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To save this word, you'll need to log in. German and English are kindred languages. Noun He went out to sea, and never saw his kindred again.

Bell, National Geographic , "Cowboy poetry is a year-old tradition. Will it survive in the 21st century?

Send us feedback. Sign Up Dictionary Entries near kindred kindly tenant kindness kind of kindred kindredless kindredness kindredship.

Accessed 5 Oct. Keep scrolling for more More Definitions for kindred kindred. Entry 1 of 2 formal : alike or similar : closely related kindred.

Entry 1 of 2 : alike in nature or character There will be skiing, sledding, and kindred activities. Please tell us where you read or heard it including the quote, if possible.

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Build a city of skyscrapers—one synonym at a time. Login or Register. Save Word. Log In. Alice is beaten, savaged by dogs, and enslaved as punishment for helping Isaac escape.

Rufus, who claims to love Alice, buys her, and orders Dana to nurse her back to health. Dana does so with much care. When Alice finally recovers, she curses Dana for not letting her die, and is wracked with grief for her lost husband.

Rufus orders Dana to convince Alice to sleep with him now that she has recovered. Dana speaks with Alice, outlining her three choices: she can refuse and be whipped and raped; she can acquiesce and be raped without being beaten; or she can try again to run away.

Injured and terrified from her previous punishment, Alice gives in to Rufus's desire and becomes his concubine.

While in his bedroom, Alice finds out that Rufus did not send Dana's letters to Kevin, and tells Dana. Furious that Rufus lied to her, Dana runs away to find Kevin, but is betrayed by a jealous slave, Liza.

Rufus and Weylin capture her and Weylin whips her brutally. When Weylin learns that Rufus failed to keep his promise to Dana to send her letters, he writes to Kevin and tells him that Dana is on the plantation.

Kevin comes to retrieve Dana, but Rufus stops them on the road and threatens to shoot them. He tells Dana that she can't leave him again.

The dizziness overcomes Dana and she travels back to , this time with Kevin. The Storm Dana's and Kevin's happy reunion is short-lived, as Kevin has a hard time adjusting to the present after living in the past for five years.

He shares a few details of his life in the past with Dana: he witnessed terrible atrocities against slaves, traveled farther up north, worked as a teacher, helped slaves escape, and grew a beard to disguise himself from a lynch mob.

Disconcerted about his trouble in re-entering his former world, he grows angry and cold. Deciding to let him work his feelings out for himself, Dana packs a bag in case she time travels again.

Soon enough she finds herself outside the Weylin plantation house in a rainstorm, with a very drunk Rufus lying face down in a puddle.

She tries to drag him back to the house, then gets Nigel to help her carry him. Back at the house, an aged Weylin appoints Dana to nurse Rufus back to health under threat of her life.

Suspecting Rufus has malaria and knowing she cannot help much, Dana feeds Rufus the aspirin she has packed to lower his fever. Rufus survives, but remains weak for weeks.

Dana learns that Rufus and Alice have had three mixed-race children of the plantation and that only one, a boy named Joe, has survived. Alice is pregnant again.

Rufus had forced Alice to let the doctor bleed the other two when they had fallen ill, a customary treatment of the time , but it killed them.

Weylin has a heart attack and, when Dana is unable to save his life, Rufus sends her to work in the corn fields as punishment. By the time he repents his decision, she has collapsed from exhaustion and is being whipped by the overseer.

Rufus appoints Dana as the caretaker of his ailing mother, Margaret. Now the master of the plantation, Rufus sells off some slaves, including Tess, Weylin's former concubine.

Dana expresses her anger about that sale, and Rufus explains that his father left debts he must pay. He convinces Dana to use her writing talent to stave off his other creditors.

Dana abhors secretarial work, and had argued with Kevin about his asking her to type his manuscripts.

Time passes and Alice gives birth to a girl, Hagar, a direct ancestor of Dana. Alice confides that she plans to run away with her children as soon as possible, as she fears that she is forgetting to hate Rufus.

Dana convinces Rufus to let her teach his son Joe and some of the slave children how to read. However, when a slave named Sam asks Dana if his younger siblings can join in on the lessons, Rufus sells him away as punishment for flirting with her.

When Dana tries to interfere, Rufus hits her. Faced with her own powerlessness over Rufus, she retrieves the knife she has brought from home and slits her wrists in an effort to time travel.

Dana awakens back at home with her wrists bandaged and Kevin by her side. She tells him of her eight months in the plantation, of Hagar's birth, and of the need to keep Rufus alive, as the slaves would be separated and sold if he died.

When Kevin asks if Rufus has raped Dana, she responds that he has not, that a rape attempt would be the act that would cause her to kill him, despite the possible consequences.

Fifteen days later, on the 4th of July , Dana returns to the plantation where she finds that Alice has hanged herself. Alice attempted to run away after Dana disappeared, and as punishment Rufus whipped her and told her that he had sold her children.

In reality, he had sent to them to stay with his aunt in Baltimore. Racked with guilt about Alice's death, Rufus nearly commits suicide.

After Alice's funeral, Dana uses that guilt to convince Rufus to free his children by Alice. From that moment on, Rufus keeps Dana at his side almost constantly, having her share meals and teach his children.

One day, he finally admits that he wants Dana to replace Alice in his life. He says that unlike Alice, who, despite growing used to Rufus, never stopped plotting to escape him, Dana will see that he is a fair master and eventually stop hating him.

Dana, horrified at the thought of forgiving Rufus in this way, flees to the attic to find her knife. Rufus follows her there, and when he attempts to rape her, Dana stabs him twice with her knife.

Nigel arrives to see Rufus's death throes, at which point Dana becomes terribly sick and time travels home for the last time, only to find herself in excruciating pain, as her arm has been joined to a wall in the spot where Rufus was holding it.

Epilogue Dana and Kevin travel to Baltimore to investigate the fate of the Weylin plantation after the death of Rufus, but they find very little; a newspaper notice reporting Rufus's death as a result of his house catching fire, and a Slave Sale announcement listing all the Weylin slaves except Nigel, Carrie, Joe, and Hagar.

Dana speculates that Nigel covered up the murder by starting the fire, and feels responsible for the sale of the slaves.

To that, Kevin responds that she cannot do anything about the past, and now that Rufus is finally dead, they can return to their peaceful life together.

Kindred was written to explore how a modern black woman would experience the time of a slavery society, where most black people were considered as property; a world where "all of society was arrayed against you.

Concluding that "there probably is no more vivid depiction of life on an Eastern Shore plantation than that found in Kindred ," Sandra Y.

Govan traces how Butler's book follows the classic patterns of the slave narrative genre: loss of innocence, harsh punishment, strategies of resistance, life in the slave quarters, struggle for education, experience of sexual abuse, realization of white religious hypocrisy, and attempts to escape, with ultimate success.

In Kindred , Butler portrays individual slaves as distinctive people, giving each his or her own story. Robert Crossley argues that Butler treats the blackness of her characters as "a matter of course", to resist the tendency of white writers to incorporate African Americans into their narratives just to illustrate a problem or to divorce themselves from charges of racism.

Thus, in Kindred the slave community is depicted as a "rich human society": the proud yet victimized freewoman -turned-slave Alice; Sam the field slave , who hopes Dana will teach his brother; the traitorous sewing woman Liza, who frustrates Dana's escape; the bright and resourceful Nigel, Rufus's childhood friend who learns to read from a stolen primer; most importantly, Sarah the cook, who Butler transforms from an image of the submissive, happy " mammie " of white fiction to a deeply angry yet caring woman subdued only by the threat of losing her last child, the mute Carrie.

I said nothing. I was beginning to realize that he loved the woman— to her misfortune. There was no shame in raping a black woman, but there could be shame in loving one.

But she kept saying no. I could have had her in the bushes years ago if that was all I wanted. Pamela Bedore notes that while Rufus seems to hold all the power in his relationship with Alice, she never wholly surrenders to him.

Alice's suicide can be read as her way of ending her struggle with Rufus with a "final upsetting of their power balance", an escape through death.

The master does not simply control the slave but depends on her. A slave who collaborates with the master to survive is not reduced to a "traitor to her race" or to a "victim of fate.

Kindred portrays the exploitation of black female sexuality as a main site of the historic struggle between master and slave. Diana Paulin describes Rufus's attempts to control Alice's sexuality as a means to recapture power he lost when she chose Isaac as her sexual partner.

Similarly, Dana's time traveling reconstructs her sexuality to fit the times. While in the present, Dana chooses her husband and enjoys sex with him; in the past, her status as a black female forced her to subordinate her body to the desires of the master for pleasure, breeding, and as sexual property.

Scholarship on Kindred often touches on its critique of the official history of the formation of the United States as an erasure of the raw facts of slavery.

Lisa Yaszek places Kindred as emanating from two decades of heated discussion over what constituted American history, with a series of scholars pursuing the study of African-American historical sources to create "more inclusive models of memory.

The power of this national holiday to erase the grim reality of slavery is negated by Dana's living understanding of American history, which makes all her previous knowledge of slavery through mass media and books inadequate.

Instead, Dana reads books about the Holocaust and finds these books to be closer to her experiences as a slave.

In several interviews, Butler has mentioned that she wrote Kindred to counteract stereotypical conceptions of the submissiveness of slaves.

While studying at Pasadena City College , Butler heard a young man from the Black Power Movement express his contempt for older generations of African-Americans for what he considered their shameful submission to white power.

Butler realized the young man did not have enough context to understand the necessity to accept abuse just to keep oneself and one's family alive and well.

Thus, Butler resolved to create a modern African-American character, who would go back in time to see how well he Butler's protagonist was originally male could withstand the abuses his ancestors had suffered.

Therefore, Dana's memories of her enslavement, as Ashraf A. Rushdy explains, become a record of the "unwritten history" of African-Americans, a "recovery of a coherent story explaining Dana's various losses.

Kindred reveals the repressed trauma slavery caused in America's collective memory of history. Paulin arguing that it symbolizes Kevin's changing understanding of racial realities, which constitute "a painful and intellectual experience.

The construction of the concept of "race" and its connections to slavery are central themes in Butler's novel.

Mark Bould and Sherryl Vint place Kindred as a key science fiction literary text of the s and s black consciousness period, noting that Butler uses the time travel trope to underscore the perpetuation of past racial discrimination into the present and, perhaps, the future of America.

The novel's focus on how the system of slavery shapes its central characters dramatizes society's power to construct raced identities.

The reader witnesses the development of Rufus from a relatively decent boy allied to Dana to a "complete racist" who attempts to rape her as an adult.

Kindred also challenges the fixity of "race" through the interracial relationships that form its emotional core.

Dana's kinship to Rufus disproves America's erroneous concepts of racial purity. The negative reactions of characters in the past and the present to Dana and Kevin's integrated relationship highlight the continuing hostility of both white and black communities to interracial mixing.

At the same time, the relationship of Dana and Kevin extends to concept of "community" from people related by ethnicity to people related by shared experience.

The depiction of Dana's white husband, Kevin, also serves to examine the concept of racial and gender privilege. In the present, Kevin seems unconscious of the benefits he derives from his skin pigmentation as well as of the way his actions serve to disenfranchise Dana.

His prolonged stay in the past transforms him from a naive white man oblivious about racial issues into an anti-slave activist fighting racial oppression.

In her article "Feminisms," Jane Donawerth describes Kindred as a product of more than two decades of recovery of women's history and literature that began in the s.

The republication of a significant number of slave narratives, as well as the work of Angela Davis, which highlighted the heroic resistance of the black female slave, introduced science fiction writers such as Octavia Butler and Suzy McKee Charnas to a literary form that redefined the heroism of the protagonist as endurance, survival, and escape.

Originally, Butler intended for the protagonist of Kindred to be a man, but as she explained in her interview, she could not do so because a man would immediately be "perceived as dangerous": "[s]o many things that he did would have been likely to get him killed.

He wouldn't even have time to learn the rules Most scholars see Dana as an example of a strong female protagonist. Angelyn Mitchell describes Dana as a black woman "strengthened by her racial pride, her personal responsibility, her free will, and her self-determination.

Some scholars consider Kindred as part of Butler's larger project to empower black women. Robert Crossley sees Butler' science fictional narratives as generating a "black feminist aesthetic" that speaks not only to the sociopolitical "truths" of the African-American experience, but specifically to the female experience, as Butler focuses on "women who lack power and suffer abuse but are committed to claiming power over their own lives and to exercising that power harshly when necessary.

Jacobs's Incidents in the Life of a Slave Girl , with Butler's story engaging in themes such as female sexuality, individualism, community, motherhood, and, most importantly, freedom in order to illustrate the types of female agency that are capable of resisting enslavement.

On the other hand, as Ashraf H. Rushdy contends, Dana's journey to the past serves to redefine her concept of kinship from blood ties to that of "spiritual kinship" with those she chooses as her family: the Weylin slaves and her white husband, Kevin.

Publishers and academics have had a hard time categorizing Kindred. In an interview with Randall Kenan, Butler stated that she considered Kindred "literally" as "fantasy.

Jane Donawerth traces Butler's novel to the recovery of slave narratives during the s, a form then adapted by female science fiction writers to their own fantastical worlds.

Govan calls the novel "a significant departure" from the science fiction narrative not only because it is connected to "anthropology and history via the historical novel," but also because it links "directly to the black American slave experiences via the neo-slave narrative.

Still, other scholars insist that Butler's background in science fiction is key to our understanding of what type of narrative Kindred is.

Dana's time traveling, in particular, has caused critics to place Kindred along science fiction narratives that question "the nature of historical reality," such as Kurt Vonnegut 's "time-slip" novel Slaughterhouse Five [36] and Philip K.

In an interview, Butler acknowledged that she split the ending into a "Prologue" and an "Epilogue" so as to "involve the reader and make him or her ask a lot of questions" that could not be answered until the end of the story.

Because "Prologue" occurs before Dana travels in time and "Epilogue" concludes with a message on the necessity to confront the past, we experience the story as Dana's understanding of what we have yet to understand ourselves, while the "Epilogue" speaks about the importance of this understanding.

Robert Crossley sees this "foreshortening" of the past and present as a "lesson in historical realities. Butler has stated in an interview she did not want to give their "race" away yet since it would have less of an impact and the reader would not react the way that she wanted them to.

Butler also uses Alice as Dana's doppelgänger to compare how their decisions are a reflection of their environment. According to Missy Dehn Kubitschek, each woman seems to see a reflection of herself in the other; each is the vision of what could be could have been the possible fate of the other given different circumstances.

In several interviews, Octavia Butler has acknowledged that a series of family and life experiences influenced her novel Kindred.

Butler's grandmother had worked chopping sugar cane; she also washed the laundry of her employers. Of course she also did her own housework and laundry for her family.

Butler wrote Kindred specifically to respond to a young man involved in black consciousness raising. He felt ashamed of what he considered the subservience of older generations of African Americans, saying they were traitors and he wanted to kill them.

Butler disagreed with this view. She believed that a historical context had to be given so that the lives of the older generations of African Americans could be understood as the silent, courageous resistance that it was, a means of survival.

Butler's field research in Maryland also influenced her writing of Kindred. She traveled to the Eastern Shore to Talbot County where she wandered a bit.

At the time, guides referred to the slaves as "servants" and avoided referring to the estate as a former slave plantation.

Sign Up Dictionary Entries near kindred kindly tenant kindness kind of kindred kindredless kindredness kindredship. Accessed 5 Oct. Keep scrolling for more More Definitions for kindred kindred.

Entry 1 of 2 formal : alike or similar : closely related kindred. Entry 1 of 2 : alike in nature or character There will be skiing, sledding, and kindred activities.

Please tell us where you read or heard it including the quote, if possible. Test Your Knowledge - and learn some interesting things along the way.

Subscribe to America's largest dictionary and get thousands more definitions and advanced search—ad free! Our sanitary coverage of the matter.

Is Singular 'They' a Better Choice? No tricks, just difficult words. Can you spell these 10 commonly misspelled words? Build a city of skyscrapers—one synonym at a time.

Login or Register. Save Word. Log In. Keep scrolling for more. Examples of kindred in a Sentence Adjective philosophy, political theory, and kindred topics I believe she and I are kindred spirits.

Recent Examples on the Web: Adjective There was a kindred spirit that was shared with Special Forces personnel and their families in attendance.

First Known Use of kindred Adjective 14th century, in the meaning defined at sense 1 Noun before the 12th century, in the meaning defined at sense 2.

Learn More about kindred. Time Traveler for kindred The first known use of kindred was before the 12th century See more words from the same century.

First published in , it is still widely popular. It has been frequently chosen as a text for community-wide reading programs and book organizations, as well as being a common choice for high school and college courses.

The book is the first-person account of a young African-American woman writer, Dana, who finds herself being shunted in time between her Los Angeles, California home in and a pre-Civil War Maryland plantation.

There she meets her ancestors: a proud black freewoman and a white planter who has forced her into slavery and concubinage.

As Dana's stays in the past become longer, the young woman becomes intimately entangled with the plantation community. She makes hard choices to survive slavery and to ensure her return to her own time.

Kindred explores the dynamics and dilemmas of antebellum slavery from the sensibility of a late 20th-century black woman, who is aware of its legacy in contemporary American society.

Through the two interracial couples who form the emotional core of the story, the novel also explores the intersection of power, gender, and race issues, and speculates on the prospects of future egalitarianism.

While most of Butler's work is classified as science fiction , Kindred is considered to cross genre boundaries. It has been classified also as literature or African-American literature.

Butler has categorized the work as "a kind of grim fantasy. Kindred scholars have noted that the novel's chapter headings suggest something "elemental, apocalyptic, archetypal about the events in the narrative," thus giving the impression that the main characters are participating in matters greater than their personal experiences.

Prologue Dana wakes up in the hospital with her arm amputated. Police deputies question her about the circumstances surrounding the loss of her arm and ask her whether her husband Kevin, a white man, beats her.

Dana tells them that it was an accident and that Kevin is not to blame. When Kevin visits her, they are both afraid of telling the truth because they know nobody would believe them.

The River Their predicament began on June 9, , the day of her twenty-sixth birthday. The day before, she and Kevin had moved into a house a few miles away from their old apartment in Los Angeles.

While unpacking, Dana suddenly becomes dizzy, and her surroundings begin to fade away. When she comes to her senses, she finds herself at the edge of a wood, near a river where a small, red-haired boy is drowning.

Dana wades in after him, drags him to the shore, and tries to resuscitate him. The boy's mother, who had been unable to save him, begins screaming and hitting Dana, accusing her of killing her son, whom she identifies as Rufus.

A man arrives and points a gun at Dana, terrifying her. She becomes dizzy again and arrives back at her new house with Kevin beside her.

Kevin, shocked at her disappearance and reappearance, tries to understand if the whole episode was real or a hallucination.

The Fire Dana managed to wash off the filth from the river before the dizziness sets in once again. This time, she is whisked back to a bedroom where a red-haired boy has set his bedroom drapes aflame.

The boy turns out to be Rufus, now a few years older. Dana quickly puts out the fire and speaks to Rufus, who, unafraid, confesses he set fire to the drapes to get back at his father for beating him after he stole a dollar.

During their ensuing conversation, Rufus's casual use of the word " nigger " to refer to Dana, who is black, initially upsets Dana, but then leads her to figure out that she has been transported back in time as well as space, specifically to Maryland, circa Following Rufus's advice, Dana seeks refuge at the home of Alice Greenwood and her mother, free blacks who live on the edge of the plantation.

Dana realizes that both Rufus and Alice are her ancestors, and will one day have children. At the Greenwoods', she witnesses a group of young white men smash down the door, drag out Alice's father, who is a slave, and whip him brutally for being there without papers.

One of the men punches Alice's mother when she refuses his advances. The men leave, Dana comes out of hiding, and helps Alice's mother, only to be confronted by one of the white men, who hits her and attempts to rape her.

Fearing for her life, Dana becomes dizzy and returns to Though hours have passed for her, Kevin assures her that she has been gone only for a few minutes.

The next day, Kevin and Dana prepare for the possibility that she may travel back in time again by packing a survival bag for her and by doing some research on black history from the books in their home library.

The Fall In a flashback, Dana recounts how she met Kevin while doing minimum-wage temporary jobs at an auto-parts warehouse. Kevin becomes interested in Dana when he learns she is a writer like him, and she befriends him even though he is white and their coworkers judge their relationship.

They find they have much in common; both are orphans, both love to write, and both their families disapproved of their aspiration to become writers.

They become lovers. As Kevin is leaving for the library to find out how to forge " free papers " for Dana, she feels the dizziness coming back.

This time, Kevin holds on to her and also travels to the past. They find Rufus writhing in pain from a broken leg.

Next to him is a black boy named Nigel, whom they send to the main house for help. Rufus reacts with violent disbelief when he finds out that Kevin and Dana are married: whites and blacks are not allowed to marry in his time.

Dana and Kevin explain to Rufus that they are from the future and prove it by showing the dates stamped on the coins Kevin carries in his pockets.

Rufus promises to keep their identities a secret, and Dana tells Kevin to pretend that he is her owner. Weylin grudgingly invites him to dinner.

Once back in the Weylin plantation, Margaret, Rufus's mother, fusses about her son's well-being and, jealous of the attention Rufus shows Dana, sends Dana to the cookhouse.

There, Dana meets two house slaves: Sarah, the cook; and Carrie, her mute daughter. Unsure as to what their next act should be, Kevin accepts Weylin's offer to become Rufus's tutor.

Kevin and Dana stay on the plantation for several weeks. They observe the relentless cruelty and torture that Weylin, Margaret, and the spoiled Rufus use against the slaves.

While none is actually sadistic or evil, they feel entitled to treat the slaves as property. Weylin catches Dana reading and whips her mercilessly.

The dizziness overcomes her before Kevin can reach her and she travels back to alone. The Fight In a flashback, Dana remembers how she and Kevin were married.

Both of their families opposed the marriage due to ethnic bias. While Kevin's reactionary sister is prejudiced against African Americans, Dana's uncle abhors the idea of a white man eventually inheriting his property.

Only Dana's aunt favors the union, as it would mean that her niece's children would have lighter skin. Kevin and Dana marry without any family present.

After eight days of being home recuperating without Kevin, Dana time travels to find Rufus getting beaten up by Alice Greenwood's husband, the slave Isaac Jackson.

Dana learns that Rufus had attempted to rape Alice, once his childhood friend. She learns that it has been five years since her last visit and that Kevin has left Maryland.

Dana nurses Rufus back to health in return for his help delivering letters to Kevin. Five days later, Alice and Isaac are caught. Isaac is mutilated and sold to traders heading to Mississippi.

Alice is beaten, savaged by dogs, and enslaved as punishment for helping Isaac escape. Rufus, who claims to love Alice, buys her, and orders Dana to nurse her back to health.

Dana does so with much care. When Alice finally recovers, she curses Dana for not letting her die, and is wracked with grief for her lost husband.

Rufus orders Dana to convince Alice to sleep with him now that she has recovered. Dana speaks with Alice, outlining her three choices: she can refuse and be whipped and raped; she can acquiesce and be raped without being beaten; or she can try again to run away.

Injured and terrified from her previous punishment, Alice gives in to Rufus's desire and becomes his concubine. While in his bedroom, Alice finds out that Rufus did not send Dana's letters to Kevin, and tells Dana.

Furious that Rufus lied to her, Dana runs away to find Kevin, but is betrayed by a jealous slave, Liza. Rufus and Weylin capture her and Weylin whips her brutally.

When Weylin learns that Rufus failed to keep his promise to Dana to send her letters, he writes to Kevin and tells him that Dana is on the plantation.

Kevin comes to retrieve Dana, but Rufus stops them on the road and threatens to shoot them. He tells Dana that she can't leave him again. The dizziness overcomes Dana and she travels back to , this time with Kevin.

The Storm Dana's and Kevin's happy reunion is short-lived, as Kevin has a hard time adjusting to the present after living in the past for five years.

He shares a few details of his life in the past with Dana: he witnessed terrible atrocities against slaves, traveled farther up north, worked as a teacher, helped slaves escape, and grew a beard to disguise himself from a lynch mob.

Disconcerted about his trouble in re-entering his former world, he grows angry and cold. Deciding to let him work his feelings out for himself, Dana packs a bag in case she time travels again.

Soon enough she finds herself outside the Weylin plantation house in a rainstorm, with a very drunk Rufus lying face down in a puddle.

She tries to drag him back to the house, then gets Nigel to help her carry him. Back at the house, an aged Weylin appoints Dana to nurse Rufus back to health under threat of her life.

Suspecting Rufus has malaria and knowing she cannot help much, Dana feeds Rufus the aspirin she has packed to lower his fever.

Rufus survives, but remains weak for weeks. Dana learns that Rufus and Alice have had three mixed-race children of the plantation and that only one, a boy named Joe, has survived.

Alice is pregnant again. Rufus had forced Alice to let the doctor bleed the other two when they had fallen ill, a customary treatment of the time , but it killed them.

Weylin has a heart attack and, when Dana is unable to save his life, Rufus sends her to work in the corn fields as punishment.

By the time he repents his decision, she has collapsed from exhaustion and is being whipped by the overseer.

Rufus appoints Dana as the caretaker of his ailing mother, Margaret. Now the master of the plantation, Rufus sells off some slaves, including Tess, Weylin's former concubine.

Dana expresses her anger about that sale, and Rufus explains that his father left debts he must pay. He convinces Dana to use her writing talent to stave off his other creditors.

Dana abhors secretarial work, and had argued with Kevin about his asking her to type his manuscripts. Time passes and Alice gives birth to a girl, Hagar, a direct ancestor of Dana.

Alice confides that she plans to run away with her children as soon as possible, as she fears that she is forgetting to hate Rufus. Dana convinces Rufus to let her teach his son Joe and some of the slave children how to read.

However, when a slave named Sam asks Dana if his younger siblings can join in on the lessons, Rufus sells him away as punishment for flirting with her.

When Dana tries to interfere, Rufus hits her. Faced with her own powerlessness over Rufus, she retrieves the knife she has brought from home and slits her wrists in an effort to time travel.

Dana awakens back at home with her wrists bandaged and Kevin by her side. She tells him of her eight months in the plantation, of Hagar's birth, and of the need to keep Rufus alive, as the slaves would be separated and sold if he died.

When Kevin asks if Rufus has raped Dana, she responds that he has not, that a rape attempt would be the act that would cause her to kill him, despite the possible consequences.

Fifteen days later, on the 4th of July , Dana returns to the plantation where she finds that Alice has hanged herself.

Alice attempted to run away after Dana disappeared, and as punishment Rufus whipped her and told her that he had sold her children.

In reality, he had sent to them to stay with his aunt in Baltimore. Racked with guilt about Alice's death, Rufus nearly commits suicide.

After Alice's funeral, Dana uses that guilt to convince Rufus to free his children by Alice. From that moment on, Rufus keeps Dana at his side almost constantly, having her share meals and teach his children.

One day, he finally admits that he wants Dana to replace Alice in his life. He says that unlike Alice, who, despite growing used to Rufus, never stopped plotting to escape him, Dana will see that he is a fair master and eventually stop hating him.

Dana, horrified at the thought of forgiving Rufus in this way, flees to the attic to find her knife. Rufus follows her there, and when he attempts to rape her, Dana stabs him twice with her knife.

Nigel arrives to see Rufus's death throes, at which point Dana becomes terribly sick and time travels home for the last time, only to find herself in excruciating pain, as her arm has been joined to a wall in the spot where Rufus was holding it.

Epilogue Dana and Kevin travel to Baltimore to investigate the fate of the Weylin plantation after the death of Rufus, but they find very little; a newspaper notice reporting Rufus's death as a result of his house catching fire, and a Slave Sale announcement listing all the Weylin slaves except Nigel, Carrie, Joe, and Hagar.

Dana speculates that Nigel covered up the murder by starting the fire, and feels responsible for the sale of the slaves.

To that, Kevin responds that she cannot do anything about the past, and now that Rufus is finally dead, they can return to their peaceful life together.

Kindred was written to explore how a modern black woman would experience the time of a slavery society, where most black people were considered as property; a world where "all of society was arrayed against you.

Concluding that "there probably is no more vivid depiction of life on an Eastern Shore plantation than that found in Kindred ," Sandra Y. Govan traces how Butler's book follows the classic patterns of the slave narrative genre: loss of innocence, harsh punishment, strategies of resistance, life in the slave quarters, struggle for education, experience of sexual abuse, realization of white religious hypocrisy, and attempts to escape, with ultimate success.

In Kindred , Butler portrays individual slaves as distinctive people, giving each his or her own story. Robert Crossley argues that Butler treats the blackness of her characters as "a matter of course", to resist the tendency of white writers to incorporate African Americans into their narratives just to illustrate a problem or to divorce themselves from charges of racism.

Thus, in Kindred the slave community is depicted as a "rich human society": the proud yet victimized freewoman -turned-slave Alice; Sam the field slave , who hopes Dana will teach his brother; the traitorous sewing woman Liza, who frustrates Dana's escape; the bright and resourceful Nigel, Rufus's childhood friend who learns to read from a stolen primer; most importantly, Sarah the cook, who Butler transforms from an image of the submissive, happy " mammie " of white fiction to a deeply angry yet caring woman subdued only by the threat of losing her last child, the mute Carrie.

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