Banjo · Chapter
V: “Jellyroll” explained
Banjo revels in the vibrant, mixed-race atmosphere of the Café African, a new Senegalese-owned bar that draws all shades of the Negro population in Marseilles.
What happens
Banjo revels in the vibrant, mixed-race atmosphere of the Café African, a new Senegalese-owned bar that draws all shades of the Negro population in Marseilles. He plays his beloved tune 'Shake That Thing' and dreams of forming an orchestra. A chance encounter with a music-making cargo boat crew leads to a wild evening of jazz, dancing, and a sudden brawl that spills the musicians out into the night. Banjo and his friends, including Malty, are then led by a Martinique guide to an international love shop, where they observe the diverse and commodified world of the Ditch.
Themes in this chapter
Art and Music
Music is central to the chapter, with Banjo's banjo playing 'Shake That Thing' bringing together diverse Negroes and creating a sense of joy and community. The banjo is described as an affirmation of the American Negro's life.
Race and Identity
The chapter explores the complex racial hierarchy among Negroes in Marseilles, with different groups distinguishing themselves by origin and color. The Café African serves as a rare space where these divisions are temporarily overcome.
Community and Comradeship
The Café African brings together all shades of Negroes to 'jazz and drink,' creating a sense of shared joy and belonging. Banjo's refusal to collect sous from his 'fellows' and his preference for playing for wine highlight the camaraderie among the men.
Colonialism and Exploitation
The international love shop with its assortment of women from Europe, Africa, and Asia reflects the commodification of bodies in the colonial port city. The presence of pimps from Martinique, Africa, and elsewhere underscores the exploitative underbelly of this global hub.
Characters to notice
- Banjo
Finds deep satisfaction in the Café African's all-Negro atmosphere, plays 'Shake That Thing' for wine instead of sous, and dreams of forming an orchestra. He leads the impromptu band and remains carefree after the brawl.
- Latnah
Visited the Café African once to collect sous but never returned, as she couldn't enter into the spirit of the all-Negro atmosphere. Banjo is glad she stays away.
- Malty Avis
Plays guitar splendidly but has no instrument. He joins Banjo in bringing the cargo boat band to the Vieux Port and comments on the mandolin player's attraction to the Arab-black girl.
- Ginger
Not explicitly mentioned in this chapter, but the character is part of the broader narrative. No specific actions or dialogue are attributed to Ginger in the provided excerpts.
Key passages
“Sous! How could he respect sous? He who had burnt up dollars.”
Banjo, who had once carelessly spent large sums of money, now scoffs at the idea of collecting small change from his fellow men.
This highlights Banjo's carefree and generous nature, prioritizing camaraderie over material gain.
“Niggers is niggers all ovah the wul’.”
The guitar player laments that no matter where they are from, black people always spoil a good thing with fighting.
This reflects a cynical view on the universality of human folly, specifically within the black community.
“Always try to make something as different from what you know as a Leghorn is from a Plymouth Rock.”
Banjo advises the mandolin player to always seek out new and different experiences, just as one would distinguish between two different breeds of chickens.
This shows Banjo's philosophy of embracing novelty and variety in life.