From Sin to Redemption: A Cultural Critique of Paule Marshall’s Praisesong for the Widow

Black characters’ social life is bothersome; its study in fiction is a comprehen-sive concern for various literary critics. But because of the complexity of this study, researchers are much more interested in their behaviors and actions. The study of Paule Marshall’s text is in line with this perspective. In this novel, American capitalism is so influential that it compels black characters to sin by repudiating their culture to the detriment of material. But after realizing that their integrity and dignity remain rooted in their cultural heritage, they decide to redeem by undertaking a saving process of cultural reconstruction. To better comprehend these sociocultural features, the use of cultural criticism will help to examine the way cultures are performed by Praisesong for the Widow 1 .


Introduction
Paule Marshall's fictional work is aesthetically meaningful; some critics are interested in the cultural and historical aspects of her novel; others examine the spiritual and materialistic ones. Indeed, Alma Jean Billingslea-Brown focuses on the movements of Marshall's black characters, "[whose purpose is cultural] reclamation and subversion" (Billingslea-Brown, 1999). And through a socio-historical approach, Deonne N. Minto shows that "slavery and colonization (…) divided Africans physically and psychologically from their homeland and from one another" (Minto, 1999). Also, Thierno Ngom reveals that "without a good spirit, it is impossible to satisfy the body. [Material is important, but it 1 For any other references, we will use Praisesong.
How to cite this paper: Tia, D. (2020). From Sin to Redemption: A Cultural Critique of Paule Marshall's Praisesong for the Widow. Advances in Literary Study, 8, but it provides some valuable insights into Marshall's novel.
In terms of advancement and contribution, these above-mentioned critical works explain the historical background of Praisesong, which is narrowly linked to slavery and transculturality. These works reveal the consequences of colonization on Blacks, inter alia acculturation, marginalization, reification, and dehumanization. Moreover, this review shows that Marshall's literary project is embedded in black cultural reconstruction; it incorporates the values associated with culture, material, and spirituality. But despite its brilliance, the themes of sin and redemption, which remain dominant in this novel, need to be re-examined for further understanding. Clearly, these themes are profoundly metaphorical and symbolical. This means they still embody implicit values that need to be questioned.
In other words, the purpose of this study is to dissect the cultural significance of sin and redemption. Dealing with sin always requires the consideration of biblical history; sinning entails breaking a divine rule. Likewise, the issue of redemption underpins the presence of a sinner, ready to redeem himself/herself through a spiritual commitment. This is a kind of repentance to the extent that the sinner makes a thorough criticism of himself/herself and asks for forgiveness from God. Also, he/she promises to comply with the bans previously broken.
When the commitments made are meritoriously respected, the redeemed individual (character) regenerates spiritually. The act of getting rid of his/her sin is therefore a spiritual regeneration/rebirth, which frees him/her from evils. Obviously, the common denominator of sin and redemption is religion.
In accordance with the preceding view, it should be noted that the revitalization of the ancestral values by Marshall's black characters shows the spiritual implication of her novel. On the one hand, there is a repudiation of black cultural identity. Metaphorically, this act can be seen as a sin and on the other hand, there is awareness among the acculturated individuals (black characters). As the story unfolds, they realize that by denying their culture to the detriment of another considered as promising, they have sinned against the "Old Parents" or ancestors and that it is crucial for them to reconcile with themselves and their ancestors-these African descents undertake a journey to their ancestral lands (Grenada & Carriacou) to learn more about their tradition and appropriate the related teachings. This cultural redemption protects them from troubles, such as psychological disorder and acculturation.  (Tyson, 2006). Explicitly, the use of this approach will help to analyze African descents' situation; its main purpose is to decipher the literary values associated with sin and redemption considering African descents' social condition, regressive behavior, and cultural awareness.

African Descents' Social Condition
The study of African descents' social organization is one of the main interests of this section. In Praisesong, America is depicted as a host land for African descents. The latter live in that place against their will. Indeed, the legend called the "Ibos Landing" reveals that Blacks arrived on American soil as slaves. This means Africans came to America as deportees. Aunt Cuney, one of Marshall's mythical characters relates: "It was here that they brought' em. they taken' em out of the boats right here where we's standing. (…) And the minute those Ibos were brought on shore they just stopped, my grain' said, and taken a look around. A good long look (…). And they seen things that day and me don't have the power to see. 'Cause those pure-born Africans was peoples my gran' said could see in more ways tem one. The kind can tell ʹbout things happened long before they was born and things to come long after they's dead" (Marshall, 1983).
Ostensibly, the following past participles "taken", and "brought" refer to the passive voice. Also, the personal pronoun "they" refer to the white colonists who deported Blacks from their homeland (Africa) to an unknown destination (America). Praisesong makes this deportation elliptical; the wrongdoers are not openly named or blamed. And yet, the drawbacks of this deportation are awful.  (Marshall, 1983).
These Blacks gradually lost their ancestral language because of their contact  (English). The following textual clue is illustrative: "Goddamit, din' I tell ya don' mess with me this morning!" (Marshall, 1983).
Importantly, American society is multicultural, but its environment is hostile to Blacks; it destroys their culture and contributes to their acculturation and dehumanization. As a melting pot, American society welcomes various cultural groups, which contribute to its cultural development. In Praisesong, colonization and immigration remain the main cause of this multiculturalism. But in this socio-cultural context, Blacks are not autonomous; their culture is unable to impose itself. Black culture is undervalued and has no influential scope.
In terms of value, the colonists' language (English) remains the crucial communicative tool; English is the norm, the benchmark language -Blacks and Whites use it as a channel to interact. Sad to say, the prejudices incorporated in colonial discourses, especially the inferiority of Blacks and their cultures, keep on influencing their social conditions up to now. Economically, equal opportunities are seldom for them. As a result, they work in the informal sector; they remain dependent on Whites. The narrator discloses their misery as follows: "Two jobs for the salary of one" (Marshall, 1983). Clearly, Blacks are insignificantly paid. This means their wages do not enable them to fulfill themselves.
In accordance with the details displayed above, one can assert that American political and economic system is exclusive; it overrides black characters. The narrator avows: "In no time they're pulling down a good job" (Marshall, 1983).
As depicted in Praisesong, Blacks do not have descent activities. Accordingly, they have a meager socioeconomic situation. The above passage is illustrative.
Indeed, poverty coerces them into settling in precarious neighborhoods, because they do not have a reliable income; Jay Johnson and his whole family feel compelled to settle in Halsey Street. Through the portrait of this black family, Praisesong highpoints Blacks' sufferings in America. In other words, this society does not promote black culture. As a proof, when in Halsey Street, Jay Johnson and his family used to listen to blues in their house. That place is isolated from the outside realities-what happens inside remains unknown to the society.
From a symbolical point of, black culture and tradition are less popularized.
Obviously, America promotes individualism; it influences black characters so much that they feel stressed. Under this pressure, they forget their cultural heritage and are more preoccupied with the search for immediate solutions to their problems, which beset and poison their living conditions. Black characters work for their own survival. Marshall's novel describes American society as follows: "That street in Brooklyn accounted for the raft of insurance policies it took out to cover everything-fire, theft, life, loss of land-that might happen to them or the house" (Marshall, 1983). Through this portrait, the promiscuity in which  (Redfield, Linton, & Herskovits, 1936).
In Praisesong, acculturation embodies an ambivalent value. As a social process, it has some outcomes. It certainly impacts on black culture, but it also has positive orientations. Indeed, in Marshall's text, this enables Blacks to appropriate white cultural values (behavior, habits, and knowledge). For instance, Blacks acquire linguistic resources (English). This helps them interact and socialize. Importantly, the process of acculturation helps black characters (Jay To go ahead, let us say that in postmodern literature, the notion of space is heterogeneous. It can be aerial, nautical, terrestrial, and textual. Its study is always crucial, since it embodies heterogeneous meaning. For example, it can serve as a dwelling place for fictional beings (black characters). In terms of effet-valeur (Jouve, 2001), space has a double function; it can contribute to the individuals' integration or constitute an obstacle to their achievement. Indeed, a close glance at Marshall's novel enables us to discover this double dimension.
From the beginning of Praisesong, there is a hostile situation; the black characters, such as Avey Johnson and Jay Johnson move from one place to another "whose model in the world [of the real reader] is well-known" (Thumerel, 2002) (Translation mine). The geographical space where these characters move is America; its multicultural aspect is pointed out through the following toponyms: It is always 'back where we started or back you know where', refusing to let the name so much as cross his lips although his refusal only served ironically to bring the street and the fifth floor walkup where they had lived for twenty years painfully to mind" (Marshall, 1983 "Traditions are opaque to one another. Contact between two communities is immediately a conflict" (Lyotard quoted by Zima, 2002) (Translation mine).
Clearly, Blacks are not mere adventurers, but descents of black deportees; so, it is difficult for them to thrive. Indeed, African descents, such as Jay Johnson and Avey Johnson are confined in a hostile environment (America). This "creeping" antagonism initiated by Whites, offers no opportunity to Blacks. On the contrary, they are constrained to carry out various informal jobs, hoping to satisfy their daily needs. Jay Johnson and Avey Johnson's situation is a tangible illustration; their efforts to improve their family's social situation are considered as "marathon efforts" (Marshall, 1983). Jay Johnson and Avey Johnson's commitment is compared to a race. This means it requires patience and courage. In relation to the above details, one can assert that America does not promote a successful integration for Blacks, because their identity is flouted. This means they cannot really define their own cultural identity. So, they are compelled to take into account their African and American roots. But this double identity named "African-Americanity" does not offer them a stable and autonomous status. Addressing African descents' hybrid identity, Ceron L. Bryant avows that "Avey Johnson's identity is both a fusion and a separation of the African, African American, and Caribbean cultures" (Bryant, 2012).
Significantly, black characters can be regarded as tricky beings. Indeed, they evolve in a hostile environment, there is an obvious antagonism between them and Whites. Both communities are separated from one another by a virtual de-  (Marshall, 1983).
As depicted in the above quotation, Marion dislikes her mother's relationship with white individuals, but the latter rejects her daughter's opinion as follows: "Girl, where you get off talking to me like that?" (Marshall, 1983). What's her complaint?" (Marshall, 1983). Here, the question one might ask is: "What is the cause of this improvised disembarkation?" In terms of geographical space, Avey Johnson and her comrades are no longer on American soil; they are now in Grenada, (Caribbean society). This means the sociocultural realities are quite different from those of America. This means in the Caribbean Isles, American society has no cultural influence over Blacks. On the contrary, the ancestral power is still present and has a strong hold over the inhabitants. Indeed, the ancestors realize that one of theirs is going astray and that she needs to be saved.  (Felix, 2011). In American society, this hatred is more or less hidden-it is purely ideological, i.e. the citizens do not directly exert brutal force on each other, but the economic and political systems worsen the relationship between the individuals. In short, the preceding section is interested in Blacks' difficult conditions in America. To learn more about the cultural repudiation, the following section will analyze Blacks' regressive behavior.

Blacks' Regressive Behavior
To begin with Blacks regressive behavior, let us indicate that American society influences African descents ideologically, forcing them to deny their African and  (Marshall, 1983 (Marshall, 1983).
Noticeably, Marshall's text shows how the desire for material constrains African descents to adopt the renegades' behaviors in American society. They give themselves new identities because of their social change. Implicitly, this illustrates self-denial. In Praisesong, Jay Johnson and his wife gives up their ancestral names. The former takes "Jerome" and the latter chooses "Avey." To them, these new names help them be integrated. In other words, the new names offer them a possibility of social integration, which is a sign of social rebirth. But practically, these names neither guarantee freedom nor cultural identity to them.
On the contrary, they jeopardize their cultural identity and dignity. By giving up their culture, they compromise the very essence of their being. Through the image of these characters, the whole black community is demeaned and its dignity is tarnished. As a result, white culture proclaims itself as a "culture of reference", i.e. a model to be followed.
Moreover, cultural repudiation leads to cultural disconnection-African descents' disobedience to the ancestral rules is the main cause of their trouble. Indeed, Avey Johnson's refusal to bear her true identity (Avatara) becomes a source of misfortune for her. Her body is defiled; she suffers from a psychological illness whose causes remain unknown. Even her excursion with her white comrades ends very quickly in Grenada. By adopting American culture without mastering its features, Avey Johnson's social well-being is affected. Her abysmal desire for materials leads her to chaos. The narrator posits: "She had completely lost her self-possession, just as she had yesterday when the old man on the Lido had grabbed her skirt. Her behavior just now. The irrationality of yesterday. She no longer recognized herself" (Marshall, 1983). The sanction imposed by the ancestors constrains her to disembark in Grenada where she begins a process of regeneration. Her mind goes back to the old woman (Aunt Cuney) who used to tell her the story of the Ibos Landing. Analyzing Avey Johnson's cultural restoration, Kathleen Gyssels writes: "She will take stock of her life and understand her mistakes and betrayals, both with regard to her husband and children and even with regard to her community. Completely Americanized, having sacrificed everything to climb the socio-racial ladder of New York society, having blamed her husband for not assimilating with the dominant white class, Avey Johnson will be confronted with a retrospective so painful that she will abandon her cruise" (Gyssels, 2002) (Translation mine).
Jay Johnson is less fortunate than Avey Johnson; his desire to acquire fortune in order to overcome the antagonism prevailing in his host society is fatal for  (Marshall, 1983). Physically exhausted by his works and harassed by the ancestors' curses, Jay Johnson dies leaving his wife (Avey Johnson) in an inconsolable situation. Thus, the need to sing melodious songs for her arises. Semantically, the title of Marshall's novel is meaningful; it can probably be articulated as follows: "Praise Song for the Widow". Explicitly, this is a hymn addressed to a widow. In this novel, Avey Johnson is the widow; she has lost her husband (Jay Johnson) and is culturally disconnected; she suffers from a double pain. These confusing experiences worsen her life. As depicted in Praisesong, the individuals who can relieve her sorrow are the ancestors. But, this spiritual support is impossible in American society. So, Avey Johnson has to undertake a spiritual journey to the Caribbean Isles where her memory is supposed to be restored.
Once in Carriacou (Caribbean Isles), she realizes that material is important, but cultural values remain the objective ingredients of human integrity and dignity. She could have declined her ancestors' call and experienced the same fate undergone by her husband, but she adopted a humble attitude and decides to take part on the Annual Excursion. The narrator reveals that her journey is full of meanings; she reconciles with her past: "She had recovered somewhat by now and was gazing around her with a look almost of humility" (Marshall, 1983).
Thanks to this journey, Avey Johnson pays tribute to her ancestors and discovers who she is and enriches her identity. Examining the relevance of cultural enhancement, Pauline Amy de La Bretèque asserts: "Avey's identity can change and develop through the confrontation with others. Straying from expected courses, identities leave room for encounters and relations" (Bretèque, 2019).
Apparently, when visiting the Caribbean, Avey Johnson connects with her relatives; she learns from them her history and tradition.
Shortly, the preceding section has dealt with the influence of American imperialism on Blacks. Being unable to provide an effective counterbalance, the latter adopt American culture. Faced with this severe blow, Blacks decide to reconnect with their past (ancestral heritage). To comprehend this process of reconstruction, it is relevant to scrutinize Blacks' cultural awareness.

Blacks' Cultural Awareness
To question Blacks' cultural awareness, it is essential to consider the attitudes towards their ancestral heritage. Indeed, African descents' desire to reconnect with their culture symbolizes their deep love towards the ancestors; the desire to vivify their ancestral heritage is also a spiritual burst that can be defined as a cultural redemption. The preceding section has shown that Blacks reject their cultural values to the detriment of material. They believe this can improve their standard of living and enables them to be considered as full American citizens.
Despite Blacks' struggle, they realize that their condition does not shift an inch;  (Bretèque, 2019). This sociocultural change is apparent in Praisesong. Indeed, after disembarking from Bianca Pride in Grenada, Avey Johnson meets Lebert Joseph, an old man who is deeply connected with his ancestral heritage. The latter convinces Avey Johnson to take part in the Annual Excursion.
This journey opens her mind and enables her to discover her "self" and extended family (ancestral tribe). Indeed, she realizes that "the ancestors functions as a cohesive factor" (Ige, 2006 (Connor, 1999). The ancestral name is central in black characters' life.
This improves their sociocultural well-being and perpetuates their collective memory.
Thanks to the ancestors' assistance, Avey Johnson succeed in restoring her memory. The ancestors are a unique spiritual force that guides African descents.
In Carriacou, Avey Johnson appropriates the ancestors' teachings when attending the Beg Pardon, she merges with the dancing crowd. Her successful integration deceives the vigilance of the Carriacouans (inhabitants of Carriacou). Clearly, Avey Johnson's initiation is essential for her as well as the whole black community. To Senior Alder Grant, "Avey's journey to the island of Carriacou is not only a physical one, but also a psychological one. It is the journey of an alienated subject in search of identity. She hopes to heal the division, the fracture in herself, through the return to an ancestral homeland. The spiritual journey of self-realization is, however, the major concern in the novel, which requires an Orphic journey of reaffirmation back to the African roots in search of liberation from her trauma of non-identity. Avey's initiation, baptism and rebirth are symbolic of a movement away from white patriarchal control and advancing towards renewal and change" (Grant, 2010).
Clearly, Praisesong describes some African descents who embark on a quest for material, but American capitalist system prevents them from fulfilling their dream. In spite of climbing the socioeconomic ladder, they remain socially marginalized and culturally oppressed. So, the only way out they have is to undertake a journey towards their homeland where they appropriate the ancestral/cultural heritage. This value restores their integrity and dignity.

Conclusion
The aim of this study was to examine two themes, namely sin and redemption.
This work considered the act of repudiating the ancestral values as a sin and the desire to reconstruct and promote the ancestral heritage as a redemptive deed.
After analyzing both themes, it should be noted that Marshall inaugurates an innovative writing. Her novel acquires cultural and spiritual meanings through the aforementioned themes. This study leant on the principles of cultural criticism; they helped to reveal the importance of material in the construction of African descents' social mobility. But despite the acquisition of material, Blacks still suffer from cultural disconnection and social marginalization. So, to restore their cultural dignity, they embark on a process of cultural reconstruction.
Thanks to their cultural reconnections, African descents overcome any forms of oppression and acquire their integrity and dignity. The journey to the Caribbean Isles contributes to their spiritual and cultural achievements. Through their return to the ancestral roots, they restore their collective memory. Apparently, this study defined the Caribbean space as a meditative and regenerative location. As we can see, the use of cultural criticism has been helpful. This helped to contextually explain the themes of sin and redemption; nevertheless, Praisesong remains a codified novel-it incorporates various other textual clues that need to be examined, inter alia myths, cultural hybridity, linguistic heterogeneity, transculturality, and interculturality.