, leading to the suppression or omission of important truths.
To uncover what truly happened, James relies on oral histories. He actively seeks out information from the streets, mountains, alleyways, and particularly from community elders such as grandmothers. James prefers these firsthand accounts to capture the suppressed and unrecorded narratives essential for his historical fiction.
A key moment in James's research came when he confirmed that a fictional attack depicted in his book was based on a real event. He achieved this by speaking to a person who had been granted political asylum in Canada, who provided firsthand confirmation of the incident.
This confirmation moved James deeply, nearly bringing him to tears, and validated his efforts to give voice to ...
Responsibility to Victims and Methodology for Historical Fiction
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