• Journal of English Language & Literature
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• v.55 no.6
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• pp.1163-1191
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• 2009

As many critics do, this article starts from the premise that Charles Waddell Chesnutt wrote The Conjure Woman with a distinct socio-ethical view to ameliorating white readers' racism. For this purpose of social activism, first, the author uses a racially submissive genre and narrator- antebellum plantation-dialect fiction and an old ex-slave Julius-in order to win the attention of white racists, who constituted the majority of the reading public of postbellum America. Chesnutt then allows this seemingly submissive ex-slave consecutively to wage narrative battles against a Northern white capitalist, John. This fiction's structure is thus based on interracial narrative conflict. Granted, the result of these narrative battles is Julius's defeat. Even though he sometimes has narrative success through his manipulation of either his white female auditor's sentimentalism or the white capitalist's racial prejudice, it does not lead to any fundamental change in the white audience members' awareness: John still regards Julius's tacitly reformoriented tales merely as nonsensical ghost stories invented by the absurd imagination of a subservient, entertaining, and exploitable black coachman. Admitting his defeat, Julius relinquishes his original goal of deterring John's capitalist exploitation of both racial Others and the natural environment of the South and finally decides to serve the economic power of white capitalism. This self-defeating conclusion, however, should not be identified with Chesnutt's failure as an author. Rather, it should be understood as an interim result of the black author's earnest experiment with literary media best suited to his reform project. In fact, this narrative failure reveals Chesnutt's accurate diagnosis of the postbellum literary world: a black voice is still feebly heard and even easily buried by the whites' capitalist ambition and consequently intensifying racism. Conclusively, Julius's narrative failure should be positively evaluated as Chesnutt's one step further in his gradual and lifelong progress to a narrative goopher effectively to engage whites' imagination and sympathy for a vision of equal interracial coexistence.