When presented with the chance to do research on Morrison, and specifically her connections to Dante, I was thrilled; it felt as if I was getting the chance to do real things in terms of literary analysis in a new, more professional atmosphere. But I found myself easily frustrated and overwhelmed because I simply wasn’t sure where to start.
As Erin Herbst‘s and Brianne Briggmann‘s posts indicate, we along with Ron Herzman are taking the first steps towards a collaborative essay exploring how Toni Morrison’s Jazz recapitulates and revises Dante Alighieri’s Purgatorio.
The project is an offshoot of Fall 2016’s Toni Morrison’s Trilogy course where the class concentrated on the relationship between Morrison’s Paradise and Dante’s Paradiso, and we hope to do much of the thinking towards it in public.
There are risks to doing so, of course. For instance, anyone from anywhere can read this, scrape our interpretations, and use them elsewhere without credit or citation. Continue reading “Toni Morrison’s Jazz and Dante Alighieri’s Purgatorio: Out in the Open”
I will be the first to admit that I do not have much background knowledge on the Harlem Renaissance coming into Lewis’ book. I do take some blame for this myself as I haven’t done thorough independent research on Harlem in the 1920’s, but I’m going to shed most of the blame on current high school curricula. However, as I am beginning to read When Harlem was in Vogue I am quickly learning much more about Harlem and its history as a host of a civil rights revolution. Continue reading “Ascending Through the Texts”
I may as well start with the disclaimer that I read this chapter mainly for content, seeing some connections to Jazz and Purgatorio; I think it’s safe to say that mentions of the Great Migrations naturally make my brain think to the concept of movement in both Dante and Morrison’s works. Besides that, however, I can’t say that I have any concrete connections– then again it’s only chapter 1. Continue reading “When Harlem Was In Vogue chapter 1 thoughts”