Flight to Canada is far from a conventional novel. The characters do not belong to a world resembling everyday reality. Their circumstances are too farcical and too improbable, the distortions of history too great, and the manipulation of every element of the fictional form to make a point too blatant for the characters to be convincing as human beings. Yet Reed animates his characters. By the end of the novel, one identifies with Raven Quickskill and Uncle Robin as survivors in a world that has lost its meaning. Raven is even close to being the protagonist in a Bildungsroman. The opening pages virtually identify him with the author of the book, and the story itself traces his coming to awareness. When he leaves the plantation, he is a naïve idealist engaged in antislavery activities. He regards not only Arthur Swille but also Uncle Robin as his enemy. He believes that Canada is freedom, that the slaves who escape with him will join the cause, that Quaw Quaw, as a Native American, shares his civil rights crusade. One by one, events disabuse him of his illusions. Yet he does not become a cynic. He holds on to a belief in his inner identity—and in literature as the expression of it. His novel, including the story of Uncle Robin, exposes the giant villains of American society through the eyes of one who has suffered at their hands.
If Raven is the representation of the black writer who over the past one hundred years has discovered his role in American society, Uncle Robin is the Uncle Tom who has used subservience to obtain his independence and the property that was his due. What redeems Uncle Robin is not his cleverness, though Reed respects it, but his willingness to learn and to change. He decides to use his property not for his personal comfort but for the encouragement of black culture. The castle becomes a location for “craftsmen from all...
(The entire section is 768 words.)