James: A Novel
Part One:Chapter 28
by Everett, PercivalThe chapter opens with the protagonist, a recently purchased Black man, encountering the Virginia Minstrels—a group of white performers camped outside town. Though initially fearful of their intentions, he is offered coffee by Cassidy, a trombonist whose awkward yet seemingly kind demeanor creates a mix of comfort and offense. The protagonist, referred to as “Jim” or “Jimbo,” navigates the unfamiliar dynamic, unsure whether the men are mocking him or genuinely attempting camaraderie. The exchange highlights the tension between superficial kindness and the underlying racial power dynamics of the era.
Emmett, the group’s leader, reveals he has “hired” the protagonist as a tenor singer rather than enslaved him, claiming opposition to slavery—though he clarifies they are not abolitionists. This revelation leaves the protagonist skeptical, especially as he recalls the bill of sale documenting his purchase. The minstrels begin rehearsing songs like “Ole Dan Tucker” and “Jimmy Crack Corn,” instructing him to join the choruses. The music, with its lively instrumentation, momentarily distracts him from his confusion about his newfound role among these white men.
The group’s behavior oscillates between performative allyship and patronizing treatment, as seen when they dress the protagonist in rough, uncomfortable minstrel attire. The woolen clothes aggravate his leg wounds, symbolizing the physical and psychological discomfort of his position. Despite their claims of opposition to slavery, their actions reinforce racial stereotypes through the minstrel songs and costumes, blurring the line between liberation and exploitation.
The chapter underscores the protagonist’s internal conflict as he grapples with the minstrels’ contradictory actions. Their nominal rejection of slavery clashes with their participation in racist performances, leaving him uncertain of their true intentions. The narrative critiques the hypocrisy of white “benevolence” within systemic oppression, leaving the protagonist—and the reader—to question whether his newfound “freedom” is merely another form of subjugation.
FAQs
1. How does James initially perceive the Virginia Minstrels, and what mixed emotions does their behavior evoke in him?
Answer:
James initially feels fear and confusion around the Virginia Minstrels because they are white men who don’t demand his subservience, which unsettles his expectations (p. 160). Their casual kindness—offering coffee, using familiar language like “Jimbo”—creates cognitive dissonance: he recognizes their attempt at warmth but also finds their dialect and demeanor offensive, as if they’re performing rather than genuinely connecting (p. 161). This duality highlights James’s internal conflict—he distrusts their motives yet is disarmed by their apparent lack of malice, complicating his understanding of power dynamics in this unusual situation.2. Analyze the significance of Emmett’s statement, “I didn’t buy you… I hired you.” How does this distinction challenge James’s worldview?
Answer:
Emmett’s claim that he “hired” James as a tenor rather than enslaving him (p. 161) directly contradicts James’s lived reality, where Black people are commodified (evidenced by the bill of sale mentioning his physical traits, p. 163). This paradox forces James to grapple with the idea of voluntary labor amid systemic oppression. However, Emmett’s qualifier—”we ain’t working to get you free, we’re just working” (p. 162)—reveals the limits of his allyship, underscoring how even “benevolent” whites may uphold oppressive structures by treating abolition as an extreme position rather than a moral imperative.3. How do the minstrel songs reflect the contradictions in the troupe’s relationship with James? Consider both their lyrics and performance context.
Answer:
The songs, like “Ole Dan Tucker” and “Jimmy Crack Corn,” caricature Black vernacular and plantation life (pp. 162–163), reinforcing stereotypes the troupe profits from. Yet their enthusiastic performance—Emmett’s “big, crazy grin” (p. 162)—blurs lines between mockery and camaraderie. James notes the musicality is enjoyable, but the lyrics (“My massa’s gone away”) trivialize enslavement. This mirrors the troupe’s broader contradiction: they include James as a collaborator while perpetuating the minstrel tradition’s dehumanizing tropes, highlighting how cultural appropriation can coexist with superficial personal kindness.4. Why does James describe the woolen clothing as both physically and symbolically uncomfortable?
Answer:
The “itching” woolen clothes (p. 163) literalize James’s psychological discomfort with his new role. The fabric aggravates his leg wounds, mirroring how the minstrels’ faux-egalitarian stance chafes against the raw reality of his enslavement (the bill of sale). The clothing symbolizes forced assimilation—donning a costume for white entertainment—while its discomfort reflects the impossibility of true belonging in a system that still views him as property. The juxtaposition of “deferential treatment” (p. 163) with physical pain underscores the performative nature of the troupe’s “kindness.”
Quotes
1. “These white men scared me. They scared me because they weren’t invested in my being afraid of them.”
This opening observation captures James’ profound disorientation when encountering the minstrel performers. Their casual, non-threatening behavior contradicts his lived experience of racial dynamics, creating a paradox that unsettles him more than overt hostility would.
2. “It would have been easy enough to understand him as mocking me, but somehow he sounded more like he was practicing, or even trying to make me feel comfortable, which was at once evidence of some sort of kindness and terribly offensive.”
This complex reflection reveals James’ nuanced interpretation of the minstrels’ behavior. The quote highlights the uncomfortable intersection of genuine human connection and racial caricature that defines his interactions with the troupe.
3. “Don’t tell anyone around here, but I’m opposed to slavery… All of us are opposed to it… We ain’t working to get you free, we’re just working. We needed a tenor.”
Emmett’s contradictory statement represents the chapter’s central tension - the troupe’s casual abolitionism that remains performative rather than transformative. This quote exposes the limitations of their anti-slavery stance when divorced from meaningful action.
4. “I was, in no understated way, overwhelmed by their kindness and deferential treatment.”
This simple statement captures James’ emotional whiplash as he transitions from enslaved person to hired performer. The quote underscores how basic human decency feels extraordinary in the context of systemic oppression.
5. “I quite frankly didn’t believe him when he told me I wasn’t his slave, having just watched him pay money for me.”
This skeptical observation reveals James’ pragmatic understanding of his situation. Despite the troupe’s progressive claims, the concrete reality of a bill of sale demonstrates how legal and economic systems perpetuate slavery regardless of individual intentions.