63 pages • 2-hour read
Lalita TademyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide contains descriptions of child abuse, sexual assault, child sexual assault, rape, enslavement, racism, racist language, and racist and outdated language.
The text is prefaced by Tademy’s family tree, which goes back seven generations.
As a child, Lalita Tademy heard stories about her great-grandmother, Emily Fredieu, who was described as an elegant lady. However, that description did not match the unconventional life that Emily had led with Joseph Billes, her white lover. Tademy also had a special distaste for Emily because Emily was “color-struck”—she valued physical features that were more typical of white people. Nevertheless, Tademy became increasingly curious about the women in her female line, including Philomene, Emily’s mother. She learned additional details from her cousin Gurtie Fredieu, who produced a two-page letter that described many dramatic events.
Tademy’s curiosity about her family eventually led her to quit her successful corporate job so that she could tell the story of the women in her family, especially that of Philomene, who was born into enslavement and adversity. Tademy states that it is Philomene who demands that the family’s story be told. The novel that grew from Philomene’s story blends fact and fiction and is rooted in years of research; Tademy explains that this blending is necessary to capture the essence of her family’s history.
Suzette is eight years old and lives with her enslaved family on Rosedew Plantation, which is owned by Louis and Françoise Derbanne. Her mother Elisabeth is the cook. Suzette serves as a companion to Oreline, the Derbannes’ orphaned niece, and she also does housework, which accords her a higher status than the enslaved people who work in the fields. She has skin “the color of cocoa” (8), while Elisabeth has darker skin.
One Sunday, Suzette has just returned from St. Augustine Church, where the free people of color who built the church sit up front—a fact that outrages Françoise Derbanne. Suzette asks Oreline to teach her to read, but Oreline refuses because doing so would be illegal. Suzette convinces Madame Derbanne to allow her to take First Communion with Oreline. Both girls are excited as they anticipate their birthdays.
When Françoise complains that Elisabeth’s peach cobbler sickened Louis, Suzette speaks up and asserts that liquor, not sugar, made Louis sick. Madame Derbanne slaps Suzette and tells Elisabeth to teach the girl her place. When Suzette complains about the injustice of the slap, Elisabeth simply tells her, “There is no fair. Just do your work, Suzette” (13). Suzette urinates on Madame Derbanne’s roses the next morning. It is her ninth birthday.
Now 12, Suzette is flush with pride as the only enslaved girl taking First Communion at St. Augustine Church. Also present are her godmother Doralise (the emancipated daughter of Louis), and Nicolas, Suzette’s first crush and the son of a free family of color. Later when Suzette recounts the day to her mother, Elisabeth warns Suzette that only family matters; she stresses that Nicolas will never marry an enslaved girl, then suggests that Suzette has grown too comfortable because of her proximity to white people. Suzette isn’t deterred.
At a party for Oreline, Suzette feels humiliated to be serving the same young white people that she played alongside as a child. Louis makes his usual comments about how burdensome it is to enslave people, although he also asserts that enslavement is the only economic model that makes a cotton economy work. Eugene Daurat, a man recently arrived from France, is also present, and Louis uses lewd language to draw his attention to Suzette. Eugene presents an immature wine to Louis and loudly remarks that sometimes it is better not to wait for good things to ripen before consuming them. This comment is aimed at Suzette and makes her uneasy, so she abruptly leaves.
The week between Christmas and New Year’s is a plantation-wide celebration with no work and a big party with music, dancing, and gifts from the Derbannes. However, Elisabeth and Suzette must work to prepare the feast. Suzette wonders if Nicolas will be there, even though free people of color rarely mingle with the enslaved people on the plantations.
On the day of the party, Suzette watches with delight as her mother dances flirtatiously for Gerasíme, Suzette’s father, while he plays the fiddle. Suzette enjoys her leisure time with her siblings, including Palmire, a sister who is Deaf and is unable to speak. Overheated from her own dancing, Suzette wanders to the Cane River, and Eugene Daurat follows her. He insists that she sit close to him, and Suzette stays despite her uneasiness because she is afraid of offending a good friend of her enslavers. He rapes her, then sends her back to the party. Afterward, Suzette wonders how she will clean the bloodstains from her crumpled white confirmation dress.
Four months later, a pregnant Suzette names Eugene Daurat as the father of her child, and reactions to this news vary. Elisabeth comforts her and tells her own story about sexual assault on the Virginia plantation where she used to live, describing the two children that she had as a result. However, an exasperated Françoise Derbanne claims that the promiscuous nature of enslaved women is to blame for Suzette’s pregnancy. Oreline, who is keen to catch Eugene’s attention herself, becomes cold and demanding. Some enslaved people on the plantation are glad to see Suzette’s struggles, as they perceived her as being haughty before her pregnancy.
Suzette’s work shifts; she is assigned to the kitchen and sent to tend a rapidly aging Louis Derbanne. Louis still regularly assaults Suzette’s sister Palmire, who is also pregnant. Suzette gives birth to a “buff-colored” (58) boy whom she wants to name Philomen. However, Françoise names the baby Gerant. As Suzette struggles to simultaneously care for a newborn and Louis, she grows overwhelmed. Elisabeth, whom Suzette sees as “the strongest link in a growing chain” (62), is her only solace. Meanwhile, Eugene Daurat relentlessly pursues Suzette, and even though Elisabeth appeals to Françoise for protection, no help is forthcoming.
Louis Derbanne dies, leaving his estate to the church and his wife. The part of his will that attracts them most notice is his decision to free an older enslaved man and two of Louis’s children by an enslaved woman. However, Louis doesn’t free the three children he had with Palmire. Françoise struggles to run the plantation until Eugene Daurat steps in. He then uses his new authority to rape Suzette, who comes to see his repeated violations in the same way that she views the distasteful but routine task of cleaning the outhouse. Eugene only stops raping Suzette when she tells him that she is pregnant; she wants him to buy and emancipate the baby.
Suzette turns to Doralise, her godmother and a free woman of color, and asks her to be the coming baby’s godmother. Doralise has her own struggles: Her husband beats her regularly. She agrees to be the baby’s godmother. Suzette’s labor is easier this time, and she gives birth to a girl. Françoise allows her to name the baby Philomene. Suzette is shocked to learn that Doralise has divorced her husband through Eugene’s intervention in the suit. She is now Eugene’s mistress.
This chapter includes four facsimiles of documents associated with Tademy’s family history, including a line from the two-page family history written by Gurtie Fredieu.
Tademy uses her Author’s Note to frame the novel by explaining that Cane River is not a faithful reproduction of the lives presented in the historical documents and family tree. Instead, she stresses that her work is to recreate the lived experiences of her female ancestors. To this end, she offers up a brutal portrayal of the enslavement that Suzette and other girls and women endured. Emphasizing the grim reality that the plantation owners exploited Black girls and women for both labor and sexual gratification, Tademy employs a fictionalized approach that nonetheless creates a far more vivid sense of the atrocities of enslavement than dry, historical documents ever could. Her creative characterizations of Suzette, Elisabeth, and others also show that these enslaved women strove to pass on crucial knowledge that would allow their daughters to survive the ravages of a dehumanizing system.
Within this context, Tademy introduces the theme of Sexual Coercion as a Tool of Racialized Power to develop one particular aspect of that lived experience more thoroughly. When Eugene exploits Suzette’s fear of offending the Derbannes in order to coerce and then rape her, he treats her as a mere object for his pleasure and coldly dismisses her afterward. Suzette is a child, so she struggles to process the violence visited on her; her concern about the bloodstains on the confirmation dress illustrates the true extent of her physical and psychological oppression, for she does not even have the tools to adequately name and respond to the violation that she just survived. Her sister Palmire, who is unable to speak of her abuse out loud, is also forced to survive rape with little recourse to outside intervention. While Louis self-righteously frames plantation society as a moral but necessary “burden” for white enslavers, Tademy emphasizes the reality that the rape of enslaved girls and women is part of a larger exploitation of Black bodies in general, and these fundamental violations lie at the very heart of an entire socioeconomic framework that has been built upon the injustices of enslavement.
In keeping with literary conventions, Tademy uses key symbols to underscore the power dynamics that dominate Cane River’s society of enslaved people. For example, Suzette’s white confirmation dress initially symbolizes the privileges that she enjoys as Oreline’s favorite, and the outfit also represents a tacit recognition of her humanity despite the dehumanizing status of her enslavement. However, when Eugene rapes her, the dress soon becomes a symbol for the crushing, abusive power of her enslavers. This event makes it clear that although the church can allow Suzette some freedom through her communion, it is no protection at all from a white man’s choice to violate her. While free people of color sit in front of white people in the church in an inversion of the social order, the church itself can only go so far in carving out a space that is less focused upon the existing relations between enslavers and the enslaved.
Despite Eugene and the Derbannes’ efforts at dominance, the enslaved women of Rosedew resist the coercive conditions under which they live, frequently drawing quiet strength from The Power of Family Connections. When Suzette despairs over trying to endure Eugene’s frequent rapes, she relies on her mother’s wisdom to survive. Specifically, the stories of adversity that Elisabeth tells her daughter—including her own rape and the loss of her children—represent a transmission of knowledge from generation to generation. By telling Suzette these family stories, Elisabeth stresses the idea that if she can survive such injustices, so can Suzette. Additionally, when Elisabeth dances for her husband, she also models a way to endure enslavement and still have joy. However, such family support is limited and cannot prevent enslaved children from being wounded by a system of pervasive sexual coercion. Elisabeth cannot help or explain to her daughter how to avoid further rape, and it is clear that the power dynamics between enslaved women and girls and the white men who torment them are such that not even parents can protect their children.
Finally, these early chapters also establish The Problematic Nature of Colorism as Tademy pointedly describes various figures’ skin color to emphasize the fact that each successive generation of the family has a lighter skin tone than the previous generation. Elisabeth is described as having dark skin, while Suzette is the color of “cocoa” (8) and Gerant is “buff-colored” (58). These details make it clear that the so-called “bleaching of the line” (382) has already begun, but at this point, it is not the result of a survival strategy, as these women do not have the future generations’ option of “passing” as white in an unjust social world. Instead, the successive lightening of the women’s skin tone with each generation reflects white male enslavers’ domination and rape of enslaved Black women like Elisabeth and Suzette. Even so, the possibilities in a deliberate “bleaching of the line” (382) are there in nascent form when Suzette asks Eugene to buy and emancipate their child. Suzette, after whom this first section is named, is the first generation of a family that must navigate the implications of mothering children who have both white and Black parentage and helping them to survive in a society that despises Black heritage.



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