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In Love and Narrative Form in Toni Morrison’s Later Novels, Jean Wyatt explores the interaction among ideas of love, narrative innovation, and reader response in Toni Morrison’s seven later novels. Love comes in a new and surprising shape in each of the later novels; for example, Love presents it as the deep friendship between little girls; in Home it acts as a disruptive force producing deep changes in subjectivity; and in Jazz it becomes something one innovates and recreates each moment—like jazz itself. Each novel’s unconventional idea of love requires a new experimental narrative form. Wyatt analyzes the stylistic and structural innovations of each novel, showing how disturbances in narrative chronology, surprise endings, and gaps mirror the dislocated temporality and distorted emotional responses of the novels’ troubled characters and demand that the reader situate the present-day problems of the characters in relation to a traumatic African American past. The narrative surprises and gaps require the reader to become an active participant in making meaning. And the texts’ complex narrative strategies draw out the reader’s convictions about love, about gender, about race—and then prompt the reader to reexamine them, so that reading becomes an active ethical dialogue between text and reader. Wyatt uses psychoanalytic concepts to analyze Morrison’s narrative structures and how they work on readers. Love and Narrative Form devotes a chapter to each of Morrison’s later novels: Beloved, Jazz, Paradise, Love, A Mercy, Home, and God Help the Child.
Jean Wyatt explores the interaction among ideas of love, narrative innovation, and reader response in Toni Morrison's seven later novels, revealing each novel's unconventional idea of love as expressed in a new and experimental narrative form.
VINTAGE CLASSICS' AMERICAN GOTHIC SERIESSpine-tingling, mind-altering and deliciously atmospheric, journey into the dark side of America with nine of its most uncanny classics.A haunting and affecting meditation on love from the Nobel-prize winning author of Beloved.May, Christine, Heed, Junior, Vida - even L - all are women obsessed wit[Bokinfo].
Winner of the Pulitzer Prize, Toni Morrison’s Beloved is a spellbinding and dazzlingly innovative portrait of a woman haunted by the past. Sethe was born a slave and escaped to Ohio, but eighteen years later she is still not free. She has borne the unthinkable and not gone mad, yet she is still held captive by memories of Sweet Home, the beautiful farm where so many hideous things happened. Meanwhile Sethe’s house has long been troubled by the angry, destructive ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved. Sethe works at beating back the past, but it makes itself heard and felt incessantly in her memory and in the lives of those around her. When a mysterious teenage girl arrives, calling herself Beloved, Sethe’s terrible secret explodes into the present. Combining the visionary power of legend with the unassailable truth of history, Morrison’s unforgettable novel is one of the great and enduring works of American literature.
A powerful tragedy distilled into a small masterpiece by the Nobel Prize-winning author of Beloved and, almost like a prelude to that story, set two centuries earlier. Jacob is an Anglo-Dutch trader in 1680s United States, when the slave trade is still in its infancy. Reluctantly he takes a small slave girl in part payment from a plantation owner for a bad debt. Feeling rejected by her slave mother, 14-year-old Florens can read and write and might be useful on his farm. Florens looks for love, first from Lina, an older servant woman at her new master's house, but later from the handsome blacksmith, an African, never enslaved, who comes riding into their lives . . . At the novel's heart, like Beloved, it is the ambivalent, disturbing story of a mother and a daughter – a mother who casts off her daughter in order to save her, and a daughter who may never exorcise that abandonment.
From the acclaimed Nobel Prize winner: Two girls who grow up to become women. Two friends who become something worse than enemies. This brilliantly imagined novel brings us the story of Nel Wright and Sula Peace, who meet as children in the small town of Medallion, Ohio. Nel and Sula's devotion is fierce enough to withstand bullies and the burden of a dreadful secret. It endures even after Nel has grown up to be a pillar of the black community and Sula has become a pariah. But their friendship ends in an unforgivable betrayal—or does it end? Terrifying, comic, ribald and tragic, Sula is a work that overflows with life.
From the acclaimed Nobel Prize winner, a passionate, profound story of love and obsession that brings us back and forth in time, as a narrative is assembled from the emotions, hopes, fears, and deep realities of Black urban life. With a foreword by the author. “As rich in themes and poetic images as her Pulitzer Prize–winning Beloved.... Morrison conjures up the hand of slavery on Harlem’s jazz generation. The more you listen, the more you crave to hear.” —Glamour In the winter of 1926, when everybody everywhere sees nothing but good things ahead, Joe Trace, middle-aged door-to-door salesman of Cleopatra beauty products, shoots his teenage lover to death. At the funeral, Joe’s wife, Violet, attacks the girl’s corpse. This novel “transforms a familiar refrain of jilted love into a bold, sustaining time of self-knowledge and discovery. Its rhythms are infectious” (People). "The author conjures up worlds with complete authority and makes no secret of her angst at the injustices dealt to Black women.” —The New York Times Book Review
Toni Morrison: Memory and Meaning boasts essays by well-known international scholars focusing on the author’s literary production and including her very latest works—the theatrical production Desdemona and her tenth and latest novel, Home. These original contributions are among the first scholarly analyses of these latest additions to her oeuvre and make the volume a valuable addition to potential readers and teachers eager to understand the position of Desdemona and Home within the wider scope of Morrison’s career. Indeed, in Home, we find a reworking of many of the tropes and themes that run throughout Morrison’s fiction, prompting the editors to organize the essays as they relate to themes prevalent in Home. In many ways, Morrison has actually initiated paradigm shifts that permeate the essays. They consistently reflect, in approach and interpretation, the revolutionary change in the study of American literature represented by Morrison’s focus on the interior lives of enslaved Africans. This collection assumes black subjectivity, rather than argues for it, in order to reread and revise the horror of slavery and its consequences into our time. The analyses presented in this volume also attest to the broad range of interdisciplinary specializations and interests in novels that have now become classics in world literature. The essays are divided into five sections, each entitled with a direct quotation from Home, and framed by two poems: Rita Dove’s “The Buckeye” and Sonia Sanchez’s “Aaayeee Babo, Aaayeee Babo, Aaayeee Babo.”
Ethics and Aesthetics in Toni Morrison’s Fiction investigates Morrison’s aesthetics in terms of narrative’s ethical import. Morrison’s writing is concerned with ethically debatable issues and it offers a problematic representation of human experiences in African American history. Whilst previous critical studies consider ethics in relation to events in the story, Palladino explores its intersection with aesthetics. Narrativizing the moral law, Morrison’s imperative is to relate the past, and to find ways to tell what is often unspeakable. The quest for ways to narrate horrific facts is a quest for an aesthetics which includes an appeal to the reader and thus necessarily engages with the ethical. This study foregrounds the equivocal as a key feature of narrative ethics.
Thirty years of interviews with the author of The Bluest Eye, Song of Solomon, Beloved, and other novels