conjure man


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Synonyms for conjure man

a witch doctor who practices conjury

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References in periodicals archive ?
When Jose insinuates sarcastically that Aurisio has come from an appointment with a conjure man, Aurisio denies it vehemently and states that he is coming from Sunday Mass instead.
In a fashion of fairy-tale foreshadowing Jose is warned three times against his lack of respect towards conjure men in general and Mangolo in particular, by Nha Rita Preta (Jose's house servant), by Aurisio Manquitola, and by the mysterious voice that addresses the rider called by the narrator a "Ze-Prequete." Despite of all these warnings, Jose insults gravely the black conjure man with racist epithets as he passes by the old man's house on his Sunday walk, doing so significantly at the exact time of the Holy Mass in town: "'Hey, there, Mangolo!' 'May Our Lord Jesus bless you, sir' ...
The conjure man in Battle of Angels is an "ancient Negro" with "awesome dignity"; he is "small and cadaverous, a wizard-like figure" with a fistful of eternal charms.(7) His oracular presence and chants suggest time past, present, and future--all time.
She believes that "to cut out the tribal poisons was her job" (150), and her sense of mission deepens under the mentor-ship of Hootowl, an elderly conjure man she meets in Memphis.
Bynum is a "conjure man" whose craft is devoted to the reunion of lost and separated persons whom he "binds" physically and spiritually.
It is an emblem of twoness where voodoo meets Christianity - where the spirit of Elspeth is dispelled by Old Pappy, "'a preacher, and some folks say a conjure man, too'" (37).
Rudolph Fisher may be considered an early African American role model in precisely this respect.(12) Fisher combined HooDoo and homicide in his second novel A Conjure Man Dies (1932), in which he also offers an explanation of how the two are related.
Prior to the inevitable confrontation with Rydell, Crab consults a conjure man, who verifies that Crab's time is short due to his taxed physical condition.
who comes today and stays tomorrow," the stranger is a paradoxical creation of the modern city whose segmented space he or she traverses while staying at "home." This theme is quite suggestive, especially for novels of the Harlem Renaissance like Claude McKay's Home to Harlem, Rudolph Fisher's The Conjure Man Dies, Wallace Thurman's The Blacker the Berry, Walter White's Fright, and Jessie Fauset's Plum Bun.
Inasmuch as this scene recalls similar bloodletting rituals performed by the resident conjure man in Joe Turner's Come And Gone, it also warrants being viewed in terms of Wilson's efforts to infuse his plays with recognizable images of Africa.
Hopkins is a welcome surprise, and the brief excerpt of Rudolph Fisher's The Conjure Man Dies leaves us not only thirsting for more, but a bit disappointed to realize that Fisher did not live long enough to write more adventures about detective duo Archer and Dart.
Commencing in the middle of the Voodoo story, Rhodes captures readers with the novel's first scene, in which Marie Laveau exacts a frightening and "possessed" vengeance on Papa John, the New Orleans conjure man who has poisonously exploited and scandalously manipulated a Laveau genealogy that begins with the spirit worker Membe:
Also, conjure abilities are found to run in families; the conjure man or woman inherits his/her aptitude and the mantle of power, along with an expertise in herbal medicines.
As he nears death, the status-conscious Joe engages the assistance of a conjure man to ward off the spell he believes Janie, his wife of twenty years, has had put on him.
Such parallels support the view that Corrothers's use of the name Sandy Jenkins is more than coincidental, and, taken with his more general ambivalence toward dialect and his concerns about stereotypes, suggest that the poet Sandy stands in relation to Corrothers, as, years before, the conjure man Sandy had stood to Frederick Douglass, as an essentially negative or, at best, ambiguous figure.