In the 1960s, the Black community was seeing a significant shift from nationalism to transculturalism, the idea that “Black” was defined not solely by an American identity but by the connection to African origins. Ishmael Reed, a poet and one of the more prolific members of the transcultural movement, wrote about what he coined Neo-HooDoo, a belief in the blending of the religious traditions and values of Black culture during the time of enslavement with modern art and poetry. In his manifesto, he identifies numerous points at which modern culture intersects sharply with the traditions of the slave culture. From the popular music of the Beatles to America’s own political leaders, Reed attempts to show that contemporary culture isn’t about the color of the skin but about a shared history that includes more than just Greco-Roman influences. Throughout his writings, Reed challenged not only the racial strata in America but the social order as well; he described Neo-HooDoo as a system that had no titles, in which “every artist is a priest.” His fictional writing, while certainly unique, was made powerful by his mastery of satirical constructs.