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• W139833215 abstract "Moses was the first slave Henry Townsend had bought: $325 and handshake from William Robbins, white man. It took Moses more than two weeks to come to understand that someone wasn't fiddling with him and that indeed black man, two shades darker than himself, owned him and any shadow he made. Sleeping in cabin beside Henry in the first weeks after the sale, Moses had thought that it was already strange world that made him slave to white man, but God had indeed set it twirling and twisting every which way when he put black people to owning their own kind. Was God even up attending to business anymore?--Edward P. Jones (The Known World 8-9) Elias had never believed in sane God and so had never questioned world where colored people could be the owners of slaves, and if at that moment, in the near dark, he had sprouted wings, he would not have questioned that either.--Edward P. Jones (The Known World 49) In an interview with Publishers Weekly, award-winning novelist Edward P. Jones stated that the idea for novel featuring black slaveowner as the protagonist came to him while reading a small book about Jew who had joined the Nazis during WWII (Jones, Just Starting 254). In The Known World, Jones tells the story of slave named Augustus who purchases himself, his wife Mildred, and his son Henry out of slavery, only to have his son become slaveholder himself. This intergenerational conflict is played out against the backdrop of world that sanctions black human property ownership even as it denies African Americans' basic humanity. Indeed, the literary success of The Known World--winning the National Book Award and Pulitzer Prize along with host of other prestigious honors--derives from Jones's ability to zero in on the contradictions of human property ownership transgressing all customary boundaries of race, class and gender (ibid.). As might be expected, most of the attention in reviews of the novel, as well as public notoriety, has centered on the complex character of Henry Townsend, who in freedom chooses to go the way of his former slave master, William Robbins. Henry's character is not an anomaly in the novel; upon his death his wife Caldonia inherits his property, including thirteen women, eleven men, and nine children (67). (1) That are both male and female black slaveowners in this text troubles our usual ways of discussing issues of race, gender and slavery as dearly delineated set of power relations. Moreover, in fictional Manchester County, Virginia, we are told by the (sometimes intrusive) omniscient narrator there were thirty-four free black families ... and eight of those free families owned slaves (7). Thus early in the novel we are reminded to view these characters within wider context of black slaveowning that reconfigures the coordinates of race, gender, and power as multiple and sometimes contradictory sites for the (dis)location of black subjectivity. What are we to make of black male and black female slaveholders in African American literary representation? (2) At best Henry, Caldonia, and the other free black slaveowners are slippery characters, as Laura Browder describes literary impersonators who appropriate other racial and ethnic subject positions to escape the trap of an unwanted identity (Browder 2). Yet while Browder's terminology works well for autobiographies in which white writers impersonate minority subjects as in the case of fictionalized slave narratives, the issue of black characters' appropriations of identities culturally ascribed to whiteness is more complex. Browder's concept, however, helps to extend the notion of passing beyond physiological passing, which requires the privilege of white skin color, into the psychological and social dimensions of the term. Seen in this way, the power relations inhering in any instance of passing, either literally or figuratively, regardless of the potential to disrupt racial and gendered norms, have to do with will to (white) power and privilege as way of mitigating blackness. …" @default.
• W139833215 created "2016-06-24" @default.
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• W139833215 date "2008-09-22" @default.
• W139833215 modified "2023-09-24" @default.
• W139833215 title "Imagining Other Worlds: Race, Gender, and the Power Line in Edward P. Jones's The Known World" @default.
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