Cion: A Novel (Paperback)

~ (Author)
Key Phrases: wing bone caller, brooding elders, slave chasers, The Owner, Abyssinian Queen, Zakes Mda (more...)

Editorial Reviews

From Publishers Weekly

In this exuberant follow-up to Ways of Dying, the celebrated South African novelist and playwright Mda once again centers his story upon the professional mourner Toloki—this time, as he makes his way through a sad and surreal America. Set on the eve of the 2004 presidential election, the novel fixes its outsider gaze on everything from Billionaires for Bush to late-night television, viewing American cultural and political life through a near-anthropological lens. But there is much heart here, too, as Toloki is taken in by an impoverished Southern family; he befriends the son, Obed; falls in love with his melancholy, sitar-playing sister, Orpah; and learns to quilt from their mother, Ruth. Simultaneously, he learns how the quilts link Ruth's ancestry to the slave trade and, in particular, the escape of Nicodemus and Abednego, the beloved sons of a slave called The Abyssinian Queen. Cross-cutting between the slave story and Toloki's experiences, the book offers a rich and original picture of the United States on both a personal and grander historical level and is suffused with the same lyricism, vividness and dark, tragic wit that have earned the author previous recognition here and in his homeland. (Sept.)
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From The Washington Post

Reviewed by James A. Miller

One of the most prolific black writers of post-apartheid South Africa, Zakes Mda, has now cast his roaming, wry and satirical eye upon the United States, in particular the rural southeastern Ohio community outside of Athens, Ohio (where, incidentally, Mda teaches at Ohio University). Readers of his first novel, Ways of Dying, will immediately recognize Toloki, the narrator of Cion, a professional mourner who has now become somewhat of an itinerant because of "the lack of interesting deaths in a South Africa that had become a stable society." He hopes to create "more exciting deaths from the tombstones of the world."

Toloki arrives in Athens on Oct. 30, 2004, three days before the presidential election. He idly joins a Halloween parade and accidentally encounters a costumed character: "a tall young man, perhaps in his late twenties or early thirties, with a dusky complexion and long black hair tied in a ponytail. He would have been classified a colored in my country. He is barefoot and is wearing a bloody tattered shirt and knee-length pants that are also bloody and frayed. He has red wheals on his bare arms, face and legs, some of which have caked blood."

"I'm a fugitive," he solemnly informs Toloki, "from the slave breeding farms of Virginia. My name is Nicodemus. I escaped on the Underground Railroad to freedom."

This is Obed Quigley, and this chance encounter draws Toloki into the universe of Obed's eccentric family and its complicated racial history: Ruth, the mother, who devotes most of her time to preserving food, cooking and quilt making; Mahlon, the taciturn father, who spends hours on his front porch studying the statues of gnomes he has planted in his garden; and Orpah, Obed's older sister, who confines herself to her bedroom, playing the sitar, reading and drawing quilt designs that are never turned into quilts.

Toloki becomes a house guest of the Quigleys for about a year. The residents of the community, Obed announces, are called the WIN people, " 'Cause we got three bloods in all of us, homeboy. We got the White blood and the Indian blood and the Negro blood. Get it? WIN people." Obed claims Nicodemus, the character whose identity he assumes on Halloween, as one of his ancestors; and one important dimension of the story Toloki tells in Cion revolves around his attempt to unravel and connect the various strands of the Quigley family history.

Mda is clearly familiar with the body of contemporary writing that some critics have dubbed "neo-slave narratives," a significant genre of fiction -- by writers as diverse as Ishmael Reed, David Bradley, Sherley Anne Williams, Toni Morrison and, most recently, Edward P. Jones -- that dramatically re-enacts the vicissitudes of slavery in the United States, including incidents of slave-breeding and sexual abuse, the disruption of families and harrowing escapes. And Mda acknowledges his debt to the assertion in Jacqueline L. Tobin and Raymond G. Dobard's book Hidden in Plain View that the designs of traditional African American quilts contained secret codes that guided fugitive slaves on the route of the Underground Railroad. Quilt-making occupies a central place in Cion: The art of quilting is the basis of the strained relationship between the mother, Ruth, and her daughter, Orpah; Toloki begins to take quilting lessons at the local community center, further burrowing into community history and memory. And he does not hesitate to weigh in on Tobin and Dobard's argument, offering his own nuanced perspective.

In fact, Toloki is somewhat of a meddler and a busybody, albeit a genial and engaging one. Early in his sojourn, he recognizes that "Sooner or later I'll be grappling with the problem of shaping my life in a meaningful way in this strange culture." Open and curious about everything he sees and hears, Toloki produces a narrative that is part sociological observation and part anthropological investigation, replete with topical references to George Bush, the Iraq War and American media practices. But Toloki's interventions in the lives of the Quigleys inevitably create trouble. He frequently upbraids Obed, who spends most of his time and energy scheming ways of profiting from his mixed racial heritage; he confronts Ruth about her treatment of Orpah, unwittingly exacerbating the tension that already exists between them; and he harbors suspicions about the possibility of an incestuous relationship between Mahlon and Orpah.

Like its affable narrator, Cion leisurely ambles from one episode to the next. As the various strands of the novel begin to coalesce, however, it becomes clearer that, in his capacity as a professional healer, Toloki has performed an important function for the Quigley family and, by extension, the larger society that continues to neglect the tangled web of its history. The sensibility through which Toloki refracts this story embodies the spirit of ubuntu -- the term so frequently invoked by Archbishop Tutu and others during South Africa's Truth and Reconciliation hearings to denote "the universal bond of sharing that connected all humanity." In the end, Cion strongly suggests that ubuntu may well offer a way for America to confront the ghosts of its racial past.

Copyright 2007, The Washington Post. All Rights Reserved.

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Product Details

• Paperback: 320 pages
• Publisher: Picador; 1st edition (August 21, 2007)
• Language: English
• ISBN-10: 0312427069
• ISBN-13: 978-0312427061
• Product Dimensions: 8.1 x 5.5 x 1.1 inches
• Shipping Weight: 9.6 ounces (View shipping rates and policies)
• Average Customer Review: 4.0 out of 5 stars  See all reviews (10 customer reviews)
• Amazon.com Sales Rank: #414,063 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

6 of 6 people found the following review helpful:

5.0 out of 5 stars Ghosts of history come alive in Ohio, August 30, 2007

By	John B. Kachuba "Author of 'Ghosthunters: On ... (Athens, OH) - See all my reviews (REAL NAME)

South African novelist Zakes Mda has always been a master of place. It is exotic locations, places steeped in history, tradition, and quite possibly, magic, that inspire his literary muse. His previous novels have all been set in his native South Africa, but his newest work, Cion, is placed firmly in the American heartland, in Appalachian Ohio, specifically the city of Athens and the nearby hamlet of Kilvert.

Mda transports Toloki, a professional mourner first introduced in Ways of Dying to Athens, where a chance encounter with a young man from Kilvert during Athens's world-famous Halloween celebration changes Toloki's perspective on life and the many ways of mourning. Toloki discovers the heart and soul of the impoverished Kilvert community and the mixed race (White/African/Native American) people who live there.

I live only a few miles from Kilvert and can attest to the authenticity and accuracy of Mda's observations of the colorful people and places in Appalachian Ohio. They are beautifully rendered and evocative of a past that no longer exists except in memory and hopeful for a future not yet realized.

Cion is a wonderfully poetic, moving and entertaining novel. Don't miss this one!



John Kachuba
Author: Ghosthunters: On the Trail of Mediums, Dowsers, Spirit Seekers, and Other Investigators of America's Paranormal World

5 of 5 people found the following review helpful:

5.0 out of 5 stars A Delightful Read!, October 7, 2007

By	Phyllis Rhodes (Orlando, FL USA) - See all my reviews (REAL NAME)

I had not read of Ways of Dying or heard of Zakes Mda before reading the Essence article that featured Cion as the October 2007 book of the month. Based on the article's synopsis, I knew it was a book I wanted to read, so I ordered it immediately - in doing so, I have no regrets - what an insightful, creative, and often humorous read!

Cion follows the travels of Toloki, a professional mourner (which in itself is an unusual profession), as he ventures to Southeastern Ohio (Appalachian country). It is in this rural, impoverished setting and through Toloki's eyes that American pop culture, politics, and other "isms," such as racism, colorism, sexism, etc. are explored. A Halloween prank-gone-bad leads Toloki to form an unusual friendship with a local, rather eccentric family. His host family is self-described as WIN (White-Indian-Negro) and it is with them that the complexities of racial identity, prejudice, and stereotypes emerge.

Mda uses his creativity and playwriting skills to construct scenes that evoke crystal clear images and crafty dialogue/arguments to cover aspects of African American history (a wonderfully imagined Underground Railroad escape is presented as a sub-plot) and its far-reaching impact on Americans today. Toloki's observations and internal thoughts/commentaries are oftentimes laugh-out-loud funny and laced with truth and heartfelt honesty. This book is definitely in my 2007 Top 10 list - I have already ordered his earlier works and look forward to the reading experience.

Reviewed by Phyllis
October 6, 2007
APOOO BookClub
Nubian Circle Book Club

5.0 out of 5 stars Ghosts of the Past and Spirits of the Present, May 1, 2009

By	Emma Watkins "book worm" (Athens, Ohio) - See all my reviews

Cion, a fictional narrative by Zakes Mda, gives a unique perspective on American culture through the lens of an outsider from South Africa. By interweaving the past with the present, Mda creates a patchwork of stories that shows the importance of heritage to an American family.
The novel begins when Toloki, a professional mourner from South Africa, haphazardly ends up in Athens, Ohio during the yearly Halloween festivities. While observing Americans partaking in the "parade of creatures," Toloki befriends a young man named Obed Quigley (Mda 15). Fascinated by Toloki's profession, Obed invites Toloki to his home in the rural village of Kilvert. When Toloki arrives at the Quigley residence, he meets the members of Obed's family, including Mr. Mahlon Quigley (Obed's father), Ruth Quigley (Obed's mother) and Orpah Quigley (Obed's sister). During the first evening Toloki spends with the Quigleys, Mda gives the reader a glimpse of the Quigley way of life by describing their dinnertime conversation. In this conversation, Ruth uses the phrase "our people" several times to describe the rich traditions that the people of Kilvert carry on from their collective past (Mda 31). This provides a conduit into the next chapter of Cion, which is a flashback to the lives of the Quigleys' enslaved ancestors: The Abyssinian Queen and her two sons, Nicodemus and Abednego. For the rest of the story, Mda traces the family's history from the escape of Nicodemus and Abednego to the founding of Tablertown, which is present day Kilvert. As Toloki becomes more familiar with the Quigleys' past, he notices incongruities between who they think they were and who they actually are, finally concluding that "memory is what you make of it...we all construct our past as we go along" (Mda 272).
One aspect of the past that Ruth Quigley overlooks in order to validate her present is the religious beliefs of her ancestors. Throughout the story we learn that the two parts of Ruth that weigh most heavily on her daily choices are her Christian faith and her family's heritage. She votes for George Bush because he is "a man of God" and "he [gets] his messages direct from God" (Mda 63). She complains that scientists are "crazy" and they "always think they are smarter than God" (Mda 75). Ruth frequently quotes scripture to provide support for her political choices, such as her belief that gay marriage should not be allowed (Mda 81). She also uses her ancestry as a reason for much of what she does. Ruth grows carrots, cilantro, onions, kale, cabbage, and Swiss chard in her garden because her people, "them Indian people," have always raised their own food (Mda 79). She sews quilts in her spare time because "her people are a quilting people" (Mda 32). For someone to whom family tradition is so very important, it is interesting that Ruth chooses to reject certain traditions if they are contrary to her religious beliefs. While her Irish forebear, Niall Quigley, actively participated in Christian revivals, the other two-thirds of her ancestry, the Native Americans and the Africans, participated in activities that Ruth would consider unchristian (Mda 192).
In chapter four, Mda writes that Abednego worshipped the God of the Shawnee, who was believed to be a female (Mda 121). Later on, Ruth expresses with certainty that the Quigleys have Cherokee heritage rather than Shawnee because "them Shawnees were crazy anyways...how can God be a woman?" (Mda 140). Even though she will not accept the possibility of having a Shawnee heritage, by claiming that the Shawnees were crazy, she is also calling Abednego, her beloved ancestor, crazy. For the sake of her own veracity, Ruth chooses to overlook the fact that she might not agree with her African ancestors' beliefs.
Another tradition from her family's past that Ruth disapproves of is the custom of story-telling. The story-telling began with the Abyssinian Queen's nightly tales of escape at the Fairfield Plantation, incorporating elements of fantasy and magic (Mda 49-51). Eventually the lady of the plantation confronts the Abyssinian Queen, offended that her "voodoo stories" have no mention of Jesus, and insists that the Abyssinian Queen tell Bible stories instead (Mda 51). In chapter nine we learn that Ruth became uncomfortable with the stories the more she read the Bible (Mda 268). Like the lady of the plantation, she decided that the stories "about the sun that was lonely because nothing had been created yet" were unchristian and thus, banned them from the Quigley household (Mda 269).
Ruth's unwillingness to allow unchristian elements of her family's past to take place in the present is especially apparent when Obed begins his quest for the occult. Motivated by the desire to make money, Obed "dabbles in everything that is remotely connected with his heritages" (Mda 229). He sets up a tent near the creek and opens up a "hand trembling" business, assuring people that because of his Native American ancestry, he can tell fortunes (Mda 129). Ruth is vehemently opposed to this, giving him daily sermons from the Bible that condemn such practices, regardless of whether their people took part in such practices in the past (Mda 130).
In one situation, Ruth explicitly and surprisingly chooses to honor her religion over her ancestry. Toward the end of the book, Ruth expresses an interest in making "Bible quilts," showing Toloki the Biblical figures she cut out to appliqué to the fabric of the quilt (Mda 306). This is shocking because previously, Ruth was disgusted when Orpah tried to incorporate some of her original artistic designs on a quilt (Mda 137). Ruth complains that Orpah's "newfangled designs are not our tradition...our patterns have come down from our great-great-grandmothers, and ain't no little squirt's gonna change that" (Mda 138). Eventually, Ruth chooses to go against the grain of the past tradition of quilt patterns in order to create something that honors her religion.
It is ironic that Ruth Quigley refuses to carry on certain traditions she deems "unchristian" while proudly claiming to be a Cherokee princess and the descendent of an African queen (Mda 268). Throughout Cion, Ruth chooses the elements of the past that she wishes to incorporate in her present. This points to the observation Toloki makes in chapter nine: What actually happened doesn't really matter. What matters is what Ruth believes happened (Mda 272). By providing a detailed history of a Southeastern Ohio family, Zakes Mda does an excellent job of connecting the ghosts of the past with the spirit of the present. Sometimes what we choose to believe overrides what has actually happened and the past can be changed to validate the present.