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59 pages 1 hour read

Octavia E. Butler

Kindred

Fiction | Novel | Adult | Published in 1979

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Character Analysis

Edana “Dana” Franklin

Dana is the protagonist who, through her connection to her ancestor, Rufus, travels to the past to save his life various times. As a direct contrast to the “white savior” trope in which a white person saves a nonwhite person from harm, Dana becomes the Black savior. While the white savior usually acts out of guilt or selfishness, Dana is—perhaps selfishly—simply trying to preserve her family line so that she can be born. She believes she can influence Rufus into being a kind person despite his familial and societal upbringing. She begins with this optimistic, modernist belief in Rufus’s potential for progress, but she eventually realizes she is from a postmodern society where this is not realistic. She eventually accepts that she must kill her ancestor to survive and that her ability to time travel might never make rational sense. Therefore, Dana’s character arc mimics the historical transition from modernism to postmodernism.

Moreover, because Dana, like Butler, is a writer, she becomes Butler’s alter ego as both try to understand their Black female identity in a historical and literary context. In a world almost completely out of her control, made even more so because of her involuntary time travel, Dana finds solace and autonomy in writing. She works a “slave market” (52) minimum wage job and gets little sleep to prioritize her writing career. She even goes against her family’s wishes to pursue her career because it is a way to cope with the many unknowns of her life. After returning to the present with Kevin, she tries several times to put her experience with Rufus into writing because it gives her some power over a situation she seemingly cannot escape from. Similarly, Butler engages in speculative science fiction, writing about the unknown, to make the uncertainty of existing in a racialized society more graspable. The act of putting something on paper, real or not, allows an author to simultaneously relive the experience and get some distance from it. This points to the novel’s goal of highlighting the past and learning to use it to survive.

Rufus Weylin

Rufus is Dana’s white, great-great-grandfather. They have a mother/son relationship at first and later, a sister/brother relationship when Rufus is older. Still, he holds the power to summon her against her will through time, and he holds psychological power over her as well. When she meets him as a young boy, he is so innocent, naïve, and spoiled that she can easily care for him. He earns her trust by helping her navigate the past safely. She tries to teach him right from wrong to “save” him from becoming his father. Along with Dana, we see Rufus grow up and hope he absorbs some of Dana’s moral influence. He has promising moments as he displays a youthful kindness at first toward Alice, Nigel, and Carrie. He is aware that they are enslaved people, but he still views them as friends.

However, as he gets older, he becomes a sort of antihero: a person one wants to keep rooting for but finds it hard to do so because of his cruelty. He rapes Alice and coerces her into a sexual relationship; he has Dana whipped; he sells Sam for flirting with Dana; he does not mail Dana’s letters to Kevin; and he lies to Alice about her children, which causes her to hang herself. He succumbs to the evil of his time and blames everyone else for his actions. Although he has moments where he shows compassion for Dana and Alice, proving that he does love them in his own way, he ultimately crosses the line with Dana and she is forced to kill him. Rufus’s backward development from ally to antagonist is indicative of the power of tradition and white supremacy. While it does not excuse his brutality, it shows that he is a product of his time, corrupted by the society that raised him.

Kevin Franklin

Kevin is Dana’s white husband who does not believe at first that Dana can time travel until he witnesses it for himself. This is a common trait he displays: the need for evidence to believe and understand. Kevin is Rufus’s rational foil who Dana can usually convince with logic and reason. He is caring, protective, and relatively progressive for his era. He defies his racist family by marrying a Black woman, and he is consistently at war with the complacency he must feign in the face of antebellum slavery. Dana describes him as her “anchor,” “kindred spirit,” and her connection to home (57).

However, as much as Kevin tries to understand Dana’s physical and moral struggle in the past, he cannot truly empathize with her because he does not have the experiential evidence to do so. Kevin is an observer along for the ride who does not have to fear lashings and death for being white. When he sees enslaved children playing at being sold, he dismisses it as a kids’ game and cannot see the deeper implications of generational complacency. His white privilege and romanticized view of the past prevent him from truly understanding racial violence: “This would be a great time to live in […] I keep thinking what an experience it would be to stay in it—go West and watch the building of the country, see how much of the Old West mythology is true” (97). Kevin has forgotten that in the West, Native Americans are the ones being persecuted; he can only see white benevolent imperialism. Thus, Kevin exemplifies the problem with white, progressive allyship that perhaps Butler noticed in the 1970s as she wrote the novel. White allies can sympathize and care about their nonwhite neighbors, but they must also be aware of their privilege and their lack of experience with racism.

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