The trickster is one of the most complex and widespread archetypes of Pan-African literatures and cultures, such as those from Africa, the United States, and the Caribbean. It is a folk character who invokes a multiplicity of meanings, including transcendence of boundaries between good and bad, morality and immorality, truth and lie, and many other entities. Dwelling on third, sacred, innocuous, and marginalized spaces, the trickster is a universal figure whose location in crossroads or other unusual spaces epitomizes the forced or voluntary alienation of individuals and communities from around the world. Therefore, the trickster is more than the childlike character who enjoys duping other pranksters and being “naughty.” In Pan-African traditions, the trickster is an animal or human character whose situation and movements symbolize the harsh conditions of millions of people of African descent due to brutal historical forces such as slavery, colonialism, and other oppressions. In the Americas, Europe, and other locations where they were brought, enslaved Africans carried knowledge of the trickster persona from their folktales and cultures, and later blended this tradition with lore and customs of Europeans and Native Americans in the New World. Thus, although it was one of the most brutal human experiences, the transatlantic slave trade led to the formation of hybridity, or cultural mixing, embodied in the rich spoken and written Pan-African narratives in which trickster figures deploy various strategies to resist oppression, assert their humanity, and gain freedom. The works mentioned in this study reflect the historical, social, political, and cultural backgrounds out of which trickster icons of selected Pan-African folktales came. Such works reveal the hybridism and survival strategies that enslaved Africans developed in the United States and the Caribbean by mixing their African traditions with Native American, European, and other customs. Understanding such cultural diversity will enable scholars and students of Pan-African folklore to have the open-mindedness that is necessary to study the vast traditions that influenced such customs. To guide readers, this bibliography gives a comprehensive list of major collections of African, African American, and Caribbean folktales, tale-types, motifs, and scholarly studies of such narratives published since the early 20th century. The bibliography shows that enslaved Africans did not come to the New World as blank slates. Instead, these populations had folklore, knowledge, memories, and practices that helped them to resist oppression and affirm their humanity.
Blackness, Colorism, and Epidermalization of Inferiority in Zora Neale Hurston’s Color Struck: A Fanonian Reading of the Play
