Today I read a pair of blogposts and attached articles analyzing Toni Morrison/Paradiso that I felt would go together wonderfully.
The first was by Hannah, and included this article describing in Zhizekian terms how tyrants create their oppressive regimes. To summarize: the tyrants create an evil other, which they give responsibility for all their nation’s problems, (problems usually caused by themselves.) they then set about violently destroying that other. I feel that Toni Morrison’s application of this methodology within Paradiso is blatant and twofold. first, the obvious assault on the covenant. Second, 8rock’s ostracizing of any family or person with lighter skin, up to letting a pregnant woman die with her baby for that reason. “Even with their wives begging they came up with excuses because they looked down on you,” (197.) Continue reading “Scapegoats, Morrison, and how a paradise can be ruined.”
Paradise ends without justice for the people affected by the violences which occur in the novel. Dr. Beth encouraged us to consider what the effect of, what some people in class have described as, an unsatisfying ending. Specifically, what this absence of justice pushes us to consider as students at a state school on occupied land. As Dr. Beth called attention to the absence of justice and reparations given to peoples violated by a historical through-line of state-sponsored violence, I glanced up at the whiteboard in the classroom with “Happy Thanksgiving!” sprawled across it. Continue reading “Happy Thanksgiving! (?)”
Please take the time to read this essay, “Making America White Again,” by the author of our class’s readings, Toni Morrison. She talks about a push and pull: the whitening of America. The topic she discusses makes me think of the progress that we have made in recent years. Morrison writes “These sacrifices, made by supposedly tough white men, who are prepared to abandon their humanity out of fear of black men and women, suggest the true horror of lost status.” It makes me question if I have taken much of what the United States has given to me and my family for granted.
I found the fact that Morrison includes Patricia as a kind of oral historian in Paradise to be jarring considering the fact that I worked at a museum which created a project that recorded the histories of people who are of mixed descent. I wanted to do some work addressing the parallels between Patricia and the work that Brooklyn Historical Society did using the blog post that I wrote about Lacy Shwartz, a mixed-race woman whose Jewish family never told her that she was half black.
Shwartz, whose story is documented in her short documentary, Little White Lie, talked about the sentiments she garnered as a biracial woman. She said that being mixed was a category of being black, “When you are defaulted into the black student union, even though you have black pigment in your skin, there is also a white privilege that you have to let go of. I’m aware of it and I definitely certainly embody it.” Shwartz talked about how as a light-skinned black woman, she at times had a “passing privilege,” which she had to let go of. The same idea is built upon in Morrison’s Paradise.
In class, Prof. McCoy had us reread the line from Ruby which states, “their T-shirts, work shirts and dashikis soak up cold like fever,” pointing to the fact that this group was not only distinctly male- it also included members across all age groups (3). Morrison intentionally created a scenario where the violence being enacted is done in such a way as to label an innocent group guilty for events within the community, aka picking a scapegoat. Continue reading “Scapegoats”
In class Dr.McCoy has mentioned Toni Morrison’s television interview, Uncensored, a couple of times, and while I could not find a site that would provide the entire interview without paying for it, I was able to find three segments of the interview on YouTube. Each video is only about 3-5 minutes long, but provide some extremely helpful context behind Morrison’s works. I am linking the third video in particular because Morrison goes into detail behind the meaning of sha sha sha within Consolata’s chapter of Paradise. Morrison states that she chose “the sound and the rhythm to suggest the eroticism and the longing,” that Consolata felt deep within her and could not express through words. Consolata’s lack of ability to express these feelings through language can be seen in the passage “‘But he, but he.’ Sha sha sha. Sha sha sha, she wanted to say, meaning, he and I are the same” (241). I think this passage along with the context provided by the interview relate well to our discussions in class of sound within Morrison’s work, as well as the repercussions of expulsions for her characters.
Recently, I ended up spiraling through a wormhole of BBC and National Geographic documentaries rather than relaxing with a good, reliable sitcom. The latest was a documentary series called “The Story of God,” hosted by Morgan Freeman in which he discusses God, justice, and morality (amongst other things) while traveling to landmarks for various religions and cultures around the world. You can imagine what sort of dynamic that has created for me while reading Dante’s Paradiso. To even further it, my Humanities class was reading the Christian Bible. So it has just been a whirlwind of big concepts in my head. Continue reading “Predestination/Free Will: Both/And”