The Scarification of the Black Body in Jesmyn Ward’s Where The Line Bleeds
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This paper analyzes Jesmyn Ward’s Where the Line Bleeds through the metaphor of infleshment, exploring how historical violence and structural precarity are inscribed onto the bodies of Black youth in the rural South. The scar—the place where pain once closed but never ceased—becomes a palimpsestic trace, a carnal archive where past and present violences coincide. Through the struggles of twin brothers Joshua and Christophe, Ward portrays Du Bois’ “color line” not as a distant abstraction but as an open wound bleeding quietly into Black flesh. The body becomes the parchment where oppression writes and rewrites itself, with suffering coagulating as a chronic condition shaped by the biopolitics of debilitation. Drawing on critical race theory and crip studies, this paper explores how Ward’s novel narrativizes systemic violence through the scar metaphor—a site where racial struggle, disability, and biopolitics pulse through bodies marked by enduring harm.
Abstract
This paper analyzes Jesmyn Ward’s Where the Line Bleeds through the metaphor of infleshment, exploring how historical violence and structural precarity are inscribed onto the bodies of Black youth in the rural South. The scar—the place where pain once closed but never ceased—becomes a palimpsestic trace, a carnal archive where past and present violences coincide. Through the struggles of twin brothers Joshua and Christophe, Ward portrays Du Bois’ “color line” not as a distant abstraction but as an open wound bleeding quietly into Black flesh. The body becomes the parchment where oppression writes and rewrites itself, with suffering coagulating as a chronic condition shaped by the biopolitics of debilitation. Drawing on critical race theory and crip studies, this paper explores how Ward’s novel narrativizes systemic violence through the scar metaphor—a site where racial struggle, disability, and biopolitics pulse through bodies marked by enduring harm.