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92 pages 3 hours read

Margaret Walker

Jubilee

Fiction | Novel | Adult | Published in 1966

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Symbols & Motifs

Songs

Walker prefaces each chapter with lyrics from a song that is particularly relevant to the content of the chapter. Songs help both to capture the mood of sections within the narrative while also providing historical context. Within the chapters, people sing spirituals that signal the slaves’ hope of salvation and better days, as well as Christian hymns. Songs were black people’s means of expressing their feelings or even of carrying messages to each other without white people knowing what they meant.

In other instances, Walker features songs designed to mock and terrorize black people. This occurs when Missy Salina forces the slaves to sing “Dixie” while her son, John Jr., rides off to fight the Civil War. He is going to defend the Confederacy and its insistence on keeping black people in bondage. By forcing the slaves to sing a song about undying devotion to the South, Salina reasserts her control over them, which she thinks will be everlasting.

Later in the novel, a group of white boys threatens Minna and Harry with a razor and sings, “Eeny, meeny, minie, moe” (417). The song has since become a children’s rhyme whose noxious history has been erased by changing “nigger” to “lion.” Walker reminds the reader of how such seemingly innocuous songs ended up being part of the vernacular by making children—the ones likeliest to sing the song—both victims and perpetrators of the racist terrorism that inspired the lyrics.

The China Dishes

Salina Dutton takes pride in her household finery, particularly her china dishes. When Vyry first comes to work in the Big House, Salina threatens the child with violence should she break one of the precious dishes. On the surface, Salina’s valuation of the dishes over Vyry’s well-being demonstrates how slave owners prized some inanimate objects or animals over fellow human beings, an additional example of how they sought to dehumanize black people. However, the dishes also represent femininity and the sanctity of the domestic sphere. The delicacy of the dishes, which ultimately break near the end of the Civil War, prompts the reader to think of how fragile Southern households were held together by denial and hypocrisy. Salina uses her lofty position as mistress of the household to punish Vyry for being the living evidence of her husband’s impropriety and a reminder that her supposedly Christian principles and pretensions of refinement will not protect her when her world falls apart.

Moses

Brother Ezekiel uses the Bible, an instrument that contributed to black people’s enslavement and further oppression, as a tool of empowerment. Able to read, he interprets Scripture for himself and other slaves at Shady Oaks. He seizes on the figure of Moses. He compares the enslaved black people to the Israelites and the slave owners to the evil pharaoh in Egypt. To give his people hope, Brother Zeke tells them that they, too, will live to see a Moses deliver them from slavery. When President Lincoln issues the Emancipation Proclamation in 1863, Brother Zeke goes to his deathbed believing that Lincoln is the Moses whom black people have been awaiting, though Randall Ware, skeptically, thinks of how no slaves have yet been freed from Southern plantations, due to the obstinacy of Confederates. Brother Zeke’s vision of President Lincoln is simplistic, either due to Brother Zeke’s limited awareness of Lincoln’s true sympathies (the President wanted to end slavery to end sectarian warfare, not because he thought black people were equal to whites) or because Brother Zeke’s only hope for black people’s salvation rested with Lincoln. 

The Call of the Whip-poor-will

The whip-poor-will is an actual bird, native to the eastern United States. It gets its name for its call and is a bird that is seldom seen due to its camouflage. In the novel, when Vyry hears the call of the whip-poor-will, she knows that either Randall Ware is nearby or someone has arrived to give her a message from him. The call is one of the means through which slaves and conductors on the Underground Railroad communicated with each other. In the novel, it symbolizes Vyry’s longing for freedom and her hope that, whenever she hears the call, Ware has come to rescue her from the Shady Oaks plantation.

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