Wicked's Elphaba andThe Wind on Her Tongue'sOya 'Defy the Gravity of Social Norms and Expectations' (Exclusive)

Mar. 15, 2025

‘The Wind on Her Tongue’ and. Cynthia Erivo as Elphaba in Wicked, Part I.Photo:Atria/Black Privilege Publishing; Giles Keyte/Universal Pictures

Atria/Black Privilege Publishing; Giles Keyte/Universal Pictures

In my upcoming novel,The Wind on Her Tongue, I introduce another powerful, misunderstood figure. This time, the focus turns to African mythology and religion, spotlighting Oya, the Yoruba Orisha of wind and storms. As the second installment of theDaughter of Three Waterstrilogy, this standalone novel reimagines Oya’s story while drawing upon the foundations laid in my debut,Shallow Waters. These works are my attempt to bring ancient African mythology and spirituality into the light, reclaiming stories that have been distorted or buried over centuries.

Cynthia Erivo and Ariana Grande attend the Wicked: Part One UK Premiere at The Royal Festival Hall on November 18, 2024 in London, England.Gareth Cattermole/Getty

Gareth Cattermole/Getty

The religions and folklore enslaved Africans in early America carried with them were often labeled as demonic. Under brutal systems of oppression, they were stripped of their gods, language and stories in deliberate acts meant to break them. Figures like Oya allow us to reclaim more than mythology; we reclaim pieces of our history, our resilience and ourselves.

InThe Wind on Her Tongue, Oya is reimagined as a young woman in 1870s America, grappling with her identity in a fraught and complex society. Born in Cuba to Yemaya — a figure introduced inShallow Waters— Oya inherits otherworldly powers from her Yoruba lineage. While Yemaya represents healing and nurturing, her daughter Oya wields the tempestuous force of storms, a power both awe-inspiring and destructive.

Oya’s journey takes her to New Orleans, where she hones her abilities under the mentorship of two historical figures: Marie Laveau and Mary Ellen Pleasant. Both of them have been similarly maligned in history and pop culture as “wicked witches” — much like Elphaba! — and together with Oya, Laveau and Pleasant defy the labels imposed on them.

BothWickedandThe Wind on Her Tonguehighlight the transformative power of female friendship. Though their personalities clash inWicked— Glinda’s effervescent charm contrasting with Elphaba’s fiery independence — their bond ultimately transforms them both. Glinda learns compassion and depth, while Elphaba finds solace and strength in a world that constantly misunderstands her.

Similarly, inThe Wind on Her Tongue, Oya’s relationships with Marie Laveau and Mary Ellen Pleasant provide her with guidance, solidarity and a shared sense of purpose. These women, each fighting battles of their own, teach Oya that strength doesn’t have to mean solitude. Together, they confront the societal forces that seek to diminish them, finding power in unity.

As I reflected on Elphaba’s story, the connections between her and Oya grew glaringly apparent. Both are symbols of resistance, challenging authority and the societal norms that aim to diminish them. Both are dismissed as “wicked” because their power threatens those in charge. And both, ultimately, find the courage to rise above the weight of those labels, inspiring others to do the same.

Ariana Grande and Cynthia Erivo attend the “Journey Through Oz” Tour to celebrate the Australian premiere of “Wicked” at State Theatre on November 3, 2024 in Sydney, Australia.Don Arnold/WireImage

Don Arnold/WireImage

An interesting fact about Elphaba and Oya is that they are both avid readers. At a secret book club coven meeting we took a peek at their reading list. See what they’re reading, below.

Oya and Elphaba’s Reading List

Grand Central Publishing

University of Virginia Press

Little, Brown and Company

Ballantine Books

Women Who Run With the Wolvesshould be on every feminist and womanist booklist. This compilation of myths and stories that highlight the transformation of women into their natural, wild, instinctual selves was all the rage in the early 90’s. One concept that stayed with me for years was when Clarissa claimed that the meeker a woman seemed to be, the wilder she was on the inside.

Slow Factory Press

source: people.com