The Longest Memory Narrative structure PDF

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Analytical notes on structure of text, THE LONGEST MEMORY....

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Narrative structure The narrative structure of The Longest Memory is complex. It is told by ten different narrators, uses many different styles of writing and language, and it forces its readers to piece the story together. The multi- voiced narration means that characters’ motivations and inner thoughts are revealed, making it possible for the reader to know the characters and understand their motivations, even when condemning their actions. The prologue ‘Remembering’ and the epilogue ‘Forgetting’ stand on either side of thirteen chapters, which give many perspectives on the same story and events. While Whitechapel’s voice begins and ends the novel, and discusses the nature of memory, the other characters fill in the gaps in both Whitechapel’s and the reader’s understanding of the events. The prologue and epilogue offer yet another style of narration: although they are in the first person voice of Whitechapel, their style is more poetic and figurative that that of chapter 1. Although the prologue and epilogue create a sense that the novel moves chronologically from one event (the death of Chapel) to a later event (Whitechapel’s death), in fact it uses a nonlinear structure. Some chapters follow chronologically from the previous one, but others move back in time, sometimes by several years (Chapter 3 and 7). On the other hand, Chapter 12 appears to be told from many years into the future (the child who is the primary voice in the chapter, Whitechapel’s great-granddaughter. Furthermore, time moves at a different pace with each chapter, adding to the episodic and fragmented nature of the narrative. For example, Chapter 1 covers a number of days while Chapter 9 and 11 cover months or years, and Chapter 2 and 13 cover only moments in the characters’ lives. In addition to using different narrative voices, the novel uses a number of narrative forma, including internal monologues, diary entries and newspaper editorials. Chapter 5, Chapel’s voice is written a poetry. While most chapters are written in the first person, Chapter 6 uses the second person voice, perhaps capturing Mr Whitechapel’s sense of being the object of others’ scrutiny and scepticism.

Language In The Longest Memory the author uses language to suit the form and audience, and to inform aspects of characterisation. Chapel’s language, for example, is particularly poetic. His chapter is written in verse, and indicates how he might compose and communicate with his love. The editor of The Virginian also has a particular style, and he reflects the ideas of his time with his paternalistic and condescending responses to Miss L’s abolitionist ideals.

Narrative perspective and language style Distinctive features of the construction of The Longest Memory is the shift, in almost every chapter, to a new character’s perspective. The author achieves these shifts in narrative perspective by varying his language choices and sentence structures, giving each character a distinctive voice and personality. Whitechapel’s chapters tend to describe personal emotions and experiences, and are rich in descriptive, figurative language, often using very long sentences and paragraphs. His son echoes this in his own poetic language and using poetic devices such as loosely rhyming couplets, enjambment (the running-on of lines) and significant variation on structure and rhythm (pg 62). Lydia’s vocabulary

and rhythms are also quite poetic and lyrical. In contrast, Sanders Senior uses formal language and abrupt, short sentences and paragraphs, conveying his more abrasive nature.

Significance of the title The title literally refers to the character Whitechapel, who has the longest ‘living memory’ of anyone on the plantation (pg 35). He describes his own memory as ‘longer than time’ (pg 26). His age and status are central elements of his character, and important aspects of the narrative and some of its themes. The title might also be understood as referring to a less literal ‘memory’ in terms of familial lines. For example, Chapel who carries the name of his ‘father’, will be responsible for carrying on the memory of Whitechapel (even though they are not genetically related). Similarly, it could refer to the idea of Whitechapel’s descendants inheriting a kind of cultural ‘memory’ of Africa (Chapter 12 – his great granddaughter)

Changing perspectives and genres The shifts in narrative perspectives throughout the text allow the author to convey different facts about events, manipulating the reader’s reactions to the narrative. The plot involves the gradual revelation of details about the circumstances leading up to Chapel’s punishment and death. In each chapter, the various characters expose the reader to a different aspect of this event, so that by the end of the novel it no longer seems simple or isolated but rather is the result of a complex causeand-effect chain. In the prologue we learn that a boy (unnamed at this point) was beaten as punishment for something and died as a result. In the first chapter, Whitechapel provides a context for this: the boy’s mother dies, and this likely prompted his escape. In turn, Whitechapel explains his motivations for revealing his son’s location. Next. Mr Whitechapel introduces the lot’s central complication: Chapel’s true parentage. In Chapel’s own chapter we learn of his and Lydia’s love and, at last, in Lydia’s third chapter, we discover the true motivation behind his escape: their plans to go North where they dream they can be together freely. The gradual dissemination of details is a structural device similar to that used in crime fiction: the reader is required to piece together the evidence and form an understanding not just of what happened, but why it happened.

Unifying strategies The Longest Memory uses several unifying techniques in order to bring together its discrete chapters. These include:  

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Repetition of events and key moments, from different perspectives (when Chapel shakes his head and walks away from his father – pg 12, 21,64) The inking of chapters through common characters (Cook in her own chapter and in the sanders Senior chapter, showing two different sides of her personality – her determination and love for her family) Structural coherence (the prologue and epilogue have a similarly mournful tone and descriptive style, and use the same narrative perspective)

Another element creating unity is the consistent use of figurative or poetic language throughout the novel

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Alliteration ( pg 23 – sheet of shame settled over his head) Rhetorical questions (Whitechapel – pg 7, THE Virginian pg 109) Simile and metaphor ( the hours passed like an axle driven through mud pg 18, my back becomes a thousand fingertips feeling his breathing pg 90) Personification ( the whip…bit and chewed pg 5) Rhythm and repetition within prose (granted none pg 26)

Textual Elements Characters Whitechapel Whitechapel is the elder statesman on the plantation, and is a man of many contradictions. Widely regarded as a ‘good slave’ (a slave who is loyal and obedient), he occupies a unique position on the farm. He has been a slave for the Whitechapel family for so long, that no-one can remember a time when he wasn’t part of the plantation. Yet, despite his docility and obedience, Whitechapel learns 9too late) that he has been complicit in his own enslavement and that of many others. Institutionalised by years of repression, he mistakenly assumes that his own loyalty has been reciprocated by his white masters. His misplaced assumptions ultimately lead to the death of his son and Whitechapel realises that while being a ‘good slave’, his own actions have been disastrous. Whitechapel believes that ‘memory is pain trying to resurrect itself’. Until his fateful decision to betray his son, Whitechapel is regarded with great respect by both the slaves and the freemen on the plantation. Named after the old plantation owner, Whitechapel is regarded by the current plantation owner, Whitechapel is regarded by the current plantation owner, Mr Whitechapel as ‘a good man’ who ‘deserved better treatment’. To the other plantation owners, he is ‘a slave’s dream’. Whitechapel commands respect from the other slaves as well. His second wife, Cook, acknowledges that ’He is no ordinary man’. As patriarch of the slaves, Whitechapel plays a significant role in modelling that a slave should be docile and as a result ‘causes everyone around him a minimum of worries and earns the small kindness of the overseer and the master. Tragically, Whitechapel learns too late that his trust in the slave owners has resulted in the murder of his son. Despite his years of service, his preparedness to overlook the violence meted out to his wife by Sanders Senior, and his relatively positive interactions with both Mr Whitechapel and his father before him, ultimately he is reminded of his slave status when his son is killed in front of him. Unable to reconcile himself to the fact that his actions have led to the tragic death of his son, he becomes a shell of a man. ‘I don’t want to remember. Memory hurts.’

Mr Whitechapel Mr Whitechapel, the plantation owner, is also a man of contradictions. Although he has a reputation of being humane, the truth is that he derives his living from slavery. The other plantation owners and even some of his own slaves regard Mr Whitechapel as a good and honest person. He states that ‘the lot of the slave is miserable enough without being compounded by unnecessary hardships ad cruelties’.

His relationship with Whitechapel, who is endowed with the family name as a mark of respect and ownership, is complex. Mr Whitechapel acknowledges that he respects Whitechapel, views him as part of their shared history and ensures that he is treated fairly and honourably. As he says to Sanders, ‘He deserved better treatment. He knew our fathers for God’s sake’. He is, however, always the ‘master’ and therefore there is no equality between Mr Whitechapel and his slaves. Mr Whitechapel owns Whitechapel and therefore has the power to do whatever he wants with him. Me Whitechapel views his responsibilities as a slave-owner through the prism of his Christian beliefs, which state that fairness should guide his actions when disciplining or instructing his slaves. He says that slaves should be treated ‘first and foremost as subjects of God, though blessed with lesser faculties’, thus showing us that he regards himself as superior, but responsible for the slaves.

Chapel The child of violence and rape, Chapel has mixed blood and mixed emotions. Intelligent, rebellious and idealistic, he is the opposite of his adopted father. Whitechapel has chosen to raise his only son without beatings or whipping, making his violent death even more horrific to the reader. Chapel learns to read with Lydia and is able to compose complex poems and meditations, in order to be able to recite them to her at their meetings. Their relationship is built on ideas, and they communicate through classic literature and dwell on notions of freedom and love. Chapel’s education has liberated his mind, and as a result, he is unable to accept his father’s policy of non-resistance to their enslavement. He becomes the no-conforming slave, ultimately running away to seek freedom.

Lydia Lydia is destined to be a ‘southern belle’, whose years are designed to prepare her for assuming her proper place in society. She is expected to become a wife and mother and to raise her own wealthy plantation family. Her love for Chapel opens her eyes to a range of new possibilities and she becomes a non-conformist rebel. It is Lydia’s developing love for Chapel that seals both their fates. When she starts reading to him, Lydia sees herself as his ‘big sister’, however, this transforms into romantic love. Chapel is drawn to her as he learns to read. They make a promise that they will keep their time together a secret. Lydia’s realisation that ‘I am in love with a slave’ signifies the tragedy that will ensue. Ironically, the text that they are reading when they are caught by her father is Rome and Juliet, of ‘two star crossed lovers’. Mr Whitechapel commands that Chapel and Lydia must no longer see each other, and insists that by teaching Chapel to read she has ‘done him the gravest injustice’. Lydia’s acknowledgement, ‘I understand, Father. I understand perfectly’ suggests compliance, but is tinged with defiance. Their secret meetings in the dark allow them to continue their relationship. Lydia commits to memory long passages of the books that she is reading so that she can recite them to Chapel, while he composes poetry in his head to share with her. As Lydia matures into womanhood, her parents’ plans for her become more urgent. ‘Mother has started making more and more of a fuss about my etiquette, my carriage, my composure’. The parade of potential suitors presented to her as eligible mates are no comparison to Chapel.

Lydia continues to question the society she lives in. Although she knows that she and Chapel can never be together, her hopes are sparked when she hears her brother’s tales about life in the North. This hope for a brighter future sustains Lydia and Chapel as they plan their lives together. Lydia’s radicalism is most evident in her exchange with The Virginian. Her letters state that ‘slavery is dying as an institution’ and there is scope for paying African people as a workforce. Her insistence that slaves be taught to read and that black men and white women ought to be able to socialise culminates in the stinging attack from the newspaper upon her.

Cook Cook narrates the two shortest chapters in the text, and is central to the actions and events that unfold. She speaks in simple language; she is uneducated, yet she is the emotional heart of the novel. We see her through Sander’s eyes, and despite his reinvention of the reality of their relationship, his journal still reflects that she is a good and modest woman. After she is cruelly raped twice by Sanders she ‘had to tell someone or sadly die’. It is the respect and love of Whitechapel that saves her ad she comes to understand that, despite his ae, he is a man to be admired and she feels lucky to marry him. He accepts her child, rears him as his own, and Cook’s life becomes centred on the two cooking pots that represent her family and her work in Mr Whitechapel’s kitchen.

Sanders Senior Sanders Senior is the villain in the novel. He has experienced disappointment, frustration and grief in all aspects of his life and presents two faces to the world. On the one hand, he is the authoritarian overseer of a plantation, and on the other he is a grieving man who is unsure of his place. We are able to view his inner thoughts throughout the two years of his life, during which his insecurities, iniquities and delusions are on show as he tries to rationalise his actions and his position in life. ‘Who cares about my loneliness these last five years?’ he asks. As a father, he struggles with the notion that it was the birth of his son that killed his beloved wife. His grief at her death seems to override any joy he feels at the existence of his son and he notes, without awareness or irony, that his son is being taught by Cook and Whitechapel rather than himself. Sanders Senior is frustrated, confused and ultimately, a violent rapist. His journal reveals his dreams of past happiness and his developing sexual obsession with Cook. He rapes her in act of domination. Aware on some level that he has done the wrong thing, he repeatedly checks that she has told noone and offers her clothing from his dead wife’s wardrobe as a way of buying her silence. Nine days after her wedding he rapes her again, fighting to subdue her and resorting to ‘chocking her until she virtually went into a faint’. The violence in his personality is revealed repeatedly during the journal entries. Sanders Senior’s essential powerlessness is revealed when Mr Whitechapel learns of his crimes. Whitechapel clearly has more respect from the master of the estate than Sanders Senior does. Not only is Sanders Senior chastised in front of slaves and punished by fines, he is forced by Mr Whitechapel into a loveless marriage in order to stop any talk amongst the other slaves. His positon on the plantation is tenuous. As overseer, he is nominally in charge but is, in reality, at the beck and call of the Master as are the slaves. He is a harsh person who believes in strict authority

and discipline with the slaves. He is continually frustrated by Mr Whitechapel’s ‘leniency’ and his perceived softness in the treatment of the slaves.

Sanders Junior Sanders Junior is another character full of contradictions. He both admonishes an admires Whitechapel. He strikes him when he attempts to defend Chapel and, eventually, he rues his death. Sanders Junior’s chapter is composed mainly of reflections and recollections of how he viewed Whitechapel, as he stands over the dead man’s body. Sanders Junior is remorseful for striking Whitechapel: ‘I shouldn’t have hit you, but you contradicted me in front of everyone’, and declares that he will bury the body with his own hands as a sign of respect for the old man. He also acknowledges that he learnt a lot from Whitechapel, including how to be an overseer. Sanders Junior is responsible for the death of Chapel. Immediately after his death, he learns that Chapel was his half-brother. Even with the passage of time, he does not see himself as culpable in Chapel’s death, as he was only carrying out his duties. ‘Even if you had shouted out to me that I was killing my half-brother I would have had no choice but to carry out the punishment’. His final act of covering Whitechapel’s body with Sanders Senior’s jacket, and his declaration that, ‘If you were white I would have wanted you as my father’ reveals how much admiration he had for the dead man, yet how he was still rued by racist ideals.

The Virginian Editor As the voice of the paper, and as a representative of the views of the time, the editor offers a number if insights into the prevailing ideas about slavery in the south. Published over a period of two years, the editorials cover a range of topics and themes that relate directly to the events in the book. In many ways, the editor’s views mirror the views of the plantation owners that Mr Whitechapel argues with.

Great Granddaughter Her role in the novel is to reflect the views of the other laves, most of whom are Whitechapel’s family members and to show how the respected ‘good’ slave had become the ignored and reviled: ‘sit- down Grandfather’. The joy of her childhood relationship with Whitechapel, and her dream of returning to Africa with him is shattered when he betrays Chapel. The family believe him to be delusional and that he has finally lost control of his mind. When he dies, she cannot continue to wash his body and must leave the duty to ‘another of his great grandchildren’. She mourns the most opportunities to help the old man and to find out the truth of the situation.

Ideas, Issues and Themes Power This novel explores power, who has it and who doesn’t, what gives them power and what can take it away. The plantation owners and the editor of The Virginian represent the masculine, white power that ruled the South during the eighteenth and nineteenth centuries. Their power, firmly rooted in ‘Christian values’ and ideas of superiority over poor people, African slaves and women is revealed to be tenuous. Literacy, abolitionist ideals and social independence are shown as being able to threaten its hold. ‘We treat our slaves with a firm hand, we’re severe in the hope that other slaves will behave well out of fear’. For the plantation owners, their social and commercial power is embedded in their ability to control the minds and bodies of slaves, knowing that any leniency will result in a ‘massive slave revolt, bringing us all grief’. Sanders Senior hints at the same idea and has ongoing arguments with Mr Whitechapel about keeping the slaves in, what he believes, is their proper position. The power of literacy – he knowledge of words and their ability to impart and share ideas- ...