Numbering all the Bones

The names of many of the characters describe their qualities and comment on their personalities. Such symbolism is also a literary device employed in the narrative. A primary example of this is Eulinda, coming from the root “linda” or beautiful and the Greek prefix “eu-” for “good.” Eulinda, described as a fair-skinned girl with a Black mother and a white father, is “beautiful and good.” The name can also be interpreted as “waiting for the good.” Neddy, Eulinda’s older brother who is an inspirational, steadfast example of unfailing goodness to her, draws his name from the informal English “neddy” which refers to a trusted steed often used by children. Little brother Zeke is named after Ezekiel, the Biblical profit abducted to Babylon who proclaimed that the chosen people would return to the promised land. Hampton, the master of the plantation at the center of the story, and the only home Eulinda has ever known, comes from an ancient Saxon word meaning “homeplace” or “bend in a river.”

The physical characteristics of the characters are also referred to by names. The strongly built Sancho draws his name from a word that is slang for “male lover,” while his wife, Moll, has a name that traditionally means “girlfriend.” Theirs is the most flirtatious and romantic relationship in the novel.

Names also describe negative qualities or are intended ironically. Gertrude, who figuratively stabs Eulinda, her mother, and brothers with her cruelty, draws her name from the Germanic word for “spear.” Jennie, the real name of Mistis, is a Welch name drawn from the word for “white fairy.” Finally, Jennie’s brother, also a two-faced, untrustworthy wartime profiteer is named Phineas, coming from an ancient Hebrew word that can be translated “the serpent’s mouth.”

One of the novel’s frequently used motifs is ascribing confessional monologues to the historical figures used as characters within the text. These actual people, unlike the fictional individuals, are not developed along with the narrative but emerge in the story at discrete points. By talking about themselves to Eulinda, they impart the background they developed in reality, and explain why they are essential to the development of the narrative. These individuals include Clara Barton, Dorence Atwater, Henry Wirz, and William Griffin.

The monologues of each of these characters is self-revealing and historically accurate. The exception to this is Dorence, who was confined in a New York prison during this period for refusal to turn in his list of the deceased over to the federal government. William’s description of himself to Eulinda is poignant but brief. This is attributed to him being a soldier who is unwilling to talk about his wartime experiences. While this may be true, it is also the case that virtually nothing is known about William apart from what the novel records.

Clara’s monologue about her past, her motivations, and the difficulties she faced is used to compare the position of women to the position of slaves. Clara details her work with and against the federal government to accomplish a great many things yet did not have the right to vote. Even at the campsite, her work is opposed by some of the officers assigned to assist her because they resent that she is a powerful, influential woman.