The Conjure Woman
Charles Waddell Chesnutt
jan 1899 · IndyPublish.com
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This edition reassembles for the first time all of Chesnutt's work in the conjure tale genre, the entire imaginative feat of which the published Conjure Woman forms a part. It allows the reader to see how the original volume was created, how an African American author negotiated with the tastes of the dominant literary culture of the late nineteenth century, and how that culture both promoted and delimited his work. In the tradition of Uncle Remus, the conjure tale listens in on a poor black southerner, speaking strong dialect, as he recounts a local incident to a transplanted northerner for the northerner's enlightenment and edification. But in Chesnutt's hands the tradition is transformed. No longer a reactionary flight of nostalgia for the antebellum South, the stories in this book celebrate and at the same time question the folk culture they so pungently portray, and ultimately convey the pleasures and anxieties of a world in transition. Written in the late nineteenth century, a time of enormous growth and change for a country only recently reunited in peace, these stories act as the uneasy meeting ground for the culture of northern capitalism, professionalism, and Christianity and the underdeveloped southern economy, a kind of colonial Third World whose power is manifest in life charms, magic spells, and ha'nts, all embodied by the ruling figure of the conjure woman. Humorous, heart-breaking, lyrical, and wise, these stories make clear why the fiction of Charles W. Chesnutt has continued to captivate audiences for a century.
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An African American born in Ohio, Charles Waddell Chesnutt grew up in North Carolina. At age 25, he returned to Cleveland to raise his family and practice legal stenography. Resisting the temptation to pass as a white man, he made the issue of race and the inequality of African Americans in the Reconstruction South the primary subject of his fiction, essays, and speeches throughout his life. His first story, "The Goophered Grapevine" (1887), was published in the Atlantic Monthly. His major story collections, The Conjure Woman (1899) and The Wife of his Youth and Other Stories of the Color Line (1899), are local-color stories rich in dialect. Uncle Julius, the former slave storyteller, is realistically presented as he tells his Northern white employer tales that show slaves using wit and intelligence to get the best of their masters. Chesnutt's later novels, The House Behind the Cedars (1900) and The Marrow of Tradition (1901), stories of passing and interracial relationships, speak more boldly and bitterly against the racial injustices of the South. They were not well received and, despite the more conciliatory tone of his last novel, The Colonel's Dream (1905), his popularity waned and he returned to his legal business. In 1928 the NAACP awarded Chesnutt the Spingarn Medal for distinguished service to the Negro race. Readers today are rediscovering the humor and subtle satire of Chesnutt's stories.
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