Sassafrass, Cypress & Indigo

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Sassafrass, Cypress & Indigo
"Sassafrass, Cypress & Indigo" -- Ntozake Shange, first edition book cover.jpg
Book dedication: "Sassafrass, Cypress & Indigo is dedicated to all women in struggle." [1]
Author Ntozake Shange
GenreNovel
Published1982
Publication placeUSA
Pages224 pp (1982 hardcover)
207 pp (2010 paperback)
ISBN 0-312-69971-9 (1982 hardcover)
978-0-312-54124-8 (2010 paperback)
PS3569.H3324 S2 1982
Preceded byFor Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf 
Followed by Betsey Brown  

Sassafrass, Cypress & Indigo is a 1982 novel written by Ntozake Shange and first published by St. Martin's Press. The novel, which took eight years to complete, [2] is a story of three Black sisters, whose names give the book its title, and their mother. The family is based in Charleston, South Carolina, and their trade is to spin, weave, and dye cloth; unsurprisingly, this tactile creativity informs the lives of the main characters as well as the style of the writing. Sassafrass, Cypress & Indigo integrates the whole of an earlier work by Shange called simply Sassafrass, published in 1977 by Shameless Hussy Press. [3] As is common in Shange's work, the narrative is peppered with interludes that come in the form of letters, recipes, dream stories and journal entries, which provide a more intimate approach to each woman's journey toward self-realization and fulfillment. The book deals with several major themes, including Gullah/Geechee culture, women in the arts, the Black Arts Movement, and spirituality, among many others.

Contents

Plot summary

The story starts with Indigo, the youngest daughter of the family, sitting among her beloved hand-made dolls, which each have names and personalities that emerge over the course of the novel. Before the reader learns much about the other sisters or mother, Indigo begins menstruating, is gifted an old fiddle by Uncle John, and consequently initiated into a cult-like group of pre-adolescent boys called the Jr. Geechee Captains. Indigo's first section is full of informal mappings, remedies, and tales such as "Moon Journeys: cartography by Indigo" [1] and "To Rid Oneself of the Scent of Evil: by Indigo". [1] Soon, some of those cartographies are replaced by recipes as the family prepares for and celebrates Christmas, with the ever-present spirit of Daddy, the girls' father, wafting through their annual traditions. Sassafrass and Cypress are back from school in New England and New York City, respectively, and the reader won't see the four women together again until the very last pages of the book.

The reader next meets Sassafrass in Los Angeles, where she lives with Mitch, a struggling and self-destructive jazz saxophonist. Sassafrass is working to find her creative niche, still weaving and cooking, but pining to get to an artists' colony in New Orleans. She eventually leaves Mitch in LA, moving to San Francisco to live with her younger sister Cypress. Sassafrass exists on the periphery of Cypress' bright and full world for some time, planning to dance and write in hopes of regaining herself outside of Mitch's abuse. After a while, Sassafrass returns to LA and Cypress decides to pursue a professional dance career, which eventually lands her back in New York City.

There, the middle sister finds community among feminist and/or lesbian dance collectives, along with a new way of expressing through her body. Idrina, along with Ixchell, Laura, Celine and others, become important characters in Cypress' image of herself, and after breaking off an intense romantic relationship with Idrina, the dancer found herself unmoving and frequenting late-night dive bars. Coincidentally, in one of those bars Cypress found Leroy McCullough, an old musician friend from San Francisco. After a fateful night together, Cypress and Leroy seemingly reinvigorate each other's creativity, living and loving together until Leroy leaves for a summer European tour. During Leroy's absence, Cypress revisits Idrina and recounts an arguably post-apocalyptic dream where women are punished for childbirth and men are locked away.

During that same summer, Cypress joins a dance company that raises money to support the Civil Rights Movement and Leroy asks to marry her before she starts on her first tour with the group. The reader is then taken back into Sassafrass’ world, where she has been living in The New World Found Collective with Mitch for over a year. There, Sassafrass is undergoing the process of initiation into santería as Mitch slips further into a downward spiral. To shake the bad spirit of her man, Sassafrass performs a sort of exorcist as the deity Oshun came into her body and she decides to return home to the South, without Mitch.

Finally, the reader re-enters Indigo’s spheres, where she has been studying violin and midwifery in her Charleston town. Sassafrass has come home and is in labor, with Indigo delivering the baby and Cypress and Mama close at hand, coaxing "a free child" [1] into their world.

Background/style

Sassafrass, Cypress & Indigo is set in Charleston, South Carolina, with major influences from the Sea Islands off the coast of South Carolina, Georgia, and Florida. The Sea Islands, comprising over 100 land masses along the southeastern coast of the United States are home to Gullah culture, sometimes also referred to as Geechee culture. The Gullah represent a unique community of African-descendant Americans; since slaves of various African ethnic groups were brought to the region, they remained relatively isolated from the rest of the contiguous 50 states and developed a distinct culture that included a creolized language and distinguishable africanisms. [4] The slaves brought to the Sea Islands, who were primarily from western Africa, particularly Sierra Leone, cultivated rice, indigo, and cotton on the islands as early as the 17th century. [5] Since then, a culture based on agriculture and featuring several direct links to an African heritage has developed and sustained these communities; their language, use of African names, rice-based cuisine, and reliance on African folktales and craftwork all connect them to the African continent in a way unlike any other region in the United States. [4]

Notably, Gullah communities privileges what is often deemed "women's work" by Western standards — weaving, cooking, and storytelling are all key elements of Gullah life and this female-centered culture greatly inform Shange's feminist writing in the novel. [6] Gullah culture also emphasizes the potential for symbiosis between human life and the natural world, contributing to the important Gullah value of self-sufficiency. [6] The oral and physical knowledge passed down from generation to generation include recipes, remedies, and tales of various natural or supernatural events that both link Gullah culture to Africa and distinguish its isolation within American culture. [6] Sassafrass, Cypress & Indigo borrows from these traditions and reflects an emphasis on the role of women in a society’s functioning, particularly through the sharing of recipes and ways of taking care of oneself and others. [7]

Gullah culture paired with influences from the Black Arts Movement create the cultural context for the novel (Artistic Expression). Shange employs Gullah culture as a point of departure for understanding these women’s lives in the late 20th century and historicizes their experiences as artists against the backdrop of the Black Arts Movement, which "asserted blackness as a countercultural force in opposition to the Eurocentric ideology of white supremacy", [8] but often excluded women from its mainstream. [8] In addition, Shange’s reliance on music, particularly jazz, also reflects a harkening back to the Black Arts Movement, where distinctly "black" forms such as jazz were celebrated. [9] While these influences inform the content of the novel, they are also reflected in Shange’s prose and structural choices, demanding a new kind of reading from her audiences [10]

Key characters

List of themes

Reception

In The Boston Phoenix , Carolyn Clay wrote that "Shange has filled this fragmented, magical book with (as one of her own colored girls might put it) 'alla her stuff': poetry and pain, music and dancing, life in the fast lane that runs between California and New York, mystical powers passed down from the Geechees, letters from home, recipes permeated with the flavor of the South. And does she know how to strut her stuff. This is a showy novel, yet one without affectation." [11]

Related Research Articles

<span class="mw-page-title-main">Gullah</span> African American ethnic group in south United States

The Gullah are a subgroup of the African American ethnic group, who predominantly live in the Lowcountry region of the U.S. states of South Carolina, North Carolina, Georgia, and Florida within the coastal plain and the Sea Islands. Their language and culture have preserved a significant influence of Africanisms as a result of their historical geographic isolation and the community's relation to their shared history and identity.

<span class="mw-page-title-main">South Carolina Lowcountry</span> Geographic and cultural region located along South Carolinas coast

The Lowcountry is a geographic and cultural region along South Carolina's coast, including the Sea Islands. The region includes significant salt marshes and other coastal waterways, making it an important source of biodiversity in South Carolina.

<span class="mw-page-title-main">Ntozake Shange</span> American playwright and poet (1948–2018)

Ntozake Shange was an American playwright and poet. As a Black feminist, she addressed issues relating to race and Black power in much of her work. She is best known for her Obie Award–winning play, for colored girls who have considered suicide / when the rainbow is enuf (1975). She also penned novels including Sassafrass, Cypress & Indigo (1982), Liliane (1994), and Betsey Brown (1985), about an African-American girl run away from home.

<span class="mw-page-title-main">Marquetta Goodwine</span> American author, preservationist, and performance artist

Marquetta L. Goodwine is a non-sovereign, elected monarch who serves as Queen Quet, Chieftess of the Gullah Geechee Nation. She is an author, preservationist, and performance artist.

Vertamae Smart-Grosvenor was an American culinary anthropologist, griot, poet, food writer, and broadcaster on public media. Born into a Gullah family in the Low Country of South Carolina, she moved with them as a child to Philadelphia during the Great Migration. Later she lived in Paris before settling in New York City. She was active in the Black Arts Movement and performed on Broadway.

<i>For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf</i> 1976 theatre piece by Ntozake Shange

for colored girls who have considered suicide / when the rainbow is enuf is a 1976 work by Ntozake Shange. It consists of a series of poetic monologues to be accompanied by dance movements and music, a form which Shange coined the word choreopoem to describe. It tells the stories of seven women who have suffered oppression in a racist and sexist society.

A choreopoem is a form of dramatic expression that combines poetry, dance, music, and song. The term was first coined in 1975 by American writer Ntozake Shange in a description of her work, For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf. Shange's attempt to depart from traditional western poetry and storytelling resulted in a new art form that doesn't contain specific plot elements or characters, but instead focuses on creating an emotional response from the audience. In Shange's work, nontraditional spelling and African American Vernacular English are aspects of this genre that differ from traditional American literature. She emphasizes the importance of movement and nonverbal communication throughout the choreopoem so that it is able to function as a theatrical piece rather than being limited to poetry or dance.

Thulani Davis is an American playwright, journalist, librettist, novelist, poet, and screenwriter. She is a graduate of Barnard College and attended graduate school at both the University of Pennsylvania and Columbia University.

<i>Spell No. 7</i> Choreopoem first performed in 1979

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<span class="mw-page-title-main">Dianne McIntyre</span> American dancer, choreographer and teacher

Dianne McIntyre is an American dancer, choreographer, and teacher. Her notable works include Their Eyes Were Watching God: A Dance Adventure in Southern Blues , an adaptation of Zora Neal Hurston's novel Their Eyes Were Watching God, as well as productions of why i had to dance,spell #7, and for colored girls who have considered suicide when the rainbow is enuf, with text by Ntozake Shange. She has won numerous honors for her work including an Emmy nomination, three Bessie Awards, and a Helen Hayes Award. She is a member of the Stage Directors and Choreographers Society, the American Society of Composers, Authors and Publishers, and the Dramatists Guild of America.

<i>Lost in language & sound</i> 2011 book of essays by Ntozake Shange

lost in language & sound: or how i found my way to the arts: essays (2011) is a collection of 25 personal essays written by Ntozake Shange. Explored in the collection are topics such as racism, sexism, jazz, dance, and writing. The essays function as autobiography, music and literary criticism, and social critique. While some pieces were written specifically for the collection, many were written over the span of over 30 years.

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<i>If i can cook / you know god can</i> Culinary memoir by Ntozake Shange

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References

  1. 1 2 3 4 5 6 7 Shange, Ntozake (1982). Sassafrass, Cypress & Indigo . New York: St. Martin's.
  2. Grumbach, Doris (October 2, 1982). "Ntozake Shange". Baltimore Afro-American.
  3. birtha, becky (April 1983). "sassafrass, cypress & indigo". Off Our Backs. 13 (4): 17.
  4. 1 2 Opala, Joseph A. "The Gullah: Rice, Slavery, and the Sierra Leone-American Connection". Yale University. Retrieved May 11, 2014.
  5. Sumpter, Althea. "Geechee and Gullah Culture". New Georgia Encyclopedia. Retrieved May 10, 2014.
  6. 1 2 3 Beoku-Betts, Josephine A. (October 1, 1995). "We Got Our Way of Cooking Things: Women, Food, and Preservation of Cultural Identity among the Gullah". Gender & Society. 9 (535): 535–555. doi:10.1177/089124395009005003.
  7. Clark, Patricia E.; Ntozake Shange (Winter 2007). "Archiving Epistemologies and the Narrativity of Recipes in Ntozake Shange's 'Sassafrass, Cypress & Indigo'". Callaloo . 30 (1): 150–162. doi:10.1353/cal.2007.0111. JSTOR   30135883.
  8. 1 2 Mullen, Harryette (2004). ""Artistic Expression Was Flowing Everywhere": Alison Mills and Ntozake Shange, Black Bohemian Feminists in the 1970s". Meridians. 4 (2): 205–235. JSTOR   40338899.
  9. Neal, Larry (Summer 1968). "The Black Arts Movement". The Drama Review. 12 (4): 28–39. doi:10.2307/1144377. JSTOR   1144377.
  10. Elder, Arlene (Spring 1992). "Sassafrass, Cypress & Indigo: Ntozake Shange's Neo-Slave/Blues Narrative". African American Review. 26 (1): 99–107. doi:10.2307/3042080. JSTOR   3042080.
  11. Clay, Carolyn (August 31, 1982). "Ntozake Shange's Poem of a Novel". The Boston Phoenix. Retrieved September 17, 2024.