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Other classic mythological figures include Dionysuswho is portrayed as a follower of Osiris, and Faustwho receives his magic not through a deal with the devil but through connections with black Voodoo practicitioners. Background[ edit ] Mumbo Jumbo draws freely on conspiracy theory, hoodooand voodoo traditions, as well as the Afrocentric theories of Marcus Garvey and the occult author Henri Gamacheespecially Gamache's theory that the Biblical prophet Moses was black.
The text begins and ends as if it were a movie script, with credits, a fade-in, and a freeze-frame followed by the publication and title s which occur after chapter one. This is followed by a closing section that mimics a scholarly book on social history or folk magic by citing a lengthy bibliography. In addition, the tale is illustrated with drawings, photographs, and collages, some of which relate to the text, some of which look like illustrations from a social-studies book on African-American history, and some of which seem to be included as a cryptic protest against the Vietnam War.
Mumbo Jumbo both depends on and fosters the disorientation of the reader. Rather than stick to any semblance of a novel's conventions, Reed supplies us with a hodgepodge of hand-written letters, radio dispatches, photographs, various typefaces, drawings, and even footnotes.
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With the first and second chapters interrupted by copyright and title s, we even get the sense we're looking at a cinematic title screen. This is all to say that Reed is constantly blurring the lines of those things traditionally understood as distinct—in this case, form. In this vein he seems adamant to defamiliarize the familiar. Literary criticism[ edit ] Scholars such as Alondra Nelson have considered Reed's text as an Afrofuturist text because of the synchronization of voodoo tropes and technology which fhat to its unique form.
The "…technologies from the setting's future and the author's present inhabit a story situated in the past," in Mumbo Jumbo allows for the emergence of African diasporic technologies in the jammbo. Snead sees the novel's structure as engaged of the African-American musical and rhetorical trope of "the cut", an interruption that disrupts the linear temporality of the work, looping back to an earlier textual moment. As such, Reed mobilizes a "future-primitive perspective",  which animates the past through the future.
Reclaiming history[ edit ] Throughout the novel, Reed seeks to deconstruct the fundamental foundations upon which white, western civilization rests. This is exemplified by the Mu'tafika, an organization whose sole purpose is to steal historical artifacts from Western museums and return them to their place of origin.
Additionally, the primary manifestation of this occurs in Papa LaBas' story of The Work the original practice emanating from the text from which Jes Grew came and its Egyptian roots. Reed uses this cyat to explicitly undermine the legitimacy of the monotheistic religions on which Western civilization rest.
More important, though, is the fact that it does not matter whether or not the reader believes the tale to be true; what matters instead, for Reed, is the fact that an entire population jammbo denied the right to hear his history and the right to choose to believe it. With the framework of Jes Grew already established as a real phenomenon in the novel, Reed's history imagines a powerful origin and meaning that has, in the course of the African-American slavery experience, been strategically precluded.
Janbo many ways Jes Grew is like the funk.
The infectious virus ultimately gets suppressed at the end of the plot of the novel. However, at the end of the novel, when Papa Labas is speaking to a college classroom in the s, he talks about how the '70s are like the '20s again.
In this instance Papa Labas taps into a similarity between the styles of music that Jes Grew needs to grow; '20s jazz and '70s funk share an aesthetic that calls people to dance.