The Aesthetic Oscillation between Heo-Hoodooism and Multiculturalism in Ishmael Reed's Mumbo Jumbo
the Aesthetics Oscillation between Noe-Hoodooism and Multiculturalism in Ishmael Reed's Mumbo Jumbo
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Abstract
In his 1972 novel Mumbo Jumbo, Ishmael Reed applies his hybrid aesthetic of Neo-Hoodooism to the imagined culture wars among a variety of American ethnopolitical groups. At a thematic as well as stylistic level, Reed's attempt at mastery of forms responds to a postmodernist narrative strategy, which signifies upon both Richard Wright's rigorous version of naturalism and Ralph Ellison's complex rendering of modernism. In the context of African-American letters, the critic Henry Louis Gates, Jr. assessed Reed's self-reflective penchant for formal practice as a literary sign that has outlasted the stage of the "race and superstructure criticism," which promoted the notion that race predetermines consciousness, which in turn determines concrete ideas and creative works. Blending the ancient African references with a contemporary art form, Ishmael Reed defined Neo-Hoodooism as developing not along an ethnically exclusive line but in complex, multicultural patterns of syncretism. To this extent, his Mumbo Jumbo adopts both the poststructuralist orientation to historicity/textuality and the postmodernist view of realities/fantasies. What is at stake in the novel's presentation of Neo-Hoodooism is the possibility that the Afrocentricity of Neo-Hoodooism is more often than not in conflict with multiculturalism. With some of these theoretical concerns in mind, my essay explores the ways in which the aesthetic oscillation between Neo-Hoodooism and multiculturalism is represented in the text of Mumbo Jumbo.
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