Skip to main content

Octavia Butler's use of History

Octavia Butler's Kindred is set apart from the other books we've read in class, Mumbo Jumbo and Ragtime, through its use of history. Mumbo Jumbo and Ragtime use real historical events and people but abstract them, creating an alternate version of history that says something about our own. Kindred uses a more realistic representation of history, and creates a story through that which reflects real issues.

True to postmodernism, Mumbo Jumbo and Ragtime blur the line between history and fiction, and often make little distinction between what's based on fact or fiction. For example, Ragtime's cast features both real and fictional characters that interact with each other, which questions how real history is. Similarly, in Mumbo Jumbo Ishmael Reed breaks literary conventions and frequently references and retells history. Kindred, on the other hand, has an element of realism that the other two lack. Even though there are fictional and fantasy elements, like time travel, it never fully alters history. The story is self contained in the sense that everything in the novel could happen without history or modern life significantly changing. This is very different from the other two books, where the scale of the events and use of historical figures would drastically alter history.

This aspect of Kindred doesn't make the events any less important, instead, it adds to a central theme of the novel, which is how ingrained slavery is within American history. Dana tries throughout the novel be a good influence on Rufus so that it will make a difference for in plantation's future. She has hope for this in the beginning, saying "...I would help him the best I could. And I would try to keep friendship with him, maybe plant a few ideas in his mind that would help both me and the people who would be his slaves in the years to come. I might even be making things easier for Alice." (Butler 72) However, over the course of the novel, Rufus becomes more and more like his father, even worse at times, despite Dana's efforts. 

The inevitability of Rufus's descent, that even something like time travel couldn't fix, sends a message of how deeply ingrained slavery was in American society. It also speaks to the 1619 project, and how important the discussion and agknowledgment of slavery and its consequences is when talking about American history. This shows how Octavia Butler's use of history in Kindred is strategic, and reinforces the themes central to the novel. 

Comments

  1. Hey Chloe! I really like the way you interpret the various avenues of postmodernism we have looked at in this class. Kindred is a very powerful example, especially in that the story it is depicting is so horrifying it doesn't need any falsified elements to leave a permanent mark on the reader (aside from the time travel to set the situation up of course). This goes to show the development of history and Butler's motivations in the novel. Great post!

    ReplyDelete
  2. You make a good point here about how "history" means something different in the context of this novel, which somehow is both more "realistic" in its depiction of the historical era (without all the ironic undermining we see in Doctorow and Reed) AND more "fictional" in that no records of this particular plantation or the people who inhabit it will be found--Butler has invented ALL of her characters, but they are grounded in a more straightforward and realistic rendering of the *historical context*. So in this novel "history" means something like what it means for the 1619 Project: a set of circumstances, social and economic and political structures, power relations that shape the lives of characters in profound ways. So the fictional characters are like variables in a thought experiment, imagined individuals who represent realistic depictions of people who in fact lived and died and suffered anonymously. History would never have known the names of Nigel, Carrie, Sarah, and the others--and we realize how much of this actual history has been lost. Fiction can work to fill it in: if these people did NOT in fact live in this particular time and place, they sure COULD have.

    ReplyDelete

Post a Comment

Popular posts from this blog

Doctorow's Use of History and Fiction

        Ragtime's unique and ironic blend of history and fiction distinguishes it from others of that genre, notably through how Doctorow uses historical figures to send a message. Doctorow assumes an omniscent-like position while narrating, describing often baseless fictional events with the same conviction as a history book, but not without including jabs at different figures or situations. While any piece of history or fictional can never be fully immune to bias or the author's agenda, Doctorow seems to embrace it, and doesn't shy away from sending a message through his interpertation or editing of history.      Doctorow's depiction of J.P. Morgan doubles down on the irony and dramatics, successfully using one of the richest historic figures to dismantle what he stood for and what the world associates him with. This can be seen with Doctorow's depiction of J.P. Morgans internal dialouge, where he's characterized by his extreme ego, wealth, and views...

Mumbo Jumbo vs. Literary Conventions

     Mumbo Jumbo  by Ishmael Reed not only stands out for its imaginative and unique story, with it's incorporation of music, culture, and religion, but also how it constantly subverts literary conventions. The formatting of the book feels almost abstract: the first chapter is before the credits, the fonts constantly change, chapters repeat, and photos are scattered throughout. The novel takes the rules that you can usually rely on a book to follow and turns them on its head.     The breaking of literary conventions not only adds to the experience of reading the novel, but it also reflects themes of postmodernism. Mumbo Jumbo , like Ragtime , takes a period in history, and through a great amount of creative liberties, uses it to not only tell the story of that era, but also one that appears throughout history. Despite its fictional elements, such as made-up characters, breaking of the fourth wall, events and dialogue that is almost cartoonish, conspiracies,...

Esther and Her Future

   I think one of the parts of  The Bell Jar  that stood out to me the most was Esther's view on life,  and the role it plays in why she eventually attempts suicide. One of the main things that Esther struggles with is the question of what her future is, and if the one she's on track to is what she really wants. The uncertainity of who she wants to be, paired with the question of whether or not that's possible for her, haunts her. When Esther is faced with the path that she worries is currently laid out for her, one of being married to Buddy and having his kids, it only furthers her spiral. Seeing the woman give birth, and her realization that one day it will have to be her being tortued on that table, being forced to forget it, all so she can repeat that same process eliminates a possible future for her.      On page 79, Esther compares her life to a fig tree, with each fig representing a different life that she could lead, until, "I wanted each ...