Neo-Slave Narrative In Kindred

Kindred is a clear instance of the neo-slave narrative, an Afro- American genre of writing that recounts the personal experiences of slaves that examines the past of African-American slaves and represent the nineteenth century slave narrative tradition, that was first published in 1979. Ashraf argues "that there are three types of neo slave narrative: the third person historical novel of slavery, the first person narration of the life story of a slave, and the recounting of the traumatic legacy of slavery of slavery on later generations. This genre identifies historical narrations from those that follow the effects of slavery in the present. This book is the first person narration of the life story of a young Afro-American woman writer, Dana,

Although, Dana Franklin is a traumatized Afro-American female subject, Octavia brings into focus the consequences of power mechanisms that humiliate the "Other" and place him at the bottom of the social hierarchy. In the antebellum South, Dana becomes an easy target of rape and the mere acknowledgement of her vulnerability as a colored woman arouses a feeling of shame. Through the narration, Dana 's efforts to protect her integrity are kept in check by the menace of sexual or physical violence by a white man. Therefore, her home in twentieth-century California becomes a point of vulnerability, and her marriage to a white man is experienced as shame. On other hand, her decision to resist Rufus 's attempt of rape shows that she keeps her integrity. Dana 's first-person narrative claims the power that help her to share her own story and express resistance and defines herself through words. Kubitschek claims, a "personal narrative necessitates a construction or reconstruction of the self as character and thus offers power to the storyteller". The protagonist 's power is emphasized by how Kevin 's time travel is depending on Dana 's presence since she is his only way to the past. Octavia thus supplies her protagonist with a subject position, which suggests a critique of dominance objectification of African