Edward P. Jones's Literary Technique

Moral Ambiguity in The Known World

Oct 11, 2008

In his novel The Known World, Edward P. Jones presents an intricate story full of complex moral themes. Jones's writing techniques increase the power of the novel.

Jones’s style in The Known World is characterized by extreme detail and non-chronological presentation of plot events.

Edward P. Jones’s Use of Detail to Indicate Character Complexity

Jones’s details not only create a novel of dynamic characters with whom the reader is able to empathize, but they also allow the reader to understand the larger complexities of Jones’s subject. Because Jones weaves pieces of both major and minor characters’ stories into his broader story, all characters become important.

In fact, because of Jones’s detail, few, if any, characters can actually be classified as minor. For example, Anderson, a character who appears only a few times throughout the novel, becomes important as Jones’s provides details of his relationship with Fern and his wider influence as a pamphlet writer (106).

And the details provided by Jones make it impossible for the reader to view any character as static; rather, all are dynamic and changing. For instance, when the reader is tempted to consider Travis as an unchanging antagonist, Jones provides a softening scene of domesticity and confronts the reader with the complexities of Travis’ character: “Travis had a child on either side of him, both with their black Cherokee hair flowing and both almost as dark as their mother” (160).

Furthermore, the minutia provided by Jones reminds the reader of the details and complexities surrounding issues of slavery and master/slave relationship. Ultimately, the details provided by Jones parallel the little-known details on which the novel is based; namely, that free blacks owned black slaves.

Jones’s Non-Chronological Presentation of Events Indicates Moral Ambiguity

Just as Jones’s attention to detail increases the complexity of the characters, so too does his non-chronological presentation of events. As the reader discovers details of characters’ lives and individual stories in a non-sequential order, the reader is able to empathize with the characters.

For instance, when Travis and Ogden allow Augustus to be sold back into slavery, the reader is already aware of Travis’ relationship with his children and his domestic and personal struggles: “Travis watched him go away and after a few minutes he dismounted and used the fire from Augustus’s lantern to set ablaze the straw in the back of the wagon…” (218).

While Travis’ actions are clearly wrong, the reader is able to view Travis’ behavior toward Augustus as hateful yet multifaceted, for the reader is aware of the other aspects of Travis’ life. And as the reader is left wondering about events Jones does not discuss, so is he or she left wondering about the morality of characters such as Skiffington, who claims not to believe in slavery and yet owns Minerva.

The ambiguity of the chronological events of character’s lives parallels the moral ambiguity of issues of slaveholding, socialization into the culture of the south, Biblical support of slavery, etc. Ultimately, Jones’s non-sequential presentation exacerbates the internal struggles of the reader as he or she glimpses characters at varying times and in varying situations.

Through his use of detail and non-chronological presentation in The Known World, Jones leaves the reader with an overwhelming sense of the complexities—both logistic and moral—of the lives of slaves and slaveholders in the pre-Civil War south. And although some characters remain clearly antagonistic, the writing techniques Jones employs allow the reader to view characters as dynamic and changing.

The copyright of the article Edward P. Jones's Literary Technique in African-American Fiction is owned by Allison D. Schisler. Permission to republish Edward P. Jones's Literary Technique in print or online must be granted by the author in writing.