The knower of The Known World displays the extent of its omniscience by glazing the narratives of various characters with extraordinary disclosures that are temporally and causally severed from the events unfolding on the page. As these sorts of disclosures accumulate, they open a disjuncture between sentences that are necessary for narrative cohesion and those whose lack of necessity casts them as indulgences — indulgences which ultimately offer little more than an announcement of the knower’s presence and an aggrandisement of its abilities. Here, for instance, is a paragraph on the activities of Anderson Frazier, a Canadian muckracker who visits antebellum Virginia and writes “a new series of pamphlets he called Curiosities and Oddities about Our Southern Neighbors.” The knower takes a short step forward in time, beyond the Civil War, to reveal that “[t]his series [proved to be] Anderson’s most successful,” and then leaps headlong into the future to reveal that
nothing was more successful within that series than the 1883 pamphlet on free Negroes who had owned other Negroes before the War between the States. The pamphlet on slaveowning Negroes went through ten printings. Only seven of those particular pamphlets survived until the late twentieth century. Five of them were in the Library of Congress in 1994 when the remaining two pamphlets were sold as part of a collection of black memorabilia owned by a black man in Cleveland, Ohio. That collection, upon the man’s death in 1994, sold for $1.7 million to an automobile manufacturer in Germany.
The information gleaned from this temporal leap, presented as only an aside in a much more straightforward narrative, serves no discernible purpose other than to demonstrate the knower’s ability to leap into the future and so disclose knowledge unobtainable by others. Continue reading Writing Seeing: The Known World (2)