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William StyronA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The final part of Nat’s story begins with a vision of sleeping in a boat on the ocean, “in the arms of a steadfast and illimitable peace” (407). He envisions the ocean “arching eastward toward Africa” (407). This is the same dream as the one with which he began the book, and in it again he approaches the mysterious building, which is “neither temple nor monument nor sarcophagus” (407). Knowing that he cannot comprehend the mystery of the building, he turns away from it.
To end the story, Nat wakes up once again:“The chains at [his] feet chink in the morning’s black silence” (408). He and Hark anticipate their deaths, wondering if they will be in a chair or hung. Nat appeals to God, “hoping to find some vision, some word or sign in the profounder darkness of [his] own mind” (409). He prepares to leave the world without a sign from God and without resolving the question of what he has accomplished. Hark, meanwhile, marvels at the fact that he will be hung that day while the world, even the barking dogs, goes on as usual.
Nat drifts off again and wakes up as the morning comes, when he hears “the sad old blast of a horn as it rouses up the Negroes for work” (410). As always, Nat recounts all of the noises he hears in the town beyond the window before he leans into it and looks up to the sky to gasp at the morning star. He does not move, even as “the chill of the damp floor imprisons [his] feet in piercing icebound pain” (410).
Eventually, Nat hears motion outside his cell. Gray, it turns out, brings him a Bible, “against the will of the court” (411). Gray seems different, and Nat feels briefly as if he has never seen Gray before. As he hands over the Bible, Gray reaches through the bars and grabs Nat’s hand as he says goodbye.
He thinks of Margaret, desiring her, and feels his body “tingle with desire” (412). He pleasures himself, thinking of her, remembering a meadow in the summertime and the tones of her voice. The sound of voices and footsteps pulls him out of the fantasy, as he hears a group of men fetch Hark from his cell.
Hark, injured, releases “a wail of hurt and wild distress” (412). Nat yells at them not to hurt him: “You’ve done hurt him enough! All his life!” (412). In response, the men fall silent. But they tie Nat into the chair right there and then carry him, with some struggle, into the hallway. Hark says goodbye.
As men come to take him, Nat admits to himself that he “would have spared one” (414). Just before he dies, before he surrenders, he hears God’s voice, saying “Come, My son!” (414).
The story concludes with an explanation that “the bodies of those executed, with one exception, were buried,” but that Nat’s “was delivered to the doctors, who skinned it and made grease of the flesh” (414). One man makes a purse out of his skin. His skeleton was saved until lost.
The final part of The Confessions of Nat Turner returns, in a circular fashion, to the book’s beginning. At the same time, it incorporates a missing piece—Nat’s guilt over killing Margaret—that reshapes readers’ sense of his fear and his desire to communicate with God. The mysterious vision that comes to him, in dreams, seems to urge Nat to accept the mystery of if, or to what degree, his rebellion was successful.
There are some certainties at the end of the text. One is Nat’s relationship with Hark, the sense of connection between individuals who struggle even when they can only hear one another. Indeed, as Nat looks out of the window, what he can see and what he can hear give him information with which he can imagine a reality. The sounds and sights he hears of dogs, women singing, and horses coming and going allow Nat a sense of connection that reaches outside of his own perspective. This sense of connection beyond the frame of one’s perspective, or even lifetime, suggests a timeless quality to one’s actions. Even if Nat’s life, like his window, has limits, it is connected via threads of sight, sound, and memory, to those who come before and those who will come after.
The concluding note of Part 4, which describes what happened to Nat’s body, differentiates between the role of a story and the role of a body. Like Nat’s grandmother, most other bodies join “the general clutter underground” and “complete the richness of the earth” (130) as they should. But Nat, like the animals he hoped to be differentiated from, is skinned and used for fat and purse-making. By revealing Nat’s fate, the text reveals that Nat’s self-doubt over whether or not he and his people were mere animals was a creation of white people with which to hold them back. He is treated like an animal only as punishment, but that treatment is an aberrance from what is natural.
By William Styron