Isalina, ou Une scène creole

Ignace Nau's Isalina, ou Une scène creole is a frustrating story. Written in the 1830s, it's a literary precursor for Innocent's Mimola or the roman paysan of 20th century Haitian indigénisme. Like his brother, Emile, Nau's Romanticism sought local inspiration and a distinctly Haitian literary expression. Naturally, it is not altogether shocking that Nau incorporated Haitian Creole proverbs and references peasant belief, Vodou, and dance. However, the actual narrative structure of the nouvelle was less convincing. Jean-Julien, the rival of Paul for the affection of Isalina, supposedly used Marie Robin to bewitch Isalina. However, Marie Robin does not appear in the novel and it's not clearly established how the sorcery worked. For instance, we know Isalina suffered hallucinations, and her condition is the gossip of the community around Digneron.  But in the case of Mimola, her malady is described in greater detail by Innocent. Innocent's narrative, perhaps because of its longer length, almost made it more plausible.

Nau makes up for this by highlighting Galba, the caplata or papa-loi who helps Paul restore Isalina. In vivid detail, Galba's consultation is described, as well as the importance of a serpent who is like a guardian angel or deity to him (is this a reference to Damballah?). Later, after Isalina recovers, a dance is held on a Sunday, with clear references to Vodou "sects" (Congo, Poulard, l'Arada) and instruments. The tale ends with Isalina and Paul planning to form a plaçage union, which was common at the time among peasants. Furthermore, Paul plans to have Isalina assist him on his own plot of land, instead of working on the Digneron moulin. As a writer from the Haitian upper class, it is interesting to note the lack of any implied judgment for these customs, although at times the narrator adopts a negative outlook with regard to sorcery and ritual beliefs.

One cannot help but wonder what was the larger ideological motivation for this story. Surely, for a Romantic writer to develop a greater interest in the folkloric and popular beliefs, as well as extolling the beauty of the Cul-de-Sac plain, Isalina's significance in the Haitian and Caribbean literary canon can be understood. However, the Naus were also landowners with extensive interests in the Cul-de-Sac plain, sugar, and, one would think, restoring plantation agriculture. The first section of the story dwells intimately on the functioning of the roulaison, the ateliers of workers, their conductors, and the samba singer. There is, despite the mechanized nature of sugar production and the mills, an almost romanticized communal nature of the labor that perhaps met the interests of Nau and his class rather than the workers and peasants of Digneron. Moreover, despite its extensive use of Vodou and rural beliefs and practice, the narrator also refers to the rural police's attempts to suppress Vodou, since Galba has to avoid their surveillance. Undoubtedly, this is a reference to Boyer's anti-sorcery laws and attempts to criminalize Vodou, yet the author seems to possess a kind of ambivalence. Perhaps his Romanticism sought a middleground between the burgeoning Haitian peasantry and the planter class.