Introduction
This essay explores the literary techniques employed by Jamaica Kincaid in her short story “What I Have Been Doing Lately” to create a dreamlike and surreal narrative. Published in 1981 in The New Yorker, the story deviates from conventional storytelling, presenting a fragmented, almost hypnotic recounting of the narrator’s experiences. By focusing on Kincaid’s use of vivid imagery and symbolism, this analysis aims to demonstrate how these elements contribute to a haunting atmosphere that reflects the narrator’s inner confusion and disorientation. The essay will examine key examples from the text, discuss their implications, and consider how they enhance the surreal tone of the narrative, offering a broader understanding of the themes of introspection and personal growth.
Imagery as a Tool for Disorientation
Kincaid’s use of imagery in “What I Have Been Doing Lately” plays a central role in establishing the story’s dreamlike quality. Rather than adhering to realistic depictions of events or settings, the author employs unusual and often unsettling visuals to mirror the narrator’s fragmented state of mind. For instance, the narrator’s observation of Venus while walking north—“I looked up and saw the planet Venus. I said, ‘It must be almost morning’”—challenges conventional associations of morning with the sun (Kincaid, 1992). This substitution is immediately jarring; it disrupts logical expectations and evokes a sense of unreality, much like the disjointed nature of dreams. Such imagery not only confuses the reader but also immerses them in the narrator’s disordered perception of time and space.
Another striking image occurs when the narrator describes a landscape of “black mud” where “the people all looked as if they had been made up out of the black mud” (Kincaid, 1992). This haunting visual is both simple and profoundly unsettling. The unnatural notion of human figures composed of mud creates an eerie, otherworldly atmosphere, further blurring the boundary between reality and fantasy. These examples illustrate Kincaid’s skill in using imagery to evoke emotional responses, reinforcing the surreal tone while highlighting the narrator’s psychological displacement. Indeed, as critics have noted, Kincaid often employs such techniques to explore themes of alienation (Ferguson, 1994), making her imagery not merely decorative but deeply significant to the narrative’s impact.
Symbolism and Deeper Meanings
Beyond imagery, Kincaid infuses her story with symbolism to add layers of meaning to the narrator’s experiences. The appearance of Venus, for instance, carries symbolic weight. Often associated with light, transition, and renewal in literary traditions, Venus may represent the possibility of change or a new beginning for the narrator, who appears lost and overwhelmed (Bloom, 2008). Walking north—a direction often linked with progress or purpose—combined with the sighting of Venus, arguably suggests an unconscious yearning for transformation. This interpretation aligns with the story’s broader themes of self-reflection and personal evolution, offering readers a glimpse into the narrator’s inner turmoil.
Similarly, the “mud people” symbolize more than mere strangeness. Initially perceived as beautiful and happy from a distance, their true nature as beings of mud becomes apparent upon closer inspection (Kincaid, 1992). This can be interpreted as a metaphor for adulthood: as children, individuals often idealize adults as confident and fulfilled, only to realize later that many grapple with uncertainty and imperfection. The mud, therefore, may reflect the struggle to shape meaning or happiness from life’s inherent messiness. Such symbolism invites readers to engage with the text on a deeper, more emotional level, enhancing the story’s surreal quality while prompting reflection on universal human experiences.
Conclusion
In conclusion, Jamaica Kincaid’s “What I Have Been Doing Lately” masterfully employs vivid imagery and potent symbolism to craft a narrative that feels both surreal and profoundly introspective. Through disorienting images like Venus signaling morning and people formed of black mud, Kincaid immerses readers in the narrator’s fragmented reality, evoking a dreamlike state that mirrors psychological disarray. Furthermore, the symbolic resonance of Venus as renewal and the mud people as flawed adulthood adds depth, encouraging interpretations that connect personal growth with confusion. Ultimately, these literary techniques transform a seemingly simple story into a haunting exploration of the human condition. This analysis not only highlights Kincaid’s stylistic innovation but also underscores the broader relevance of her work in capturing the complexities of inner experience, a theme that remains pertinent to readers and scholars alike.
References
- Bloom, H. (2008) Jamaica Kincaid: Modern Critical Views. Chelsea House Publishers.
- Ferguson, M. (1994) Jamaica Kincaid: Where the Land Meets the Body. University of Virginia Press.
- Kincaid, J. (1992) At the Bottom of the River. Farrar, Straus and Giroux.
