Praise Song for the Butterflies by Bernice L.McFadden

I’ve been aware of Bernice McFadden’s name as a writer I might enjoy, so when I saw her latest novel Praise Song for the Butterflies chosen as the monthly read by the Literary Fiction by People of Colour group on Goodreads, I decided to read along in February, to benefit from the opportunity to engage with other readers and to see their questions being answered by the author, about some of the choices she made while writing the book.

Interested in the inspiration for writing a novel, this one intrigued me; Bernice McFadden visited Ghana in 2007 and while she was there met two women who told her about a rehabilitation centre and a tradition referred to as trokosi, which they explained and suggested she write a book about, an idea she initially laughed at, but after researching the practice, a story began to emerge that she eventually pursued.

The novel is set in a fictional nation of Ukemby (avoiding comparison with the geography and customs of a specific African country), the first two pages provide a brief history of this fictional land, with its recent colonialist history, new schools, a period of outlawing African God worship or speaking local languages and their subsequent independence, freeing people to  openly practice older customs and traditions.

Shrine  slavery was one of the  traditions that ascended from the darkness back into the light.

A slim 3 page chapter entitled AFTER New York City 2009,  sets the reader on edge wondering what happened to lead to that collision of events, as the first provocative sentence opens with:

On the morning of the day she killed him, the sun sat high and white in a sky washed clean of clouds by an early-morning downpour.

From there we move into BEFORE, Port Masi, Ukemby  1978 – 1985. The novel gripped me from its opening pages and made me not want to do anything but stay with young Abeo as if to hasten her escape from the wretched situation superstition put her in.

We know from the blurb that she is going to be sacrificed by her father, under pressure from his mother, to atone for a curse believed to have been passed down from their ancestors.  Until that moment, it seems impossible, given the early success and education of her parents, I read those initial pages, wondering what it could be that changed the good fortune of this happy family.

When Aunt Serafine comes to visit from New York, the family take a trip across the border to Ghana, and visit the slave castle. After debating whether or not it is appropriate to take young Abeo, her mother relents and she joins them. A sense of foreboding lurks as they descend into the dark interior of the castle, her imagination running rife.

What struck fear into her young heart  was the history that lay beyond the wooden panels and brass hardware. Morris had revived history and little Abeo was finding it hard to distinguish between the now and what had been.  Morris reached for the door handle and Abeo’s breath caught in her throat.  She ordered her eyes to close, but they refused, and so she  braced herself for the vision of the ship bobbing on the ocean, its deck teeming with shackled cargo.

Elmina, Slave Castle, Ghana

It’s when things go wrong, when the family’s luck changes and the son comes under the undue influence of his mother (I recall this similarly in Ayobami Adebayo’s excellent Stay With Me ) that relationships get tested, families risk disintegrating and wives become disempowered.

When Abeo’s family falls on hard times, her father, in his desperation begins to doubt himself and the system that should bring justice. Instead he is lead to follow the old ways, thinking it will bring him peace of mind. In an impulsive moment, seized by and giving in to terror, he does the unthinkable, delivering his daughter to a religious shrine.

It was 1985; Abeo was nine years, seven months and three days old.

I worried the story was going to depict brutality, especially after recently reading House of Stone, where Novuyo Rosa Tshuma exposes the reader to the graphic horror of Gukurahundi, in newly independent Zimbabwe, however I was relieved to discover that McFadden spares us the terror if not the cruelty, we imagine what happened, though thankfully there’s no visceral portrayal. One reader asked why she chose to spare readers this, suggesting her method was more like leading a reader by the hand to the truth rather than holding them by the head to something too awful to take in.

In my earlier works I was much more graphic with my descriptions of horrific events. I think pulling back from that had much to do with me seeing so much violence against Black people on the news and social media platforms. Subjecting my character, myself or the reader didn’t seem to serve anyone involved.

Interested in the title, I looked up ‘Praise Song’ and learned it is one of the most widely used poetic forms in African literature; described as ‘a series of laudatory epithets applied to gods, men, animals, plants, and towns that capture the essence of the object being praised’.

It becomes a form of metaphor, the butterfly a symbol of transformation and rebirth;  in the novel Duma, the oldest of the priest’s sons rips a newspaper to shreds, intending to ignore what has been read inside it, the pieces are picked up by a gust of wind, catching the girls’ eyes, seen as butterflies. Though an illusion, it signifies a turning point, a sign of hope, of liberation, they are experiencing life in one form and soon will transform.

Duma folded the newspaper and looked directly into his father’s milky eyes. “It means the government has outlawed what we do here, . It means no more trokosi.

Abeo glanced up and for one fleeting moment her spirit soared. Indeed, at that distance, the bits of newspaper did appear to be a cluster of white butterflies. Abeo watched until the air went still and the false butterflies dropped out of sight.

It was 1998 and Abeo was twenty-two years old, eight months and seventeen days old.

The characters are well depicted, the surroundings set the reader’s imagination alight, we’re taken on a journey, introduced to a terrifying ritual that morphs into another form of traditional domination, however there are shining lights, hope has been gifted a role to play and Abeo has been permitted to interact with it.

I loved the natural, gifted storytelling of this novel, the historical exploration and psychological insight and in particular that she was able to create a scenario that showed us what a healing transformation might look like in the form of resilience.

Bernice McFadden is the author of nine critically acclaimed novels including Sugar, Loving Donovan, Nowhere is a Place, The Warmest December, Gathering of Waters and The Book of Harlan (winner of American Book Award and NAACP Image Award for Outstanding Literary Work, Fiction). A four-time Hurston/Wright Legacy Award finalist, I’ll definitely be reading more of her work.

This is a story of survival and triumph.  I want people to understand that their circumstances don’t always, and shouldn’t always, define their entire lives.

Further Reading

Ancestral Roots:  Bernice L. McFadden sings an enslaved black woman’s song, Interview by Evette Dione

“The interest is not the fact of slavery, the interest is what happens internally, emotionally, psychologically, when you are in fact enslaved and what you do in order to transcend that circumstance.” Toni Morrison

Have you read any novels by Bernice McFadden? Do you have a favourite?

16 thoughts on “Praise Song for the Butterflies by Bernice L.McFadden

  1. What a good review! It’s funny, how one can judge a review, not knowing if it is a book that will please my particular tastes if I go on to “eat” it. But I like your style of telling a bit about the author and the story, with some quotes, and your engagement of it. Thank you!

    Another thing about a good review is that it can tell me either that I want to find out more about the book, or that I’ve got enough of a feel to know that I’m not interested. In this case, I’m definitely interested!!

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    • Thank you so much Joanna for your thoughtful response to my review, that’s exactly what I hope to accomplish, to share not just my own thoughts, but to provide a flavour of the writing style and allow the quotes to move the review forward. And though the story can speak for itself, I personally find it interesting to know the motivation or inspiration (if there is one) behind why an author chose to write a particular story.

      I’ve already ordered my next Bernice McFadden novel, I’m waiting for The Book of Harlan to arrive, it promises to be an equally excellent read!

      Liked by 1 person

  2. Loved your review! I’ve just read one McFadden book in the past and I loved it. I t was wonderful (The Gathering of Waters)

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    • I’d like to read that too Rowena, I’m going to read The Book of Harlan next, I don’t know much about the story, except that it was in part inspired by the author’s grandfather’s life, but it also reminded me of a short video I showed my French students last year about the development of music that came from the blues, and why it has had such a big influence on so many other genres of music. In the discussion that followed, the students also talked about the effect that African-American music had during and post WWII as it fused into and with European styles, it’s an endlessly fascinating history, beginning with that initial music coming from deep within the American South.

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    • That is one of the questions asked by readers and she said she didn’t want to be held captive by the geography and customs of Ghana. She also employed a sensitivity reader regarding aspects of culture.
      I think we have a tendency to think of country’s according to our conditioning, learning, post colonial lines on a map, that then suggests a belief or characteristic belongs to that country, those people, which isn’t the case where populations are fluid and move territories over time. So it might also be to prevent readers from making casual assumptions or judgements. It reminded me in that respect of Maryse Condé’s Segu, a kingdom that existed before we put all those lines on a map.

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      • A sensitivity reader, that’s a new one. I see what you are saying, personally, I would prefer to be educated on real world things, have my misconceptions challenged but making it fictional does allow the author to mix in unrelated things and create something new.

        Liked by 1 person

        • I believe they are real world issues, though maybe not limited to just one country. I think the author is being sensitive to labels because she didn’t grow up there. I have no doubt she’s attempting to portray a story that’s not dissimilar to aspects of what she was told and discovered in her own research.

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      • Thank you Claire for your great review and the introduction of an author I did not know.
        I just finished this novel and appreciated how the author brought to light a practice of slavery in Ganah.
        Thank you for clarifying why the author chose not to name the country in favor of a fictitious country.
        I will definitely look into other novels by her.

        Liked by 1 person

        • I’m looking forward to exploring more of her work too Sylvie and I’m really happy to see her nominated for this prize so others can explore her backlist and future novels, she’s certainly an accomplished storyteller and I love the research efforts she goes to in order to bring that authenticity to her work and to know she has delved into her own family history as inspiration as well.

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