46 pages • 1 hour read
Ousmane SembèneA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The physical description of the aridity of the geography in which the novel unfolds consistently emphasizes the effects of torrid heat upon its inhabitants. Responsibility for daily collection of water for the needs of the family is traditionally that of the women, and congregation near the public water fountains serves a social function, in addition to being a necessity for survival. When the fountains are turned off by the authorities in retaliation for the railway strike, great hardship ensues. Water becomes an even more precious commodityand is sold at inflated prices. Children are assigned to monitor the fountains in the hope that the authorities will turn them on for a brief period during the day.
In addition to providing hydration, water is mandatory for religious purposes of cleansing. The women are unable to bathe the dead, prior to their burials. Finally, the puzzling question presented to Ad’jibid’ji by Niakoro, “What is it that washes the water?” is properly answered by the fact that it is the spirit, which is even purer than the water itself.
This phrase is both the title of the book and a reference to individual human beings. The term is used to describe Houdia M’Baye’s nine children, rendered fatherless when their father is killed in strike-related fighting. The author tells us that bringing nine of “God’s bits of wood” into the world had “made her dull and listless” (51). The imagery lends itself to a number of interpretations. From a spiritual perspective, one might consider the metaphorical representation to involve God as the primary life force, the living tree from which all future generations are born. Physically, trees would have been as depleted by lack of access to water as the human population is over the course of the strike; therefore, the production of future births, or “bits of wood,” would be less likely.
Baobab trees figure heavily into the narrative of the young apprentices, three of whom die after being shot by the railway manager, Isnard, in what he perceives to be an act of self-defense. When the young men are initially left without work due to the strike, they congregate in a spot outside the village shaded by a baobab tree. It is there that they devise the idea of using slingshots to hunt lizards, and eventually use them to smash glass in the French community. Conversely, cade trees stop some of the women on their march to Dakar, as superstition associates them with suffering and death.
The ram, Vendredi, is the pet of Mabigue, Ramatoulaye’s egotistical, self-absorbed brother. Mabigue refuses Ramatoulaye’s request for assistance in obtaining store credit to feed her family, at which point she says that she will kill the ram if it enters her house again. When the animal does so, and destroys the meager food stores left for the children, Ramatoulaye kills him and boils the meat to feed the children. The battle between the woman and the animal is as vicious as that of the French colonial forces and the natives: “Vendredi […] charged. His horns and head seemed to bury themselves in Ramatoulaye’s body” (67). The fact that the self-sacrificing woman prevails in this conflict is a harbinger of the eventual victory of the strikers. The dichotomy between the care and affection lavished upon the ram by Mabigue and his ability to ignore the starvation of children is dramatic. The superficiality of Mabigue’s character is emphasized by this pet, as is the fact that the ram’s actions lead to destruction, rioting and death.
In a primarily illiterate society, song is used to convey news, emotions and as an auditory archive of history. Maimouna, the young blind mother of twins, sings ballads ceaselessly. On the day when one of her twin infants is trampled during a stampede precipitated by the charge of soldiers in the marketplace, Maimouna prophetically sings about the legend of “Goumba N’Diaye, the woman who had measured her strength against that of men, before she lost her sight” (17).
Similarly, when the women’s morale reaches a very low point due to lack of food, they start to meet daily at Dieynaba’s compound, and sing extemporaneous ballads declaring their loyalty to their striking husbands. Song also plays an important part of the women’s march to Dakar: “As soon as one group allowed the refrain to die, another picked it up, and new verses were born at the chance of hazard or inspiration” (192).