The 3 "movements" of Sing, Unburied, Sing

Re-reading Jesmyn Ward's Sing, Unburied, Sing in preparation for this week's book group, and also read my (5) previous posts on this novel. Sometimes when I look back on previous posts I wonder what I'd been thinking (that's part of the point of this blog - not "reviewing" a book upon finishing reading but writing about the reading experience as it unfolds over days or longer), but this time the previous posts seemed pretty much on the mark. What's more clear to me, looking back (and re-reading, though I'm only about 1/3 finished) is that the novel seems to be in three acts, stages, or, preferably, "movements." It starts off as a great family tragedy - black family and white family in rural Mississsippi, hating each other, a blood rivalry, on the what men murdered one of the black men and got off w/ a light sentence; white man (Michael) marries and has two children (Jojo and Michaela/Kayla) by black woman (Leonie), and his family refuses to refuses to recognize the marriage and the grandchildren. 2nd movement begins when Michael is to be released from Parchman prison upstate, and Leonie takes the children (and a friend, Misty) on a long journey to pick up Michael on his release and bring him home - a "road novel," episode, complete with Odyssean stops along the way - at a meth dealer's, a defense attorney, etc. Third movement involves the young man at the center of the novel, Jojo, learning about his grandfather's (Pop's) experiences in Parchman, particularly about his protection of a young man (Richie) imprisoned and vulnerable - narrated or revealed by Richie's ghost; not sure really why the novel had to become a ghost story of sorts at the conclusion, but Ward clearly has a lot of interest in folklore, folk remedies, potions, and so forth - so there you have it.