Temple Folk

A collection of short stories relating the diverse experiences of Black Muslims in America, Temple Folk illustrates how religious faith, particularly in the Nation of Islam, has served as a crucial avenue for belonging for many Black Americans who had experienced centuries of violence, oppression, and marginalization. Though the characters are portrayed at different places along their religious journeys, their faith—whether persistent or fading—is foundational to creating a sense of meaning and purpose. For example…

Many of the characters in Temple Folk grapple with disillusionment—that is, they have experiences that cause them to call into question their deepest-held beliefs. While disillusionment in the context of religion is present (for example, in “Blue” and “Due North,” the protagonists’ beliefs are shaken when they are forced to reconsider the figures that led them to Islam in the first place), Temple Folk also provides depictions of disillusionment that extend beyond questions of faith…

Familial relationships are central to the stories in Temple Folk, determining how the characters understand themselves and their place in the world. In fact, for most characters, their identities are forged in opposition to their families. In “Blue,” for instance, Sister Memphis recalls the difficulty of growing up in a “no good” family with an abusive mother, and it is ultimately her desire to leave that life behind that leads her to join the…

The stories in Temple Folk highlight how expectations around sexuality are determined by gender and illustrate how for women, in particular, there is a perceived link between chastity and piety. In “Nikkah,” for example, Qadirah loses respect for Ihsan after learning that Ihsan had sex before her wedding. In Qadirah’s mind, this act discredits Ihsan completely, because it signals an abandonment of the values and moral codes dictated by their faith. Yet this ostensibly straightforward…

Many characters in Temple Folk are torn between their desire for personal freedom and their commitment to their family and community. In “Janaza,” Harold is conflicted between returning to the Temple folk—whom he had left decades prior—and staying with his wife. On the one hand, Harold knows that by going home to his wife he would be doing “the right thing.” But in the end, he tosses his wedding band out the car window…