Book Review: "The Good Lord Bird" by James McBride

          The 2013 National Book Award for Fiction recipient, The Good Lord Bird by James McBride, takes the form of a “found” narrative. The novel is narrated by Henry—also known as Henrietta and, more commonly, “The Onion”—Shackleford, who is liberated (or kidnapped, depending on who you ask) by “The Old Man,” John Brown, and his “army”—more of a small band—in Kansas territory. From his first meeting with Brown, Henry is forced to live as Henrietta, because Brown mistakes the boy for a girl, and The Old Man is not one to change his mind. Henry decides that life on the road is easier as a girl, at least when traveling with Brown, but he often wishes to escape north and resume his true identity. Over the course of the novel, Onion tries to make a clean break from John Brown and his army, often insisting—though never to Brown or any of his companions—that he had never wanted to be rescued from slavery. He frequently tells his interlocutor (the person who recorded his story) that he was much better off, food- and shelter-wise, when he was enslaved. Onion’s path always leads him back to John Brown, and he finds himself traveling the country with the abolitionist, eventually making his way to Harper’s Ferry, from which, he claims, he was the only of Brown’s companions to escape the bullet and the noose.

          McBride, through Onion, presents Brown as a tragic figure with a comedic twist. He is set in his notions, given to long-winded, convoluted prayers that can last for hours, and quotes the Bible frequently. While it is clear that Brown’s knowledge of Bible verses is vast, he seems to lack the ability to understand biblical meanings, often taking verses at face value, or interpreting them for his own purposes. Brown is also a fervent abolitionist, whose sole purpose in life is to set America’s slaves free. It is a noble cause and one to which he is willing to sacrifice his life. Unfortunately, his belief in his cause blinds him to the extent to which others will believe in it. He gives others more credit than they are worth, and expects that slaves will flock to his cause to fight for their own freedom. Ultimately it is his fervent values and the misplaced trust that he puts in others that will be his downfall, his hubris.

          The Onion is a hyperbolic narrator, and, as such, is not entirely trustworthy. The reader can trust the narrative, but must also wonder if everything that Onion tells them is true. Could it be true that everyone mistakes the young boy for a girl, or do they simply choose to live and let live, to allow Onion his disguise and not question why. Admittedly, not every character in the novel is fooled by the disguise. Other slaves, particularly women, frequently see through Onion’s disguise. The disguise’s successes and failures are important. They suggest that most whites failed to see blacks for what they truly were: pro-slavers saw them as chattel and a labor force, whereas abolitionists only saw them as a cause, an injustice that needed to be corrected. Neither group can see slaves as the people they truly are. It’s a good image, a metaphor with many layers, and one worth exploring in greater depth than I have explored it here.

          McBride is true to his narration’s character. The novel is written in the dialect in which Onion would speak it, as if it was truly his unedited memoir. It can be winding and there are evident gaps in the narrator’s knowledge. Throughout, Onion is prone to repeat himself, as if dwelling on those parts of his experience that stick out most clearly in his mind. At times, this quality can be annoying, as minor details (and also important ones) are repeated even after you have stored them in your mind as points of potential importance.

          Most of the novel is episodic; only at the end do chapters begin to snowball toward a climactic conclusion. As a result, the narrative is prone to some slow moments, but it does pick up pace near the end. McBride’s satiric voice is ever-present through the behavior of various characters, but it is never overt or overstated. McBride is able to get his points across while keeping the novel light and comedic. Overall, McBride’s book is well-deserving of its accolades. Notably, it is not too dense a book for casual reading. I recommend it to anyone interested in historical fiction, or to anyone who is just looking for a good yarn.

JCM

23 March 2014