62 pages 2 hours read

Island Beneath the Sea

Fiction | Novel | Adult | Published in 2009

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Symbols & Motifs

Voodoo

In this novel and study guide, Voodoo generally refers to an African diaspora religion that developed in Haiti. As a motif, Voodoo manifests in the novel in various ways. Particularly noteworthy is the lwa, or intermediary spirit, known as Erzulie, which is associated with maternity and love. Tété’s association with Erzulie includes her possession of a doll in Erzulie’s likeness. On various occasions, Tété also prays to, or is possessed by, Erzulie. Tété’s association with Erzulie enriches her character, suggesting Tété’s loving and maternal nature.

Other elements of Voodoo in the text include zombies, drums, music, herbal remedies, and gatherings whose purpose is to inspire enslaved people to rebellion. As a distinctly syncretic African tradition, Voodoo connects its adherents not only to God and each other but also to their ancestors, who are believed to go to a paradise under/across the sea, as the book’s title references. Voodoo thus connects with several of the novel’s main themes. Regarding Idealism Versus Pragmatism, Voodoo, rather than Christianity, would have provided the backdrop for the values and ideals shared by most of the rebels. Voodoo would also have altered practitioners’ perception of the power dynamics that shaped life in Saint-Domingue, tying into the theme of Violence as a Result of Imbalanced Power Dynamics. Namely, it would imbued the rebels with the courage to act boldly, as adherents could have trusted that they were supported in their battles by countless spirits, including the spirits of deceased leaders such as Macandal.

Dancing

Throughout the novel, dancing recurs as a motif. Early on, Tété recalls hearing Honoré teach her that dancing is a form of freedom. From that time onward, she takes pleasure in dancing to the rhythms of the drums typically associated with Voodoo, though in New Orleans she attends dances hosted by Catholics as well. In comparison with the free and expressive dancing Tété enjoys, European dance forms such as the waltz are also mentioned, as when Maurice and Rosette take dance lessons, foreshadowing their later reunion at the Cordon Bleu ball. Rather than signifying freedom, these more rigid, structured dance forms align with shallow social presentations and etiquette, mirroring broader social differences between European and African cultures.

Dance plays a key role during the incident in Cuba, when Tété loses sight of Maurice as she dances exuberantly. Her moment of elation is short lived, as she is soon arrested for her supposed negligence. Thus, while dancing may be freedom, those who lack the freedom to dance whenever and wherever they wish are not truly free.

The Emancipation Document

From the beginning, Tété longs for her freedom. She runs away from Madame Delphine and Violette on separate occasions, but finds such a course impractical. Accordingly, Tété later sets her mind on a different outcome: legal emancipation. Seeing an opportunity, she convinces Valmorain to draft a document granting her freedom in exchange for safe passage to Le Cap the night before Maroons are set to attack Saint-Lazare. From that moment on, the document becomes an important symbol in the novel. Tété cherishes it as a physical embodiment of her claim to freedom. However, it is years before anything comes of it, as Valmorain continues to add excuses and conditions to her emancipation. As Tété learns when she tries to use the document to escape punishment in Cuba, without ratification by a judge, it is merely a scrap of paper.

Finally, in New Orleans, with Père Antoine’s help, Tété uses the paper to force Valmorain to honor his word and set her free. At this point, the document comes to represent the weight of law and honor. In turn, Tété’s reliance on others to give the document force demonstrates just how hostile the social and legal institutions were to people of her social status at that time. Overall, the emancipation document serves as a physical reminder of the unjust institutions and systems that Tété must navigate to secure her freedom.

Stars

Tété occasionally refers to a person’s star as a representation of their fate. For instance, when she discovers that Jean-Martin had the good fortune to be raised by Violette and Relais, she asserts that he was “born under a good star, under a radiant z’étoile” (399). On another occasion, when she learns about Maurice and Rosette’s mischief at the Cordon Bleu ball, she takes it as a sign that “the z’étoiles of those two children were joined in heaven: some nights they were clearly visible to the right of the moon” (416). While Tété’s offhand astrological comments are only occasional, this motif does demonstrate her belief in some kind of fate. This belief, though potentially limiting her belief in human agency, helps to explain her subsequent support of Maurice and Rosette’s decision to marry.

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