How we cite our quotes: (Chapter.Paragraph)
Quote #1
"I will bring the toubob!" Binta would tell at Kunta when he had tried her patience to the breaking point, scaring Kunta most thoroughly. (7.9)
For a young Kunta, the concept of race doesn't really exist. He doesn't get the sense that the white men he sees in Africa come from a country where people endure the same struggles as he does. Instead, they're just strange, otherworldly bogeymen, which makes sense given the horrendous deeds of slave traders.
Quote #2
So he asked his father, who told him, "The more blackness a woman has, the more beautiful she is." (11.13)
In his childhood, Kunta is taught that one's blackness is beautiful. Sadly, he'll have the exact opposite belief spouted at him once he is stolen from his homeland.
Quote #3
But one sound in particular was extremely puzzling to him [...] What, he wondered, was a "nigger"? (45.14)
Remember how Kunta was taught that blackness was beautiful? How's he supposed to hold on to that belief in a country that tells him he should be ashamed of it? That's the quandary he faces in America.
Quote #4
[I]t occurred to Kunta than in some strong, strange, and very deep way, the blacks and the toubob had some need for each other. (46.28)
As Kunta notes, the slave owners never seem happier than when they are with black people, whether they're celebrating with them or abusing them. The psychology of this is so twisted that Sigmund Freud's head would explode just trying to figure it out.
Quote #5
"White man figger whoever somewhere 'fore him don't count. He call dem savages." (54.23)
Leave it to the fiddler to speak truth to power in the most concise way possible. If anything, the only thing we'd describe as savage is the mass enslavement of people.
Quote #6
But then, as Bell told Kunta later, from the moment the first carriage arrived, Missy Anne suddenly had acted as if she didn't even know [...] Kizzy. (81.22)
The relationship between Missy Anne and Kizzy both breaks our hearts and gives us insight into why Kunta is so opposed to interracial friendship—the scales of power are so heavily tipped in one direction that any real relationship is impossible. For Kizzy, this is an insanely sad realization, but a necessary one.
Quote #7
And she tried not to think about "sasso-borro," the name her ebony-black father—his mouth curled in scorn—used to call those with mulatto skin. (85.9)
The novel depicts a certain degree of colorism within the black community, although most of this is based on the implication that mixed-race children were the product of sexual abuse by white men. Still, this idea directly contradicts the notion of race as a binary.
Quote #8
Kizzy decided that however base her baby's origins, however light his color, [...] she would never regard him as other than the grandson of an African. (85.20)
Although George was born from horrifying circumstances, Kizzy refuses to let them define her son. Instead, she chooses to instill in him the same sense of racial pride that her father instilled in her by teaching him about their cultural legacy. It makes all of the difference.
Quote #9
[M]ore strange-talking white folks [...] were said to be arriving by the shiploads up North, [...] fighting to take the jobs previously held by free blacks. (90.5)
If you can't tell, this is referencing the influx of European immigrants that defined late-1800's, early-1900's America. While many of these new immigrants were not accepted into white culture at the time, their children and grandchildren would be, which further highlights how racism is uniquely focused towards black people in America.
Quote #10
"He talk like any other cracker. What make him different he de firs' one I ever seen ain't try to act like sump'n he wasn't. De mos' is so shame of what dey is." (111.80)
The family's love for Ol' George is adorable, but what strikes us most about this passage is that they love him because he's true to his own heritage. Their dislike of "crackers" doesn't stem from a dislike of them as people, nor their culture, but rather their denial of their true selves.