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Kindred
Kindred
Kindred
Ebook520 pages6 hours

Kindred

Rating: 4 out of 5 stars

4/5

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NEW FOREWORD BY JANELLE MONÁE

Experience the time travel science fiction classic from the New York Times bestselling author of Parable of the Sower and winner of the MacArthur “Genius” Grant, Nebula, and Hugo Awards.

A modern Black woman is pulled through time to face the horrors of slavery in this “Great American Novel” about racism, sexism, and white supremacy—then and now (The Atlantic).


“I lost an arm on my last trip home. My left arm.”

Dana’s torment begins when she suddenly vanishes on her 26th birthday from California, 1976, and is dragged through time to antebellum Maryland to rescue a boy named Rufus, heir to a slaveowner’s plantation. She soon realizes the purpose of her summons to the past: protect Rufus to ensure his assault of her Black ancestor so that she may one day be born. As she endures the traumas of slavery and the soul-crushing normalization of savagery, Dana fights to keep her autonomy and return to the present.

Blazing the trail for neo-slavery narratives like Colson Whitehead’s The Underground Railroad and Ta-Nehisi Coates’s The Water Dancer, Butler takes one of speculative fiction’s oldest tropes and infuses it with lasting depth and power. Dana not only experiences the cruelties of slavery on her skin but also grimly learns to accept it as a condition of her own existence in the present. “Where stories about American slavery are often gratuitous, reducing its horror to explicit violence and brutality, Kindred is controlled and precise” (New York Times).

“Reading Octavia Butler taught me to dream big, and I think it’s absolutely necessary that everybody have that freedom and that willingness to dream.”
—N. K. Jemisin
LanguageEnglish
PublisherBeacon Press
Release dateFeb 1, 2004
ISBN9780807083703
Author

Octavia E. Butler

Octavia Estelle Butler (1947–2006), often referred to as the “grand dame of science fiction,” was born in Pasadena, California, on June 22, 1947. She received an Associate of Arts degree in 1968 from Pasadena City College, and also attended California State University in Los Angeles and the University of California, Los Angeles. Butler was the first science-fiction writer to win a MacArthur Fellowship (“genius” grant). She won the PEN Lifetime Achievement Award and the Nebula and Hugo Awards, among others. Her books include Wildseed, Imago, and Parable of the Sower.

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Reviews for Kindred

Rating: 4.240190589866666 out of 5 stars
4/5

2,625 ratings177 reviews

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  • Rating: 5 out of 5 stars
    5/5

    Aug 1, 2025

    the hype and the praise on this book is completely justified. i could feel in my bones the shock and fears and hopes of Dana as i follow her story...most shocking to me is when she commented 'how easy it is to make slaves of people', and her observation that the best of people gets corrupted by collective social mores...
  • Rating: 3 out of 5 stars
    3/5

    Aug 24, 2025

    I will say up front that I was a little disappointed by this book at first. The dialogue and plotting felt a little clunky all the way through. But the time travel approach to exploring the legacy of slavery and the ongoing ramifications for racial identity were profound and became clearer as I reflected back on it a few days later. How easily we can adapt to what we should not be asked to accept. How easily we can employ unearned privilege even as we intentionally work for justice. How easily we can judge the past and justify the present. Butler is not heavy-handed, but raises some important questions in the midst of a pretty good time travel tale.
  • Rating: 5 out of 5 stars
    5/5

    Jan 20, 2025

    Wow what a masterpiece!
  • Rating: 2 out of 5 stars
    2/5

    Mar 22, 2025

    This review had probably best start with the line "it's not you, it's me". We come to any book with baggage, our past, our beliefs, our class and upbringing, our experiences and our mindset all influence how we experience a book, making any reading experience unique. We might both love or hate a book, but the shade of that is coloued by our own baggage and so is always slightly different. One of the pieces of my baggage is that anything with overtones of science fiction has to be logical and self consistent and not break any of the laws of physics without warning me in advance. And time travel is one specific area that I have a major problem with. I simply can't get over the idea that it is not self consistent. So in this case my reaction to this book is heavily coloured by my own mental baggage.
    The book itself concerns Dana, a black American living in 1976 with husband Kevin, who is white. She gets drawn back through time to 1815 to a slave estate in Maryland where she saves the life of Rufus Weylin. Rufus turns out to be an ancestor and she needs to save him in order to ensure that he has his children and so Dana's family tree can continue unbroken. OK, and here's my problem with this, in order for Dana to be born, Rufus has to survive without her intervention, because she's not yet been born. So the need for her intervention is not self consistent with her existence. And at some level I can't get past that, which is a shame because otherwise it is a very good book. I told you it was me.
    The set up gives the author a lot of scope for a critique of slavery, from a current standpoint of both black and white, and from the imagined view of those experiencing it. Dana & Kevin experience the past differently, as they have different narratives from their own pasts - see even characters come with baggage. Dana's experiences and the way that she relates the life of the slaves and free blacks she lives and interacts with is detailed. Kevin experiences this differently, and they have trouble with their relationship in the past, having to present it in a specific way for it to make sense to those around them. The most startling thing is how she manages to slip into their life and almost start thinking like them, how easily is slavery imposed on the slaves. What makes them stay, what makes then run away and t,he consequences of either action is seen in the characters she paints. By returning several times over the course of years to them, but in a matter of months to Dana means that we can see the evolving characters over a shorter book than writing a straight history would allow. Dana jumps back into their lives, then departs and picks up a while later, depending on when Rufus next needs saving from himself.
    There are some serious writing chops on display here, and apart from the time travel moments, I could get wrapped up in the story and the fish out of water aspects of trying to live a life. How Dana manages knowledge that she has and they don't is interesting, the practical being of more use than the political. Knowing to keep woulds clean to avoid infection is of more value than that the abolition of slavery will come in the lifetimes of some of the people she meets. Their reaction to her is equally interesting, the pecking order amongst the slaves, the field hands and the house hands being a segregation withing a segregated society.
    In short, read it, because it would be very good if you happen not to be me!
  • Rating: 3 out of 5 stars
    3/5

    Sep 1, 2024

    I read a terrible graphic novel adaptation of Kindred a few years back that made me think the novel would not be worth reading. But then I went ahead and watched the television series on Hulu, and it was so good it felt like it couldn't be drawn from the same source material. And then I heard the show was canceled after the first season, which covered only the first half of the novel, and I wouldn't be getting the end of the story. So it was time to tackle the novel (which my wife kindly read aloud to me over the course of a month).

    And it turns out to be good!

    I still prefer the TV show for fleshing out the present day sequences with more characters and more consequences for the disappearances caused by the time traveling, but the novel really brings Dana's inner life to the fore and makes her endurance of the Rufus character more understandable even as their relationship becomes more tragic.

    The pacing seems a bit too slow at times as we spend too long in certain time periods and the subject matter can become grueling as we're given a ton of trauma to deal with, but the insights into slavery and racism are very worthwhile.
  • Rating: 5 out of 5 stars
    5/5

    Aug 23, 2024

    If I could give this more than 5 stars, I would. I feel like it's very rare that I read a book of this intensity, this quality. Any time I wasn't reading this book, I was thinking about it!!! There were so many times that I struggled to deal with the horrible treatment that the slaves on the Weylin plantation endured. It was very difficult to read, at times. However, I knew that the very least I could do was to push through it. I'm so glad that I did. I'm also glad this is a book my family owns, as I'll likely read it again someday. Instant-favorite!
  • Rating: 5 out of 5 stars
    5/5

    Oct 24, 2024

    This was the most thought-provoking book I've read in quite a while. I'm not particularly drawn to sci-fi books, so I was glad that the mechanics of Dana's time travel didn't get much time in this book. But the implications of her choices and actions were complicated and profound, and I'll be thinking about them for some time. I read it with my wife and son, and we've already had several really good conversations about both the content and the form of the book. (By the way, the exposition early in the book was pretty rough to read through. But she gets you through it quickly, and from then on the narrative is solid.) Well worth the read, and definitely recommended.
  • Rating: 4 out of 5 stars
    4/5

    Oct 20, 2024

    Excellent book. I enjoyed it all the way through. There's a compelling set of characters, all with complicated lives and relationships and ideas. I enjoyed the push and pull, the power struggles and dynamics.
  • Rating: 4 out of 5 stars
    4/5

    Oct 18, 2024

    Imagine not having control of your life and you can be summoned to the past anytime, and the only way to get back to the present is to be in a state of danger. That's what happened to Dana. For some reason, she is bound to Rufus and when the latter is in danger, she would be summoned to save him. Thus began a love-hate relationship, with Dana deciding to kill Rufus to end this vicious cycle (sorry for the spoiler!). This ending caught me by surprise as I had not expected Dana to do this. I feel she didn't have to kill Rufus but I guess she wanted her freedom back, and nobody can argue with this.
  • Rating: 5 out of 5 stars
    5/5

    Apr 4, 2024

    his is one I've been meaning to read for a while, and boy am I glad I did. Butler uses sci-fi to explore the slave experience in the early 1800s. Dana is a young black woman living with her new white husband in 70's era Los Angeles. One day she gets dizzy and finds herself transported back to 1815 Maryland and finds the young son of a Plantation owner drowning. She saves him, but in doing so she is threatened with a gun and is transported back. She becomes linked to this boy. Whenever he's in trouble she goes back to help him. Whenever she's threatened in the past, she is sent home. Time hardly moves in LA, but years go by in Maryland. Each time she goes back it becomes harder and harder to reconcile the free and independent woman she is with the slave she needs to be. A fascinating read.
  • Rating: 5 out of 5 stars
    5/5

    Apr 18, 2024

    Kindred has been falsely branded under the classification of a genre novel (genre-bending or not), just because it happens to incorporate some seemingly fantastical ingredients as part of the wordsmith's brew, and in so doing, has belittled its rightful status as a masterstroke of modern art and educational significance. There is so much gravity in the historical depictions contained within these pages smeared with blood and tears, portrayed with a harrowing present-day voice which is so identifiable, that it is an earthshaking experience for anyone to leaf through with at least an ounce of pity in their heart. This is a staggering story of the realities of slavery and an eye-opening portrayal of a demoralizing human cruelty. Why there are so many contenders which take Kindred's place as required academic reading I'll never comprehend.
  • Rating: 5 out of 5 stars
    5/5

    Feb 25, 2024

     My 1st Octavia Butler. Heard about this book from Velshi's Banned Book Club. In 1976, Dana, a 26 year old black woman married to a white man in California finds herself pulled into the 1700's just in time to save a young boy from drowning. The boy Rufus, was the son of a slave owner. It was the beginning of many episodes of her being called to the past by the boy as he aged and needing her help to save him. They established a unique relationship despite being a black woman, she was still considered a slave and could be sold like the fate of many during this time. The book details many of the struggles and quite graphic on some of the ways slaves were punished on the plantation This was difficult at times to hear the way the people were treated and how hard of a life they lived. It reminded me of "Roots" the series on TV back in the 80's. A reminder of how it was for black people in the south, not so many years ago and definitely important lesson of our early history.
  • Rating: 2 out of 5 stars
    2/5

    Oct 1, 2024

    No rhyme or reason.
    This is the third Octavia Butler book I listened to within a year. It is the most disappointing of the three. Time travel as a device is interesting, but what was the purpose of it here? No one's situation or personality seemed to improve with exposure to the Traveler. The Traveler herself seemed to be clueless as to race relations in both time frames she existed in. This story completely frustrated me; made me angry in some parts and provided no clarity, understanding or satisfaction.
  • Rating: 5 out of 5 stars
    5/5

    Jan 30, 2024

    Completely engaging. This is a marked divergence from the more fantastical Patternist series; here Butler uses time travel as a completely unexplained mechanic to provide a uniquely sci-fi perspective on first-person slave narrative. In doing so, I think she shows us things about slave America than a contemporary account would not necessarily be able to do.

    For me, the most surprising realisation was that even though we're taught about the existence of slave stereotypes, having not read first-person slave narratives before it's startling to see the ways in which characters draw from or step outside of those stereotypes. Sarah is my favourite example of this. She talks Dana down from all sorts of foolhardy choices, so we begin to think of her in an Uncle Tom kind of role, but we learn that underneath she is simmering with more anger and resentment at the loss of her children than Dana, or I, could really understand.

    Other interesting points come in the relationship of Dana and Rufus; she is his savior several times over and yet is not just unable to wrest Rufus from the mindset of a white man of his time, but he actively forces her into compliance with his wishes when he sends her to bring Alice to him. Despite her self-loathing, she does as bid (as does Alice), and it is not until she is pushed to killing him that she is freed.

    Kevin and Dana's differing relationships to the period are also worth looking at. Dana thinks she should be able to wrest control of the situation, but instead ends up needing to ride it out, and even then she cannot return from the experience whole. Kevin thinks himself able to manage, and does in fact survive for five years and help slaves, but Butler shows us that he doesn't have the kind of awareness of the dynamics at play. His request of Dana to scribe is eerily similar to Rufus'.

    Overall, Kindred is incredibly gripping. The pacing is fantastic, episodes slowly building up, the characterisation of the cast is extremely moving, down even to more minor characters like Nigel or Tess. I read this in basically one sitting! If you want to examine our modern relationship to historical slavery, why not literally place a modern character into slavery?
  • Rating: 4 out of 5 stars
    4/5

    Jan 23, 2024

    The only unsatisfying thing about this book is the characters' apparent uninterest in the "how" of their time travel. That absence almost made me rate this a 3-star book.
    [Audiobook note: The reader gives the plantation residents an accent more suited to Mississippi than Maryland. But other than that, she does quite well.]
  • Rating: 3 out of 5 stars
    3/5

    Jan 6, 2024

    Really good but also really intense! Triggers for pretty much every bad thing you can think of related to slavery.
  • Rating: 4 out of 5 stars
    4/5

    Dec 7, 2023

    Dana inexplicably time travels to a plantation in pre Civil War Maryland when Rufus is in mortal danger. Rufus is also her ancestor. How does she return to her life in 19$0’s LA? She puts herself in mortal danger.
  • Rating: 5 out of 5 stars
    5/5

    Nov 28, 2023

    Set in 1976 California, Kindred is the story of a 26-year-old black woman who disappears from her home and is transported to 1819 Maryland. She saves a white boy named Rufus from drowning then is immediately brought back to her present. Dana returns to the past again and again, each time staying for longer and under more dangerous circumstances.
  • Rating: 5 out of 5 stars
    5/5

    Aug 9, 2023

    Kindred is a stand-alone time travel novel from the fertile mind of Octavia E. Butler who, it’s my understanding, was the first African American woman to be published in the sci-fi genre. It tells the story of Dana, a modern Black woman from 1976 who was recently married and is just settling into a new home with her husband, when she suddenly and inexplicably is drawn back in time to a plantation in the Antebellum South. Upon arriving, she immediately sees a young boy drowning and snaps into action to save his life. The boy, Rufus, is the son of the plantation’s owner, Tom Weylin, who is none too friendly toward her in spite of her saving his child. Dana’s initial sojourn there is a brief one, and she returns home to find that virtually no time has passed in her own time. However, she keeps being transported back every time Rufus’s life is in danger, each time staying longer and longer, and only returning home when her own life is in danger. As she continues to travel, she watches Rufus grow up, and while in the past, she experiences the horrors of racism and slavery first-hand. Dana quickly realizes that she has a connection to Rufus, so during her time in the past, she feels it is her duty to try to influence him for good, but most of her pleas fall on deaf ears. This results in her having complicated feelings toward him, but to ensure her own existence and that of her entire family, she must continue saving him and doing her best to keep him alive. But ultimately she may not be able to save Rufus from his own self-destructive tendencies.

    Dana is the first-person narrator of this story and she has a compelling voice. She’s a woman, who even in her own time of 1976, faces prejudices, but it’s still far better than the climate was for Black people in the Antebellum South. Every time she’s transported back there, she fears she may not survive the trip. Despite not being a slave, as a Black person, she’s still subject to the whims of Rufus and his father. Sometimes Rufus treats her like a sort of friend, but other times, he treats her like a slave, ordering her around, and still others, he turns on her, harming her or endangering her life. Knowing that he’s inextricably connected to her, Dana has very complex feelings toward him. She believes that she must do whatever she can to keep him alive for her own sake and that of her family, but he doesn’t make it easy for her. She also can sometimes see the humanity in him and wants to save him from himself, but other times, he makes her angry enough to want him dead. Ultimately, though, Dana is a loving and forgiving person, never truly turning her back on Rufus, even though she has every reason to do so. She’s an incredibly multifaceted character who deeply empathizes with the slaves on the Weylin plantation and befriends several of them, because she’s often treated little better than they are and can relate. However, I think that perhaps as a modern woman who knows Rufus can do better, she genuinely wants to save him, too, not just in a physical sense, but also in a moral sense. She feels she owes it not only to him, but even more so to the slaves whose lives she wants to better. In some small ways, it could be argued that she was successful, but in bigger ways, not so much. What it boils down to, though, for me is that Dana was simply a character who I loved and with whom I appreciated going on this thought-provoking journey.

    The other main character in this story is Rufus who begins drawing Dana back to him when he’s just a child. Unfortunately her time with him when he’s young is very short, so she isn’t able to influence him when he’s still at an impressionable age as much as she would have liked. The bulk of her interactions with him are as a young man. As Dana describes him, he’s a man of his time, steeped in racial bigotry and having no particular scruples surrounding the slaves his father, and later he, owns. He’s constantly getting himself into trouble of one sort or another, which is why Dana has to keep saving his sorry hide, even though neither he nor his father show appropriate gratitude for her actions. At first, I thought that Rufus was just accident-prone, but as the story progressed, I couldn’t help feeling that he actually had a self-destructive bent, one could even say a death wish. He has a complicated relationship with his parents. His father can be pretty harsh toward him, while his mother has a tendency to coddle him even when he’s old enough to stand on his own. I think as a result of his upbringing, Rufus is often entitled, self-absorbed, and perhaps even a bit narcissistic. He’s also highly dysfunctional and destructive in his relationships as well. I believe some part of him actually loves Alice, his childhood best friend who is a slave, but the way he treats her once they’re both grown is reprehensible. Dana once muses that in this time, it’s perfectly acceptable for a White man to rape a Black woman, but it’s not acceptable for him to love her. So his relationship to both Alice and Dana, who because of their resemblance, he thinks of as one person, is complex. While we aren’t directly made privy to his thoughts, his actions often speak louder than words. Every once in a while, we see glimmers of his humanity, something that arguably Dana brings out of him, but he just can’t seem to reach beyond the system into which he was born or imagine a world beyond his own upbringing in spite of Dana telling him that Black/White relations are different in her time, which ultimately leads to his downfall.

    Kindred was a book that grabbed me from the opening pages and didn’t let go until I turned the last one. I often hated to put it down, because it’s so gripping. The author’s writing style simply flows into the reader’s mind, painting vivid pictures of life on an Antebellum plantation. Her characters are complex, nuanced, and fully realized. Even the supporting characters leap off the page to grab the reader and draw them into their story. I love that it’s told from the perspective of a modern Black woman who knows what’s to come in the future, yet still experiences many of the same things that the slaves of that time experienced because of the color of her skin. I feel like it uniquely positions her to see things in a way that no one else can. The time travel aspect is a relatively simple one, but at the same time, it, too, is complex in it’s paradoxes and gives a singular flavor to the story. The plot is, at first glance, deceptively straightforward, yet it twists into a tangled web that explores racism, slavery, human rights, and the very nature of humanity itself all through the eyes of one woman’s extraordinary experience. Kindred is one of those stories that, if you let it, wraps itself around your heart and permeates your mind in a haunting way that won’t let go. Even after finishing it, I still feel like it has more to tell me—to teach me. It’s a book that I know I’ll want to revisit again. I can’t recommend it highly enough and can say without reservation that this is a book that’s ripe for book clubs and discussion groups. In fact, I almost wish I had read it with one to get even more diverse perspectives on it. But even still, it’s a story that I won’t soon forget and that has definitely put Octavia Butler on my radar. I can’t wait to read more of this phenomenally talented author’s work.
  • Rating: 3 out of 5 stars
    3/5

    Jul 5, 2023

    Low lexile, elementary language, simplistic. The original premise is wrong since Dana continually interferes with history. Rather redundant and boring. The draw is that Butler was the first Black female sci-fic author. I hope it isn't her best work, but this isn't good enough to entice me to read other titles.
  • Rating: 3 out of 5 stars
    3/5

    Jul 1, 2023

    An intense concept and a gripping plot do not make up for this novel's inattention to language. Kindred falls into the same trap as a lot of genre fiction - it's so enamored of its central conceit or premise that everything is in service to the plot, without even attempting verisimilitude. Butler does not even try to write authentic-sounding dialogue for the time period - everything sounds like flat late 20th century American - no regionalisms, no dialects, nothing.

    There is a lot to unpack with this - Butler is rightly revered not just for representation but for her innovations in sci-fi - and she doesn't soften her depictions of suffering to appeal to a wider audience. I just didn't find anything distinctive about her writing style.
  • Rating: 4 out of 5 stars
    4/5

    Feb 19, 2023

    “Do you honestly believe you traveled back over a century in time and crossed three thousand miles of space to see your dead ancestors?”
    I moved uncomfortably. “Yes,” I whispered.

    And that's what Dana did. Traveled from 1976 to 1815. From the L.A. area to Baltimore area. To a slave plantation. A black woman. She goes back and forth, trying to figure out why, and for what purpose. And having to live the nightmare of being a slave in 1815. A terrifying and mesmerizing story that really grabs your attention. I'm glad I read it before I watched the series!
  • Rating: 5 out of 5 stars
    5/5

    Jan 26, 2023

    This was a hard, hard read. And worth it.
  • Rating: 5 out of 5 stars
    5/5

    Jan 5, 2023

    I'd go 4.5 but rounded up because it was better than 4. The story was so well done. The author was no where in the book - only Dana telling her own tale. I look forward to reading this again and telling everyone else that they should read it if they haven't.
  • Rating: 5 out of 5 stars
    5/5

    Dec 29, 2022

    Aspiring writer Dana feels shaky and faint. When she comes to, she finds herself in pre-Civil War Maryland saving a young boy's life. And so begins this wild, horrifying journey for Dana, who finds her life inextricably connected with that of Rufus, a white ancestor. As a Black woman from California who suddenly finds herself on a plantation in the past, figuring out a way to survive and get back home is paramount. After reading an Octavia Butler biography (Star Child by Zoboi), I wanted to read some of her work. This is one of her most famous and just became a TV series, it is a book and story that will hauntingly stay with me. Moral dilemmas abounded for Dana and the complicated feelings, academic decisions about how to live ones' life and navigate ones' values, belief systems in different time periods was made complex through the text.
  • Rating: 5 out of 5 stars
    5/5

    Dec 24, 2022

    There is no time travel book in the world that can be compared to Kindred. Octavia Butler has used the oldest science fiction chestnut as a parable about the fraught, complex, interconnection of race relations that is America. Her use of time, as well, how time works when Dana goes back and forth, is as mind-bending as the rest of this fiercely written novel. The blurb (on the back of my copy) by Harlan Ellison has it so right: "Kindred is a story that hurts: I take that to be the surest indicator of genuine Art." This is what brilliance is all about.
  • Rating: 5 out of 5 stars
    5/5

    Dec 23, 2022

    Kindred is my second Octavia Butler novel and by far my favorite of the two. It was also my top book for what I read in May. The mish-mash of two decades of historical fiction, slave memoir, and fantasy not just captured my attention, it held onto it and didn’t let go. I still think with horror at some situations in which Dana found herself, all to protect her family line. Ms. Butler does not hide behind euphemisms or prettying up the horrors of enslavement, but she does not linger on those horrors either. Instead, she treats them with a matter-of-factness that is effective for the pictures it evokes and the chills the mundanity creates. Dana’s story grabbed my heart and tore it into pieces even while I marveled at her strength and conviction. I cannot recommend Kindred highly enough!
  • Rating: 4 out of 5 stars
    4/5

    Dec 21, 2022

    I enjoyed this book. I have never read a sci-fi book by a black woman. I hope to find many more. I wish there was a sequel to it. I did not like rufus from the beginning. Wasn't sure if it was my general dislike for racist and white but i was right. I loved how graphic the violence was because slavery was a thousand times more worse than anyone can imagine. Interesting how they are all connected. I would love to know the fate of Sarah, Nigel, and the other characters as well.
  • Rating: 4 out of 5 stars
    4/5

    Oct 9, 2022

    This was a hard read. I know what Butler was trying to do and it worked almost too well. Even just reading the fact that nigger was not a derogatory term in southern Maryland in 1815 was painful. I didn't know how I would get through the much, much, much harsher treatment of slaves, but I did. Dana, a modern woman from the 1970s, finds herself time-traveling back to pre-Civil War Maryland. At first it seems as if Dana is going back in time to protect the future of her very existence. It's much deeper than that. There were many themes introduced in Kindred. Probably the most profound theme surrounded literacy. The ability to read was controversial in the mid 1800s. Seen as a threat to whites, cherished as a secret communication for slaves, the ability to read symbolized power and a different form of freedom. Confessional: after Dana's first jump I was disturbed by her early acceptance of time travel. She wasn't as freaked out about time jumping between present day Los Angeles and slave era Maryland as I thought realistic. Add in the fact she accidentally took her white husband with her and a whole other dynamic gets introduced. Another confessional: I read this so fast I can barely remember the details except to say the violence stayed with me for a very long time, even if the entire plot didn't.
  • Rating: 5 out of 5 stars
    5/5

    Aug 27, 2022

    This book is a cross between Jack Finney’s time travel classic Time and Again and Quentin Tarantino’s Django Unchained. Written in 1979 and set three years earlier, it tells the story of a young African American woman who is somehow transported back in time to a Maryland slave plantation decades before the Civil War. She was transported there (for want of a better word) to rescue a young white man, son of a slave-owner. One reviewer said that the time travel part of the story was the least important, which was probably true. In fact, the book does take a hard look at slavery, racism and sexism. But I for one cannot resist a good time travel tale, and this is one of them.

Book preview

Kindred - Octavia E. Butler

Prologue

I lost an arm on my last trip home. My left arm.

And I lost about a year of my life and much of the comfort and security I had not valued until it was gone. When the police released Kevin, he came to the hospital and stayed with me so that I would know I hadn’t lost him too.

But before he could come to me, I had to convince the police that he did not belong in jail. That took time. The police were shadows who appeared intermittently at my bedside to ask me questions I had to struggle to understand.

How did you hurt your arm? they asked. Who hurt you? My attention was captured by the word they used: Hurt. As though I’d scratched my arm. Didn’t they think I knew it was gone?

Accident, I heard myself whisper. It was an accident.

They began asking me about Kevin. Their words seemed to blur together at first, and I paid little attention. After a while, though, I replayed them and suddenly realized that these men were trying to blame Kevin for hurting my arm.

No. I shook my head weakly against the pillow. Not Kevin. Is he here? Can I see him?

Who then? they persisted.

I tried to think through the drugs, through the distant pain, but there was no honest explanation I could give them—none they would believe.

An accident, I repeated. My fault, not Kevin’s. Please let me see him.

I said this over and over until the vague police shapes let me alone, until I awoke to find Kevin sitting, dozing beside my bed. I wondered briefly how long he had been there, but it didn’t matter. The important thing was that he was there. I slept again, relieved.

Finally, I awoke feeling able to talk to him coherently and understand what he said. I was almost comfortable except for the strange throbbing of my arm. Of where my arm had been. I moved my head, tried to look at the empty place … the stump.

Then Kevin was standing over me, his hands on my face turning my head toward him.

He didn’t say anything. After a moment, he sat down again, took my hand, and held it.

I felt as though I could have lifted my other hand and touched him. I felt as though I had another hand. I tried again to look, and this time he let me. Somehow, I had to see to be able to accept what I knew was so.

After a moment, I lay back against the pillow and closed my eyes. Above the elbow, I said.

They had to.

I know. I’m just trying to get used to it. I opened my eyes and looked at him. Then I remembered my earlier visitors. Have I gotten you into trouble?

Me?

The police were here. They thought you had done this to me.

Oh, that. They were sheriff’s deputies. The neighbors called them when you started to scream. They questioned me, detained me for a while—that’s what they call it!—but you convinced them that they might as well let me go.

Good. I told them it was an accident. My fault.

There’s no way a thing like that could be your fault.

That’s debatable. But it certainly wasn’t your fault. Are you still in trouble?

I don’t think so. They’re sure I did it, but there were no witnesses, and you won’t co-operate. Also, I don’t think they can figure out how I could have hurt you … in the way you were hurt.

I closed my eyes again remembering the way I had been hurt — remembering the pain.

Are you all right? Kevin asked.

Yes. Tell me what you told the police.

The truth. He toyed with my hand for a moment silently. I looked at him, found him watching me.

If you told those deputies the truth, I said softly, you’d still be locked up—in a mental hospital.

He smiled. I told as much of the truth as I could. I said I was in the bedroom when I heard you scream. I ran to the living room to see what was wrong, and I found you struggling to free your arm from what seemed to be a hole in the wall. I went to help you. That was when I realized your arm wasn’t just stuck, but that, somehow, it had been crushed right into the wall.

Not exactly crushed.

I know. But that seemed to be a good word to use on them—to show my ignorance. It wasn’t all that inaccurate either. Then they wanted me to tell them how such a thing could happen. I said I didn’t know … kept telling them I didn’t know. And heaven help me, Dana, I don’t know.

Neither do I, I whispered. Neither do I.

The River

The trouble began long before June 9, 1976, when I became aware of it, but June 9 is the day I remember. It was my twenty-sixth birthday. It was also the day I met Rufus—the day he called me to him for the first time.

Kevin and I had not planned to do anything to celebrate my birthday. We were both too tired for that. On the day before, we had moved from our apartment in Los Angeles to a house of our own a few miles away in Altadena. The moving was celebration enough for me. We were still unpacking—or rather, I was still unpacking. Kevin had stopped when he got his office in order. Now he was closeted there either loafing or thinking because I didn’t hear his typewriter. Finally, he came out to the living room where I was sorting books into one of the big bookcases. Fiction only. We had so many books, we had to try to keep them in some kind of order.

What’s the matter? I asked him.

Nothing. He sat down on the floor near where I was working. Just struggling with my own perversity. You know, I had half-a-dozen ideas for that Christmas story yesterday during the moving.

And none now when there’s time to write them down.

Not a one. He picked up a book, opened it, and turned a few pages. I picked up another book and tapped him on the shoulder with it. When he looked up, surprised, I put a stack of nonfiction down in front of him. He stared at it unhappily.

Hell, why’d I come out here?

To get more ideas. After all, they come to you when you’re busy.

He gave me a look that I knew wasn’t as malevolent as it seemed. He had the kind of pale, almost colorless eyes that made him seem distant and angry whether he was or not. He used them to intimidate people. Strangers. I grinned at him and went back to work. After a moment, he took the nonfiction to another bookcase and began shelving it.

I bent to push him another box full, then straightened quickly as I began to feel dizzy, nauseated. The room seemed to blur and darken around me. I stayed on my feet for a moment holding on to a bookcase and wondering what was wrong, then finally, I collapsed to my knees. I heard Kevin make a wordless sound of surprise, heard him ask, What happened?

I raised my head and discovered that I could not focus on him. Something is wrong with me, I gasped.

I heard him move toward me, saw a blur of gray pants and blue shirt. Then, just before he would have touched me, he vanished.

The house, the books, everything vanished. Suddenly, I was outdoors kneeling on the ground beneath trees. I was in a green place. I was at the edge of a woods. Before me was a wide tranquil river, and near the middle of that river was a child splashing, screaming …

Drowning!

I reacted to the child in trouble. Later I could ask questions, try to find out where I was, what had happened. Now I went to help the child.

I ran down to the river, waded into the water fully clothed, and swam quickly to the child. He was unconscious by the time I reached him—a small red-haired boy floating, face down. I turned him over, got a good hold on him so that his head was above water, and towed him in. There was a red-haired woman waiting for us on the shore now. Or rather, she was running back and forth crying on the shore. The moment she saw that I was wading, she ran out, took the boy from me and carried him the rest of the way, feeling and examining him as she did.

He’s not breathing! she screamed.

Artificial respiration. I had seen it done, been told about it, but I had never done it. Now was the time to try. The woman was in no condition to do anything useful, and there was no one else in sight. As we reached shore, I snatched the child from her. He was no more than four or five years old, and not very big.

I put him down on his back, tilted his head back, and began mouth-to-mouth resuscitation. I saw his chest move as I breathed into him. Then, suddenly, the woman began beating me.

You killed my baby! she screamed. You killed him!

I turned and managed to catch her pounding fists. Stop it! I shouted, putting all the authority I could into my voice. He’s alive! Was he? I couldn’t tell. Please God, let him be alive. The boy’s alive. Now let me help him. I pushed her away, glad she was a little smaller than I was, and turned my attention back to her son. Between breaths, I saw her staring at me blankly. Then she dropped to her knees beside me, crying.

Moments later, the boy began breathing on his own—breathing and coughing and choking and throwing up and crying for his mother. If he could do all that, he was all right. I sat back from him, feeling light-headed, relieved. I had done it!

He’s alive! cried the woman. She grabbed him and nearly smothered him. Oh, Rufus, baby …

Rufus. Ugly name to inflict on a reasonably nice-looking little kid.

When Rufus saw that it was his mother who held him, he clung to her, screaming as loudly as he could. There was nothing wrong with his voice, anyway. Then, suddenly, there was another voice.

What the devil’s going on here? A man’s voice, angry and demanding.

I turned, startled, and found myself looking down the barrel of the longest rifle I had ever seen. I heard a metallic click, and I froze, thinking I was going to be shot for saving the boy’s life. I was going to die.

I tried to speak, but my voice was suddenly gone. I felt sick and dizzy. My vision blurred so badly I could not distinguish the gun or the face of the man behind it. I heard the woman speak sharply, but I was too far gone into sickness and panic to understand what she said.

Then the man, the woman, the boy, the gun all vanished.

I was kneeling in the living room of my own house again several feet from where I had fallen minutes before. I was back at home—wet and muddy, but intact. Across the room, Kevin stood frozen, staring at the spot where I had been. How long had he been there?

Kevin?

He spun around to face me. What the hell … how did you get over there? he whispered.

I don’t know.

Dana, you … He came over to me, touched me tentatively as though he wasn’t sure I was real. Then he grabbed me by the shoulders and held me tightly. What happened?

I reached up to loosen his grip, but he wouldn’t let go. He dropped to his knees beside me.

Tell me! he demanded.

I would if I knew what to tell you. Stop hurting me.

He let me go, finally, stared at me as though he’d just recognized me. Are you all right?

No. I lowered my head and closed my eyes for a moment. I was shaking with fear, with residual terror that took all the strength out of me. I folded forward, hugging myself, trying to be still. The threat was gone, but it was all I could do to keep my teeth from chattering.

Kevin got up and went away for a moment. He came back with a large towel and wrapped it around my shoulders. It comforted me somehow, and I pulled it tighter. There was an ache in my back and shoulders where Rufus’s mother had pounded with her fists. She had hit harder than I’d realized, and Kevin hadn’t helped.

We sat there together on the floor, me wrapped in the towel and Kevin with his arm around me calming me just by being there. After a while, I stopped shaking.

Tell me now, said Kevin.

What?

Everything. What happened to you? How did you … how did you move like that?

I sat mute, trying to gather my thoughts, seeing the rifle again leveled at my head. I had never in my life panicked that way—never felt so close to death.

Dana. He spoke softly. The sound of his voice seemed to put distance between me and the memory. But still …

I don’t know what to tell you, I said. It’s all crazy.

Tell me how you got wet, he said. Start with that.

I nodded. There was a river, I said. Woods with a river running through. And there was a boy drowning. I saved him. That’s how I got wet. I hesitated, trying to think, to make sense. Not that what had happened to me made sense, but at least I could tell it coherently.

I looked at Kevin, saw that he held his expression carefully neutral. He waited. More composed, I went back to the beginning, to the first dizziness, and remembered it all for him—relived it all in detail. I even recalled things that I hadn’t realized I’d noticed. The trees I’d been near, for instance, were pine trees, tall and straight with branches and needles mostly at the top. I had noticed that much somehow in the instant before I had seen Rufus. And I remembered something extra about Rufus’s mother. Her clothing. She had worn a long dark dress that covered her from neck to feet. A silly thing to be wearing on a muddy riverbank. And she had spoken with an accent—a southern accent. Then there was the unforgettable gun, long and deadly.

Kevin listened without interrupting. When I was finished, he took the edge of the towel and wiped a little of the mud from my leg. This stuff had to come from somewhere, he said.

You don’t believe me?

He stared at the mud for a moment, then faced me. You know how long you were gone?

A few minutes. Not long.

A few seconds. There were no more than ten or fifteen seconds between the time you went and the time you called my name.

Oh, no … I shook my head slowly. All that couldn’t have happened in just seconds.

He said nothing.

But it was real! I was there! I caught myself, took a deep breath, and slowed down. All right. If you told me a story like this, I probably wouldn’t believe it either, but like you said, this mud came from somewhere.

Yes.

Look, what did you see? What do you think happened?

He frowned a little, shook his head. You vanished. He seemed to have to force the words out. You were here until my hand was just a couple of inches from you. Then, suddenly, you were gone. I couldn’t believe it. I just stood there. Then you were back again and on the other side of the room.

Do you believe it yet?

He shrugged. It happened. I saw it. You vanished and you reappeared. Facts.

I reappeared wet, muddy, and scared to death.

Yes.

And I know what I saw, and what I did—my facts. They’re no crazier than yours.

I don’t know what to think.

I’m not sure it matters what we think.

What do you mean?

Well … it happened once. What if it happens again?

No. No, I don’t think …

You don’t know! I was starting to shake again. Whatever it was, I’ve had enough of it! It almost killed me!

Take it easy, he said. Whatever happens, it’s not going to do you any good to panic yourself again.

I moved uncomfortably, looked around. I feel like it could happen again—like it could happen anytime. I don’t feel secure here.

You’re just scaring yourself.

No! I turned to glare at him, and he looked so worried I turned away again. I wondered bitterly whether he was worried about my vanishing again or worried about my sanity. I still didn’t think he believed my story. Maybe you’re right, I said. I hope you are. Maybe I’m just like a victim of robbery or rape or something—a victim who survives, but who doesn’t feel safe any more. I shrugged. I don’t have a name for the thing that happened to me, but I don’t feel safe any more.

He made his voice very gentle. If it happens again, and if it’s real, the boy’s father will know he owes you thanks. He won’t hurt you.

You don’t know that. You don’t know what could happen. I stood up unsteadily. Hell, I don’t blame you for humoring me. I paused to give him a chance to deny it, but he didn’t. I’m beginning to feel as though I’m humoring myself.

What do you mean?

I don’t know. As real as the whole episode was, as real as I know it was, it’s beginning to recede from me somehow. It’s becoming like something I saw on television or read about—like something I got second hand.

Or like a … a dream?

I looked down at him. You mean a hallucination.

All right.

No! I know what I’m doing. I can see. I’m pulling away from it because it scares me so. But it was real.

Let yourself pull away from it. He got up and took the muddy towel from me. That sounds like the best thing you can do, whether it was real or not. Let go of it.

The Fire

1

I tried.

I showered, washed away the mud and the brackish water, put on clean clothes, combed my hair …

That’s a lot better, said Kevin when he saw me.

But it wasn’t.

Rufus and his parents had still not quite settled back and become the dream Kevin wanted them to be. They stayed with me, shadowy and threatening. They made their own limbo and held me in it. I had been afraid that the dizziness might come back while I was in the shower, afraid that I would fall and crack my skull against the tile or that I would go back to that river, wherever it was, and find myself standing naked among strangers. Or would I appear somewhere else naked and totally vulnerable?

I washed very quickly.

Then I went back to the books in the living room, but Kevin had almost finished shelving them.

Forget about any more unpacking today, he told me. Let’s go get something to eat.

Go?

Yes, where would you like to eat? Someplace nice for your birthday.

Here.

But …

Here, really. I don’t want to go anywhere.

Why not?

I took a deep breath. Tomorrow, I said. Let’s go tomorrow. Somehow, tomorrow would be better. I would have a night’s sleep between me and whatever had happened. And if nothing else happened, I would be able to relax a little.

It would be good for you to get out of here for a while, he said.

No.

Listen …

No! Nothing was going to get me out of the house that night if I could help it.

Kevin looked at me for a moment—I probably looked as scared as I was—then he went to the phone and called out for chicken and shrimp.

But staying home did no good. When the food had arrived, when we were eating and I was calmer, the kitchen began to blur around me.

Again the light seemed to dim and I felt the sick dizziness. I pushed back from the table, but didn’t try to get up. I couldn’t have gotten up.

Dana?

I didn’t answer.

Is it happening again?

I think so. I sat very still, trying not to fall off my chair. The floor seemed farther away than it should have. I reached out for the table to steady myself, but before I could touch it, it was gone. And the distant floor seemed to darken and change. The linoleum tile became wood, partially carpeted. And the chair beneath me vanished.

2

When my dizziness cleared away, I found myself sitting on a small bed sheltered by a kind of abbreviated dark green canopy. Beside me was a little wooden stand containing a battered old pocket knife, several marbles, and a lighted candle in a metal holder. Before me was a red-haired boy. Rufus?

The boy had his back to me and hadn’t noticed me yet. He held a stick of wood in one hand and the end of the stick was charred and smoking. Its fire had apparently been transferred to the draperies at the window. Now the boy stood watching as the flames ate their way up the heavy cloth.

For a moment, I watched too. Then I woke up, pushed the boy aside, caught the unburned upper part of the draperies and pulled them down. As they fell, they smothered some of the flames within themselves, and they exposed a half-open window. I picked them up quickly and threw them out the window.

The boy looked at me, then ran to the window and looked out. I looked out too, hoping I hadn’t thrown the burning cloth onto a porch roof or too near a wall. There was a fireplace in the room; I saw it now, too late. I could have safely thrown the draperies into it and let them burn.

It was dark outside. The sun had not set at home when I was snatched away, but here it was dark. I could see the draperies a story below, burning, lighting the night only enough for us to see that they were on the ground and some distance from the nearest wall. My hasty act had done no harm. I could go home knowing that I had averted trouble for the second time.

I waited to go home.

My first trip had ended as soon as the boy was safe—had ended just in time to keep me safe. Now, though, as I waited, I realized that I wasn’t going to be that lucky again.

I didn’t feel dizzy. The room remained unblurred, undeniably real. I looked around, not knowing what to do. The fear that had followed me from home flared now. What would happen to me if I didn’t go back automatically this time? What if I was stranded here—wherever here was? I had no money, no idea how to get home.

I stared out into the darkness fighting to calm myself. It was not calming, though, that there were no city lights out there. No lights at all. But still, I was in no immediate danger. And wherever I was, there was a child with me—and a child might answer my questions more readily than an adult.

I looked at him. He looked back, curious and unafraid. He was not Rufus. I could see that now. He had the same red hair and slight build, but he was taller, clearly three or four years older. Old enough, I thought, to know better than to play with fire. If he hadn’t set fire to his draperies, I might still be at home.

I stepped over to him, took the stick from his hand, and threw it into the fireplace. Someone should use one like that on you, I said, before you burn the house down.

I regretted the words the moment they were out. I needed this boy’s help. But still, who knew what trouble he had gotten me into!

The boy stumbled back from me, alarmed. You lay a hand on me, and I’ll tell my daddy! His accent was unmistakably southern, and before I could shut out the thought, I began wondering whether I might be somewhere in the South. Somewhere two or three thousand miles from home.

If I was in the South, the two- or three-hour time difference would explain the darkness outside. But wherever I was, the last thing I wanted to do was meet this boy’s father. The man could have me jailed for breaking into his house—or he could shoot me for breaking in. There was something specific for me to worry about. No doubt the boy could tell me about other things.

And he would. If I was going to be stranded here, I had to find out all I could while I could. As dangerous as it could be for me to stay where I was, in the house of a man who might shoot me, it seemed even more dangerous for me to go wandering into the night totally ignorant. The boy and I would keep our voices down, and we would talk.

Don’t you worry about your father, I told him softly. You’ll have plenty to say to him when he sees those burned draperies.

The boy seemed to deflate. His shoulders sagged and he turned to stare into the fireplace. Who are you anyway? he asked. What are you doing here?

So he didn’t know either—not that I had really expected him to. But he did seem surprisingly at ease with me—much calmer than I would have been at his age about the sudden appearance of a stranger in my bedroom. I wouldn’t even have still been in the bedroom. If he had been as timid a child as I was, he would probably have gotten me killed.

What’s your name? I asked him.

Rufus.

For a moment, I just stared at him. Rufus?

Yeah. What’s the matter?

I wished I knew what was the matter—what was going on! I’m all right, I said. Look … Rufus, look at me. Have you ever seen me before?

No.

That was the right answer, the reasonable answer. I tried to make myself accept it in spite of his name, his too-familiar face. But the child I had pulled from the river could so easily have grown into this child—in three or four years.

Can you remember a time when you nearly drowned? I asked, feeling foolish.

He frowned, looked at me more carefully.

You were younger, I said. About five years old, maybe. Do you remember?

The river? The words came out low and tentative as though he didn’t quite believe them himself.

You do remember then. It was you.

Drowning … I remember that. And you …?

I’m not sure you ever got a look at me. And I guess it must have been a long time ago … for you.

No, I remember you now. I saw you.

I said nothing. I didn’t quite believe him. I wondered whether he was just telling me what he thought I wanted to hear—though there was no reason for him to lie. He was clearly not afraid of me.

That’s why it seemed like I knew you, he said. I couldn’t remember — maybe because of the way I saw you. I told Mama, and she said I couldn’t have really seen you that way.

What way?

Well … with my eyes closed.

With your— I stopped. The boy wasn’t lying; he was dreaming.

It’s true! he insisted loudly. Then he caught himself, whispered, That’s the way I saw you just as I stepped in the hole.

Hole?

In the river. I was walking in the water and there was a hole. I fell, and then I couldn’t find the bottom any more. I saw you inside a room. I could see part of the room, and there were books all around—more than in Daddy’s library. You were wearing pants like a man—the way you are now. I thought you were a man.

Thanks a lot.

But this time you just look like a woman wearing pants.

I sighed. All right, never mind that. As long as you recognize me as the one who pulled you out of the river …

Did you? I thought you must have been the one.

I stopped, confused. I thought you remembered.

I remember seeing you. It was like I stopped drowning for a while and saw you, and then started to drown again. After that Mama was there, and Daddy.

And Daddy’s gun, I said bitterly. Your father almost shot me.

He thought you were a man too—and that you were trying to hurt Mama and me. Mama says she was telling him not to shoot you, and then you were gone.

Yes. I had probably vanished before the woman’s eyes. What had she thought of that?

I asked her where you went, said Rufus, and she got mad and said she didn’t know. I asked her again later, and she hit me. And she never hits me.

I waited, expecting him to ask me the same question, but he said no more. Only his eyes questioned. I hunted through my own thoughts for a way to answer him.

Where do you think I went, Rufe?

He sighed, said disappointedly, You’re not going to tell me either.

Yes I am—as best I can. But answer me first. Tell me where you think I went.

He seemed to have to decide whether to do that or not. Back to the room, he said finally. The room with the books.

Is that a guess, or did you see me again?

I didn’t see you. Am I right? Did you go back there?

Yes. Back home to scare my husband almost as much as I must have scared your parents.

But how did you get there? How did you get here?

Like that. I snapped my fingers.

That’s no answer.

It’s the only answer I’ve got. I was at home; then suddenly, I was here helping you. I don’t know how it happens—how I move that way—or when it’s going to happen. I can’t control it.

Who can?

I don’t know. No one. I didn’t want him to get the idea that he could control it. Especially if it turned out that he really could.

But … what’s it like? What did Mama see that she won’t tell me about?

Probably the same thing my husband saw. He said when I came to you, I vanished. Just disappeared. And then reappeared later.

He thought about that. Disappeared? You mean like smoke? Fear crept into his expression. Like a ghost?

Like smoke, maybe. But don’t go getting the idea that I’m a ghost. There are no ghosts.

That’s what Daddy says.

He’s right.

But Mama says she saw one once.

I managed to hold back my opinion of that. His mother, after all … Besides, I was probably her ghost. She had had to find some explanation for my vanishing. I wondered how her more realistic husband had explained it. But that wasn’t important. What I cared about now was keeping the boy calm.

You needed help, I told him. "I came

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