In this paper, I examine how Paule Marshall's "Praisesong For The Widow", fictionalizes "migrations of the subject". I argue that "Praisesong" explores the threshold between displacement, exile and prodigality. The paradox elaborated in this analysis is located precisely in how self-questioning ends up in self-affirmation; how conceptualisations of multiple subjectivities: migration or diaspora-isation decentre the subject, but also reinvents "the coveted "private" realm" or home "as the zone of "noninterference" that is off-limits". (Contains 1 note.)