From «The Bluest Eye» to «God Help the Child», Revised Edition
In this revised edition, Linda Wagner-Martin offers a compelling study of African American writer Toni Morrison’s work, beginning with The Bluest Eye in 1970 and continuing through her 2015 novel God Help the Child. Wagner-Martin describes Morrison as an inherently original novelist who was shaped throughout her career by her role within families. Her study focuses on Morrison's use of family in her narratives, particularly on the roles of mother and child. Beginning with the paradigm of a good mother (Mrs. MacTeer) in The Bluest Eye, set against women who are found wanting in their mother roles, Morrison concentrates in various ways on emphasizing these mother characters. Sometimes those roles are peripheral; more often, they are central. In Sula, for example, the title character has no interest in mothering, but she shows herself to be the product of family disinterest; in Song of Solomon Morrison creates what she terms an ancestor figure to give guidance to the young; in Tar Baby Marie Therese continues that role. Beloved tackles many dimensions of a mothers role. As Morrison continues to write her varied and powerful novels, from Jazz and Paradise through Love, A Mercy, and Home, the attention to judging the efficacy of mothering grows. Finally, in God Help the Child, she attends to little else. In Morrison’s fictional world, drawing from the human and spiritual forces in both Africa and the United States provides some hope of a truly satisfying existence.
About the book
About the book
Linda Wagner-Martin’s study of African American writer Toni Morrison’s work, beginning with The Bluest Eye in 1970 and continuing through her 2012 novel Home, describes Morrison as an inherently original novelist who was shaped throughout her career by her role within families. Morrison speaks of herself, compellingly and frequently, as daughter, sister, wife, mother, mentor, and friend. The energy from playing these roles in her life helped to lead to her thoroughly distinctive fiction. The book charts Morrison’s changing vision as well. Morrison’s deeper and deeper involvement in the history of African Americans within the United States leads to her study of the urban in Jazz, of the all-black Western towns in Paradise, of the upper-middle class in Love, as well as her poignant study of the returning Korean War veteran in Home. Morrison’s 2008 A Mercy, set in the seventeenth century, reprises much of the power of the prize-winning Beloved and returns readers to the quintessential theme of parent-child relationships. In Morrison’s fictional world, drawing from the human and spiritual forces in both Africa and the United States provides some hope of a truly satisfying existence.
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