It seems as though Chesnutt’s work contains a reverse transaction of inscription upon the Caucasian body by the Black subject (now power-holder) instead of the typical way of Caucasian inscription upon a Black body. He structures the latter by posing Uncle Julius, a former slave, as the principal storyteller and wordsmith in these vignettes and his new employers, Annie and John, as his willful participants in this inscription. It closely resembles the inscription of the Condemned Man by the apparatus in Kafka’s “The Penal Colony” in notable ways.
The Caucasian listeners happen to be the descendants (possibly the grandchildren) of former Southern plantation and slave owners. They barely make any interinjections while Uncle Julius is sharing his long and well-paced stories about the inner lives of Black slaves that would never have been heard otherwise. He gives insight to character structure and plot to the point of art form. Chesnutt doesn’t even mention any details about the designated listeners; not even an uncomfortable shuffle, or mention of the predominate layer of the setting (whether sitting in a grassy area, or at the woodcutter’s). They are willing participants in this inscription, not like the Condemned Man in Franz Kafka’s “The Penal Colony.”
What exactly Uncle Julius inscribes upon Annie and her husband includes the structure of power and influence within the slave community in order to affect their white owners and overseers, such as voodoo (“goopher”) and careful storytelling (Uncle Julius and the barn). A friendly exchange between two Caucasian people and an African-American would never have happened before this time period, which makes this moment of inscription remarkable and fragile. Uncle Julius also inscribes upon them to be witnesses to this pain and lack of autonomy that he has experienced first-hand and through those around him; in order to make an impression upon them.
Kafka’s “The Penal Colony” includes a society which wishes to make a similar impression upon their criminals. In the case of the Condemned Man, he was placed within a torture device whose schematics write a message into the skin of the law-breaker, in a language that the Condemned cannot read or write. It’s believed that the very act of inscription upon the body will transfer the wisdom of right-action in order to correct the character of the Condemned. The characters of Annie and John Chesnutt’s tales do not exhibit the same unwillingness that the Condemned Man has when he realizes he’s about to die, but the inscription of right-action is written implicitly upon Annie and John rather than explicitly. These stories clearly frame out the life of a slave, to hearers who are tied to the very people who benefited monetarily and otherwise from human enslavement. It is a reparation through storytelling that Uncle Julius delivers to his listeners.

