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Content Warning: This section of the guide includes discussion of death, child death, death by suicide, graphic violence, sexual violence, rape, physical abuse, emotional abuse, child abuse, racism, substance use, and cursing.
After quarreling with Thomas over her messy handwriting, the elderly July decides to leave, packing the only possessions she brought from Jamaica: a scrap of lace and a blue-and-white plate. She struggles with her daughter-in-law, Lillian, over her valise before being pacified with soup and stewed goat and returning to her manuscript.
The main story resumes at Amity plantation, about nine years after Caroline’s arrival. Now 16, July is the enslaved personal maid to Caroline, who has become lethargic in the Jamaican heat and insists on calling July “Marguerite.” In the kitchen, the headman Godfrey, cook Hannah, chamber girls Molly and Patience, and house boy Byron are introduced. July is favored by Caroline, which causes resentment from Molly.
A fine dress of Caroline’s is ruined through the combined neglect of the servants. It has been stained by the dog, and it’s laundered by the washerwomen Florence and Lucy, whose rough scrubbing of the material destroys several of its delicate details. The lace collar then goes missing, likely stolen by Molly. Anticipating Caroline’s rage, July launches into a theatrical display of hysterical self-blame, throwing herself to the floor and begging for punishment, which effectively diffuses the situation. July is confident that Caroline will never get rid of her because she depends on her completely.
A flashback reveals that Caroline took July from her mother, Kitty, to replace her English servant, Mary, who had died. When July grew impatient with sewing lessons, Caroline stabbed the nine-year-old’s hand with her needle and claimed that her mother was “sold away.” Around the same time, Caroline’s brother, John Howarth, became withdrawn and reclusive after his wife, Agnes, and their son died in childbirth.
In 1831, Caroline plans an elaborate Christmas dinner, giving extensive instructions to Hannah. During the preparations, she argues with the headman, Godfrey, over the cost of supplies for the feast and strikes him. As peddlers arrive at the kitchen to sell their wares, they gossip about a preacher’s sermon about freedom. The preparations are chaotic, and Godfrey, in a moment of mischief, instructs July to use a bedsheet for the formal dining table instead of the proper Irish linen.
Caroline’s Christmas dinner party begins. The enslaved musicians, hired for the occasion, deliberately play poorly for their white audience. An attorney, Henry Barrett, dominates the conversation with talk of a rumored rebellion of enslaved people. Meanwhile, the house servants and servants from neighboring plantations hold their own party with the leftovers. July gets into a verbal spat with Clara, a haughty, light-skinned lady’s maid.
Later, Godfrey sends July to steal more liquor from the dining room. As she passes bottles out a window to Byron, the man from Windsor Hall wakes and catches her. He accuses her of theft and, while interrogating her, secretly gropes her. The confrontation is interrupted when militia men burst in, announcing that plantations are being burned in the west. They summon all the white men to duty, and the party dissolves into chaos. Howarth gives Caroline a pistol for protection and tells July to look after her. After the men depart, Caroline cries with social embarrassment over a guest possibly noticing that she had used a bedsheet as a tablecloth.
July interrupts her story to address the reader directly. She explains that Thomas has criticized her for not including more historical facts about the 1831 Baptist War, also known as the Christmas Rebellion. July dismisses his demands, arguing that news was unreliable in that era and that her personal experience was limited. She directs the reader to Baptist minister George Dovaston’s pamphlet Facts and Documents Connected With the Great Slave Rebellion of Jamaica (1832) for a fuller account, while warning them away from the pamphlet Conflict and Change. A View From the Great House of Slaves, Slavery and the British Empire by the enslaver John Hoskin. She concludes by stating that while a rebellion raged across Jamaica, life at Amity was quiet.
Three days after the dinner party, Caroline remains isolated in the great house with only her enslaved servants. She’s terrified by the distant sounds of the rebellion. Her fear is amplified when July pretends that an unknown Black man is approaching on horseback. The rider is actually Nimrod Freeman, a former groom at Amity who has purchased his freedom. July is delighted to see him and leaves Caroline locked in a room to go speak with him. Nimrod tells the other servants stories of the rebellion, claiming that white men are being thrown into boiling sugar and that the militia is paying for Black rebel ears. He expresses genuine concern for Caroline’s safety, insisting that she must be taken to a ship in the harbor. After initially dismissing the idea, July becomes concerned for Caroline and agrees to deliver the message.
After learning that she must flee to a ship, Caroline is anxious, fussing over which clothes to pack. She accuses July of plotting against her. When Godfrey arrives to drive her to town, he refuses to leave until she pays him, citing the danger of traveling with a white person during the rebellion. She makes to strike him, but Godfrey seizes her wrists and forces her to her knees. Defeated, she agrees to his price. Godfrey makes Caroline say July’s real name three times. He then asserts his authority further by ordering her to ride in a humble mule cart instead of the gig and lie hidden under a smelly blanket. As Godfrey drives away with Caroline, July has no idea if she will never see him again.
With the house empty, July revels in her newfound freedom, exploring rooms and playing games. Nimrod appears, and they engage in a role-playing game where she’s the “mistress” and he’s her “slave.” After drinking wine for the first time, a drunk July allows Nimrod to seduce her in “the master’s” bed.
The next morning, they’re woken by the return of Howarth and Caroline. July and Nimrod hide under the bed just as Howarth enters the room in a state of extreme distress. After pacing and muttering to himself, he sits in a chair and, to their horror, fatally shoots himself. His body falls to the floor just inches from their hiding place.
Caroline and the overseer, Tam Dewar, discover Howarth’s body. Dewar confirms that it was a suicide, but Caroline denies it, fearing that a finding of suicide would mean the seizure of all their property—a consequence she knows from the ruin of her London neighbor Jane Glover after Jane’s father hanged himself. An authorial aside reveals the cause of Howarth’s despair: During his militia duty, he witnessed not only the brutal killing and torture of many enslaved people but also, more shockingly to him, a group of his white peers dressed as women, tarring and feathering a Baptist missionary, whom they blamed for encouraging the rebellion.
While July remains unnoticed, Dewar spots Nimrod hiding under the bed, and Caroline immediately accuses him of murdering Howarth. Dewar, understanding the opportunity, coaches her on a believable lie: Nimrod shot Howarth from the front, in the mouth, and she in turn shot Nimrod as he fled. Dewar brutally beats Nimrod and then prepares to kill him. As Dewar aims at Nimrod’s head, July bursts from her hiding place and tackles him. The shot blasts into the ceiling, bringing down debris that pelts Caroline and causes her to fall heavily on top of Dewar, knocking the wind from him. July grabs the dazed Nimrod and escapes, locking Caroline and Dewar in the room. She drags Nimrod to the village of enslaved field workers, where an old woman named Miss Rose recognizes her as Kitty’s long-lost daughter.
The narrative flashes back to describe Kitty’s life. Her most hated work is manuring the cane fields, a physically agonizing and degrading task. On the day of the rebellion, Kitty hears that her daughter has reappeared at the plantation just as the militia attacks their village. Ignoring the chaos of burning huts and rampaging soldiers, Kitty makes her way to the mill yard.
There, she finds Dewar, who has just shot Nimrod in the face, raising his pistol to strike July. Kitty attacks him with savage force, screaming for July to run. In the ensuing struggle, which no one clearly witnesses, Kitty beats Dewar so severely that he dies from his injuries two days later. The militia finds Kitty sitting calmly beside the overseer’s mangled body and arrests her. The enslaved cattle-man Benjamin Brown specifically testifies that Dewar was July’s father, recounting that Dewar had repeatedly forced himself on Kitty when he first came to Amity.
While hiding in the town’s market square, July watches as Kitty is brought to the gallows. Kitty’s face is swollen and bruised from being beaten, and she’s confused, not understanding that her trial is over and that she has been sentenced to death. The townspeople have grown numb to the frequent executions and pay little attention. Kitty is hanged on a gibbet alongside two other men—one condemned for burning down his overseer’s house, the other for merely watching the flames “open-mouthed.” July watches as her mother struggles at the end of the rope before finally going still.
The narrator’s quarrel with her son over her “crabbed” handwriting and ink-stained fingers continues the central tension between personal memory and official history. Thomas, educated and concerned with propriety, wants a neat, orderly, fact-based account of the past, chiding his mother for not including more details about the Baptist War. July’s response defiantly rejects this model. Her assertion that at Amity, the loudest sound during the rebellion was “Miss Hannah gnawing upon the missus’s discarded ham bone” emphasizes the chasm between her own lived experience and often dehumanizing academic accounts of history (81). By directing readers to one historical pamphlet while warning them away from another, July performs the role of a historian herself, curating sources and shaping the narrative according to her own perspective. July’s story is not an objective document but a “long song”—a personal, subjective, and embodied testimony.
Caroline’s lavish Christmas dinner epitomizes the grotesque juxtaposition at the heart of the plantation economy, where extreme luxury is built upon extreme human suffering. The detailed lists of food—turtle, mutton, guinea fowl, and imported English preserves—stand in stark contrast to the casual violence of the preparations, such as when Caroline strikes Godfrey for questioning her expenses. This dynamic reveals The Suffering That Sustained Colonial Wealth and Power, showing that the opulence of the great house is maintained through daily acts of degradation and violence. The violent interruption of the dinner party when militia men announce that the 1831 Christmas Rebellion has begun shatters the fragile illusion of civilized order. Significantly, the “master” of Amity, Howarth, is ultimately broken by the “savagery” of his white peers dressing as women to tar and feather a missionary rather than by the violence inflicted on the enslaved. This selective moral outrage, which drives him to suicide, deconstructs The Myth of the Benevolent Enslaver by revealing that even a supposedly sensitive enslaver is horrified only by violations of his own tribe’s codes.
The chaos of the rebellion creates openings for the enslaved to subvert the plantation’s rigid power structure. When Godfrey refuses to transport Caroline to safety without payment, he seizes a moment of white vulnerability to assert his economic worth and personal dignity. By forcing Caroline to her knees and making her repeat July’s true name, he symbolically reverses their enslaver-enslaved relationship, exposing plantation owners’ utter dependence on those they enslaved. July engages in a similar, though more playful, act of subversion in her role-playing game with Nimrod. In the “master’s” empty house, she dons the persona of “the mistress,” mimicking Caroline’s entitled cruelty by hitting Nimrod with a spoon and scolding him as a “stupid n*****” (101). This performance is both a cathartic release of pent-up frustration and a disturbing reflection of how the psychology of oppression can be internalized. These episodes demonstrate that resistance was not limited to armed revolt but also included subtle, opportunistic acts of defiance that reclaimed agency and humanity within a dehumanizing system.
July’s account of the ruined dress in Chapter 6 establishes the symbolism of Caroline’s fine clothing. The lengthy description of the impractical gown being further damaged at each stage of laundering emphasizes the unseen, unpaid labor that maintains Caroline’s image as an English lady. July’s theatrical display of self-blame illustrates that survival often depends on calculated performances that manipulate the expectations of the powerful. This use of performance as a tool is echoed in the enslaved musicians who deliberately play badly at the Christmas dinner, a subtle act of musical sabotage. However, performance is also a tool of the oppressors. The white enslavers who disguise themselves as women to attack the missionary use costume to both obscure their identities and heighten the scene’s surreal cruelty. This common thread of deceit and disguise culminates in the section’s most critical fabrication: Caroline’s lie that Nimrod murdered her brother. The conspiracy, in which she’s coached by the overseer, Dewar, demonstrates that for the “planter” class, truth is secondary to the narrative that best preserves their property and power.
The violent climax of the rebellion reunites July with her mother, Kitty, developing the theme of Motherhood Under the Strain of Enslavement. For years, Caroline has used the lie that Kitty was “sold away” to sever their bond and assert her own ownership over July. However, when the militia attacks, Kitty’s sole focus is her daughter, and her ferocious, selfless attack on July’s biological father, Dewar, is a final, desperate act of maternal protection. In this moment, Kitty reclaims her child from the two white men who represent the twin horrors of enslavement: sexual violation and brutal authority. Kitty’s subsequent capture and execution, which July is forced to witness, is the ultimate price of this reclamation. Her death secures July’s physical freedom but leaves a permanent scar, illustrating how the slavery system systematically destroyed Black families to perpetuate itself.



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