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The Wilkerson land is an especially beautiful and fertile plot of land, given to Trinity Wilkerson after the Civil War as part of her “40 acres.” In Daughters of the Dust, the Wilkerson land symbolizes the way that the past converges on the present. The phrase “40 acres and a mule” refers to Special Field Orders No. 15, issued in 1865 by William Sherman. Under these orders, 400,000 acres of land along the Atlantic coast were set aside, with the intention of being redistributed in parcels of “40 acres” to formerly enslaved people. This order was ultimately short-lived, with most of the redistributed land returned to its previous white owners over the following years. The phrase “40 acres and a mule” has since come to symbolize the failure to provide adequate reparations for free Black people after the Civil War.
The discovery of the remains of enslaved people on the Wilkerson property, shackled together and thrown into a shallow grave, symbolizes the persistence of slavery’s traumatic legacy. No matter how much anyone tries to bury or forget the past, the old pain literally finds its way to the surface. The reemergence of this generational trauma affects even those who were born after the abolition of slavery; for example, Lucy’s childhood dream of building a home on the land is shattered by the unearthing of the remains. The discovery of the remains also prompts Miz Emma Julia to tell the story of the Sorcerer and the murder of its passengers. She suggests that the only way to put the dead to rest is to perform a traditional African burial ritual. This ritual once again mingles the past and the present as Miz Emma Julia calls on the old spirits to settle the restless souls.
After the remains are given a proper burial, the Wilkerson field blooms with flowers. At first, this is seen as a miracle, strengthening the community’s faith in the old deities and symbolizing the importance of preserving the old ways. Later, it is revealed that Ol’ Trent has painstakingly planted the flowers himself, hoping to bring happiness instead of pain. This revelation recontextualizes the symbol of the flowers, which now represent the role of community care in helping its members to heal from trauma.
In Chapter 1, Elizabeth Peazant shows Amelia Varnes a charm made for her by Nana Peazant. The charm contains a few strands of hair belonging to Ayodele, the first Peazant brought to Dawtuh Island. In “The Story of Ayodele,” a healer visits Ayodele on her deathbed and cuts off a plait of hair to give to her infant son. That same plait has been passed down through multiple generations of the Peazant family and symbolizes their close bond as well as their connection to their roots.
Significantly, Amelia does not have a charm of her own. Neither does Myown Varnes; her letter to Nana Peazant in Chapter 1 mentions, “I los de charm you give me when we leave” (84). The loss of the charm with Ayodele’s hair symbolizes the loss of connection to the Peazant family that Myown experienced when Haagar Peazant left the island.
Upon hearing Ayodele’s story, Amelia asks Elizabeth to make new charms for herself and Myown. Elizabeth obliges, and Amelia wears the new charm in Chapter 13 during the ceremonial burial, a pivotal moment in which she feels fully connected to her ancestors for the first time. Amelia’s possession of the charm symbolizes the mended bond between herself and her family.
Migration, both forced and voluntary, is a central motif in Daughters of the Dust. Dash explores the effects of migration on individual and cultural identity, as well as the way that migration is sometimes a necessity for survival. The forced migration from Africa to America often entailed the destruction of enslaved people’s identities. “The Story of Ayodele” mentions how enslaved women were deprived of access to cleansing rituals, while the protagonist of “The Legend of Kojo’s Trace” is deprived of his African name and given a series of new names in the language of his enslavers. This systematic stripping of enslaved people’s identity was intended to “break” their spirits and sense of community, therefore making them easier for enslavers to control.
In the narrative present, the Black residents of Dawtuh Island are free to come and go. Despite the strong community on Dawtuh Island, opportunities for Black residents are limited in the South due to systemic racial oppression. Many of the younger people born on Dawtuh Island are faced with the choice between staying with their families and community or emigrating to larger cities in the North in search of better prospects. Ironically, however, even voluntary migration risks the loss of identity for Gullah-Geechee people. The Gullah-Geechee culture was formed and is maintained in the isolated landscape of the Sea Islands, insulated from most outside influences. By moving away from the island, Gullah-Geechee people lose the physical closeness of their community and are exposed to the influences of the wider world, including the pressure to assimilate into white American society.
Despite the pitfalls of migration, Dash emphasizes that it remains the best or only choice in some situations. For example, Elizabeth is devoted to her family and community but recognizes that her opportunities on the island are severely limited. She decides to move to Paris, undertaking a migration of her own while pledging not to forget her community on Dawtuh Island. Through Elizabeth’s journey, which is celebrated by her family as a joyful change rather than a loss, Dash shows that migration does not have to entail the loss of community.
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