Daughters of the Dust

Storytelling is a key narrative device in Daughters of the Dust, with much of the novel consisting of sub-narratives told by different characters, which come together to form the complete plot. Amelia initially sets out to catalog the stories of her Gullah-Geechee relatives as part of an anthropological research project. As she gets to know the history of her family through the stories they share with her, she realizes the importance of storytelling as a tool for building identity, preserving cultural memory, and surviving oppression.

To further emphasize the importance of storytelling, Dash focuses Chapter 2 on the character of Miz Emma Julia, a Gullah-Geechee elder who engages in “telling the lie” (10): a Gullah phrase that means to tell a good story. Miz Emma Julia tells the young Elizabeth an African creation myth that evokes the deities Yemoja, Ogun, Elegba, Oya, and Osun. These figures appear to be based on the Orishas, spirits worshipped in the Yoruba or Isese religious tradition of West Africa. The Orishas reappear throughout the narrative in stories told by other Gullah-Geechee people, often playing a protective role. The tradition of oral storytelling helps to keep faith in these old spirits alive even as younger people on the islands move toward more modern ways of thinking.

Many of the stories told by the characters in Daughters of the Dust also address the Gullah-Geechee peoples’ history of enslavement. When enslavers stripped away their physical access to traditional customs such as oiling and hair plaiting, oral storytelling became a vital method of sharing and preserving language, music, and culture. The stories passed down through generations of Gullah-Geechee people commemorate those who have been lost and celebrate the continued survival of their culture. In several instances, the Gullah-Geechee people turn accounts of their trauma into stories highlighting the strength of their ancestors. In doing so, they create a more hopeful narrative that celebrates their resilience in the face of tragedy. These stories construct a shared cultural identity. In Chapter 12, for example, Miz Emma Julia reminds the Gullah-Geechee community that “it take a strong people […] to keep de lies true” (241). Strength and pride become a part of the shared Gullah-Geechee cultural identity. During trying times, the Gullah-Geechee community is able to draw on the strength of their ancestors by conjuring their stories.

Dash also illustrates the truth that the act of sharing stories and memories can be a demanding one. Many residents of Dawtuh Island find their history of slavery and oppression too painful to speak about; in Chapter 13, Miz Emma Julia recalls how a woman “had thrown her apron over her head, crying bitter tears when asked about her family” (243). Haagar is one such person, choosing to leave her traumatic memories behind and look only to the future. Though initially angered by Haagar’s denial of part of her identity, Amelia comes to understand her grandmother’s compulsion to forget the past after meeting Haagar’s abusive father. Haagar’s denial of her history is contrasted by Eula’s willingness to tell the story of “The Unborn Chile,” for although Eula has experienced trauma at the hands of her unnamed rapist, she finds kernels of hope in the memory: her own survival, the protection of the old spirits, and the birth of Elizabeth.

Amelia experiences firsthand the role of storytelling in identity building. When she arrives on Dawtuh Island, she knows little about her ancestors. Haagar’s “determination to leave stories untold’ and Myown’s “desire to recall only the things that brought her peace” (121) have left a large gap in Amelia’s family history. As a result, she feels lost and isolated among the close-knit Gullah-Geechee community. Initially, she cannot understand why some Peazants have stayed on the islands while Haagar and others emigrated North. Her weak sense of self is further reflected in her unwillingness to stand up for herself or to participate in activities designated by Haagar as improper.

Only after warming to life on the island and listening to people’s stories does Amelia begin to piece together a full picture of her past. She learns of the poverty and abuse that drove Haagar away from the South, as well as the bonds of love and community that have kept other Peazants on the island. Stories told by others on the island teach her about the many atrocities experienced by her ancestors and the strength of spirit and body that they drew upon to keep going. Through these stories, Amelia becomes fully immersed in Gullah-Geechee culture, shedding her reservations and accepting her heritage as an important part of her identity. By the time she returns to New York, Amelia has gained a sense of confidence and identity. Before she boards the train, Elizabeth urges her to tell her own story. Amelia’s ability to tell her own narrative after months of listening to the stories of others evinces her development of a sense of identity. In Daughters of the Dust, history and storytelling ultimately function as sources of both joy and pain. Suffering. Dash highlights the role that the telling of a complete history plays in maintaining individual and cultural identity.