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Elena Gonzalez

Professor Harrell

Race & The Making of US Literature

27 November 2020

Critical Race Theory: Intersectionality In Kindred

The novel Kindred by Octavia E. Butler follows Dana, a young black woman, who

unknowingly develops the ability to time-travel between 1970s California and the 1800s

Antebellum South. In doing so, Dana comes into contact with a young boy named Rufus Weylin,

son of Mr. Weylin, whose family owns a slave plantation. It is quickly learned that Rufus is one

of Dana’s late ancestors, and she now has the obligation of protecting him to ensure the

continuation of her ancestral line and own birth. This novel encompasses a range of genres such

as science fiction, historical fiction, and psychological fiction while also incorporating ideas of

feminism, the corruption of power, and most importantly, race. The presence of race harbors a

considerable influence on elements in Kindred, such as character development, plot conflicts,

and the setting. Therefore to highlight the significance of race, I will apply the Critical Race

Theory lens in my analysis. In utilizing Critical Race Theory, its distinguishable attribute of

intersectionality is represented and combated by the main character Dana through her life

experiences and interactions with other characters in 1970s California and the Antebellum South.

Critical Race Theory, also known as CRT, “is a theoretical and interpretive mode that

examines the appearance of race and racism across dominant cultural modes of expression”

(Purdue Writing Lab). CRT is not meant to simply recognize race in literature but to analyze the

effects of race and racism within the literature. In literature, CRT can include exploration into the

following ideas: racism based on socio-cultural concepts, the influence or denial of white
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privilege, representation of counter prejudice, and how racism shapes identity (Purdue Writing

Lab). One term that CRT uses to examine race and identity is intersectionality. Intersectionality

means that aspects of individuals’ identity tend to overlap or intersect at points in their life based

on privilege or discrimination. In Kindred, Dana is both black and a woman. Therefore, she is

discriminated against because of her racial identity and gender identity. In both settings, Dana is

faced with certain remarks and conflicts that display her struggle with intersectionality, and they

are examined below.

Within 1970s California, a racial issue that arises for Dana happens as she begins to

become romantically involved with her coworker Kevin. While the pair were never deterred

from their interracial status, there was a hesitation when it came to thoughts of marriage and

familial introductions. Dana, who was analyzing the idea, asked Kevin if he had “any relatives”

that would “give [him] a hard time about [Dana]” (Butler 109). This question was Dana’s way of

asking if there would be issues because she was black, and Kevin was white. In their

conversation, Kevin assures Dana that his sister would not mind her, but she says that his sister

may surprise him (Butler 110). Her predictions were ultimately correct as he reports that his

sister will have nothing to do with either of them if they get married (Butler 110). However,

despite the outcome, Dana still finds the strength to fight for what she wants, and the two do end

up married. By finalizing their marriage and not heeding to the racially discriminatory life

experience, Dana combats one modern portion of her intersectionality.

Dana’s gender identity conflict in the 1970s can be attributed to her aunt and uncle. When

choosing a career path, her family insisted on her becoming a nurse, secretary, or teacher, which

were all jobs primarily for women (Butler 55). Dana explained that having one of those jobs

would be the only way to obtain support from her family (Butler 56). While she did try all three
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career paths in school, nothing interested her more than writing, and she decided to pursue it

(Butler 56). Yet, the entire time Dana struggled and had to work hard to make a living, all while

avoiding “convincing [herself] that [her] aunt and uncle were right” (Butler 55). By going

against the gender-marked career paths despite the extra challenge she knew she would face,

Dana fought against another sector of her intersectionality.

Advocating against her intersectionality in the Antebellum South was more challenging

due to the historical presence of slavery and the automatic discrimination against women and

people of color. One instance where Dana is able to repel racial discrimination is shortly after

meeting Rufus Weylin. Upon their second interaction, Rufus, while engaged in conversation

with Dana, calls her the n-word (Butler 25). While this language may have been standard for the

time period, Dana immediately corrects Rufus’s vocabulary. Dana explains, “I’m a black

woman, Rufe. If you have to call me something other than my name, that’s it” (Butler 25). In

correcting his word choice, she diminishes the risk of being discriminated against by a racial slur

and attempts to help Rufus become a better boy.

Within the Antebellum South, women, regardless of color, did not have rights. They were

typically viewed as pieces of property and were meant to listen, respect, and serve any men of

the household. Because men believed they were entitled, they thought they could have

everything no matter who or what they took it from. This toxic ideology then brings forth the

issue of sexual violence. An instance of sexual violence can be seen between Rufus and his

unrequited love interest Alice, Alice being once a free black woman in the south turned runaway

slave. In the chapter titled “The Fight”, within the first few parts, it is revealed that Rufus has

raped Alice since she was not giving herself over voluntarily to him. Consequently, Alice’s

husband, Isaac, goes to kill Rufus, but Dana has to prevent Rufus’s death and intervene. After
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managing to save him and nurse him back to health, Rufus requests Dana and asks her to

persuade Alice into giving herself to him again (Butler 162). Dana responds by saying, “I can’t

stop you from raping the woman, Rufe, but I’m not going to help you do it either” (Butler 163).

By going against the wishes and demands of a man, Dana is taking a stand towards women’s

rights not only for Alice but for herself, ultimately displaying resistance to gender oppression.

To conclude, Kindred’s main character Dana demonstrates the concept of

intersectionality within the lens of Critical Race Theory. Despite the challenges she faces while

being both a woman and having black skin, she does her best to repel any sense of oppression

because of her gender or race. Dana’s resistance and resilience between both periods are what

make her a dynamic and compelling character in the novel. Such characterization allows for her

to be a good representation of the CRT lens.

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Works Cited

Butler, Octavia E. Kindred. Beacon Press, 2003.

Purdue Writing Lab. “Critical Race Theory // Purdue Writing Lab.” Purdue Writing Lab,

https://owl.purdue.edu/owl/subject_specific_writing/writing_in_literature/literary_theory

_and_schools_of_criticism/critical_race_theory.html.