I can’t help it. I really adore Paule Marshall’s work, and so I’m lucky that she has a good backlist of other titles to read and enjoy. Perhaps when I’ve finished that last read, I’ll just cycle back through them to enjoy them again. 🙂
Paule Marshall was an American author with immigrant parents from Barbados, so it’s easy to understand why several of her characters in the titles in her oevre straddle the two different worlds.
In this title, Daughters, her protagonist, Ursa, has spent her first fourteen formative years growing up on the fictional island nation of Triunion, and then is sent to the U.S. to continue her education there. Her father and US-born mother had met in the US earlier and then the couple had moved back to Triunion where her father had a career in governmental politics.
This political position influences everything and everyone throughout the novel, and just as a career based on election results can be unstable, Ursa remains conflicted about who she is: a serious research analyst or a father’s rock-solid support for his never-ending elections… Or can she be both?
The title, Daughters, also reflects the scope of the plot accurately as well as Ursa is not the only daughter who is involved in the narrative. Her mother, Estelle, is a daughter who grew up in a different country from where she lives, and Ursa’s life overlaps with other women who are daughters.
It’s also arguable that the idea of the fictional island of Trunion could also be a young daughter in terms of the nation only having earned its independence from England in the not-so-far past. So – who can a daughter be when she wants to be herself?
The story starts with Ursa returning to her apartment in New York after having just had an abortion at a local clinic. As she’s buttoning up and going home, she worries whether the doctor really completed the procedure and perhaps left a piece of a medical device inside her. (Again, this idea of children….)
Ursa’s really concerned about whether the fetus is really gone and this concern continues through the narrative – how much of her is all hers? It’s a question of identity that threads through this novel for most of its characters, and as the reader follows these characters chapter by chapter, so Ursa goes on a journey of discovery of herself, her life choices, and the people who surround her.
Ursa is currently unemployed but anxiously waiting to hear whether a grant proposal has been funded by a private foundation. It’s a project that continues from her earlier work about studying a small city in New Jersey and how its heavily African-American population is faring in terms of economic prosperity and other QOL issues. (Interestingly, it could be argued that the people of this town are also undergoing their own journeys, along with the town itself.)
With her unemployment period overlapping with her father’s upcoming political election, Ursa is torn. Her pattern of the past is that she flies down to Triunion to support her political parent at each of the elections that occur, and up until now, she has been content to play that role but she’s now wanting to break away from that.
As Ursa gets older, she is realizing that perhaps her father, always worshipped by most people (including her), isn’t the perfect person that she had thought he was. Age brings distance and clarity to some issues, and Ursa’s removal from Triunion has given her the necessary space to evaluate her perspective and it is this new view that is uncomfortable for her.
Ursa is an independent twentieth century woman, unattached for the most part (except for current boyfriend although this is not a deep attachment for her). Without a regular job and with questions about her future, she feels uncomfortably unmoored about her life and her future.
In contrast, she relies heavily on her best friend, Viney, for advice and consolation and a steadying influence and Marshall uses the instability of the lead character to compare and balance out the more anchored life of Viney, who has roots in the city. She has a son, no partner, and has just bought a house in Brooklyn so, to Ursa, it seems as though she herself is the one who is behind the curve and who needs to choose and then commit to how her life will pan out.
How will this play out for her in the end? That’s the big question.
Loved this read just as I’ve loved Marshall’s other titles so far (Praisesong for the Widow, Merle and Other Stories, and Brown Girl, Brownstones).
A good solid read that kept me thinking way after I’d finished the book.