Tag: Octavia Butler

How deep are the roots of slavery in Kindred and Sing, Unburied, Sing? Part 3

Posted on by Sasha in How deep are the roots of slavery in Kindred and Sing, Unburied, Sing?, Literature

The literary blurred lines of an interracial relationship

Interracial relationships have frequently been depicted in forms of literature and film such as the ground-breaking Guess Who’s Coming to Dinner by Stanley Kramer and, more recently, Jordan Peele’s Get Out. These relationships have always varied in their presentation, but, due to the societal basis of slavery, Butler and Ward’s fictional relationships depict the fine line of slavery within an interracial relationship.

Whilst Dana and Kevin’s relationship is a loving one, a certain power struggle exists. When Kevin proposes he says, ‘I’d let you type all my manuscripts’ and shows clear annoyance and anger when Dana is reluctant. This is an interesting detail for Butler to choose to include, as, due to lack of relevance to the plot, it is clearly significant for another reason. She is depicting an imbalance in the relationship and presents the assumption from the white male that the black female will do what he says and be happy to do so. Butler takes this further as she draws comparisons to Rufus as he asks Dana to write letters for him as well, blurring the lines between slave master and husband.

One of Dana’s initial time travelling escapades ends with her in a violent situation when a white guard nearly rapes her. Butler distorts Dana’s transition from 18th century to 19th century as she opens her eyes and sees ‘a blurred face above [her] – the face of a man – and [she] panicked’. It takes her a few seconds to realise the man above her is no longer the attacker, but her husband. This highlights the similarities between the two white faces and the possibility of Kevin as the threat, reminding us that this was the expected relationship between a white man and black woman.

Damien Duffy and John Jennings take this idea further in their graphic adaptation of Kindred with the comparison of the two men in their illustrations.

The two images are screenshots taken from Damien Duffy and John Jennings 2017 graphic novel adaptation of Kindred.

Looking at these images we can see distinct similarities. Both men are white with similar hairstyles and rolled up sleeves. The positions of their bodies on top of Dana’s with the angle looking in from the right side along with their comparable features allows us to see the men as the same. It questions our interpretation of their relationship and the grounds in which it is based. Equally it draws attention to their respective ancestors and the class divide in the 18th century society, blurring the lines of their interracial relationship.

The secondary interracial relationship in Kindred is between Alice and Rufus, which is based on slavery and force. Guy Mark Foster writes that ‘My point is that critical analyses of the novel that center the historical narrative of interracial rape, represented by Rufus and Alice’s forced relations, do so at the expense of marginalizing the narrative of consensual interracial desire, represented by Dana and Kevin’s marriage’. Yet, due to the constant similarities and parallels, I believe Butler’s intention was to marginalise interracial desire and draw attention to the fundamental societal issues.

Not only is Kevin compared to the white patriarchal figures, but Dana and Alice are constantly described as sisters with their similar appearance and personality. Equally, they are both favoured by Rufus and given leeway in their behaviour. Rufus even concludes their interchangeability when Alice dies and he attempts to bed Dana instead. The distorted lines between characters work together to blur the interracial relationships and shape the aesthetic in a more traditional way. It depicts slavery as deeply rooted within the societal norms and an inescapable thing that manifests itself in all aspects of modern American life.

In less explicit terms, Jesmyn Ward highlights a level of oppression and slavery in Leonie and Michael’s relationship. On one level, the African American Leonie is emotionally enslaved to her white partner, to an extent that is reminiscent of master – slave. When it’s her son’s birthday, the phone rings. Even though she is holding her son’s cake and he’s about to blow out the candles, she exclaims that it, ‘Might be Michael’ and runs off with the cake in hand. Ward has painted Leonie as a character who would drop anything for her partner, he is constantly on her mind, above anything else, including her duty as a mother. After her mother’s death, when her father is left caring for her two children, she leaves with Michael, with no regard for how her family are coping without her mother. She follows Michael round like he is her master as Ward depicts the hold a white man can still have over a black woman.

Equally, I found the incident with the policeman on their way back from Parchman to hold a similar level of significance with regard to white/black relationships. Nicole Dib writes that, ‘she, as the black woman, had to literally consume the risk that she, her white friend, and her white male partner all took’. In a situation in which a group of three were responsible, Leonie must physically consume the evidence as an act of duty towards her white counterparts. She ends up violently sick and severely affected by her actions whilst Michael and Misty remain unscathed. Not only does this incident represent a blurring of the boundaries in interracial relationships, but also illustrates the cultural lag. African Americans are behind white people in terms of societal rights and police treatment due to the inheritance they have gained from the time of slavery.

Jesmyn Ward and Octavia Butler have both seemingly worked with the established aesthetic tradition of slavery within literature to employ its relevance in society today. The use of modern-day slavery in both exaggerated and realistic terms has formed a stable sense of the injustice faced by African Americans in contemporary America. The references to the Middle Passage and works by Frederick Douglas both serve to highlight the lack of progress and the necessity to inform through the use of literature.

How deep are the roots of slavery in Kindred and Sing, Unburied, Sing? Part 2

Posted on by Sasha in How deep are the roots of slavery in Kindred and Sing, Unburied, Sing?, Literature

The hand me down life

It is written in Michael Hanchard’s essay on Afro-modernity that ‘Legalized segregation, the maintenance of separate and largely unequal institutions, meant that blacks, as a consequence of prejudicial treatment, received health care, education, police protection, transportation, and a host of other services only after those same services were provided for whites’. This was a prominent issue that followed the emancipation of slavery as, the prejudices against African Americans were still extremely prevalent. In turn, the delayed access to education, health care etc, created a cultural lag which largely affected the black community and their progress in society.

Frederick Douglas wrote in his work on ‘The Color Line’ that, ‘He has ceased to be the slave of an individual, but has in some sense become the slave of society’. Despite this being written in 1881, this idea of being enslaved to society has persisted well into the words of Hanchard over a century later. The African American community was forced into the cultural lag through societal structure, with no choice to remain there, resulting in their lives continuing on an eerily similar path to their ancestors who were explicitly enslaved.

I can easily transfer this idea of the cultural lag to Sing, Unburied, Sing due to the lack of justice that Ward has depicted throughout her use of young, black male characters. The ghostly figure of Given is narrated to life to by his sister Leonie and the reader learns about his tragic fate. As a young aspiring athlete, he was deemed to have a bright future due to his talented football playing. Yet, due to the cultural lag and unequal opportunities of society, he was unable to excel and reach his full potential. His father said to him, ‘they look at you and see difference son. Don’t matter what you see. It’s about what they do’. There is a clear outline of a black and white dichotomy with an explicit reference to the imbalance of power and the effect that Given’s white counterparts could have on his livelihood. Given ends up being murdered by a white boy when they are out hunting together simply because of Given’s superior hunting technique. The murderer exclaims to his family that, ‘He was supposed to lose, Pa’. His uncle scolds him and says, ‘This aint the old days’ yet, his white skin and links to the Sheriff’s office results in a quick three-year sentence, barely enough time to affect his future. Despite his uncle’s claim that, ‘This aint the old days’, there is a clear cultural lag in the treatment that African American’s receive in the criminal justice system. Maybe society hasn’t moved on since the old days after all.

In 1881, Douglas wrote that ‘They are negroes – and that is enough, in the eye of this unreasoning prejudice, to justify indignity and violence. In nearly every department of American life they are confronted by this insidious influence’. This is clearly a tradition established early on when writing the African American experience and Ward has made no effort to work against this or argue that there has been any significant change. Ward’s character Given excelled, yet the cultural lag in society didn’t allow him to move forward with his talents and overtake his white counterparts. In the eyes of the law and his white friends, he was just a ‘[negro]’ which was enough to ‘justify indignity and violence’.

It can be argued that the events I have just outlined were based on the second-generation characters and therefore less relevant to the modern day yet, Jojo’s experiences with the police highlight the relentless significance of the cultural lag. When stopped by the police on their Middle Passage, the ghostly figure of Richie warns Jojo that ‘They going to chain you’. This character is two generations older and due to the perceived societal progression in the black/white dichotomy, it wouldn’t be far fetched to assume he is out of touch with the police force. However, Jojo goes on to being treated by the police in the way that was predicted. Nicole Dib wrote that ‘Richie’s disquieting statement and the distressing action his body takes in the car signals the carceral anxiety that haunts him, even as a ghost’. Yet, I believe that the distress is less about his past experiences, and more about the fact that this is still a concern for African Americans. Richie is the voice of the past that is shocked and uncomfortable that modern day children are forced to endure his previous experiences, which ultimately exacerbates Ward’s intentions.

The cultural lag is highlighted not only by these similarities, but by Jojo being singled out by the police officer. The young boy is surrounded by adults, including a much older white man, yet the black child is the person whom the police officer sees as a threat worthy of arming himself. This pays homage to the endless number of black drivers who have been shot and killed on the road such as Sandra Bland. It’s important to note that Octavia Butler expressed a similar cultural lag in her comparisons of 19th century and 20th century North America. Whilst the Antebellum South depicts unimaginable extremities, Butler makes sure she presents her modern-day world as unjust. A co-worker refers to the couple as ‘chocolate and vanilla porn’, whilst Kevin’s sister said she ‘wouldn’t have [Dana] in her house – or [Kevin] either if [he] married [her]’. These examples span across different levels of extreme whilst one expresses a lower-level prejudice, one depicts a more violent level of racism and cultural lag. The colour of Dana’s skin prevents her from marrying freely and being accepted by her partner’s family. This is not dissimilar to the way the couple are treated in the 1800s as she is assumed his slave. As stated by Douglas, ‘They are negroes – and that is enough’.