This online journal is dedicated to my independent research on African American folklore and the texts covered in my ENG 446 Folklore and African American Literature course. The blog consists of various articles, summaries, photos, and videos that have helped me understand the lore throughout the semester. Indeed, the course provided me with an active platform to search for meaning beyond the classroom, as a result, aiding in my personal understanding of African American lore and how it works to transmit life lessons.

I hope this online journal is both insightful and engaging as you peruse through how I have been able to make sense of this most significantly complex art form.

To Navigate

  • There are two pages of information, so please click ‘Previous Entries’ located at the bottom left of your screen to see the earlier posts.
  • Also, every post has been put into a category; at the bottom of the page categories are listed. Click a category  to see all of the articles related to that particular topic.


May 2, 2009

Nommo Sculptures

Nommo according to Wikipedia

The Dogon, Nommos and the Mystery of Sirius B

The Bantu term nommo denotes the magical power of words to cause change.

Nommo according to Britannica 

The John Henry Song

May 1, 2009

Via Springsteenlyrics.com

johnhenry_documentGuy Johnson’s research indicated that the earliest John Henry ballads originated in the oral tradition of hammer songs in the 1870s and evolved over time into the ballads with which we are familiar today. One of the earliest written copies of the ballad, prepared by a W. T. Blankenship and published about 1900 or slightly earlier, was obtained by Johnson. Johnson believed this version represented portions of several earlier versions [info taken from the John Henry The Steel Driving Man website].


Early traditional version


John Henry was a railroad man, 
He worked from six ’till five,
“Raise ’em up bullies and let ’em drop down,
I’ll beat you to the bottom or die.”

John Henry said to his captain: 
“You are nothing but a common man,
Before that steam drill shall beat me down,
I’ll die with my hammer in my hand.”

John Henry said to the Shakers: 
“You must listen to my call,
Before that steam drill shall beat me down,
I’ll jar these mountains till they fall.”

John Henry’s captain said to him: 
“I believe these mountains are caving in.”
John Henry said to his captain: “Oh, Lord!”
“That’s my hammer you hear in the wind.”

John Henry he said to his captain: 
“Your money is getting mighty slim,
When I hammer through this old mountain,
Oh Captain will you walk in?”

John Henry’s captain came to him 
With fifty dollars in his hand,
He laid his hand on his shoulder and said:
“This belongs to a steel driving man.”

John Henry was hammering on the right side, 
The big steam drill on the left,
Before that steam drill could beat him down,
He hammered his fool self to death.

They carried John Henry to the mountains, 
From his shoulder his hammer would ring,
She caught on fire by a little blue blaze
I believe these old mountains are caving in.

John Henry was lying on his death bed, 
He turned over on his side,
And these were the last words John Henry said
“Bring me a cool drink of water before I die.”

John Henry had a little woman, 
Her name was Pollie Ann,
He hugged and kissed her just before he died,
Saying, “Pollie, do the very best you can.”

John Henry’s woman heard he was dead, 
She could not rest on her bed,
She got up at midnight, caught that No. 4 train,
“I am going where John Henry fell dead.”

They carried John Henry to that new burying ground 
His wife all dressed in blue,
She laid her hand on John Henry’s cold face,
“John Henry I’ve been true to you.”





Phylon Quarterly, published by Clark Atlanta University 

steelalliesWOW! The way folklore can be transformed throughout time is really something isn’t it?

bigjohnhenryJust John

tar-baby-toni-morrison-paperback-cover-artIntriguing article…

Jadine’s Dream

April 1, 2009

jadines-dream-11Depicting a scene from Toni Morrison’s Tar Baby.

Figures made in charcoal, pastel, acrylic paint, and a lot of water on pastel paper, then cut and pasted
onto 2.75’x4′ masonite board, upon which an acrylic wash and charcoal drawing had already been applied. 
Created for the estimable James King of Simon’s Rock College.

Paule Marshall

March 20, 2009


“I grew up among poets. Nothing about them suggested that poetry was their calling. They were just a group of ordinary housewives, my mother included — the basement kitchen of the brownstone house where my family lived was the usual gathering place. Once inside the warm safety of its walls the women threw off the drab coats and hats, seated themselves at the large center table, drank their cups of tea or cocoa, and talked while my sister and I sat at a smaller table over in a corner doing our homework, they talked- endlessly, passionately, poetically and with impressive range. No subject was beyond them.


When people at readings and writers’ conferences asked me who my major influences were, they are sometimes a little disappointed when I don’t immediately name the usual literary giants. True, I am indebted to those writers, white and black, whom I read during my formative years and still read for instruction and pleasure. But they were preceded in my life by another set of giants whom I always acknowledge before all others; the group of women around the table long ago-this is why the best of my work must be attributed to them; it stands as testimony to the rich legacy of language and culture they so freely passed on to me in the wordshop of the kitchen.” —The Making of a Writer: From the Poets in the Kitchen

More about the author…


Recent New York Times interview

“There is so much in the West Indian culture that has that African flavor,” she said. “This is my attempt to get a fuller picture. We need to see the triangular nature of our inheritance and our place in the world. I think that’s what Obama suggests in his person and what people saw in him.”