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Lawrence HillA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Looking back on her life, narrator and protagonist, Aminata Diallo, now an old woman, remembers her childhood in Bayo, a village in west Africa, when she was safe and free. She has known great suffering and has spent her life longing for the children she has lost. But although she is now dependent upon others to care for her, she is a survivor. There is a “reason” for this survival (1), she says: she now works with Abolitionists “to change the course of history” (2-3). Known now by her anglicized name, Meena Dee, she speaks publically to rally Britons to the abolitionist cause. We learn that Aminata was born in or close to 1745, to loving parents and a comfortable life. She was kidnapped at the age of eleven, and soon after stopped growing. Reflecting on that past life, she remembers her father’s Qur’an, the only book she ever saw in Bayo, and thinks about all the time she has for reading now. She also has time for her writing, and is determined to tell her story. She has asked her friend, John Clarkson, “one of the quieter abolitionists” (4) and the only one whom she trusts, to safeguard her writings for future generations. Her caveat to all her readers: “do not trust large bodies of water,” or “the color pink,” the color of the sunset that beckons the slave ship with its terrified cargo (4). She intends to die in London, for she has “weathered enough migrations for five lifetimes,” and no longer wishes to travel (4).
The chapter begins in Bayo when Aminata is eleven years old. The village is “three moons by foot from the Grain Coast in West Africa” (4). Her father, Mamadu Diallo, is a jeweler. One day he trades a gold necklace for a teapot, and he awakens her in the night to join him for mint tea. They talk of Timbuktu, across the mighty Joliba River, a center of Islamic learning, where he once travelled. She asks again to hear the story of how her parents met. Her father and some traders stopped at a friendly Bamana village, and when he first saw Sira Kulibali, he knew he would marry her. Since he was a Fula, their marriage would have been forbidden, but tribal allegiances were shifting due to external dangers. In these “troubled times” (11), people were disappearing at the hands of kidnappers; so, “new alliances were being formed among neighbouring villages” (11).
Aminata’s father teaches her to read and write in Arabic, a rarity for a girl. She also learns to speak both her mother’s Bamanankan language, and her native Fulfulde. Her Mama is a skilled midwife who lets her daughter accompany her in her work. Aminata learns about menstruation and female circumcision, a ceremony which will be performed on her when she is of age. She has heard stories of other villages being attacked and even men “sold by their own people,” but she is not afraid. She is a “freeborn Muslim” who says her prayers and has “the proud crescent moon” carved into her cheeks (13). But even within this peaceful village, there are captives, “all unbelievers”; one of them is Fomba, a “woloso,” or second-generation captive (13).
One day, when returning from a birth, Sira, Aminata, and Fomba are attacked by strange men with the same color skin, but no tattoos like theirs. They try to fight back, but the men kill Sira during the struggle. The men bring a bound Aminata back to the village, which is in flames. All the grown men are yoked, as she, too, is. She runs to her father, who is also bound, but he is shot and killed while trying to free her. The man who kills Mamadu uses “an unusual, long, rectangular stick” from which “fire exploded” (27). As she is marched off into the night, she hears her father’s last words over and over, repeating her name.
Aminata and Fomba are marched away, and their captors use fear and humiliation to keep them in line. There are eight captives from Bayo and neighboring villages, but in the dark, Fomba is the only one she recognizes. In the morning light, she notices Fanta, the fourth wife of Bayo’s village chief, among the captives: she is five months pregnant. All the prisoners are forced to march naked. Aminata is determined to escape, but “to where could a naked person run?” she wonders (31). She is beaten every time she tries to pray, and eventually she gives up. They are marched over a river, and through villages, but no one helps them. She is befriended by a young boy of fourteen named Chekura, who has been employed by the slavers for three years. He tries to help her, but at first, she disdains him. Soon she realizes he too is a victim, orphaned and sold to a cruel uncle who later sold him to the captors. The slavers promise to free him after the job is done.
Every day, the captives increase in number as the “coffle” of yoked prisoners moves through various villages (31). Fanta, hungry and tired, taunts Aminata, but she fights back. During the long march, Aminata starts menstruating, and Chekura obtains permission for her to receive help from some village women. Some of the captives die and are left to rot. The prisoners also see decomposing bodies during their journey. The march goes on for months, and Aminata measures time not just by the moon’s cycles, but her own menstrual cycle.
After three months, she sees her first “toubab” or white person, a “new breed of man” with “speckled” skin “like that of a washed pig” (44). Chekura warns her that the toubab are dangerous. A new captive, Sanu, arrives, and is placed in the coffle. She and Aminata converse in Bamanankan. When the pregnant Sanu goes into labor, Aminata delivers the baby. Sanu tells Aminata she would make her mother proud, and names the baby in her honor. When they reach the ocean, Aminata does not believe her eyes: she has never seen so much water. She has never seen the ocean, but she smells a rotting scent, which Chekura tells her is the odor of the ship that will take her away. The captives are penned in filthy conditions, branded, and forced to sleep standing up. They are brought to a ship which is even filthier. Chekura, who had been promised freedom, is betrayed and is among the slaves loaded aboard. Aminata vows that she will return, and turns to take a last look at her homeland as they sail away.
Dropped on deck “like a sack of meal,” Aminata imagines she has been made a djeli, an honored village storyteller, whose purpose it is “to witness and to prepare to testify” of her sufferings (55). She recalls all the things her parents taught her and relates the “series of coincidences” that saved her life on the harrowing ocean voyage. Besides the toubab, there are “homelanders” working on the ship as well (58). Because she knows multiple languages, her white captors ask Aminata to translate for them as they conduct body inspections. The orange-haired toubab, Tom, is a “medicine man” (i.e., doctor), and he helps Aminata when she urinates on herself from exhaustion.
A terrible stench engulfs the ship, and it intensifies when Tom brings Aminata down below, to Middle Passage. In the hold of the ship, conditions are worse, as the smell of human waste overtakes her. Aminata speaks to the men, who each tell her their names in a desperate attempt to assert their humanity. The men are chained to one another, as “waste and blood streamed along the floorboards” (63). She meets Biton, chief of the Sana people, who befriends her. She is reunited with Chekura, who warns her to be careful because Biton wants to lead a revolt that may get her and everyone else killed.
In the meantime, Tom gives her food, teaches her English words, and renames her Mary, a name she vows never to use. When he lets her into his bunk, and caresses her, she hisses at him. He retreats, holding a cross, which Aminata does not recognize; he does not bother her anymore, and allows her to sleep. She awakens to the sounds of Tom raping a female captive, and afterwards, she drifts to sleep again. Alone, she discovers hard, round shiny objects, which she bites into, since she has never seen coins. She is allowed to bunk with Tom, and is put in charge of caring for his parrot. He also lets her move freely about the ship. He and the other white men regularly rape the female slaves.
Captives die every day and are tossed overboard, which torments Aminata, who believes the dead must be properly buried. Chekura continues to warn Aminata away from Biton, who endures the lash and rises to unofficial chief of the captives. In singsong, with the white sailors watching, the captives dance and speak to one another, planning their revolt. Fomba, despite a severe depression, has figured out how to unlock shackles and close them again, thus fooling the captors. Alone in Tom’s cabin, Aminata conducts imaginary conversations with her parents.
After assisting Fanta in the childbirth, Tom forces Aminata to announce the birth in Middle Passage. Instead of the expected dancing and celebrations, this event is the signal for the slaves to revolt: shots ring out and chaos ensues. During the fighting, Fanta murders her baby, then grabs Sanu’s newborn, baby Aminata, and throws her overboard; Sanu, in a frenzy, commits suicide by following the child over the rail. Others follow her example, but many others fight, most to the death.
Eventually, the whites win by the sheer force of their “firesticks,” e.g., rifles (91). The dead and dying—on all sides—are all thrown overboard. Aminata, now bound, is housed with the other women. There are daily beatings that serve as a warning. Only two-thirds of captives have survived. With land on the horizon, the prisoners are made to clean themselves. Chekura apologizes to Aminata, but she no longer even remembers that he had once worked for the slave traders. Book One ends with Chekura and Aminata grateful to have escaped burial at sea and grateful to still be alive.
Book One opens when the narrator and protagonist, Aminata Diallo, is an old woman, now living in London and looking back on her life. This dual point of view is a narrative framing device that continues throughout the novel. It is 1802, and Aminata has joined the Abolition movement in England after a lifetime of suffering and wandering. Chapter One introduces the theme of storytelling, as well as that of migration, both of which suffuse the entire novel. Chapter Two opens with the young Aminata, at eleven years old, in Bayo, her beloved village. She is safe and free, with loving parents and a happy home. But the idyll is shattered almost immediately: there are slaves, such as Fomba, even in this peaceful village. He is an “unbeliever,” whereas Aminata and the others are “freeborn Muslims.” His captivity prefigures the darkness to come, when raiders from afar, allied to native slave traders who invade villages, steal men, women and children.
The looming threat comes to terrifying fruition at the end of Chapter Two, when Bayo is attacked by African slave traders who steal and sell their own people. Aminata witnesses the deaths of her mother and father, as Bayo burns down. Chapters Three and Four detail the harrowing, three-month journey on foot to the coast, and the horrific ocean voyage to America. These events will form the basis for Aminata’s testimony to the British Parliament near the end of her life. She will be asked to bear witness to the treatment she and her fellow slaves endured. Like other slave narratives that make a splash in Europe, Aminata’s suffering is explicitly connected to the act of telling one’s story from Chapter One. When a little white girl in London asks Aminata to tell her a “ghost story, “she replies, “Honey…my life is a ghost story” (4). The little girl then asks to hear it. And so, the tale begins.
Later, when a newly-enslaved Aminata goes below deck, she sees horrors she could not have imagined. This phase of the journey is known as "Middle Passage," part of the triangular trade in which millions of Africans were shipped to the New World as part of the Atlantic slave trade. This physical and psychic space was considered a time of in-betweenness for those being traded from Africa to America. Ships departed Europe for African markets with manufactured goods, which were traded for purchased or kidnapped Africans, who were transported across the Atlantic as slaves; the slaves were then sold or traded for raw materials, which would be transported back to Europe to complete the voyage. Voyages on the Middle Passage were large financial undertakings, generally organized by companies or groups of investors rather than individuals.
Captured African men and women were considered less than human; they were "cargo," or "goods," and treated as such. Slaves below the decks lived for months in conditions of squalor and indescribable horror. Disease was one of the biggest killers. Mortality rates were high, and death made these conditions even worse. Although the corpses were thrown overboard, many crew members avoided going into the hold. The slaves who died were not always found immediately, and many living slaves could be shackled to a corpse for hours and sometimes days.
When Tom, the doctor takes Aminata below deck, “the men called out in a frenzy of languages, ”symbolically linking all the tribes from which enslaved peoples come (64). Indeed, language plays a symbolic role in this novel, and is strongly linked to the theme of storytelling as well. Chapter Four opens with Aminata deciding that, if she ever makes it home to Bayo, she will ask the village elders to make her a “djeli,” or storyteller (55). This is usually an inherited title, she explains, but her adventures may cause them to “make an exception” to this rule (55). Aboard the ship, she comforts herself with this fantasy, and thus she must “see and remember everything” (56). Witnessing horrors down in the hold, she reminds herself to “be a djeli. See, and remember” (64). Biton, the enslaved Sama Chief, urges her to “gather information” to bring to him: “Speak to me. Tell me everything” (65), he says. Just as the djeli must bear witness, so too will Aminata bear witness to the British public.
Aminata must also reckon with her previously-held beliefs, which are overturned when she is captured. The novel complicates the issue of who is to blame for the slave trade. From the outset, we see that Africans are themselves willing participants in the trade, an argument that appears later in the novel: Anna Maria Falconbridge tells Aminata that this is the very argument made by European slave traders. Before captivity, Aminata believed that “no Muslim was allowed to hold another Muslim in captivity,” and her crescent moon tattoos, which identify her as a “believer” (13), guaranteed her safety. Once aboard the slave ship, she insists to Biton that “I am a freeborn Muslim” who was “not supposed to be stolen” (65). Biton reminds her that they have all been stolen, and now different peoples from different tribes are one people, enslaved together. The issue of blame is presented as complicated and convoluted. On the long overland march, Chekura had warned her that whites are dangerous and she replies: “Are you my captor or my brother” (45), a thematic question echoing throughout the novel. Very quickly, Chekura goes from captor to captive, signifying how vulnerable the Africans are.
This forced migration of disparate peoples also introduces the theme of migration, which is threaded throughout the novel.
By Lawrence Hill