Tell My Horse: Voodoo and Life in Haiti and Jamaica

“The island has its craze among the peasants known as Pocomania, which looks as if it might be translated into ‘a little crazy.’ But Brother Levi says it means ‘something out of nothing.’ It is important to a great number of people in Jamaica, so perhaps we ought to peep in on it a while.”

The first person plural inclusive “we” creates an informal and welcoming tone, encouraging the reader to adopt Hurston’s insider perspective as if they are both undertaking this research together. The presentation of multiple potential translations introduces the key concept of uncertainty and conflicting beliefs in the matter of folklore, while nonetheless following ethnographic standards by ceding authority to the in-group authority, as represented here by Brother Levi.

“Jamaican proverbs are particularly rich in philosophy, irony and humor. The following are a few in common use:

“1. Rockatone at ribber bottom no know sun hot. (The person in easy circumstances cannot appreciate the sufferings of the poor.)”

Hurston lists direct examples of Jamaican proverbs in the Jamaican “patois” dialect alongside translations of their meaning in standard English, providing an anthropologically and linguistically valuable record of authentic vernacular language. She recognizes and affirms the value and richness of these quotes, explicitly celebrating Black culture.

“At the house it came to me what a lot of trouble these country people were taking to create the atmosphere of romance and mystery. Here was a couple who were in late middle life, who had lived together so long that they had grown children and were just getting married. Seemingly it all should have been rather drab and matter of fact. Surely there could be no mystery and glamor left for them to find in each other. But the couple and all the district were making believe that there was. It was like sewing ruffles on fence rails. The will to make life beautiful was strong. It happens this way frequently in Jamaica.”

Hurston uses the simile of “sewing ruffles on a fence rail” to convey her impression of the ceremony through visual imagery. She presents the willingness to create a façade of beauty as indicative of the general Jamaican attitude to life, expanding the wedding from a single event into an example which illustrates the general culture of Jamaica. The willingness of the group to engage in collective “make believe” speaks to the theme of