As a consequence of this mechanism of paradoxical duplication, Mumbo Jumbo spotlights the textual nature of its whole referential universe, including the historical referent itself. Unlike other world views, Neo-HooDooism resists restrictive encodings. All these characteristics form a historical-aesthetic counter-system that seeks to rewrite historical and literary traditions in order to demystify the hegemonic forms of representation. After a work as ambitious and innovative as Mumbo Jumbo, it is not surprising that critics were less enthusiastic about The Last Days of Louisiana Red The victim, Ed Yellings, is representative of the industrious black bourgeoisie.
The novel suggests that Yellings had been a member of a secret society at war with a conglomerate of multinational capitalism and Judeo-Christian culture known as the Louisiana Red Corporation. Chorus is representative of the situation of blacks in a white world, caught in a restricted role and permanently threatened with expulsion. In actuality, however, Reed is attacking the tragic sense of life that has permeated both Judeo-Christian culture and black liberation movements. Through the so-called Moochers, Reed criticizes the intolerant attitudes and gratuitous violence rampant among the most radical sectors of the black nationalist movements, something he had already condemned in each of his previous novels, and that now becomes the main focus of his satire.
In its pages he attacks the most untouchable myths of US tradition, focusing on the period of the Civil War. Lincoln is portrayed as an illiterate and opportunist who declares emancipation of the slaves in an act of cunning political pragmatism. Along with nineteenth-century characters and situations, the novel introduces elements from twentieth-century technology telephones, walkie-talkies, microphones, cassettes, xerox machines, radios, TVs, videos, computers, cars, airplanes, and helicopters.