For Black girls and boys alike, the quest to find stories that reflect their everyday experiences starts as early as the flames of self-awareness begin to flicker. Ayana Gray — The New York Timesbest-selling author of the YA fantasy novel, Beasts of Prey — embarked on a similar journey when Black characters that reflected her as a young girl were few and far between. She’s made it her mission to tell the stories that position Black youth at the center of fantastical adventures ever since.
“I didn't see stories with Black kids that were having magical adventures,” Gray tells xoNecole. “If I wanted to read a story with a little girl like me on the cover, there was going to be racism, some sort of trauma or something sad was going to happen to that little girl or boy.” As disheartening as it was to come to grips with this reality, Gray began exploring her past in order to reimagine a story for the future.
Courtesy of Ayana Gray
While in college, Ayana’s education in African and African American studies led her on a trip to Ghana that would profoundly expand her worldview. While there, the landscape, culture, and her own curiosities for ancestral connection inspired the novel she was destined to write. “I'm a Black American woman. My heritage is messy. I don't know what region, what area of Africa my ancestors came from. So I wanted to write a fantasy novel, one that drew inspiration from the continent and honored the land itself,” Gray shares with xoNecole.
What she birthed is Beasts of Prey, an epic adventure colored with the rich and complex depths of our collective heritage, history, and culture. It tells the story of two Black teens on a magical quest to hunt down a monster. In Beasts of Prey, Gray provides more proof that Black youth, and even our inner child, can be the heroes of our own stories.
xoNecole: One thing I really appreciate about the work you do is that you’re committed to represent Black stories without them being centered in race-related trauma, tell us more about your intentions behind this.
Ayana Gray: You think about other groups of people and they're able to read fantastical stories and not have to read about trauma based on their race or identity. They're able to just transport themselves, and Black kids haven't had that. So we gave Black people a break. [Beasts of Prey] is magical and adventurous. There are monsters, and some are good and some are evil, but race – it’s not the centerfold. Everybody in the story is Black, but they're nuanced. You have different skin tones and hair textures.
There are Black people who are good, Black people who are evil, Black people who are funny. There's comedic relief, there's romance; Black people are able to occupy all of these spaces. And I think it was just a bit of wish-fulfillment in saying I wrote the story that I just really wanted a kid.
"Black people are able to occupy all of these spaces. And I think it was just a bit of wish fulfillment in saying I wrote the story that I just really wanted a kid."
xoNecole: Rejection can be a reality that many writers face. How did you manage those moments of rejection early in your career and bounce back to get to where you are today?
AG: I want to be very transparent: Beasts of Prey certainly faced rejection. And the moment that I always think about most sharply, was when a literary agent told me that she felt that Ekon, as a character, wasn’t strong enough. I remember being hurt, but what I think about when I face rejection is one of two things: I can take that rejection and critique and use it to make myself better if it's constructive. There are also some cases where there's projection because that story is not for that person. In that situation, when she said, “Your Black boy is not strong enough,” I said, you know what, she didn't understand what I was trying to do here.
Because I don't want to create this, “strong” Black boy, I want Ekon to be a Black boy who doesn't have to fit this expected mold of “strength” and what we think of strength being for Black people and Black boys. Sometimes, it's just accepting that, not every story is for every person and using that as fuel to write stories for the people who it is for.
Courtesy of Ayana Gray
xoNecole: Why was it important to center teens as the heroes of their own stories and see themselves within the pages as well as the cover?
AG: It's incredibly hard to be what you don't see, and I'm so proud and happy that I'm not the only Black writer who is committed to this. Black kids shouldn't have one option. When they go to the bookstore and the library, they should have a whole bookshelf, they should have shelves of options to see themselves as the hero of their story. Heroes and heroines of their stories. It's important because I felt it as a kid, I read books where I was never the hero, and it kind of informed the way I felt about my value for a very long time.
For the cover, I so adore the original cover of Beasts of Prey, but after speaking with my editor, who is also a Black woman, we realized there was so much power in having Koffi and Ekon, this Black boy and Black girl on the cover as people are wandering shelves of libraries and bookstores. I joked around on TikTok and I said I want people to know this is a 'Blackity Black Black' YA fantasy story. No apologies, no hesitation. This is a story of Black kids and when you're talking about representation, the more in your face you can be about it the better.
"No apologies, no hesitation. This is a story of Black kids and when you're talking about representation, the more in your face you can be about it the better."
Courtesy of Ayana Gray
xoNecole: 'Beasts of Prey' has been adapted into a film with Netflix. What was your initial reaction to this news and how does this align with the dreams that you’ve set for yourself?
AG: The success that I've been so blessed to have in the last year has really forced me to expand my dreams and dare to dream bigger - which is a weird thing. It's a weird thing to have a dream that you hold on to for so long and suddenly you have it and now you have to think about the next thing. I'm still processing it and still thinking about what’s next.
When I reflect and hope for the legacy that I leave behind, I want to write stories where Black kids get to see themselves in all sorts of spaces and see themselves as heroes. But more importantly, I really want for Black people, if and when they come across my books to say, “She did it, why can't I?”
It's hard to be what we can't see, but if you see authors out there — Black people out there chasing their dreams and accomplishing their goals, it leads you to say, “Well, I can do that too.”
Grab your copy of Beasts of Prey at Barnes & Noble. And connect with Ayana Gray on TikTok.
Featured image by Marston Photography
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A Goddard College graduate, who earned an MFA from Pratt Institute and was awarded an honorary doctorate from Marymount Manhattan College, Mahogany offers unapologetic realness with a side of grace and empowerment. "I started touring locally. I started creating chat books so that those poems will go in the hands of the people who were sitting in the rooms," she shared.
"And then I started facilitating poetry workshops, so I used my chat books as curriculum. And that, in turn, allowed me to further invest in my art and show the community and people who were hiring me that it wasn't just a one-off, that it's not just, you know, a fly by night—that I am invested in this art as much as I am invested in your community, in your children's learning, in our growth."
Mahogany has a special way of moving audiences, and her superpower sparks shifts in perspective, post-performance introspection, and strengthening of community bonds, especially among Black women. (One can undeniably recognize her gift for arousal of the spirit and mind merely from her listening to her insights from the other side of a Google Hangout call. I can only imagine the soul-stirring, top-tier sensory encounter when watching her perform in person.)
In this chat with xoNecole, Mahogany reflects on sustaining a creative career, the aftermath of writing a banned book, and using poetry for both healing, community-building, and activism.
Anthony Artis
xoNecole: What are three key things that have laid the foundation for a sustainable creative career for you?
Mahogany L Browne: What has helped me is that I'm willing to go in being an expert at knowing poetry and knowing the way in which art can change the landscape of our lives, not just as a poet, but also as a poetry facilitator. How you move through classes, those things are mastered, right? So when I go into another space that's maybe tech-heavy, I don't mind learning and being, you know, a student of the wonder of how we can make this magic, work together.
Two, you’ve got to know how to pivot. Sometimes we say, ‘Alright, this is what my life is going to be. I'm going to be a New York Times best-selling author. I'm going to, you know, have an album that's Grammy-nominated. And then, say you get dropped from your record label. That doesn't mean you can't make an album anymore. You can also still create an album that can be submitted to the Grammys. So, what does a pivot look like as an artist who doesn't have an institution behind them? Pivot being a student of the wonder.
Relationships also really help. How do I serve the community? And in turn, that tells me how the community can show up. For me, I have long-standing ties with a community that will outlast my one life. So, what does it mean to create space where these relationships can develop, can be nurtured, can be rooted, can be cultivated? Creating space—it happens through relationships.
xoN: With today’s economic challenges, what does your current creative process look like, and what are you working on?
MB: I’m always thinking five years ahead. I just reviewed the pages for two children’s books and recently released a YA novel. I’m drafting an adult fiction manuscript now.
Anything I create is founded with the root of poetry, but it can exist in captions. It can exist in commercials. It can exist as a musical. So that's where I’m at now.
xoN: You started performing "Black Girl Magic" in 2013, had an acclaimed performance of it via PBS and the work went on to viral success shortly after. Talk more about the inspiration. And what do you think about the continued relevance more than a decade later?
MB: I wrote it as a rally cry for the mothers who had been keeping themselves truly in harm's way by, you know, being a part of the community right after the death of their child or their loved one. They are usually mothers of victims of police brutality—and just seeing how they showed up in these community spaces, they are devout to the cause but obviously still grieving.
"I wanted this poem to be just a space of reclamation, of joy and of you, of your light, of your shine, of your brilliance, in any which way in which you fashion. Every room you enter is the room you deserve to be in. What does it mean to have a poem like that that exists?"
And the first time I did the poem, the Weeping that occurred, right? It was like this blood-letting of sorts. The next time I performed it, I'm moved to tears because I'm seeing how it's affecting other women who have just been waiting to hear, ‘You belong. You deserve. You are good. We see you. Thank you, despite everything that they said to make you regret being born in this beautiful brown, dark-skinned, light-skinned, but Black body.’
Black women are the backbone—period. Point blank. And so, that that poem became a necessity, not just to the fortitude of Black women in the community, but like you know, in service of healing the Black women.
xoN: One of your books was banned at a school in Boston, and it was later reinstated due to parental and activist support. What was that experience like?
MB: Well, I think it happened because they were racist. That's it. Point blank. The reversal of it was empowering, right? I realized, oh, I thought we just had to sit here and be on a banned book list. But no, parents are actually the leaders of this charge.
So to see that, the parents said, ‘Nah, we're not gonna let you take this book out of my baby’s school just because it's a Black kid on the front saying, ‘Woke’ and they're talking about being a global citizen. They're talking about accountability. They're talking about accessibility. They're talking about allyship, and you don't want them to have compassion or empathy or have even an understanding, right? So no, we rebuke that, and we want this book here anyway.’ To see that happen in that way. I was, like, reaffirmed. Absolutely.
xoN: You recently organized the Black Girl Magic Ball at the Lincoln Center in New York. Honorees included author and entrepreneur Rachel Cargle and National Black Theater CEO Sade Lythcott. What impact did it have and what expanded legacy do you hope to leave with your creative works?
MB: I was really interested in not celebrating just the book, but celebrating the community that made the book possible. And so I gave out five awards to women doing that thing, like, what does it mean to be a Black girl in this world?
I just thought it was gonna be an amazing time. Everybody's gonna dress up—we're gonna celebrate each other. And boom, I then realized that it responded to like a gaping hole. There was a missing thing for Black girls of all walks of life, all ages, right?
"It's very intergenerational. That was intentional to come together and celebrate just being us."
You have all these instances where just being you is either the butt of a joke or it's diminished and not worthy of a specific title in these larger institutions. So what does it mean to just to be loved up on and celebrated?
It felt like a self-care project at first. You know, for the first couple of years, folks were coming and they were getting that sisterhood. They were getting that tribe work that they were missing in their everyday lives.
I love the Black Girl Magic Ball because we got us. If I go out with a bang, they'll remember that Mahogany worked her a** off to make sure all the Black girls everywhere knew that she was the light. We are the blueprint.
For more information on Mahogany L. Browne, her work, and her future projects, visit her website or follow her on IG @mobrowne.
Featured image by Anthony Artis
