Mumbo Jumbo

“I’ll bet that before this century is out men will turn once more to mystery, to wonderment; they will explore the vast reaches of space within instead of more measuring more ‘progress’ more of this and more of that.”

Here, LaBas tries to persuade the younger Earline to find meaning through introspection instead of materialism. LaBas’s nostalgic sentiment will be challenged later in the text as he faces a changing world.

“Sounds as if you’ve picked up the old Plymouth Rock bug and are calling it Mecca.”

Here, LaBas emphasizes that all forms of Judeo-Christian monotheism have the same oppressive impact—an impact that has crushed traditional African religious beliefs and cultural practices.

“[LaBas] is contemplative and relaxed, which Atonists confuse with laziness because he is not hard at work drilling, blocking the view of the ocean, destroying the oyster beds or releasing radioactive particles that will give unborn 3-year-olds leukemia and cancer.”

This passage characterizes LaBas while simultaneously criticizing what Atonists would deem “progress.” The Atonist path clearly aligns more closely with death than life, a distinction which is later emphasized when LaBas gives his speech at Von Vampton’s “cultural program.”

“Papa LaBas, conscious of the contemporary since Berbelang’s attack, writes this into his black notebook.”

Berbelang, who has left the Kathedral, has criticized how LaBas clings to the past in his practice. As a result, LaBas is becoming increasingly aware of the changes occurring around him—and the ways in which he might adapt to those changes.

“Upset a loa’s Petro and you will be visited by troubles you never could have imagined.”

This line from LaBas to Charlotte foreshadows Charlotte’s death. It also speaks against the commoditization of their traditional practices, especially for cultural fetishizing.

“The question as to which is more reprehensible, the alleged custom in Haiti of eating a human being without cooking him or the authenticated custom in the United States of cooking a human being without eating him. The Haitian custom would have, at least, a utilitarian purpose in extenuation.”

In the early 20th century, James Weldon Johnson was a well-known civil rights activist. This quote uses dark humor to harshly criticize the US invasion of Haiti.

“Hinckle Von Vampton informs Woodrow Wilson Jefferson of his salary and the other terms of the position of Negro Viewpoint.”

This speaks to the tokenization of people of color. By incorporating a single Black perspective, Von Vampton assumes that his publication can be legitimized as one that is not overtly racist.

“After [Abdul] falls to the floor mortally wounded, Hinckle Von Vampton removes the dagger from his back.”

There is symbolic value in how Abdul is killed. Manipulative Atonists publicly act as though they are creating opportunities for Black people but then backstab those who fight for meaningful change.

“Walt Whitman never wrote about Harlem.”

Major Young, a young Black poet, expresses his reasonable distrust of Von Vampton, an old white man with ulterior motives. Young’s response illustrates the extent to which Von Vampton has underestimated Black artists’ resolve to stay true to their work and causes.

“Nothing funny, son. You remind me of myself.”

By relying on their shared whiteness, Musclewhite is confident that he can convince Thor to cut him loose. This validates the concerns of other Mu’tafikah who don’t trust wealthy white people to be truly invested in their revolutionary cause.

“How did you succeed where I failed, Herman?”

When LaBas is unable to use his Work to coax the loa from Earline, Black Herman steps in and succeeds. This leads to a moment of self-doubt when LaBas reaches out for help, externalizing his internal struggle.

“You see, there are many types of Atonists. Politically they can be ‘Left,’ ‘Right,’ ‘Middle,’ but they are all together on the sacredness of Western Civilization and its mission.”

Benoit Battraville cautions against mistaking people for revolutionaries just because they fall on one end of the political spectrum, especially if that entire spectrum maintains the status quo.

“Papa LaBas thinks to himself as he rides alongside the silent Black Herman, Perhaps I have been insular, as Berbelang said, limiting myself to a Mumbo Jumbo Kathedral, not allowing myself to witness the popular manifestations of The Work.”

Here we can see LaBas changing his approach to The Work. Just because he has done things a certain way for a long time doesn’t necessarily mean he’s been doing them the right way. This speaks to a theme in the book, which is skepticism of tradition.

“The author Mark Sullivan paints a picture I would imagine to be prolific with shadows, a waning witch moon covered with shiny oil, 1 dark figure darting through a deserted street.”

This quote’s importance lies in how the author inserts himself by using first person. This is the first use of this tactic in the text, and it’s jarring. However, this postmodern technique blurs the line between narrator and author, suggesting that these boundaries don’t actually exist.

“They finish the job at the Palace Hotel in San Francisco.”

This passage shows the Wallflower Order’s power and lethality. Although the Order has been unable to stop the spread of Jes Grew, LaBas and company are still up against a formidable opponent.

“So don’t ask me how to catch Jes Grew. Ask Louis Armstrong, Bessie Smith, your poets, your painters, your musicians, ask them how to catch it.”

While Atonism has trained the masses to seek guidance through religious leaders, wealthy capitalists, and bureaucrats, here Battraville explains to young poet Nathan Brown that it’s through artists that one will find joy, fulfillment, and meaning.

“Especially pushy, Hank Rollings the Guianese art critic, an authority on Vermeer, especially resents this embarrassment of Hinckle Von Vampton.”

Here it’s made clear that LaBas and company are not only up against white Atonists but also Black people who find comfort in perpetuating the dominance of Eurocentric culture. This connects to the issue of respectability politics.

“Well if you must know, it all began 1000s of years ago in Egypt, according to a high up member in the Haitian aristocracy.”

This passage directly precedes the novel’s climax, when LaBas shares a version of history that counters the Atonist perspective and explains the historical events that have led to the story told in this book.

“I really wanted you and Herman to see this Book, the Book of Thoth, but you won’t have a chance … for I have burned it!! It has gone up in smoke!!”

This letter from Abdul to LaBas reveals why Jes Grew has suddenly dissolved. It also compels LaBas to look away from the past and toward the future to find ways to perpetuate Jes Grew and traditional African beliefs.

“Censorship until the very last. He took it upon himself to decide what writing should be viewed by Black people, the people he claimed he loved.”

LaBas has realized that Black people’s beliefs shouldn’t reflect tradition so much as they should reflect agency. The opportunity to choose one’s belief system is a better marker of liberation than following pre-European beliefs simply for the sake of tradition and historical identity.

“I want to learn more, pop. I’m thinking about going to New Orleans and Haiti, Brazil and all over the South studying our ancient cultures, our HooDoo cultures.”—Earline to Papa LaBas.

Though his life’s work will likely be carried forward by the younger generation, and though he has grown more open to modern beliefs, LaBas still draws comfort in Earline’s interest in studying cultural traditions.

“Freud, whose real talent lies in the coinage of new terms for processes as old as the Ark.”

This jab suggests that Freudian thought is merely an overrated Atonist attempt to pathologize the world.

“The students smile at this old man accepting his inevitable envelope containing the honorarium. He loves to come to the university for his annual lecture on Jes Grew. All the students are wearing Jes Grew buttons of their own design.”

In this passage we see that LaBas, now 100 years old, has found success and happiness in passing along his stories of Jes Grew. However, when considering his earlier advice to Charlotte, it is ironic that he has accepted money to share his experience with Jes Grew and The Work.