Toni Morrison

157 Pages·1995·14.205 MB·English

by  Linden Peach (auth.)

MACMILLAN MODERN NOVELISTS
General Editor: N orman Page
MACMILLAN MODERN NOVEL1STS
Published fitles
SAUL BELLOW Peter Hyland
ALBERT CAMUS Philip Thody
FYODOR DOSTOEVSKY Peter Conradi
GEORGE ELlOT Alan W. Bellringer
WILLlAM FAULKNER David Dowling
GUSTAVE FLAUBERT David Roe
E. M. FORSTER Norman Page
ANDRE GIDE David Walker
WILLIAM GOLDING Jamcs Gindin
GRAHAM GREENE Neil McEwan
ERNEST HEMINGWAY Peter Messent
CHRISTOPHER ISHERWOOD Stephen Wade
HENRY JAMES Alan W. Bellringer
JAMES JOYCE Richard Brown
D. H. LAWRENCE G. M. Hyde
ROSAMOND LEHMANN Judy Simons
DORIS LESSING Ruth Whittaker
MALCOLM LOWRY Tony Bareham
THOMAS MANN Martin Travers
GABRIEL GARCIA MARQUEZ Michael Bell
TONI MORRISON Linden Peach
IRIS MURDOCH Hilda D. Spear
VLADIMIR NABOKOV David Rampton
V. S. NAIPUL Bruce King
GEORGE ORWELL Valerie Meyers
ANTHONY POWELL Neil McEwan
MARCEL PROUST Philip Thody
BARBARA PYM Michael Costell
JEAN-PAUL SARTRE Philip Thody
SIX WOMEN NOVEL1STS Merryn Williams
MURIEL SPARK Norman Page
JOHN UPDIKE Judie Newman
EVELYN WAUGH Jacqueline McDonnell
H. G. WELLS Michael Draper
VIRGINIA WOOLF Edward Bishop
PATRICK WHITE Mark Williams
Forthcoming tit/es
MARGARET ATWOOD Coral Ann Howells
SIMONE DE BEAUVOIR Terry Keefe
IVY COMPTON-BURNETT Janet Goddcn
JOSEPH CONRAD Owen Knowles
JOHN FOWLES James Acheson
FRANZ KAFKA Ronald Spiers and Beatricc Sand berg
NORMAN MAILER Michael K. Glenday
SALMAN RUSHDIE D. C. R. A. Goonetilleke
MARK TWA IN Peter Messent
ALlCE WALKER Maria Lauret
MACMILLAN MODERN NOVELISTS
TONI MORRISON
Linden Peach
--
MACMILIAN
© Linden Peach 1995
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First published 1995 by
MACMILLAN PRESS LTD
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and London
Companies and representatives
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ISBN 978-0-333-62244-5 ISBN 978-1-349-24176-7 (eBook)
DOI 10.1007/978-1-349-24176-7
A catalogue re cord for this book is available
from the British Library.
10 9 8 7 6 5 4 3 2 I
04 03 02 01 00 99 98 97 96 95
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Contents
Acknowledgements VI
General Editor's Preface VB
In trod uction
2 The Bluest Eye (1970) 24
3 Sula (1973) 39
4- Song ofSolomon (1977) 55
5 TarBaby(1981) 75
6 Beloved (1987) 93
7 Jazz (1992) 112
8 The Language 128
9 Postscript 135
Select Bibliography 140
Index 145
V
Acknowl edgemen ts
I should like to acknowledge a general debt to my colleagues and
students in the School of English, Bretton Hall College, University of
Leeds, for helping me to refine my ideas. Special thanks are also due to
the staff of the library at Bretton Hall for their speedy and efficient
assistance. I owe special debts to Angela Burton for her advice and
constant encouragement and to Vicky Annand, Goldsmiths' College,
University of London, for her painstaking attention to the various
drafts. Without their help this book would not have been completed.
The author and publishers wish to thank the following for permission
to use copyright material:
International Creative Management, Inc. on behalf of the author,
for excerpts from Toni Morrison, The Bluest Eye, Henry Holt.
© ©
Copyright 1970; Sula, Alfred A. Knopf. Copyright 1973 by
©
Toni Morrison; Song 01 Solomon, Alfred A. Knopf. Copyright 1977
©
by Toni Morrison; Tar Baby, Alfred A. Knopf. Copyright 1981 by
©
Toni Morrison; Beloved, Alfred A. Knopf; Copyright 1987 by Toni
Morrison; Jazz, Alfred A. Knopf. Copyright © 1992 by Toni
Morrison.
Every effort has been made to trace all the copyright holders, but if any
have been inadvertently overlooked the publishers will be pleased to
make the necessary arrangement at the first opportunity.
Vi
General Editor's Preface
The death of the novel has often been announced, and part of the secret
of its obstinate vitality must be its capacity for growth, adaptation, self
renewal and self-transformation: like some vigorous organism in a
speeded-up Darwinian ecosystem, it adapts itself quickly to a
changing world. War and revolution, economic crisis and social
change, radically new ideologies such as Marxism and Freudianism,
have made this century unprecedented in human history in the speed
and extent of change, but the novel has shown an extraordinary
capacity to find new forms and techniques and to accommodate new
ideas and conceptions of human nature and human experience, and
even to take up new positions on the nature of fiction itself.
In the generations immediately preceding and following 1914, the
novel underwent a radical redefinition of its nature and possibilities.
The present series of monographs is devoted to the novelists who
created the modern novel and to those who, in their turn, either
continued and extended, or reacted against and rejected, the traditions
established during that period of intense exploration and experiment.
It includes a number of those who lived and wrote in the nineteenth
century but whose innovative contribution to the art of fiction makes it
impossible to ignore them in any account of the origins of the modern
novel; it also includes the so-called 'modernists' and those who in the
mid- and la te twentieth century have emerged as outstanding
practitioners of this genre. The scope is, inevitably, international; not
only, in the migratory and exile-haunted world of our century, do
writers refuse to heed national fron tiers - 'English' literature lays claim
to Conrad the Pole, Henry James the American, and Joyce the
Irishman - but geniuses such as Flaubert, Dostoevsky and Kafka have
had an influence on the fiction of many nations.
Each volume in the series is intended to provide an introduction to
VII
Vlll General Editor's PreJace
the fiction of the writer concerned, both for those approaching hirn or
her for the first time and for those who are already familiar with some
parts of the achievement in question and now wish to place it in the
context of the total <Euvre. Although essential information relating to the
writer's life and times is given, usually in an opening chapter, the
approach is primarily critical and the emphasis is not upon 'back
ground' or generalisations but upon elose examination of important
texts. Where an author is notably prolific, major texts have been made
to convey, more summarily, a sense of the nature and quality of the
author's work as a whole. Those who want to read further will find
suggestions in the select bibliography ineluded in each volume. Many
novelists are, of course, not only novelists but also poets, essayists,
biographers, dramatists, travel writers and so forth; many have
practised shorter forms offiction; and many have written letters or kept
diaries that constitute a significant part of their literary-output. Abrief
study cannot hope to deal with all these in detail, but where the shorter
fiction and the non-fictional writings, public and private, have an
important relations hip to the novels, some space has been devoted to
them.
NORMAN PAGE
1
Introduction
The black literary tradition now demands, for sustenance and for
growth, the sorts of reading which it is the especial province of the
literary critic to render; and these sorts of reading all share a
fundamental concern with the nature and functions of figurative
language as manifested in specific texts. No matter to what ends we
put our readings, we can never lose sight of the fact that a text is not
a fixed 'thing' but a rhetorical structure which functions in response
to a complex set of rules. It can never be related satisfactorily to a
reality outside itself merely in a one-to-one relation. (Henry Louis
Gates, Jr, 1984,5)
I
This study of the novels of Toni Morrison, the first African-American
writer to win the Nobel Prize for Literature, is aimed at the general
reader and the student alike. The intention has been to provide an
introduction to the novels which respects both their specificity and the
ways in which they relate to each other. In keeping with the overall
aims of the series, the discussion of each novel is orienteq towards its
innovative contribution to the art of fiction. Therefore, the emphasis
throughout falls upon each text as a 'rhetorical structure' which
extends or challenges what readers might expect of a novel. Yet
because Toni Morrison is an African-American author whose works
have their origins in the tense interface between a number of cultures,
we are forced to question the origins of some of our assumptions about
the novel as an art form. Whether our understanding of wh at
constitutes a novel comes from a reading of Euro-American or African
American or African fiction will determine the kind of preconceptions
we bring to her works.