Toni Morrison Bibliography Books For Teens

For the rugby league footballer of the 1980s, and 1990s, see Tony Morrison. For the Louisiana politician, see deLesseps Morrison, Jr.

Toni Morrison (born Chloe Ardelia Wofford;[2] February 18, 1931) is an American novelist, essayist, editor, teacher, and professor emeritus at Princeton University.

Morrison won the Pulitzer Prize and the American Book Award in 1988 for Beloved. The novel was adapted into a film of the same name (starring Oprah Winfrey and Danny Glover) in 1998. Morrison was awarded the Nobel Prize in Literature in 1993. In 1996, the National Endowment for the Humanities selected her for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. She was honored with the 1996 National Book Foundation's Medal of Distinguished Contribution to American Letters. Morrison wrote the libretto for a new opera, Margaret Garner, first performed in 2005. On May 29, 2012, President Barack Obama presented Morrison with the Presidential Medal of Freedom. In 2016, she received the PEN/Saul Bellow Award for Achievement in American Fiction.

Life and career[edit]

Early years[edit]

Toni Morrison was born in Lorain, Ohio, to Ramah (née Willis) and George Wofford. She is the second of four children in a working-class, African-American family.[3] Her mother was born in Greenville, Alabama, and moved north with her family as a child. Her father grew up in Georgia. When he was about 15, white people lynched two black businessmen who lived on his street. Morrison said: "He never told us that he’d seen bodies. But he had seen them. And that was too traumatic, I think, for him."[4] Soon after the lynching, George Wofford moved to the racially integrated town of Lorain, Ohio, in hopes of escaping racism and securing gainful employment in Ohio's burgeoning industrial economy. He worked odd jobs and as a welder for U.S. Steel. Ramah Wofford was a homemaker and a devout member of the African Methodist Episcopal Church.[5]

When Morrison was about two, her family's landlord set fire to the house they lived in, while they were home, because her parents couldn't pay the rent. Her family responded to what she called this "bizarre form of evil" by laughing at the landlord rather than falling into despair. Morrison later said her family's response demonstrated how to keep your integrity and claim your own life in the face of acts of such "monumental crudeness."[6]

Morrison's parents instilled in her a sense of heritage and language through telling traditional African-American folktales and ghost stories and singing songs.[5][7] Morrison also read frequently as a child; among her favorite authors were Jane Austen and Leo Tolstoy.[8] She became a Catholic at the age of 12 and took the baptismal name Anthony (after Saint Anthony), which led to her nickname, Toni.[9] Attending Lorain High School, she was on the debating team, the yearbook staff, and in the drama club.[5]

Adulthood and editing career: 1949–1974[edit]

In 1949 she enrolled at the historically black Howard University, seeking the company of fellow black intellectuals.[10] The school is in Washington, D.C., where she encountered racially segregated restaurants and buses for the first time.[4] She graduated in 1953 with a B.A. in English and went on to earn a Master of Arts from Cornell University in 1955. Her Master's thesis was Virginia Woolf's and William Faulkner's Treatment of the Alienated.[11] She taught English, first at Texas Southern University in Houston for two years, then at Howard for seven years. While teaching at Howard, she met Harold Morrison, a Jamaican architect, whom she married in 1958. She was pregnant with their second son when she and Harold divorced in 1964.[7][12]

After the breakup of her marriage, she began working as an editor in 1965 for L. W. Singer, a textbook division of Random House,[5] in Syracuse, New York. Two years later she transferred to Random House in New York City, where she became their first black woman senior editor in the fiction department.[13][14]

In that capacity, Morrison played a vital role in bringing black literature into the mainstream. One of the first books she worked on was the groundbreaking Contemporary African Literature (1972), a collection that included work by Nigerian writers Wole Soyinka and Chinua Achebe and South African playwright Athol Fugard.[5] She fostered a new generation of African-American authors,[5] including Toni Cade Bambara, Angela Davis, and Gayl Jones, whose writing Morrison discovered, and she brought out the autobiography of boxer Muhammad Ali, The Greatest. She also published and publicized the work of Henry Dumas,[15] a little-known novelist and poet who was shot to death by a transit officer in the New York City subway in 1968.[4][16]

Among other books Morrison developed and edited is The Black Book (1974), an anthology of photographs, illustrations, essays, and other documents of black life in the United States from the time of slavery to the 1970s.[4] Random House had been uncertain about the project, but it got good reviews. Alvin Beam reviewed it for the Cleveland Plain Dealer, writing, "Editors, like novelists, have brain children—books they think up and bring to life without putting their own names on the title page. Mrs. Morrison has one of these in the stores now, and magazines and newsletters in the publishing trade are ecstatic, saying it will go like hotcakes."[5]

First writings and teaching, 1970–1986[edit]

Morrison had begun writing fiction as part of an informal group of poets and writers at Howard University who met to discuss their work. She attended one meeting with a short story about a black girl who longed to have blue eyes. Morrison later developed the story as her first novel, The Bluest Eye, getting up every morning at 4 am to write, while raising two children alone.[12]

The Bluest Eye was published in 1970 when Morrison was thirty-nine.[14] It did not sell well at first, but the City University of New York put the novel on its reading list for its new black-studies department, as did other colleges, which boosted sales.[17] The book also brought her to the attention of the acclaimed editor Robert Gottlieb at Knopf, an imprint of Random House. Gottlieb would go on to edit most of Morrison's novels.[17]

In 1975, Morrison's second novel Sula (1973), about a friendship between two black women, was nominated for the National Book Award. Her third novel, Song of Solomon (1977), brought her national acclaim. The book was a main selection of the Book of the Month Club, the first novel by a black writer to be so chosen since Richard Wright's Native Son in 1940.[18]Song of Solomon won the National Book Critics Circle Award.

At its 1979 commencement ceremonies, Barnard College awarded to Morrison its highest honor, the Barnard Medal of Distinction, for writing novels that create "a new vision of American life."

Morrison gave her next novel, Tar Baby (1981), a contemporary setting. In it, a looks-obsessed fashion model, Jadine, falls in love with Son, a penniless drifter who feels at ease with being black.

In 1983, Morrison left publishing to devote more time to writing, and lived in a converted boathouse on the Hudson River.[19] She taught English at two branches of the State University of New York and at Rutgers University: New Brunswick Campus. In 1984 she was appointed to an Albert Schweitzer chair at the University at Albany, The State University of New York.

Morrison's first play, Dreaming Emmett, is about the murder by white men of black teenager Emmett Till in 1955. It was performed in 1986 at the State University of New York at Albany, where she was teaching.[20]

The Beloved Trilogy and the Nobel Prize: 1987–1998[edit]

In 1987 Morrison published her most celebrated novel, Beloved. It was inspired by the true story of an enslaved African-American woman, Margaret Garner,[21] a piece of history that Morrison had discovered when compiling The Black Book. Garner had escaped slavery but was pursued by slave hunters. Facing a return to slavery, Garner killed her two-year-old daughter but was captured before she could kill herself.[22] Morrison's novel imagines the dead baby returning as a ghost, Beloved, to haunt her mother and family.

Beloved was a critical success, and a best-seller for 25 weeks. New York Times book reviewer Michiko Kakutani wrote that the scene of the mother killing her baby is ''so brutal and disturbing that it appears to warp time before and after into a single unwavering line of fate.''[23] Canadian writer Margaret Atwood wrote in a review for the New York Times, "Ms. Morrison's versatility and technical and emotional range appear to know no bounds. If there were any doubts about her stature as a pre-eminent American novelist, of her own or any other generation, 'Beloved' will put them to rest."[24]

Not all critics praised Beloved, however. African-American conservative social critic Stanley Crouch, for instance, complained in his review in The New Republic[25] that the novel "reads largely like a melodrama lashed to the structural conceits of the miniseries", and that Morrison "perpetually interrupts her narrative with maudlin ideological commercials".[26][27]

Despite overall high acclaim, Beloved failed to win the prestigious National Book Award or the National Book Critics Circle Award. Forty-eight black critics and writers,[28][29] among them Maya Angelou, protested the omission in a statement that The New York Times published on January 24, 1988.[14][30][31] "Despite the international stature of Toni Morrison, she has yet to receive the national recognition that her five major works of fiction entirely deserve," they wrote.[4]

Two months later, Beloved won the Pulitzer Prize for fiction.[23] It also won an Anisfield-Wolf Book Award. That same year, Morrison took a visiting professorship at Bard College.

Beloved is the first of three novels about love and African-American history, sometimes called the Beloved Trilogy.[32] Morrison has said they are intended to be read together, explaining, "The conceptual connection is the search for the beloved – the part of the self that is you, and loves you, and is always there for you."[6]

The second novel in the trilogy, Jazz, came out in 1992. Told in language that imitates the rhythms of jazz music, the novel is about a love triangle during the Harlem Renaissance in New York City. That year she also published her first book of literary criticism, Playing in the Dark: Whiteness and the Literary Imagination (1992), an examination of the African-American presence in white American literature.[33]

Before the third novel of the trilogy came out, in 1993 Morrison was awarded the Nobel Prize in Literature. Her citation reads: Toni Morrison, "who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality."[34] She was the first black woman of any nationality to win the prize.

In her Nobel acceptance speech, Morrison talked about the power of storytelling. To make her point, she told a story. She spoke about a blind, old, black woman who is approached by a group of young people. They demand of her, "Is there no context for our lives? No song, no literature, no poem full of vitamins, no history connected to experience that you can pass along to help us start strong? … Think of our lives and tell us your particularized world. Make up a story."[35]

For her exceptional writing career, in 1996 the National Endowment for the Humanities selected Morrison for the Jefferson Lecture, the U.S. federal government's highest honor for "distinguished intellectual achievement in the humanities."[36] Morrison's lecture, entitled "The Future of Time: Literature and Diminished Expectations",[37] began with the aphorism: "Time, it seems, has no future." She cautioned against the misuse of history to diminish expectations of the future.[38]

Morrison was also honored with the 1996 National Book Foundation's Medal of Distinguished Contribution to American Letters, which is awarded to a writer "who has enriched our literary heritage over a life of service, or a corpus of work."[39]

The third of her Beloved trilogy, Paradise, about citizens of an all-black town, came out in 1997. The next year, Morrison was on the cover of Time magazine, only the second female and second black writer of fiction to appear on what was perhaps the most significant U.S. magazine cover of the era.[40]

Beloved Onscreen, and the Oprah Effect[edit]

Also in 1998, the movie adaptation of Beloved was released, directed by Jonathan Demme and co-produced by Oprah Winfrey, who had spent ten years bringing it to the screen. Winfrey also stars as the main character, Sethe, alongside Danny Glover as Sethe's lover, Paul D, and Thandie Newton as Beloved.[41]

The movie flopped at the box office. A review in the Economist suggested that "most audiences are not eager to endure nearly three hours of a cerebral film with an original storyline featuring supernatural themes, murder, rape and slavery."[42] Film critic Janet Maslin, however, in her review "No Peace from a Brutal Legacy" called it a "transfixing, deeply felt adaptation of Toni Morrison's novel. …Its linchpin is of course Oprah Winfrey, who had the clout and foresight to bring 'Beloved' to the screen and has the dramatic presence to hold it together."[43]

In 1996 television talk-show host Oprah Winfrey had selected Song of Solomon for her newly launched Book Club, which became a popular feature on her Oprah Winfrey Show.[44] An average of 13 million viewers watched the show's book club segments.[45] As a result, when Winfrey selected Morrison's earliest novel The Bluest Eye in 2000, it sold another 800,000 paperback copies.[5] John Young wrote in the African American Review in 2001 that Morrison's career experienced the boost of the "Oprah Effect, …enabling Morrison to reach a broad, popular audience."[46]

Winfrey selected a total of four of Morrison's novels over six years, giving Morrison's novels a bigger sales boost than they got from her Nobel Prize win in 1993.[47] The novelist also appeared three times on Winfrey's show. Winfrey said, "For all those who asked the question 'Toni Morrison again?'… I say with certainty there would have been no Oprah's Book Club if this woman had not chosen to share her love of words with the world."[45] Morrison called the book club a "reading revolution."[45]

The early 21st century[edit]

Morrison continued to explore new art forms when she returned to Margaret Garner's life story, the basis of her novel Beloved, to write the libretto for a new opera, Margaret Garner. Completed in 2002, with music by Richard Danielpour, the opera was performed by the New York City Opera in 2007.[48] Meanwhile, Love, her first novel since Paradise, came out in 2003. In 2004, Morrison put together a children's book called Remember to mark the 50th anniversary of the Brown v. Board of Education Supreme Court decision in 1954 that declared racially segregated public schools to be unconstitutional.[49]

Oxford University awarded her an honoraryDoctor of Letters degree in June 2005.

In 2006, The New York Times Book Review named Beloved the best work of American fiction published in the previous 25 years, as chosen by a selection of prominent writers, literary critics, and editors.[50] In his essay about the choice, "In Search of the Best," critic A. O. Scott said: "Any other outcome would have been startling, since Morrison's novel has inserted itself into the American canon more completely than any of its potential rivals. With remarkable speed, 'Beloved' has, less than 20 years after its publication, become a staple of the college literary curriculum, which is to say a classic. This triumph is commensurate with its ambition, since it was Morrison's intention in writing it precisely to expand the range of classic American literature, to enter, as a living black woman, the company of dead white males like Faulkner, Melville, Hawthorne and Twain."[51]

In November 2006, Morrison visited the Louvre Museum in Paris as the second in its "Grand Invité" program to guest-curate a month-long series of events across the arts on the theme of "The Foreigner's Home."

A Mercy came out in 2008. Morrison set this novel in the Virginia colonies of 1682. Diane Johnson, in her review in Vanity Fair, called A Mercy "a poetic, visionary, mesmerizing tale that captures, in the cradle of our present problems and strains, the natal curse put on us back then by the Indian tribes, Africans, Dutch, Portuguese, and English competing to get their footing in the New World against a hostile landscape and the essentially tragic nature of human experience."[52]

Princeton years[edit]

From 1989 until her retirement in 2006, Morrison held the Robert F. Goheen Chair in the Humanities at Princeton University.[8] She has said she doesn't think much of modern fiction writers who reference their own lives instead of inventing new material, and she used to tell her creative writing students, "I don't want to hear about your little life, OK?" Similarly, she has chosen not to write about her own life in a memoir or autobiography.[10]

Though based in the Creative Writing Program at Princeton, Morrison did not regularly offer writing workshops to students after the late 1990s, a fact that earned her some criticism. Rather, she conceived and developed the prestigious Princeton Atelier, a program that brings together talented students with critically acclaimed, world-famous writers and performing artists. Together the students and the artists produce works of art that are presented to the public after a semester of collaboration.[53] In her position at Princeton, Morrison used her insights to encourage not merely new and emerging writers, but artists working to develop new forms of art through interdisciplinary play and cooperation.

Inspired by her curatorship at the Louvre Museum, Morrison returned to Princeton in fall 2008 to lead a small seminar, also entitled "The Foreigner's Home."[13]

On November 17, 2017, Princeton University dedicated Morrison Hall (a building previously called West College) in her honour.[54]

Home: 2010–[edit]

In May 2010, Morrison appeared at PEN World Voices for a conversation with Marlene van Niekerk and Kwame Anthony Appiah about South African literature, and specifically, van Niekerk's novel Agaat.[55]

Morrison wrote books for children with her younger son, Slade Morrison, who was a painter and a musician. Slade died of pancreatic cancer[17] on December 22, 2010, aged 45.[56] Morrison's novel Home was half-completed when her son died.[17]

In May 2011, Morrison received an Honorary Doctor of Letters Degree from Rutgers University during commencement where she delivered a speech of the "pursuit of life, liberty, meaningfulness, integrity, and truth."

Morrison debuted another work in 2011: She worked with opera director Peter Sellars and Malian singer-songwriter Rokia Traoré on a new production, Desdemona, taking a fresh look at William Shakespeare's tragedy Othello. The trio focused on the relationship between Othello's wife Desdemona and her African nursemaid, Barbary, who is only briefly referenced in Shakespeare. The play–a mix of words, music, and song– premiered in Vienna in 2011.[13][10][57]

Morrison had stopped working on her latest novel when her son died. She said that afterward, "I stopped writing until I began to think, He would be really put out if he thought that he had caused me to stop. 'Please, Mom, I'm dead, could you keep going . . . ?'"[58]

She completed Home and dedicated it to her son Slade Morrison.[9][59][60] Published in 2012, it is the story of a Korean War veteran in the segregated United States of the 1950s, who tries to save his sister from brutal medical experiments at the hands of a white doctor.[61]

Oberlin College became in 2012 the home base of the Toni Morrison Society, an international literary society dedicated to scholarly research of Morrison's work.[62]

God Help the Child, Morrison's eleventh novel, was published 2015. It follows Bride, an executive in the fashion and beauty industry whose mother tormented her as a child for being dark-skinned––a childhood trauma that has dogged Bride her whole life.[63]

Morrison is a member of the editorial advisory board member of The Nation, a magazine that was started in 1865 by Northern abolitionists.[64][49]

Politics, literary reception and legacy[edit]

Politics[edit]

In writing about the 1998 impeachment of Bill Clinton, Morrison wrote that, since Whitewater, Bill Clinton had been mistreated because of his "Blackness":

Years ago, in the middle of the Whitewater investigation, one heard the first murmurs: white skin notwithstanding, this is our first black President. Blacker than any actual black person who could ever be elected in our children's lifetime. After all, Clinton displays almost every trope of blackness: single-parent household, born poor, working-class, saxophone-playing, McDonald's-and-junk-food-loving boy from Arkansas.[65]

The phrase "our first Black president" was adopted as a positive by Bill Clinton supporters. When the Congressional Black Caucus honored the former president at its dinner in Washington D.C. on September 29, 2001, for instance, Rep. Eddie Bernice Johnson (D-TX), the chair, told the audience that Clinton "took so many initiatives he made us think for a while we had elected the first black president."[66]

In the context of the 2008 Democratic Primary campaign, Morrison stated to Time magazine: "People misunderstood that phrase. I was deploring the way in which President Clinton was being treated, vis-à-vis the sex scandal that was surrounding him. I said he was being treated like a black on the street, already guilty, already a perp. I have no idea what his real instincts are, in terms of race."[67] In the Democratic primary contest for the 2008 presidential race, Morrison endorsed Senator Barack Obama over Senator Hillary Clinton,[68] though expressing admiration and respect for the latter.[69] When he won, Morrison said she felt like an American for the first time. She said, "I felt very powerfully patriotic when I went to the inauguration of Barack Obama. I felt like a kid."[9]

In April 2015, speaking of the deaths of Michael Brown, Eric Garner, and Walter Scott—three unarmed black men killed by white police officers—Morrison said: "People keep saying, 'We need to have a conversation about race.' This is the conversation. I want to see a cop shoot a white unarmed teenager in the back. And I want to see a white man convicted for raping a black woman. Then when you ask me, 'Is it over?', I will say yes."[70]

After the 2016 election of Donald Trump as president of the United States, Morrison wrote an essay "Mourning For Whiteness," published in the November 21, 2016, issue of the New Yorker. In it she argues that white Americans are so afraid of losing privileges afforded them by their race, white voters elected Trump, a candidate supported by the white supremacist group the Ku Klux Klan,[71] in order to keep the idea of white supremacy alive.[72][73]

Relationship to feminism[edit]

Although her novels typically concentrate on black women, Morrison does not identify her works as feminist. When asked in a 1998 interview "Why distance oneself from feminism?" she replied: "In order to be as free as I possibly can, in my own imagination, I can't take positions that are closed. Everything I've ever done, in the writing world, has been to expand articulation, rather than to close it, to open doors, sometimes, not even closing the book – leaving the endings open for reinterpretation, revisitation, a little ambiguity."[74] She went on to state that she thought it "off-putting to some readers, who may feel that I'm involved in writing some kind of feminist tract. I don't subscribe to patriarchy, and I don't think it should be substituted with matriarchy. I think it's a question of equitable access, and opening doors to all sorts of things."[74]

In 2012, she responded to a question about the difference between black and white feminists in the 1970s. "Womanists is what black feminists used to call themselves," she explained. "They were not the same thing. And also the relationship with men. Historically, black women have always sheltered their men because they were out there, and they were the ones that were most likely to be killed."[61]

W. S. Kottiswari writes in Postmodern Feminist Writers (2008) that Morrison exemplifies characteristics of "postmodern feminism" by "altering Euro-American dichotomies by rewriting a history written by mainstream historians" and by her usage of shifting narration in Beloved and Paradise. Kottiswari wrote, "Instead of western logocentric abstractions, Morrison prefers the powerful vivid language of women of color…. She is essentially postmodern since her approach to myth and folklore is re-visionist."[75]

Papers[edit]

Morrison's papers are part of the permanent library collections of Princeton University.[76] Morrison's decision to add her papers to Princeton instead of her alma mater Howard University was criticized by some within the historically black colleges and universities community.[77]

Documentary films[edit]

Toni Morrison was the subject of a film entitled Imagine – Toni Morrison Remembers, directed by Jill Nicholls and shown on BBC1 television on July 15, 2015, in which Morrison talked to Alan Yentob about her life and work.[78][79]

In 2016, Oberlin College received a grant to complete a documentary film begun in 2014, The Foreigner's Home, about Morrison's intellectual and artistic vision.[80] The film was executive-produced by Jonathan Demme, directed by Oberlin College Cinema Studies faculty Geoff Pingree and Rian Brown,[81] and incorporates footage shot by Morrison's first-born son Harold Ford Morrison, who also consulted on the film.[82]

Bibliography[edit]

Novels[edit]

Children's literature (with Slade Morrison)[edit]

  • The Big Box (1999)
  • The Book of Mean People (2002)
  • Who's Got Game? The Ant or the Grasshopper?, The Lion or the Mouse?, Poppy or the Snake? (2007)
  • Peeny Butter Fudge (2009)
  • Please, Louise (2014)

Short fiction[edit]

Plays[edit]

Libretto[edit]

Non-fiction[edit]

Articles[edit]

  • "Introduction." Mark Twain, Adventures of Huckleberry Finn. [1885] The Oxford Mark Twain, edited by Shelley Fisher Fishkin. New York: Oxford University Press, 1996, pp. xxxii–xli.

Awards and nominations[edit]

Awards[edit]

  • 1977: National Book Critics Circle Award for Song of Solomon
  • 1977: American Academy and Institute of Arts and Letters Award
  • 1987–88: Robert F. Kennedy Book Award[86]
  • 1988: Helmerich Award
  • 1988: American Book Award for Beloved
  • 1988: Anisfield-Wolf Book Award in Race Relations for Beloved
  • 1988: Pulitzer Prize for Fiction for Beloved
  • 1988: Frederic G. Melcher Book Award for Beloved. A remark in her acceptance speech that "there is no suitable memorial or plaque or wreath or wall or park or skyscraper lobby" honoring the memory of the human beings forced into slavery and brought to the United States; "There's no small bench by the road," led the Toni Morrison Society to begin installing benches at significant sites in the history of slavery in America; the first "bench by the road" was dedicated July 26, 2008, on Sullivan's Island, South Carolina, the point of entry for about 40 percent of the enslaved Africans brought to British North America.
  • 1989: MLA Commonwealth Award in Literature
  • 1989: Honorary Doctor of Letters at Harvard University[87]
  • 1993: Nobel Prize for Literature
  • 1993: Commander of the Arts and Letters, Paris
  • 1994: Condorcet Medal, Paris
  • 1994: Pearl Buck Award
  • 1994: Rhegium Julii Prize for Literature
  • 1996: Jefferson Lecture
  • 1996: National Book Foundation's Medal of Distinguished Contribution to American Letters
  • 2000: National Humanities Medal
  • 2002: 100 Greatest African Americans, list by Molefi Kete Asante[88]
  • 2005: Honorary Doctorate of Letters from Oxford University[89]
  • 2008: New Jersey Hall of Fame inductee
  • 2009: Norman Mailer Prize, Lifetime Achievement
  • 2010: Officier de la Légion d'Honneur
  • 2011: Library of Congress Creative Achievement Award for Fiction
  • 2011: Honorary Doctor of Letters at Rutgers University Graduation Commencement
  • 2011: Honorary Doctorate of Letters from the University of Geneva[90][91]
  • 2012: Presidential Medal of Freedom[92]
  • 2013: The Nichols-Chancellor's Medal awarded by Vanderbilt University[93]
  • 2014 Ivan Sandrof Lifetime Achievement Award given by the National Book Critics Circle[94][95]
  • 2016 PEN/Saul Bellow Award for Achievement in American Fiction[96][97]
  • 2016 The Charles Eliot Norton Professorship in Poetry (The Norton Lectures), Harvard University[98]
  • 2016 The Edward MacDowell Medal, awarded by The MacDowell Colony[99]

Nominations[edit]

See also[edit]

References[edit]

  1. ^"Toni Morrison Fast Facts". CNN. Retrieved February 16, 2018. 
  2. ^Duvall, John N. (2000). The Identifying Fictions of Toni Morrison: Modernist Authenticity and Postmodern Blackness. Palgrave Macmillan. p. 38. ISBN 978-0-312-23402-7.  
  3. ^Dreifus, Claudia (September 11, 1994). "CHLOE WOFFORD Talks about TONI MORRISON". The New York Times. Retrieved June 11, 2007. 
  4. ^ abcdeGhansah, Rachel Kaadzi (April 8, 2015). "The Radical Vision of Toni Morrison". The New York Times. ISSN 0362-4331. Retrieved April 29, 2017. 
  5. ^ abcdefgh"How Toni Morrison Fostered a Generation of Black Writers". The New Yorker. October 27, 2003. Retrieved May 1, 2017. 
  6. ^ abStreitfeld, David; Streitfeld, David (October 8, 1993). "THE LAUREATES'S LIFE SONG". The Washington Post. ISSN 0190-8286. Retrieved April 29, 2017. 
  7. ^ ab"Tony Morrison". Contemporary Popular Writers. Ed. Dave Mote. Detroit: St. James Press, 1997.
  8. ^ abLarson, Susan (April 11, 2007). "Awaiting Toni Morrison". The Times-Picayune. Archived from the original on September 30, 2007. Retrieved June 11, 2007. 
  9. ^ abcBrockes, Emma (April 13, 2012). "Toni Morrison: 'I want to feel what I feel. Even if it's not happiness'". The Guardian. Retrieved February 14, 2013. 
  10. ^ abcCummings, Pip (August 7, 2015). "'I didn't want to come back': Toni Morrison on life, death and Desdemona". The Sydney Morning Herald. Retrieved May 3, 2017. 
  11. ^Wofford, Chloe Ardellia (1955). Virginia Woolf's and William Faulkner's Treatment of the Alienated. Retrieved March 5, 2016. 
  12. ^ abHoby, Hermione (April 25, 2015). "Toni Morrison: 'I'm writing for black people … I don't have to apologise'". The Guardian. ISSN 0261-3077. Retrieved April 29, 2017. 
  13. ^ abc"Toni Morrison Biography", Bio.com. Retrieved October 31, 2015.
  14. ^ abc
Street art depicting Toni Morrison in Vitoria, Spain.

Of all the mantles that have been foisted on Toni Morrison’s shoulders, the heaviest has to be “the conscience of America”. It’s both absurd-sounding and true. For almost half a century her subject has been racial prejudice in the United States, a story that she has told and retold with a steadiness of rage and compassion. Her latest novel, God Help the Child, is her 11th and when I arrive at her apartment in Tribeca, Lower Manhattan, America’s Conscience is having her eyebrows drawn on. “For the photographer,” she explains with a chuckle.

Later, she’ll tell the photographer: “We did makeup for you. I have eyebrows and everything,” then add: “You lose all that stuff … ” The implied second half of that sentence is “when you reach my age”: Morrison turned 84 in February. Her many literary laurels include a Pulitzer in 1988 for Beloved, a Nobel in 1993, and, in 2012, the presidential medal of freedom, from her friend Barack Obama. Being America’s most venerated living writer does not, however, stop a person wanting to look good in pictures. And, it is natural that beauty and the notion of self-image are on her mind as at the centre of her new book is a striking, dark-skinned woman called Bride who tries to shield herself from her own past with surface beautification. A love story unfolds, precariously, between her and Booker, a scholarly young black man adrift in grief for a dead brother. He tells her: “scientifically there’s no such thing as race, Bride, so racism without race is a choice. Taught, of course, by those who need it, but still a choice. Folks who practice it would be nothing without it.”

Bride’s blackness is both the source of her childhood misery – her lighter-skinned mother is so horrified by it that she considers killing her baby – and of her adult success. She works in the fashion and beauty industry where, heeding one stylist’s dictum to dress only in white, she makes herself, “a panther in snow”, an exoticised “other”. The novel intimates that fetishising blackness, both for the observer and the observed, might be just as insidious as outright prejudice. There’s the ex-boyfriend, for example, who seems to claim her as some kind of racial trophy. When this young white man takes her home to his parents it’s clear “that I was there to terrorise his family, a means of threat to this nice old white couple. ‘Isn’t she beautiful?’ he kept repeating … His eyes were gleaming with malice.”

“I’m trying to say,” Morrison tells me now, “it’s just a colour.”

As for beauty: “It can destabilise you if that’s all you have and that’s all you care about and that’s where your success comes from. There’s a three-dimensional person somewhere outside the clothes and the makeup and the nudity, as they call it, since everybody beautiful is buck naked now. I mean,” she says, switching into a tone of outrage that is tinged with self-parody – an older woman pronouncing on the waywardness of the young – “they don’t even make gowns any more that are not, you know …” and she gestures over her bosom to delineate extreme skimpiness.

“Now think about this,” she continues, her voice becoming low and mysterious in the manner of a seasoned storyteller. She pauses for effect. “The nipple is the first thing every human being sucks on. Comfort, nurture, you know? But it’s not like ‘Uhh’” and she mimes jutting a breast out in sexual exaggeration. Once her wheezes of laughter subside, she observes mildly: “That’s interesting how that happened.”

The new novel’s obvious precedent is 1981’s Tar Baby, the only other of her novels to have a contemporary setting, in which a Sorbonne-educated fashion model, Jadine, who fears she has been deracinated by the world of white culture she has come to inhabit, falls in love with Son, a penniless drifter at complete ease with himself and his blackness. If more seems to be at stake in this earlier book, it might simply be a reflection of the increasing superficiality of our moment: Jadine may have been a model but she is not the appearance-obsessed, emotionally stunted child-woman that Bride is. The universe of God Help the Child can seem a little thinner, even as redemption and deliverance bloom.

But with its island of spirits and talking trees, Tar Baby, Morrison points out, is more timeless phantasmagoria than identifiable present reality. So this, really, is her first contemporary novel and she admits that it gave her some trepidation. “It was so fluid,” she says. “Everything else I sort of had a theme about but this doesn’t have any anchor for me. But then I thought, well, yes it does, it’s what we started this conversation about. Beauty – and its worth in the world. And what does that do.”

It was a similar question that began her publishing career 45 years ago. She has always talked about her first novel with disarming simplicity: it was the book she wanted to read and that did not exist. So, as a single working mother of two small sons, she rose at 4am every day and wrote it. Published in 1970, The Bluest Eye is the story of Pecola Breedlove, a young black girl who prays for blue eyes. Morrison wrote in a 2007 foreword that she wanted to focus “on how something as grotesque as the demonisation of an entire race could take root inside the most delicate member of society: a child; the most vulnerable member: a female”.

Most writers claim to abhor labels but Morrison has always welcomed the term “black writer”. “I’m writing for black people,” she says, “in the same way that Tolstoy was not writing for me, a 14-year-old coloured girl from Lorain, Ohio. I don’t have to apologise or consider myself limited because I don’t [write about white people] – which is not absolutely true, there are lots of white people in my books. The point is not having the white critic sit on your shoulder and approve it” – she refers to the writer James Baldwin talking about “a little white man deep inside of all of us”. Did she exorcise hers? “Well I never really had it. I just never did.”

She’d say it’s because she grew up in Lorain, where the neighbourhood was racially mixed: Poles, Italians and Jews as well as African Americans. I’d say it’s less to do with demographics and more to do with her own supreme self‑assurance. It was this that propelled her to Howard University and then on to Cornell, where she completed a master’s in literature. It was this self‑assurance, too, that gave her the courage to split from her husband when she was pregnant with her second child and, that made her such an iconoclastic force as an editor at Random House where she propelled works by black writers such as Angela Davis and Toni Cade Bambara into the mainstream. Finally, of course, she herself became one of the publishing house’s most cherished names.

It was Beloved, her 1987 novel about a slave woman who kills her own baby, that secured her current standing. When it failed to win the National book award, 48 black writers signed a letter of protest published in the New York Times. Soon after, it won the Pulitzer prize and a clutch of other awards.

In 1998, Oprah Winfrey produced and starred in a box-office-flop adaptation of the book and in the years since then, Morrison’s literary reputation has been tainted with a slight suspicion of sentimentality, that snobby apprehension that she might be “a book club” author: the kind of writer, in other words, we read to feel better about ourselves, rather than the kind we read to better ourselves. Her novels, though, are not palliatives. There are moments in God Help the Child that made my stomach lurch with the same horror that I felt reading the description of Sethe in Beloved slitting her baby’s throat. Evil itself, Morrison says, is, “completely boring”: the thing she finds “intellectually fascinating” is how people respond to it. “Cowards are so dangerous. It’s that quality that informs serious hostility – you want to kill somebody for whatever reason, or invent a reason, that’s where that comes from.”

This is the second time I have met Morrison. The first was three years ago, weeks after Trayvon Martin was killed. Then, she told me: “There are two things I want to see in life. One is a white kid shot in the back by a cop. Never happened. The second thing I want to see: a record of any white man in the entire history of the world who has been convicted of raping a black woman. Just one.”

They are statements that attracted attention when she reiterated them recently. “Hasn’t happened,” she says of the first wish. “If it has happened, I don’t know a thing about it. But that second thing? Never. Uh-uh. No matter what she says. No, not a white man. Even if everyone knows about it.”

Arguably, there is yet to be “a good year for race in America”, but 2014, with its sickening roster of black lives lost at the hands of police, seemed especially bleak. “You understand, don’t you,” she says, “that this is not new – it’s in the press. Which is good but it’s always been that way. I have sons. They have to say “Sir” if a police officer stops them. You know … strategies for getting around.”

The present tense and plural “sons” is poignant: Morrison lost Slade, her second son, to pancreatic cancer in 2010. His paintings – abstract portraits – hang on the wall opposite us, “all ears and no mouths because he said mouths are the most difficult thing”. She pauses: “He died, somebody told me, five years ago. Is that true? I thought it was like two years ago, or maybe yesterday. How could it be five years ago? I don’t know what to do with it.”

There is bewilderment, too, when she considers the end of Obama’s term. “Who’s going to follow? I think his presidency’s remarkable. I think it will be categorised as one of the most extraordinary, not only because of what he has done, but also because of the resistance.” Her hopes rest on Hillary Clinton. “I respect and appreciate her. It was difficult in the beginning to choose between her and him. I didn’t want to do the, ‘Which is better? Gender or race?’ And the only other thing I can say is the opposition is not even qualified. You know?” (Another great wheezing chuckle.) “There may be some people in the Democratic party who could give it a run. But, no, I would be on her side. Strongly.”

A few months ago, when Morrison was interviewed by her friend Hilton Als, the writer and critic, she told him that now she’s in her 80s, there are three things she gets to say. One is “No”. The other is “Shut up”. And the third is “Get out”. In other words, she has earned her right not to do what she doesn’t want to do. That includes writing a memoir, even though she signed a two‑book contract with Random House that included one. “And then I thought about it and I said, ‘I’m not writing a memoir: I’m not interested, I know that part’.”

Later, she adds: “So much contemporary fiction, even when it’s well written is sort of … self-referential. I used to teach creative writing at Princeton and I would say ‘Don’t do that. Don’t write about your little life’.” Her tone is one of real distaste.

“Some people just close when they get old,” she says. “But if you’re open, if you have been, you can rely on the lived wisdom of the elderly. It’s not the book learning, it’s the lived wisdom. I ask friends of mine, ‘How old are you, inside?, and they always know. I know that I am 23. There’s a moment when you just arrive.” Or rather, in her case, there are many moments – at 84 going on 23, she continues to arrive.

God Help the Child is published by Chatto and Windus.

0 comments

Leave a Reply

Your email address will not be published. Required fields are marked *