Indiana State University

Authority, Multivocality, and the New World Order in Gloria Naylor's Bailey's Cafe
Author(s): Maxine Lavon Montgomery
Source: African American Review, Vol. 29, No. 1 (Spring, 1995), pp. 27-33
Published by: Indiana State University
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Authority, Multivocality, and the New World
Order in Gloria Naylor's Bailey's Cafe

B ailey'sCafe,GloriaNaylor's latest and most ambitiousnovel

to date, is a hauntingly lyricaltext steeped in biblicalallu- Maxine Lavon Montgomery
sion. With this fourthnovel, which completes a series including is Associate Professorof
TheWomenof BrewsterPlace,LindenHills, and MamaDay,Naylor Englishat FloridaState
acquiredthe self-confidencenecessary to define herself as a University,where she teaches
writer. Bailey'sCafe"tookme through the final step," Naylor courses in American,African
American,and multiethniclit-
remarkedduring a recentbook tour stop. "Ihad envisioned four erature.Herarticleshave
novels that would lay the foundationfor a career.This one finish- eitherappearedor are forth-
es that up" (qtd. in Due F2). comingin such journalsas
In what is part of her ongoing searchfor an authorialvoice AfricanAmericanReview,
with which to tell-or, rather,retell-the experiencesof women CLAJournal,and TheLiterary
of color, Naylor chooses to locate her fourthnovel within a specif- Griot.A formerMcKnight
ically cultured and gendered context where voice and all of its JuniorFacultyFellow,she
recentlycompleteda
associationsare directed toward subvertingthe myriad forms of book-lengthmanuscriptenti-
authoritypatriarchylegitimizes and constructinga new world tled Rewritingthe Apocalypse:
order among partiallydispossessed women world-wide. The The Image of the Endof the
novel itself is comprised of a series of loosely connected stories- Worldin African-American
each one from a differentwoman's point of view-and it culmi- Fiction.
nates with a magically real, communal celebrationof the birthof
Mariam'sson George during the Christmasseason. For the first
time not only is there oneness among a culturallydiverse group
whose traditionsand customs span the globe, but the voices of
women also unify in the ritualizationof George'sarrival.
George'slong-awaited birth,like that of the Messiah,could signal
either an end or, hopefully, new beginnings for the pluralistic
group present. But in this climacticscene, afterconjuringan
image of global harmony, Naylor denies the reader/audience the
privilege of knowing the fate of the young motherand son: Does
Mariamfind acceptanceamong an AmericanJewishcommunity?
What is to become of George,now en route to WallaceP.
Andrews Boys' Home?
The novel's unresolved closure serves to encouragea partici-
patory involvement from the reader/audience and is a strategy
present in much of AfricanAmericanwriting.1Bailey,the father-
ly World War II veteran and proprietorof the cafe, is unable to
offer a satisfactoryending to the moving stories that unfold.
Instead,he merely invites the reader/audience to empathize with
the women whose tragictales comprise the written text:"Ifthis
was like that sappy violin music on Make-BelieveBallroom,we
could wrap it all up with a lot of happy endings to leave you feel-
ing real good that you took the time to listen," Baileyinformsus
in "TheWrap.""ButI don't believe that life is supposed to make
you feel good, or to make you feel miserableeither. Life is just
supposed to make you feel" (219).

African American Review, Volume 29, Number 1

? 1995 Maxine Lavon Montgomery 27

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 Naylor uses Bailey'svoice in estab-
lishing the time, place, mood, and char-
acterfor each woman's story, except
that of Mariam,a curiously virginal
unwed mother whose touching
account of anti-Semitismand sexism
recreatesa vital sisterhood among
women of color across the Diaspora
who often find themselves at odds
with notions of female sexuality pre-
scribedby patriarchy.Ultimately,
Naylor's goal as creatorand sovereign
of the decidedly new fictive cosmology
which emerges in the novel's ambigu-
ous climacticscene is to effect some
sort of unity among the widely dis-
paratevoices of women, not just within
but outside the text. KarlaHolloway, in
her discussion of the responsive strate-
gy of black women's narratives,refers
to the technique as "a collective 'speak-
ing out' by all the voices gathered
within the text, authorial,narrative,
and even the implicated reader"(11).
Thus, in retelling Mariam'stale, Eve
and Bailey'sotherwise reticenthelp-
meet Nadine forms a duet, for the male
voice is severely limited in its ability to
decode the very private experiences
the women relate. Baileycan offer
empathy but not immediacy between
Mariam,the speaking subject,and the
reader/audience.
Naylor's particulartriumphas a
contemporaryAfricanAmerican
women writer has much to do with her
success at moving beyond the
one-dimensional portraitsof male fig-
ures that brought her criticismwith the
publication of The Womenof Brewster
Place.Bailey,unlike his fictionalprede-
cessors residing at the decaying
Brewster,is no mere shadow of a man.
He is endowed with a certainpsycho-
logical depth and complexity of charac-
ter, despite the ambiguities associated
with his assumed name. It is Bailey
whose veiled comments offer insight
into the close relationshipbetween the
written text and the distinctly black
oral forms of expression from which it
evolves. "Anythingreally worth hear-
ing in this greasy spoon happens under
the surface.You need to know that if
28 AFRICANAMERICAN
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you plan to stick around here and lis-
ten while we play it all out" (35).
Unfortunately,the other men who
people the novel's fictionallandscape
do not fare as well as Baileydoes. They
are largely responsiblefor perpetuat-
ing the oppression thatthe women
face. Nowhere is this more evident
than in Eve's song. One in a long line
of larger-than-lifecentralmother fig-
ures in Naylor's canon, Eve is the first
customerto arriveat Bailey's.Sexual
escapades with Godfather,the stern,
dictatorialpreacherwho rearsher, and
with the childish pranksterBilly Boy,
result in her ostracismfrom her small
Louisianadelta home. But it is in her
highly symbolic trek from Pilottown to
Arabito Bailey'sCafe that Eve, who
emerges as a strong yet sensitive
woman with an acute business sense
and a love for well-kept gardens, man-
ages somehow to escape the tragic fate
toward which she seems destined.
Godfather,a figure for male
authority,is ubiquitous in his influence
within the delta community. Perhaps
the most definitive change in Eve's
evolving consciousness occurs when
she comes to recognize his churchas a
social constructreflectingthe hierar-
chies of a society which relegates
women to the undesirableposition of
subservient"other":"Tobe thrown out
his church was to be thrown out of the
world" (85). Eve's leave-takingoccurs
as Godfatherstrips her of the clothes
and purges her of the food he has pro-
vided. Naked and hungry, she is
forced to provide for herself amidst
dire economic circumstances.Eve suc-
cessfully recreatesherself, however, in
preparationfor her role among a com-
munity of outcast women. Thatshe has
no clear-cutparentalties suggests that
she is at once naturaland supernatur-
al-more than a mere woman-and
her song is replete with referencesto
organicmatter,especially the rich delta
soil. Godfatherclaims to have found
her "in a patch of ragweed, so new I
was still tied to the birth sac" (83). As
she grows into womanhood, her bur-
geoning sexuality, given fullest expres-
sion during her earth-stompingwith
Billy Boy, rekindlesher awareness of a
vital oneness with the rich earth.One
of her many rendezvous with Billy Boy
takes place under a juniper bush while
Eve is "low to the ground, trying to
blend in, with my brown hair, brown-
skin, and brown sack dress" (86). At
one point, Eve recalls the essence of the
Louisianadelta:
The delta dust exists to be wet. And
the delta dust exists to grow things,
anything, in soil so fertile its tomatoes,
beans, and cotton are obscene in their
richness. And since that was one of the
driest winters in living memory, the
dust sought out what wetness it could
and clung to the tiny drops of perspi-
ration in my pores. It used that thin
film of moisture to creep its way up
toward the saliva in my mouth, the
mucus in my nose. Mud forming and
caking around the tear ducts in my
eyes, gluing my lashes together. There
was even enough moisture deep with-
in my earwax to draw it; my head
becoming stuffed up and all sounds a
deep hum. It found the hidden damp-
ness under my fingernails, between
my toes. The moist space between my
hips was easy, but then even into the
crevices around the anus, drawing
itself up into the slick walls of my
intestines. Up my thighs and deep into
my vagina, so much mud that it finally
stilled my menstrual blood. Layers and
layers of it were forming, forming,
doing what it existed to do, growing
the only thing it could find in one of
the driest winters in living memory.
Godfather always said that he made
me, but I was born of the delta. (90)
Eve, whose name means 'motherof all
living,' is essentially self-generated.
She is what KarlaHolloway describes
as the ancestor,and it is her narrative
in particularwhose discrete patterns
signal the recursive structurepresent
in black women's writing-a structure
repeated in the other narrativeswhich
comprise the text.2Not only does Eve's
song, with its referencesto the
Louisianadelta soil, suggest a dissolv-
ing of traditionalhistoriography,it
reveals a freedom from imposed gen-
der-specificlabels. "Ihad no choice but
to walk into New Orleansneither male
nor female-mud," she informs the
reader/audience. "ButI could right
AND THE NEW WORLD ORDER IN BAILEY'SCAFE
AUTHORITY,MULTIVOCALITY,
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then and there choose what I was
going to be when I walked back out"
(91).
One cannot help but to associate
Naylor's fictionalizedEve with her bib-
lical predecessor,who uses her femi-
nine charmsto entice a gullible Adam
to eat of the forbiddenfruit and thus
defy divine law. In a similarsense,
Naylor's Eve encouragesa creative
revisioning of the spaces that tradition-
ally have defined women's lives. That
Eve walks, she tells us, a thousand
years before reachingBailey's,is an
importantallusion linking her role
among a community of women to the
millennialreign of Christ.On one level,
she is a redemptive figure for women
such as the feisty Jesse Bell, who turns
to heroin and female lovers when her
marriageinto the wealthy Sugar Hill
King Familyends in a bitterdivorce.
The newspaper misrepresentsJesse in
its sensationalizedaccount of her
divorce. Her lament that she "didn't
have no friends putting out the Herald
Tribune"suggests the exclusion of the
experiencesof women of color from
the written word and the printed text
(118).Yet in the retelling of her story
Jesse "reads"her own life-storyin such
a manneras to subvert the voice of
Bailey,who sets up her narrative.
Accordingto Jesse, Eve's role in Jesse's
recoveryis questionableat best. Eve
relies upon magic or the power of con-
jurein curing Jesse'saddiction to hero-
in by engineeringa series of well-craft-
ed illusions which allow Jesse to have
unlimited access to the enslaving drug.
During Eve's unconventionaltreat-
ment of Jesse,in a moment of exaspera-
tion, Jesse tells Eve to go to hell. Eve's
ratherpointed response directs atten-
tion to the ambivalentfictional world
that informs the novel: "Ithink you've
forgottenthat's where we are" (141).
Naylor's Eve is thus a character
that can be placed within the antithetic
poles Daryl Dance uses to define the
mother-figurein AfricanAmerican
writing (123).Neither an Eve, in the
biblicalsense, nor strictlya Madonna,
she resides somewherebetween the
29
 two extremes.Her ability to manipu- row, legalistic,and homophobic per-
late reality and her close affinity with spective on its ear by stressing the
the supernaturalare qualities that essential oneness between Jews and
invite a comparisonwith folk figures Gentilesand encouraginga non-judg-
such as the shape-shiftingtricksteror mental stance toward issues of morali-
the revered conjurewoman. Despite ty set forth in divine law. In her revi-
the many ambiguities surrounding sionist use of Scripture,Naylor thus
Eve's character,her role in the narrative ushers in a new era for women whose
action is to be considered in lives were once circum-
terms of her effect on her scribedby a discourse that
femalewards.Jesse,the omni- Naylor's is male-authored,and
scient narratorpoints out, is particular thereforepaves the way for
curedin lessthana month. triumph as a a more sensitive reading of
Naylorsets out to reclaim the texts of African
thestoriesof womenby giving contemporary Americanwomen.
voice to those individuals AfricanAmerican
whose experiences are often women writer
excludedfromwrittenhistory. A creative juxtaposi-
Bydedicatinghernovelto "the has much to do tion of chaptertitles
two Luecelias: 1898-1977, with her drawn from the realms of
1951-1987,"for instance, she success at music and dramawith indi-
revealsthe novel'sblurringof vidual narrativesreminds
traditionalconceptionsof time, moving beyond the reader/audience of the
space,and identity.Her heavy the close relationshipbetween
relianceupon Scripture, partic- one-dimensional the written text and the per-
ularly that from the Old formancemode likely serv-
Testamentcanon relevant to portraits of male ing as inspirationfor the
femalesexuality,as an intertext figures that novel. The title of Sadie's
sheds light on her attemptsto brought her touchingnarrative,"Mood:
redeemher femalecharacters criticism with Indigo,"for instance,is
from the places assigned to taken from Duke
themby a male-authoredtext the publication Ellington'spopular 1931
and to restoretheirstatusand of The Women jazz composition, and
dignity.3Notionsof morality of Brewster Naylor admits that Sadie
which the Bible sanctions and suitor IcemanJones
are held up for scrutiny. Place. floated into her conscious-
When Sister Carrie of the ness on the strainsof that
Temple of PerpetualRedemption tune (Due F2).More than any other
quotes the Bible in condemning Jesse musical form, it is the blues, with its
Bellbecause of her succession of female characteristicrepefi-tion-with-a-varia-
lovers, Eve, who was rearedby a tion scheme, that anticipatesthe dis-
preacher,quotes the book as well: crete linguistic patternsof the text. An
"Thoualso, which hast judged thy sis- enigmaticepigraph serves to introduce
ters, bear thine own shame for thy sins the novel:
that thou hast committed more abom- hush now can you hear it can't be far-
inable than they: they are more right- away
eous than thou: yea, be thou confound- needing the blues to get there
ed also and bear thy shame, in that look and you can hear it
look and you can hear
thou hast justified thy sisters"(135).In the blues open
her citation of this Old Testamentpas- a place never
sage from Ezekiel, Naylor thematizes closing
Bailey s
the importanceof global harmony Cafe.
among all women regardlessof race,
religion, ethnicity, or even sexual pref- The storieswhich comprise the novel
erence. Eve turns SisterCarrie'snar- echo and reecho each other, but resist

30 AFRICANAMERICAN
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closure. In an interview with Toni
Morrison,Naylor mentions that she
feared the sense of finality suggested
by her first novel, TheWomenof
BrewsterPlace (582). Already she had
begun the emotional trek to Linden
Hills, whose environs are visible from
Brewster.Within the traditionof
AfricanAmericanwomen's fiction
Naylor's texts are unique in that they
are symbioticallyrelated:Brewster's
community activist Kiswana Browneis
from the middle-class LindenHills;
Cocoa,in A4amaDay, is a cousin to
Willa PrescottNeeded, who perishes
along with her husband and son in the
apocalypticflames which destroy the
Needed home in LindenHills;Cocoa's
husband George sees Bailey'sCafe
from Harlem.That Mariam'sson, also
named George, is to attend WallaceP.
Andrews Boys' Home echoes the story-
line in MamaDay, for Cocoa'shusband
is a product of that academy.
What the narrativemoves toward
is the creationof a realitydeeply root-
ed in the black vernacularthat more
closely reflectsthe particularexperi-
ences of marginalizedwomen across
the globe. The unusual location of
Bailey'sCafe, which exists everywhere
and nowhere, points to its symbolic
significance.The cafe is situated
"betweenthe edge of the world and
infinite possibility"and representsthe
unexploredboundaries of a creative
consciousness that is at once both black
and female (76). Echoed throughout
the stories the women relate is female
subjectivityto male desire. Such is the
case with Sweet Esther,whose perva-
sive hatred for men stems from the
commodificationof black women with-
in the context of a ruraleconomic sys-
tem. Esthersuffers exploitationas her
elder brotherbartersher to an older,
propertiedfarmerin exchange for
higher sharecroppingwages. Passively,
Esthersurrendersto the farmer's
whims while he chooses to be intimate
with her only in the cellarof his home.
The pink and lace-trimmedbed where
she must sleep alone reveals her con-
finement to a socially prescribedgen-
ANDTHENEWWORLDORDERINBAILEY'S
MULTIVOCALITY,
AUTHORITY,
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der role. Her monologues point to a
profound self-hatredin a world that
evolves no terms for her existence:
I like the white roses because they
show up in the dark.
I don't.
Theblackgal.Monkeyface.Tar.Coal.
Ugly.Soot. Unspeakable. Pitch.
Coal. Ugly. Soot. Unspeakable.(95)
By demanding white Christmasroses
from her male callersat Eve's, who are
allowed to visit her only in a dark,
secluded basement,Esther,whose
name means 'I will be hidden,' relives
her painful past.4She also adds her
solitaryvoice to those of the other
women whose stories are included in
"TheJam,"and thereforebreaksthe
troublingdiscursive silence surround-
ing her tragiclife.
In what is an original revision of
the classic Christmasstory, the text cul-
minates with a portraitof a radically
transformedsociety where all external-
ly imposed limitationsand labels are
blurred.5Prefiguredin TheWomenof
BrewsterPlace by Mattie Michael's
dream/nightmare of the women's
communalefforts to dismantle the
restrictivebrickwall at the novel's
ambiguous end, the utopian postwar
new world order that emerges in
Bailey's Cafeis one constructed around
Mariam,a type of Madonnawho gives
birthto the future,figured by young
George. Mariam,the outcast mother, is
a bridge between the past and future in
terms similar to those criticDaryl
Dance sets forth. "Sheis unquestion-
ably a Madonna,"Dance writes regard-
ing the AfricanAmericanmother,
"bothin the context of being a savior
and in terms of giving birth and suste-
nance to positive growth and advance-
ment among her people" (131).Eve,
whose act of scoring the plum is a con-
scious ritualreversalof the genital
mutilationthat Mariamhas endured,
assumes the role of midwife at
George'sbirth.6Consistentwith the
woman-centeredcosmology that
Naylor is bent on recreating,a new
social orderappearswith a family of
choice replacingthe traditionalnuclear
CAFE
31
 family. Moreover,there is harmony Peace on earth, Mary rocked the cra-
dle.
between opposing rituals and tradi- Maryrockedthe cradleand Maryrocked
tions drawn from a multi-culturalcom- the cradle.
Peaceon earth,Maryrockedthe cradle.
munity. Gabriel,a RussianJew, pre- Tellhim-was with the child of God. (226)
sides at the naming ceremony. Like the
messenger angel who visits the biblical The systems privileged at the nov-
Maryand announces the birthof el's end-oral, female, and collec-
Christ,his role in the text is that of tive-not only bear a recursiverelation
to those present in the unwritten
guide or foreteller,for it is he who
modes serving as the text's beginnings,
offers Mariamdirections to Bailey's they also suggest an end to the old dis-
Cafe. Naylor elevates the dispossessed pensationof a male dialectic.In this
women in the text to a position of regard,Bailey'sCafe,a culminationof
honor with what is a womanist recon- the concernsNaylor explores in her
ceptualizationof the once-burdensome earliernovels, representsa maturityof
domestic sphere. It is Peacheswho, at voice and vision for the talented writer,
first, intones the gospel song inscribing
even as it reveals her attempts to revise
the identities of Mariamand George: codes of power, dominance, and asser-
Anybody asks you who you are? tion present in a male text. Ratherthan
Who you are? being an end, the novel heralds what is
Who you are? an auspicious new beginning. In her
Anybody asks you who you are? efforts to define herself as a writer on a
Tellhim-you're the child of God.
(225) contemporary literarylandscape,
Naylor dares to engage important
As the other members of the group join issues affectingwomen of color
in with the singing of this popular world-wide and thus rescues the sto-
Christmascarol,now a culturalcode ries of women from silence and obliv-
among an internationalcommunity of ion. At a time when women across the
outcasts, their voices unite in a globe are experiencingunprecedented
call-and-responsepatternthat express- oppression, Naylor's voice is a clarion
es the hope for world peace: that demands to be heard.

Notes 1. JillMatus(49-63) discusses at lengththe ratherproblematicending of Naylor'sfirstnovel, and

her insightsare relevantin an examinationof Bailey'sCafe.
2. Hollowayoffers a thoroughgoinganalysis of the ancestralfigurein blackwomen's narrativesin
Mooringsand Metaphors.Withinthe largercontextof her discussion of the characteristicfeatures of
AfricanAmericanwriting,Toni Morrisonpresents a definitionof the ancestor thatsheds lighton
Naylor'scharacterizationof Eve in "Rootedness"(343).
3. I am indebtedto Mae G. Henderson'sdiscussion of ToniMorrison'sBelovedforinsightinto
Naylor'swomanistappropriation of Scripture.
4. The biblicalEstheris a Jewish maidenwho, as queen of Persia, was used by God to deliver
ancient Israelfrommassacre. Hersupreme act of braveryentails defyingsecular law forbiddingunin-
vited entryintothe king'scourt.Despite her willfulself-assertion,Estherobtainsthe king'sfavorand
engineers the deliveranceof the Jews. She is a heroine-a redemptivefigureamong colonized
Israelites-and Naylor'snamingher characterafterthis Old Testamentfiguresuggests the attemptto
create a fictionalizedworldpeopled by women of epic staturewho resist the limitationspatriarchy
imposes.
5. Nayloremploys here a rhetoricalstrategyreminiscentof that used by ReverendJesse Jackson
in pointingout the hypocrisyof the Republicanpresidentialadministration, whose social policies
revealedan insensitivityto the particularneeds of historicallydisenfranchisedgroups. In Reverend
Jackson's carefullyaimed broadsides,the BiblicalMarybecomes a symbolfor the economicallydis-
advantagedsingle mother,and KingHerodis a figureforan indifferentand at times hostile political
system.

32 AFRICANAMERICAN
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 6. Naylor'streatmentof genital mutilationor female circumcisionrecallsthat involvingTashi in
AJiceWalker'sPossessing the Secret of Joy.

Dance, DarylC. "BlackEve or Madonna?A Studyof the AntitheticalViews of the Motherin Black Works
AmencanLiterature."SturdyBlackBridges:Visionsof Black Womenin Literature.Ed. Roseann P. Cited
Bell, BettyeJ. Parker,and BeverlyGuy-Sheftall.New York:Anchor,1979. 123-31.
Due, Tanananve."Naylor'sSpecialty:BruisedCharactersin Soul-Searng Tales." MiamiHerald8
Nov. 1992: F2.
Henderson,Mae G. "ToniMordson'sBeloved:Re-memberngthe Bodyas HistoncalText."
ComparativeAmericanIdentities:Race, Sex and Nationalityin the Modem Text.Ed. Hortense
Spillers. London:Routledge, 1991, 62-83.
Holloway,KarlaF. C. Mooringsand Metaphors:Figuresof Cultureand Genderin Black Women's
Literature.New Brunswick:RutgersUP, 1992.
Naylor,Gloria.Bailey'sCafe. New York:Harcourt,1992.
Naylor,Gloria,and Morrson,Toni."AConversation."SouthernReview2l.3 (1985): 567-93.
Matus,Jill."Dream,Deferral,and Closurein The Womenof BrewsterPlace."BlackAmerican
LiteratureForum24 (1990): 49-63.
Morrison,Toni."Rootedness:The Ancestoras Foundation."Black WomenWriters(1950-1980):A
CriticalEvaluation.Ed. MariEvans. New York:Anchor,1984. 339-45.
Walker,Alice. Possessing the Secret of Joy. New York:Harcourt,1992.

AND THE NEW WORLD ORDER IN BAILEY'S CAFE

AUTHORITY,MULTIVOCALITY, 33

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