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.
- 228 pages
- English
- PDF
- Available on iOS & Android
eBook - PDF
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Table of contents
- Cover
- Table of Contents
- Preface
- Acknowledgments and Reference Systems
- Introduction: Morrison and the Maternal
- Chapter One: Mothers at Random in The Bluest Eye
- Chapter Two: Sula and the Individuality of Mothering
- Chapter Three: Replacement Mothering in Song of Solomon
- Chapter Four: Tar Baby and Its Multiple Non-mothers
- Chapter Five: Beloved, Beloved, Beloved, Beloved ….
- Chapter Six: Jazz and Its Mothers and Non-mothers
- Chapter Seven: Playing in the Dark and the Nobel Acceptance Lecture
- Chapter Eight: Paradise and Its Mothers
- Chapter Nine: Love and Its Absence of Mothers
- Chapter Ten: A Mercy and Abandoning Mothers
- Chapter Eleven: Frank Money, Cee, and the Maternal in Home
- Coda
- Notes
- Selected Bibliography
- Index
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