logo

51 pages 1 hour read

Barracoon: The Story of the Last "Black Cargo"

Nonfiction | Biography | Adult | Published in 2018

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Chapters 1-4Chapter Summaries & Analyses

Chapter 1 Summary

The narrative begins in 1927. Hurston narrates in the first person her visit to Kossola. Arriving at his house, she calls out for him and finds him eating his breakfast. He’s pleased to see her and loves that she calls him by his birth name (Kossola). Another man sits with him, who has been caring for Kossola through his recent illness. Kossola is glad to have Hurston as a visitor, having been lonely since his wife died in 1908. As they chat, Hurston explains that she’d like him to tell her the story of his life. Kossola gets emotional, happy that someone has asked about him, and agrees to tell her everything. He explains that he got the name Cudjo Lewis from the American man that held him as an enslaved man.

Kossola then explains that back home in Africa, his family wasn’t wealthy, but his father was an officer of the king. He traveled often and died while Kossola was still young. Kossola begins to tell Hurston about his grandfather, but she interrupts in hopes of refocusing him to his own story. Kossola insists that he can’t tell his own story without mentioning those before him. He explains that his grandfather lived on a big compound with his many wives and children. He never sought out his many wives; it was common for a wife to find additional wives for her husband. They’d then pay the new wife’s family in exchange for her. Kossola’s grandfather built a new house for each new wife. Kossola explains that wives cook for their husband, and the young wives work together to put the husband to sleep. Acquiring a wife could be very pricey—and, Kossola explains, could be a big loss if she were to die, as happened to one chief in his town. Suddenly, Kossola pauses to ask for water and sits silently for a while smoking his pipe. Tired, he dismisses Hurston and tells her to return tomorrow.

Chapter 2 Summary: “The King Arrives”

Hurston returns the following day bearing a basket of Georgia peaches. Kossola shares them with his two young great-granddaughters. That day, Kossola gives Hurston a tour of his garden but doesn’t continue telling his life story. The next day, Hurston returns again, bringing insect powder as a gift this time. That day, Kossola is eager to resume talking. His grandfather was an officer of the king and went with the king everywhere. Kossola starts explaining how if a man killed a leopard, he was required to take it to the king to keep part of it and to have the poisonous whiskers removed. For the safety of the people, anyone who kept even one whisker before turning in the carcass was put to death. At the execution, the people sang and danced until the offender was beheaded. The man’s head was then set aside for sacrifice.

Kossola explains that the chief held court every day, dealing with all kinds of local issues. When anyone was tried, the whole village was involved in the judgment. For a lower crime, like theft, the chief decided. However, for murder, the body was preserved while the village waited for the king to come and judge. The king’s coming was always preceded by drums. When he arrived, the murderer was questioned. In one particular case, a man claimed he killed another because that man was working juju against him. However, this explanation didn’t save him from guilt. After some deliberation, he was found guilty. As usual, a drum was played, and the executioner danced, touching the man with various weapons. When he was touched with the knife, it was a sign that the murderer was from then on considered dead. Men from the village tied the murderer tightly to the corpse, face-to-face. Restrained like that with the decomposing body, he was abandoned to die.

Chapter 3 Summary

Kossola continues where he left off in the previous chapter. Around the same time that the murderer was punished, Kossola’s grandfather became ill. Kossola was just a young boy then. Soon, the grandfather died, and he was to be buried under the ground in his own house. People brought gifts to place in the coffin, while the wives sat by and cried together. When Kossola arrived with his father, the wives removed their veils and lamented their husband’s death. All the wives’ heads were shaven. The men came too, bearing gifts and singing together in mourning. Each time someone new entered the room, they all wept and sang about how good the chief was in life and how sad they were about his death. When no one entered, they remained quiet. The wives had to remain unmarried for two years, and they could wash their faces with nothing but tears. Kossola explains that this is customary back home in Africa.

Kossola’s storytelling trails off, and Hurston takes this as her sign to leave for the day. He reminds her that she’s always welcome to return. Before she goes, he helps her pick some peaches from his tree. He tells her to wait until next week to come back, as he must cut the grass.

Chapter 4 Summary

Nervous that Kossola might grow tired of her, Hurston shows up six days later with two Virginia hams for him and a watermelon for them to share. This pleases him very much. They then walk to the nearby church, where he serves as the sexton. Afterward, he continues telling his story.

Kossola’s father was named Ololue/Oluale (no standard spelling). He wasn’t a rich man and had three wives, the second of whom was Kossola’s mother, Nefondlulu. Kossola had siblings, some of whom were half-siblings. Kossola explains that when women married, they tried to have as many children as possible. Any barren women turned to the elders, who would prepare a tea for them that usually enabled them to conceive. Growing up in his father’s compound, Kossola wrestled, raced, and played with his siblings. Sometimes, the adults gathered the children to tell them tales about when animals could talk like humans. Kossola promises to tell Hurston some of these tales; the stories he later relays to her are recorded in Barracoon’s appendix.

One day, his father (also a chief) gathered all his sons who were at least 14 years of age. Included among them, young Kossola thought excitedly that it was his turn to join the army. Young boys were trained to walk and hide in the bush. To teach them, the elders took them hunting, sometimes for days at a time, and taught the boys how to find a good site to set up camp and mark the spot. The boys hunted with bows and arrows and with spears. In addition, they were taught a war song to sing while they walked through the bush. A drum would be played along with it. King Akia’on wanted the young men to be well-trained so that no one even threatened them with war. Kossola pauses the story, and he and Hurston eat away at their watermelon. When they’re full, they sit together in silence. Kossola then tells Hurston about juju. Each year the men went to the mountain, possibly to control the weather. Because he was taken from Africa while still a teenager, he doesn’t know all the details.

One day, Kossola saw a pretty girl in the marketplace and followed her. Seeing this and realizing that Kossola was nearing manhood, his father and the other men put together a banquet for him. They put him in the initiation house and then played a bull-roarer off in the distance, telling him it was an animal that he must go hunt. Of course, there was no animal, so he found nothing. At the banquet, the men taught him their secrets and gave him a peacock feather to wear.

Chapters 1-4 Analysis

Barracoon is formally unique in that it contains multiple levels of embedded narrative. Embedded narrative is the literary technique of placing a story within a story. The book opens with Hurston narrating her visits to Kossola, and her overarching narration frames the entire story. However, most of the text is her quoting Kossola in lengthy passages as he tells the story of his own life. His first-person storytelling constitutes the second embedded narrative. However, within his stories, he himself sometimes quotes other speakers. For instance, in Chapter 4, when his grandfather’s wives are mourning, they sing songs that Kossola relays in direct speech. This means that in constructing Barracoon, Hurston writes from her own perspective, quoting Kossola, who in turn quotes others. Another prime example of the third layer of embedded narrative is the “Stories Kossola Told Me” section of the Appendix at the end of the book.

The multiple embedded narratives give Barracoon a sense of polyvocality, meaning that it’s a story told by, or containing, many voices. Contrary to the Western, individualist style of storytelling, polyvocality conveys a communal sense of storytelling. This communal style is consistent with Kossola’s personal commitment to involving his community in his storytelling—which is evident, for example, in his claim in Chapter 1 that “In de Affica soil I cain teller you ‘bout de son before I teller you ‘bout de father” (53). This commitment to community, for Kossola, is quintessentially African. Likewise, polyvocality is a common element of African storytelling practices, as evident in how African folktales often entail the listener’s participation, with call and response aspects. This sometimes comes into play when Kossola describes to Hurston the “parables” he once told and says that when he told those parables, he asked his listeners a question.

As Kossola tells his life story, it often takes random turns, abruptly changes subject, or veers off into tangents. This might frustrate the reading process, but it’s a direct result of the conditions of Barracoon’s production. As a story relayed orally by Kossola and transcribed by Hurston, the narrative is subject to the loose whims of oral tradition, a quality that we find less in stories that begin as text and can be revised over and over. Despite the meandering quality of Kossola’s story, Hurston didn’t significantly revise his words. A true anthropologist, she sought to stay true to his narrative as he told it. Although challenging, this choice decenters Hurston in the narrative and pays respect to Kossola as the speaker. Additionally, it stays true to the book’s sense of orality as a traditionally African medium of storytelling. Thus, by maintaining orality, Hurston further respects Kossola’s African heritage.

The book’s sense of orality has a unique effect, too, for 21st-century readers of Barracoon. Although the book was written and revised in the late 1920s and early 1930s, it wasn’t published until 2018. Back in the early 20th century, people might have been more familiar with Kossola’s way of speaking, an accented speech that blends sounds from “standard” English and his own native tongue. It wouldn’t have been very common, however, as the slave trade had been illegal for quite some time, making accents from that region of Africa in that era of African history rarer than others in the US. Still, people might have had a sense of what Kossola’s speech sounded like, perhaps not too different from how speech had evolved around formerly enslaved people who had been in the US for multiple generations. For contemporary readers, this isn’t the case. By preserving his individual dialect, Hurston unwittingly provides a kind of textual-auditory time capsule. It provides a faint opportunity to not just read his story but almost hear him telling it. In addition, by greeting Kossola by his African name and repeating it in the book, the author emphasizes the importance of Identity and Naming.

blurred text
blurred text
blurred text
blurred text
Unlock IconUnlock all 51 pages of this Study Guide

Plus, gain access to 8,800+ more expert-written Study Guides.

Including features:

+ Mobile App
+ Printable PDF
+ Literary AI Tools