Ol’Higue
You think I like this stupidness –
gallivanting all night without skin,
burning myself out like cane fire
to frighten the foolish?
And for what? A few drops of baby blood?
You think I wouldn’t rather
take my blood seasoned in fat
black-pudding, like everyone else?
And don’t even talk ‘bout the pain of salt
and having to bend these old bones down
to count a thousand grains of rice!
If only babies didn’t smell so nice!
And if I could only stop
hearing the soft, soft call
of that pure blood running in new veins,
singing the sweet song of life
tempting an old, dry-up woman who been
holding her final note for years and years,
afraid of the dying hum…
Then again, if I didn’t fly and come
to that fresh pulse in the middle of the night,
how would you, mother,
name your ancient dread?
And who to blame
for the murder inside your head…?
Believe me –
As long as it have women giving birth
a poor ol’ higue like me can never dead.
In this poem, the Ol’ Higue / soucouyant tells of her frustration with her lifestyle. She does
not like the fact that she sometimes has to parade around, in the form of a fireball, without
her skin at night. She explains that she has to do this in order to scare people, as well as to
acquire baby blood. She explains that she would rather acquire this blood via cooked food,
like every-one else. Her worst complaint is the pain of salt, as well as having to count rice
grains. She exhibits some regret for her lifestyle but implies that she cannot resist a baby’s
smell, as well as it’s pure blood. The ‘newness’ of the baby tempts the Ol’ Higue, and she
cannot resist because she is an old woman who fears death, which can only be avoided by
consuming the baby’s blood. She affirms her usefulness in the scheme of things, however,
by claiming that she provides mothers with a name for their fears (this being the death of a
child), as well as some-one to blame when the evil that they wish for their child, in moments
of tired frustration, is realized. She implies that she will never die, so long as women keep
having babies.
LITERARY DEVICES
1. SIMILE
Cane-fire has a very distinct quality. It burns very quickly and its presence is felt through it’s
pungent smell. Therefore, when the Ol’ Higue compares herself to cane fire in her fireball
state, it implies that she uses a lot of energy quickly, and is very visible.
2. RHETORICAL QUESTION
•Stanza 1,line 4: This rhetorical question highlights the scant regard that the Higue has for
the average person. She is thoroughly annoyed that she has to literally waste her energy on
them.
•Stanza 1, line 5: This highlights the fact that, again, she is annoyed that she has to expend
so much energy to obtain a few drops of baby blood.
•Stanza 1, lines 6-8: The Ol’ Higue is emphasizing the fact that regular people ingest blood
too, just in a more palatable manner. She would not mind if she could ingest it in the same
manner as well.
•Stanza 3, lines 22-23: At this point the Ol’ Higue is making excuses for her presence,
claiming that she serves an actual purpose in the scheme of life. If a child dies of unknown
causes, she can be scapegoated for it.
•Stanza 3, lines 24-25: ‘The murder inside your head’ refers to the moments, when out of
pure frustration and tiredness, a mother might wish ill on her child. The Ol’ Higue is implying
that, again, she can be used as a scapegoat if something unfortunate happens to the child.
The mother is relieved of bearing the burden of guilt.
3. REPETITION
The repetition of the word ‘soft’ emphasizes the fact that the call of the child’s blood has
captured and beguiled the Ol’ Higue’. She implies that she cannot resist that call.
4. ALLITERATION
This device emphasizes the Ol’ Higue’s dependence, even addiction, to the sweet blood of
the baby.
IMPORTANT WORDS/ PHRASES
5. ‘stupidness!’
This is a distinctly Caribbean phrase that highlights frustration or scorn. Therefore, it
highlights the Ol’ Higue’s frustration with her lack of self control.
6. ‘gallivanting’
This term refers to some one ‘playing around’, having fun. The Ol’ Higue is being sarcastic at
this point. She is expressing displeasure at having to fly around to seek prey.
7. ‘pure blood running in new veins’
Babies are often associated with purity, this is what is emphasized here. The Ol’ Higue
simply cannot resist the lure of new and pure blood.
8. ‘holding her final note for years and years, afraid of the dying hum …’
This tells us that the Ol’Higue has been living this desperate existence for a long time. It also
implies that she will keep hanging on, despite her frustration. The final line confirms this
point: ‘As long as it have women giving birth a poor Ol’ Higue like me can never dead’
Analysis
"You think I like all this stupidness
gallivanting all night without skin
burning myself out like cane –fire
To frighten the foolish?"
The Ole Higue begins with an explosive and argumentative first line. Note that the
diction (choice of words/language) is distinctly Caribbean, and reflective of her
identity as an old, irritable woman. She expresses great dissatisfaction with what she
does- however she is compelled to do so completely involuntarily. This alludes to an
old wives’ tale told in the Caribbean of a hag who sheds her skin at night, turns into a
ball of fire and scares superstitious people. She considers this act stupid, simply to
'frighten the foolish' superstitious who believe in the myth. Note the alliteration here
in 'frighten the foolish.'
"And for what? A few drops of baby blood?"
She reasons that the whole act of setting herself on fire without skin and flying
around is far more effort than it is worth. After all, a baby's body contains barely any
blood, and for a mythical creature to compulsively go through this routine for such a
negligible quantity is ludicrous to her- it is not rewarding at all.
"You think I wouldn’t rather
take my blood seasoned in fat
black-pudding, like everyone else?"
Instead of the bland blood of babies, the Ole Higue would much rather have her
blood like everyone else does- well-seasoned and in black-pudding. This shows
again that she in no way wants to do such an unrewarding task, but is forced to do
this nonetheless.
"And don’t even talk ‘bout the pain of salt
And having to bend these old bones down
To count a thousand grains of rice!"
These lines are another allusion to the folklore of the Ole Higue. She must look out
for salt, as it can injure or kill her (which makes sense since she has no skin). When
salt is placed into the mortar with her skin in it, she can no longer put it on (does that
sound familiar? There's a similar tale in Breath, Eyes, Memory). People may also
obstruct her from reaching her infant victims by placing rice in front of their doors.
Once an Ole Higue sees the rice she must count every grain before she can gain
access. The intention is to keep her counting until the sun rises, making it impossible
for her to enter the house and suck the baby’s blood. Thus, the Ole Higue is often
obstructed in trying to drink the blood of babies adding to her seemingly endless
misery.
"If only babies didn’t smell so nice!
And if I could only stop
Hearing the soft, soft call
Of that pure blood running in new veins,
Singing the sweet song of life
Tempting an old, dry-up woman who been
Holding her final note for years,
Afraid of the dying hum…"
The Ole Higue is incredibly attracted to baby blood, and she presents this in a sort of
defence for killing them. The pure, untainted scent of babies' blood tempts her- she
finds their aroma irresistible. The alliteration in "singing the sweet song of life" conveys
the attractive quality of these infants' blood to the Ole Higue. The blood of the
children represent new life- life which she has been trying to hold on to for years.
She knows that the babies are at the beginning of the life cycle, and she is at the
end; but she can alter the passage of this natural cycle. She prolongs her aged
existence by bringing the babies’ lives to a premature end.
"Then again, if I didn’t fly and come
to that fresh pulse in the middle of the night,
how would you, mother,
name your ancient dread,"
Now, she identifies her own role in society. She also names to whom she speaks
(when she says 'you')- she refers to the mothers of these newborn children. It seems
that the Ole Higue is simply a mechanism by which these mothers may name the
longstanding dread or fear of the possible death of their babies. Without her, she
contends that these mothers would have no one to hold responsible for the death of
their babies (even if it was just of natural causes).
"And who to blame
for the murder inside your head…?
Believe me –
As long as it have women giving birth
A poor ol’ higue like me can never dead."
She suggests something interesting through these cryptic lines- possibly that these
mothers blame the Ole Higue for the death of their children even in the event that
they had committed infanticide. However, it could also be that they need someone-
like the Ole Higue- to direct their murderous rage for the death of their baby towards.
Nonetheless, she knows that for as long as there are women giving birth to children,
they will need a scapegoat to blame for the plight that befalls their children. Thus, the
myth of her existence can never die.
MOOD/ ATMOSPHERE
The mood of the poem is reflective.
TONE
The tone of the poem is slightly bitter and resigned. She accepts that the cycle of her life cannot
change.
THEMATIC CATEGORIZATION
Supernatural
