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Tiffany D. JacksonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Tiffany D. Jackson is an American young adult fiction author from New York. In addition to The Weight of Blood (2022), her young adult novels include Allegedly (2017), Monday’s Not Coming (2018), Let Me Hear a Rhyme (2019), Grown (2020), The Awakening of Malcolm X (2021, coauthored by Ilyasah Shabazz), White Smoke (2021), and Blackout (2021). While some of Jackson’s other novels are in the horror genre and contain supernatural elements like The Weight of Blood, others are realistic but still explore real-life social horrors, which can be scarier than monsters or witchcraft and are often the real villains behind the supernatural “evils” depicted in the horror novels.
In addition to writing for young adults, Jackson has published a picture book, Santa in the City (2021), and has written and directed a web horror-film series called So I Married a Vampire (2010), as well as the short film The Field Trip (2011). She earned a bachelor’s degree in film from Howard University and a master’s degree in media studies from The New School. Her first novel, Allegedly, was nominated for the NAACP Image Award, and she is a bestselling author. While some of her books are set in New York, others, such as The Weight of Blood, explore different settings, such as small towns and haunted houses. In all cases, the settings deeply shape the plot as well as the protagonists’ coming-of-age journeys as they navigate their identities within the unique circumstances provided by each setting.
Springville, Georgia, the fictional setting of The Weight of Blood, is isolated from progressive metropolitan areas and has been populated by the same families for generations. Longtime residents proudly pass down racist ideology as if it is something to be celebrated, and the town still holds segregated proms. The novel explores how, even decades after laws were enacted to ensure racial integration of schools, residents still find loopholes that allow them to uphold inequality and social injustice. In The Weight of Blood, the school district does not hold prom as an official school event; instead, the community holds an unofficial event, which allows organizers to evade the school rules and segregate it as they did before integration. While Springville is fictional, segregated proms in the South are not (Chen, Grace. “Segregated Proms: An Ongoing Controversy in Georgia.” Public School Review, 5 Nov. 2020). Once desegregation occurred in the 1960s and 1970s, many schools stopped hosting an official prom because they feared racial tension would occur at an integrated event. Some schools “discovered that none of the white students would come to the prom; they would have their own separate, private prom. So then the schools just opted out and stopped being involved in the organizing of the prom” (City Lights Staff. “Atlanta Contemporary’s New Exhibit Showcases a Segregated Georgia Prom from the Mid-2000s.” WABE, 18 Nov. 2022). When students and the communities hosted their own invitation-only proms that were not officially connected with the school, these events were often racially segregated. In the recent decade, students have fought to integrate proms that have long been segregated in certain rural Georgia schools.
Like in Jackson’s novel, the main part of which is set in 2014, students in 2013 from Wilcox County High School in Georgia created the first integrated prom for their school, but there was still a private, white-only prom, and the high school’s Black homecoming queen wasn’t welcome at the white homecoming party (Gumbrecht, Jamie. “‘New Tradition’ for Georgia Students: Their First Racially Integrated Prom.” CNN, 5 Apr. 2013). Throughout Jackson’s novel, some characters express shock that segregated proms still exist, but segregated proms still exist in the guise of private events. Racist ideology persists despite laws meant to temper it; for racism to be eradicated, communities must commit to change traditions as well as beliefs.
The Weight of Blood draws inspiration from Stephen King’s 1974 horror novel Carrie, using its plot as scaffolding in order to explore similar issues, such as bullying and parental abuse, as well as additional topics like racial injustice and the effects of social media on adolescence. In Carrie, the protagonist, also a teenage girl with telekinetic powers, is abused and sheltered by her fanatically religious mother and bullied relentlessly by peers at school. At Carrie’s prom, her peers dump pig’s blood on her head. Due to the compounded effects of years of bullying, Carrie loses control of her powers, which she has been encouraged to snuff out rather than learn to control. This basic plotline is reflected in The Weight of Blood, but Jackson updates the storyline to explore both the causes and effects of bullying. Both Maddy and Carrie are bullied for not fitting into their peers’ preconceived notions about how someone of their race, gender, and socioeconomic class should look or act. The abuse in both novels suggests that bullying is not harmless teasing but rooted in the desire to oppress anyone perceived as “other” and to reinforce the status quo.
Another aspect of Carrie that provides inspiration for The Weight of Blood is its epistolary nature. The inclusion of newspaper stories, podcast episodes, witness testimonies, and book excerpts about Springville and Maddy mimic the structure of Carrie, which intersperses newspaper articles with the basic narration of the novel’s main events. The inclusion of official documents like these makes the horrors of the novel seem more real and amplify the terror. Additionally, these documents provide a well-rounded perspective of the events, showing the points of view of several different characters who all witnessed different parts of the story. This way, the reader feels involved in the mystery-solving process as the plot unfolds and different pieces of information are revealed. Although the newspaper writers and podcast hosts do not necessarily learn the full story, the reader gains a variety of perspectives through an omniscient narrator and through the inclusion of articles, testimonies, and the like.
By Tiffany D. Jackson