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Sung by convicts and recorded in 1959 at Mississippi’s Parchman Farm penitentiary, the work song “Po Lazarus” keynoted 2000ʹs award-winning soundtrack  O Brother, Where Art Thou?  and, thus recontextualized, helped spark a folk revival. Like its protagonist, “Po Lazarus” has been “messed with” – captured, preserved, aestheticized, commercialized. It’s also been allegorized: explicitly by African-American ministers and implicitly by the soundtrack, which limns the circular journey of high Romanticism, a trope originating with Plotinus and Augustine. Moreover, the soundtrack evokes the Manichean allegory of European colonialism, working to simultaneously critique and reproduce the racialized imaginary of Southern vernacular culture.

“Go Out and Bring Me Lazarus”: O Brother , Allegory, and a Work Song’s Circuitous Journey