I loved how this historical novel focuses on the lives of these women, Rue her mother May Belle and grandmother Ma Doe and the community within which they live, without allowing the narrative to stray over too far into the lives and homes of those who diminished their lives.
It is set in two time periods, just before and just after the civil war, so Freedomtime from 1867 onward Surrender 1865 and Slaverytime from May 1861. In particular it inhabits the Reconstruction era, the brief hollow of time between the end of the Civil War and the beginning of the Jim Crow era, ten years that would have been strangely bittersweet, fraught with disbelief.
Mostly the narrative revolves around Rue who wasn’t taught her mother’s skills yet learned them all the same. Healing and conjuring, midwifery and herbal remedies. Setting things to right.
Other slavefolk got hired out for their washing, for their carpentering, for their fine greasy cooking. Miss May Belle was hired for her hoodooing.
“Hoodoo,” Miss May Belle used to say “is black folks currency.”
She had admitted only once, to Rue, in confidence: “The thing about curses is that you can know who you’ve wronged the most by who you fear has the notion to curse you.”
By shifting the narrative back and forth to tell the story, the reader, like Rue is kept in suspense regarding some of the terrible wrongs done to people, some on the connections and relations between people.
Photo Valeria Boltneva @Pexels.com
In the slave masters house there is a young girl Varnia, who is Rue’s age and her playmate. Then there is Sarah, also of similar age, who gives birth in the opening pages to a baby born enveiled in a caul, which provokes people’s superstitions. Rue develops a connection to this baby who seems other worldly.
When the communities babies begin to suffer from a mysterious illness, they begin to distrust her and her methods and rely instead on a charistmatic travelling preacher Bruh Abel, whom Rue has strange feelings for. She hatches a plan to try and bring favour back her way, but it backfires on her and she will seek his help to restore their faith.
She’d known him for what he was then. He was a clear-water cure sweetened with nothing more than clever words a con man’s type of conjure.
In May Belle’s time, one of the ways to effect a conjure was to make a doll that bore a resemblance to the person and if possible to access strands of hair to entwine with whatever material was used. Varina has porcelain dolls that Rue admires and is envious of, when she discovers her mother is making a doll that faintly resembles her, she pretends not to notice she has discovered it, and will mask even further her disappointment when she misreads its purpose.
Reading this story, made me reflect on how many historical fiction narratives of slavery, civil war and early freedom are told from within the Household and the fields. And how as readers we often come to expect that. How refreshing that Afia Atakora stays with these women and tells their stories from a different vantage point, not needing to take us into the politics of their war, or the lives or agenda of those in the House.
There is one scene where Rue is present for an event that takes place inside the Master’s house and it is telling that she observes the entire scene from within a locked box, that she can lift only slightly, therefore only seeing a sliver of what takes place.
Atakora does the same to her readers, when it comes to observing slave masters and mistresses and white people in her narrative. They never take centre stage even if they still maintain the ability to commit gross acts that impact the lives of her characters.
“We tend to paint slavery in America in broad strokes. There are these pervasive singular images of overseers and cotton fields. We think of it in terms of Amendments and Proclamations and Battles. But it’s a vast 200+ years of history filled with nuance and complexity and no two experiences could have possibly been alike.”
It’s a novel that demonstrates the effect of conditioning, regardless of changed circumstances, the legacy of bondage and the aspects of genetic inheritance that refuse to be extinguished through the will of others.
“Rue-baby” Miss May Belle would’ve said, “there ain’t no easier lie to tell folks than the one they wanna believe.”
A thought provoking read that shakes up conventional storytelling and vantage points.
Further Reading
Interview: A Conversation with Afia Atakora on Conjure Women
Afia Atakora
Afia Atakora was born in the United Kingdom and raised in New Jersey, where she now lives. She graduated from New York University and has an MFA from Columbia University, where she was the recipient of the De Alba Fellowship. Her fiction has been nominated for a Pushcart Prize and she was a finalist for the Hurston/Wright Award for College Writers.
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A celebration of the yin aspect of life, the jewel within. And that jewel of a song, sung by both 
Brenda Lozano is a novelist, essayist and editor. She was born in Mexico in 1981.
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