The story of Haslam, Fruit of Belief and his role as
predecessor of the Dolly clan mimics the Old Testament story of Moses being
instructed to lead the Israelites into the Promised Land. The family folklore
passed down builds upon a Biblical allusion, drawing a parallel between an
important Biblical figure and their own founder. Woodrell’s use of this family
mythology and Biblical reference causes time to become cyclical, and the
family’s present actions to appear preordained.
Haslam’s
discovery of the area of the Ozarks that the Dolly clan now resides on draws
upon the story of Moses being told of the Promised Land, Canaan. Just as Moses
was given the Ten Commandments and instructed to go to Canaan, Haslam finds a
fish with a “map etched tiny on the golden guts” and follows it “until he
[hails] these lonely rugged hollows of tired rocky soil as a perfect garden
spot, paradise as ordained by the map of guts sent to his eyes from the Fist of
Gods” (65). The land is described as “tired” and yet is simultaneously viewed
by Haslam as a sort of “paradise” that the Fist of Gods has only told him of.
This mirrors God’s directing of Moses to the Promised Land, which was described
as being only for the Israelites. Unknowingly, the Dolly clan is setting itself
up with this story to be a “chosen people”; one of their own was picked to
discover this land, inhabit it, and bear the land’s fruits. With this, Woodrell
feeds into the idea of destiny in the novel. Just as this happened in the Bible,
it is happening yet again with the Dolly family- they are destined to inhabit
this land, and they have no control over this fact.
Unlike the
Old Testament story, the novel emphasizes the loss of religion in the clan.
Although Ree states there is no definitive answer as to what happened in the
falling out between the “Walking People” and God, she says that “all they ever
said was there’d been a woman” (66). Aside from being a misogynistic claim that
reveals the clan’s opinion on women, this lack of a definitive answer being
available to Ree highlights the loss of religion in the Ozark community she
lives in. She admits that she “did not know much about the religion or the
ruining. The prophecies...reached her down the generations as hoarse godly
mutterings of a big man spinning a braggish lie that made little sense and had
no conclusion” (66). Ree views this tale as being not true, “a braggish lie”
even, and harmful to the family today. She continues on to blame these
traditions for her father’s death (66). The religion has been forgotten, but
the remnants still stand and affect the daily life of the Dolly family.
From a theological perspective, the
clan can be viewed as still being punished for their ancestors’ decision to
disregard the God of their story. Woodrell is creating a cycle for the family
to be stuck in. The very religion their clan was founded on is a retelling of
an even older Biblical tale, which causes the family to be founded on the
belief that they are the chosen people who must follow the traditions of
yesterday, even now.
In addition to the allegory described in the blog post of Moses leading the Israelites to the promised land, the code that the Dollys follow is also reminiscent of old testament biblical beliefs. One important aspect of the family code seems to be the concept of taking an eye for an eye. Defending one’s pride and honor are of utmost importance throughout the novel, and retaliation against those who insult or do wrong to one’s family is emphasized. On multiple occasions, Ree mentions that her father would be willing to do anything for his family in order to defend them. For example, after being raped by Little Arthur, Ree thinks “she likely could’ve buried [him] before the next sunset” (55). And perhaps the the most important instance of taking an eye for an eye is when Uncle Teardrop leaves Ree at the end of the novel because he figured out who killed Jessup (192). And while it is not stated explicitly, it is understood that Uncle Teardrop is going to kill his brother’s murderer. This is the ultimate version of taking an eye for an eye: taking a life for a life. Even though the Dollys do not follow their old religion any more, aspects of it live on through their brutal moral code.
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