Importance of Lebert Joseph to Avey Johnson in Praisesong for the Widow

Avey Johnson, the main protagonist in Paule Marshall's Praisesong for the Widow, is on a journey to reconnect with her long-buried cultural heritage. Avey and her husband Jay Johnson were happily married African-American couples who lived on Halsey Street in Brooklyn. However, the discontent of the prevailing economic situation in that area led them to abandon their cultural practices and seek materialistic success. Avey, now a widow and a successful businesswoman, is faced with internal conflict which she aims to solve through reconnecting with her African-American roots. In the second half of the text, the author introduces Lebert Joseph, a superhuman with multiple personas. The primary role of Lebert was acting as a link between Avey and her traditional background. Lebert becomes a significant figure throughout Avey's excursion and reconnection.

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Lebert quickly interprets Avey's situation and in a sudden turnabout offers to guide her to the excursion. Lebert Joseph is the incarnation of the West African god Legba (Lederer 71). He could tell what Avey was going through owing to the fact that he "possessed ways of seeing that went beyond mere sight and ways of knowing that outstripped ordinary intelligence" (Marshall 172). He quickly understands Avey's situation since "there was no thought or image, no hidden turn of her mind he did not have access to. Those events of the past three days which she withheld or overlooked, the feelings she sought to mask, the meanings that were beyond her-he saw and understood them all from the look he gave her" (Marshall 171). This was one of the vital points of Avey's journey. This is because Lebert could now determine the progress made by Avey and how much he needed to do to help her correct her cultural displacement (Thefreelibrary.com).

Lebert Joseph, with the aid of trickery, successfully persuades Avey to go on the excursion. He gives her coconut water, a brew of rum and coconut milk, which makes her somewhat drunk. This removes her resistance and eased the effort of getting her to go on the journey. Although deceptive, it was to the benefit of the main protagonist (Thefreelibrary.com). Lebert continues with his trickery through the performance of the Juba, a dance that reminds Avey of her early days of marriage when she and Jay Joseph used to dance in their living room. Realising that Avey is "missing heritage which is seeking to emerge after years of oppression" (Marshall 180), Lebert takes advantage of her situation and employs his last trickery, hypnosis. The rum, Juba performance and hypnosis manages to get Avey on the boat.

Other than being a geographical guide to Avey, Lebert helped to resurrect the cultural heritage that had long been buried by the main character. Again, through the performance of Juba, a dance that is common among women of her community, he manages to revive memories of her Great-Aunt Cuney who was an excellent Juba dancer. Lebert had to redress the cultural displacement she was suffering from as a result of being absorbed into a white middle-class community. Also, Lebert narrates stories about his family history and their people. He reminds her of the importance of respecting "the Old Parents" (Marshall 165) and later on using the Beg Pardon, all of which are central to their cultural heritage. The old man realized that it was important to reintroduce the African-American cultural heritage to Avey so as to confuse and displace the white middle-class status she had adopted (Thefreelibrary.com). All these helped to shape the protagonist's identity.

Finally, Lebert completes the reconstruction and initiation of Avey into the community that she had left long ago in Halsey Street (Lederer 72). Rosalie conducts the rite of passage to Avey. Rosalie is the female incarnation of her father; she is the priestess of Avey's rebirth. The event was supposed to re-incorporate Avey into the community. By welcoming Lebert's invitation and by submitting to the initiation conducted by his daughter, Avey showed her willingness to commit herself to the cultural heritage of her ancestors. Avey was successfully transformed and became a new woman, Avatara, under the guidance of Lebert Joseph.

Conclusion

In summary, Avey's quest and desire for materialistic satisfaction led to her detachment from the African-American cultural heritage. Instead, she became lost in the white middle-class status, culture and community that was alien to her natural predisposition. However, after many years of practising foreign culture, she set out on a journey to reclaim her lost identity and heritage. Lebert Joseph becomes a primary figure throughout her excursion. Lebert receives her and guides her through the journey of self-discovery. This was through narrations, deception and application of superhuman talent. Finally, Avey Johnson is successfully re-incorporated into her community. Although deceptive, actions by Lebert were very instrumental in the success of this journey. Even when asked later on about her identity, she quickly replied that she was Avatara, unlike earlier when she had hesitated.

Works Cited

Marshall, Paule. "Praisesong for the Widow. New York: EP Dutton." (1984).

Lederer, Mary. "The Passage Back: Cultural Appropriation and Incorporation in Paule Marshall's Praisesong for the Widow." Ufahamu: A Journal of African Studies 21.3 (1993).

Thefreelibrary.com.. Lebert Joseph to the rescue: a positive trickster in Paule Marshall's Praisesong for the widow. - Free Online Library. (n.d.) [Online] Available at:https://www.thefreelibrary.com/Lebert+Joseph+to+the+rescue%3A+a+positive+trickster+in+Paule+Marshall%27s...-a0219075723 [Accessed 21 Apr. 2018].