I just finished reading Ta-Nehisi Coates’ The Water Dancer, a powerful novel set in the days of slavery and the underground railroad, told through the voice of one young man who is among “the tasked.” There is so much I could say about this story.  Starting with this word, “tasked.” Coates never has his characters who are in bondage call themselves “slaves,” but rather, “the tasked.” And this subtle shift of language helps to transport us beyond the familiar words (of the masters) that have been written as history, into the direct perspective of those who were counted as property.

Even though I learned about slavery from my early days in school, it was easy to discount (even by benign repetition) the pervasive way this institution shaped the whole of our nation from its beginnings, it was easy to mask its reach and extent and corruption.  I grew up in the north, and it was easy to think of it as something far away, other.  But in recounting exploits of folks in the underground railroad, Coates makes clear that people in the north weren’t safe from slavery, or immune to its power. Any person of African descent could be captured off the streets of Philadelphia and transported away into bondage. A person of European descent who devoted themselves to ending slavery risked being murdered.  It was everywhere in this country.

It is not that the novel opened my eyes to some new knowledge, but that it helped me remember what I have already known, and bring it alive in a vivid way.  The whole practice and institution of slavery makes a lie of any notion of “greatest country” or “good old days” or “American dream.”  From the earliest settler invasions in 1619, through the creation of the “United States,” through the Civil War, up to 1865–246 years–the country was bound up in these practices of forced labor, torture, separation of families, sexual abuse. We are part of a horrible legacy that still shapes everything about our country, even though there are strong incentives for us to “forget.”

In The Water Dancer, the central character, Hiram Walker, has a magical gift that is tied to the power of memory.  He was a precocious child with a photographic memory of everything, except for the memory of his mother, who was sold away from him when he was only a young boy.  That trauma erased all memories of her from his consciousness. But later, crossing a bridge over the river Goose, the bridge where so many people had been lost into the deeper south, he sees a vision of his mother dancing with a water jar on her head.

The story begins here.  On the first page he says,

“knowing now the awesome power of memory, how it can open a blue door from one world to another, how it can move us from mountains to meadows, from green woods to fields caked in snow, knowing now that memory can fold the land like cloth, and knowing, too, how I had pushed my memory of her into the “down there” of my mind, how I forgot, but did not forget, I know now that this story, this Conduction, had to begin there on that fantastic bridge between the land of the living and the land of the lost.”

He doesn’t come into the power of his own magical gifts until he can awaken the full memory of all that he has lost, and the painfulness of that loss. And perhaps we too will never find healing for all that we face in our world today, until we open our minds to the painfulness of what we call the “past,” (because it is never “past”), until we are willing to face it as it lives within the “down there” of this land we call home.

The Water Dancer creates that kind of magic, conjures the power of memory to transform all that we are.