Wicked River_ The Mississippi When It Last Ran Wild - Lee Sandlin [74]
By the 1850s, Dr. John had been eclipsed by Marie Laveau, who became known as the Voodoo Queen. She, too, dealt in herbs and medicines, and she sold charms to guard against curses, spells, and maleficences. She discreetly consulted with her wealthiest clients by paying them house calls as their hairdresser—and she was reportedly an excellent hairdresser. She was also, according to some, an excellent procuress. After a long career, she hit upon a kind of early version of the franchised brand: she secretly retired and set her daughter up in her place. Many people late in the century assumed that the woman they knew as Marie Laveau was the same preternaturally young Voodoo Queen who had been practicing her craft since before the Civil War.
Marie Laveau was usually cited as the one who did the most to popularize (vulgarize, some said) voodoo among New Orleans’s white society. Local politicians bought Laveau’s charms before elections, and gamblers would carry them on their watch chains when they went out to the racetrack. But in fact there was a large trade in magical tokens throughout the city. People everywhere left poisoned crosses under pillows and trickled the dirt from graveyards around doorways. They bought, or concocted themselves, powders and poisons, which were known as gris-gris: combinations of black and white pepper, arrangements of carved bones stolen from mausoleums, cursed chicken feathers. They attended midnight ceremonies on the shores of Lake Pontchartrain that often ended up as orgies. These were supposed to be secret, but Marie Laveau would invite policemen, reporters, politicians, and the ladies of high society to ensure that the forces of law and morality left her unmolested.
There was a well-attended public event on Sundays in a park known as Congo Square. During the afternoons the atmosphere was gaudy and festive. Slaves, free people of color, and whites mingled in the shade of towering old sycamores while in the central square hundreds of dancers exuberantly performed the Calinda and the Bamboula. The spectators bought ginger beer and wine, lemonade and lime soda water, vinegar pies and ginger cakes, at tables set below long awnings draped with streamers. But then at dusk, the tourists drifted off to the restaurants and the opera houses; the staid citizens went back to their homes; the students from the local university, already tipsy, would usually depart singing old Creole lullabies and calling out “Soleil, couche.” The remaining revelers, both blacks and whites, now unobserved, would take “the oath to the serpent.” The oath was, according to one observer, nothing but “a string of barbarous epithets and penalties.” What followed was something like a camp meeting, except that the eroticism was wholly overt. The king and queen of the ceremony would caress a large snake representing the god and begin to tremble; the other celebrants would touch them and begin to tremble as well. Gradually