ISHMAEL REED'S SUBVERSIVELY POTENT IMAGES
NARRATIVE STRATEGIES IN MUMBO-JUMBO AND JAPANESE BY SPRING

MICHAEL PRONKO 

The image of African−Americans has undergone a tremendous re−structuring
in the American novel over the past several decades. The methods of deconstructing
and reconstructing, no matter how one defines those terms, have been various and
substantial. Many writers have taken an aggressive approach in demanding a re−
evaluation of how “African−American” can be conceived and defined, while others
have taken a quasi−legalistic accounting of historical abuses that swing between the
self−righteous and the self−pitying. Of course, novels slip aside those descriptions
and often work with many approaches at once. One thing is certain, though, the
African−American novel has demolished former images and recreated compelling
new ones.

While some novelists feel politically misguided or relish accusative tones, in
general, African−American novelists write with circumspect care and keen awareness
of the images they create and promote. They know all too well how images shape
attitudes and actions in the real world. For the best writers, the intensity of their
overall creativity has not been hindered by this hyper−attention to images. Instead,
their creativity seems to flourish amid the often conflicting demands of setting the
record straight, expressing justifiable outrage, and forcing a fresh image into the
fray that works within the novel as a viable construct, within society as a criticism
and within culture as a potential new archetype. Few other groups of writers have
ever had to struggle with this particular burden of historical, social and narrative
claims to creative attention. Few other groups have been so successful.

Among the African−American writers of the post−war generation, Ishmael Reed
is one of the most compelling for the way he constructs the image of African−
Americans without foregoing a lively imagination, potent sense of humor and a
commitment to many ends at once. Like the trickster archetypes he draws on for
inspiration, Reed knows how to have a good time. He takes more than his share of
poetic liberties, exploits his narrative license and relishes post−modern ironic play.

He uses the past and the present as ironically as any African−American writer
working today. Of course, even the term “African−American” must be taken with a
spoonful of irony as Reed’s background and aims are a mish−mash of influences,
genetic and narrative, and of loyalties, progressive and entertaining.

In particular, his two novels, Mumbo Jumbo and Japanese by Spring take direct
aim at the confusing images of African−Americans by interrogating their deepest
structures and hidden interiors. He creates a fable of subversion in Mumbo Jumbo
(MJ) and a re−vamped Bildungsroman in Japanese by Spring (JBS). Both novels
seek to re−establish the image of African−Americans on far different foundations
than many of his contemporary novelists, and with more earnest intent disguised in
his playful exterior. He succeeds as much because of his sense of humor and narrative

strategies, as because of the righteousness of his cause.

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