Continuing Conjure: African-Based Spiritual Traditions in Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing

Religions

James Mellis¹ 

[1] Guttman Community College, 50 West 40th St., New York, NY 10018, USA;

关键词: voodoo;    conjure;    African-American literature;    protest literature;    African American culture;    Whitehead;    Ward;    American literature;    popular culture;   

DOI  :  10.3390/rel10070403

来源: DOAJ

【 摘 要 】

In 2016 and 2017, Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing both won the National Book Award for fiction, the first time that two African-American writers have won the award in consecutive years. This article argues that both novels invoke African-based spirituality in order to create literary sites of resistance both within the narrative of the respective novels, but also within American culture at large. By drawing on a tradition of authors using African-based spiritual practices, particularly Voodoo, hoodoo, conjure and rootwork, Whitehead and Ward enter and engage in a tradition of African American protest literature based on African spiritual traditions, and use these traditions variously, both as a tie to an originary African identity, but also as protection and a locus of resistance to an oppressive society. That the characters within the novels engage in African spiritual traditions as a means of locating a sense of “home” within an oppressive white world, despite the novels being set centuries apart, shows that these traditions provide a possibility for empowerment and protest and can act as a means for contemporary readers to address their own political and social concerns.

【 授权许可】

Unknown