In November of 1973 Toni Morrison published Sula. This writing was written during the era of the Contemporary Literary Period, Black Aesthetic Movement, and the Women 's Era. The Black Aesthetic Movement happened during 1965 through 1976. Currently the Contemporary Period and the Women’s Era began in the 1970s and is still going on today. During the Contemporary Literary Period some of the themes focused on are race, gender, the complexity of the black race, and a new entrance in black history. The Black Aesthetic Movement mainly focused on the love of blackness.Smith, David, and "Black Arts Movement." International Encyclopedia of the Social Sciences. 2008. "Black Arts Movement." Encyclopedia.com. HighBeam Research, 01 Jan. 2006. Web. …show more content…
Each of these events galvanized black artists.”
This in text citation is about how the Black Aesthetic Movement began and why it is so crucial to the people of this time to be heard and change the lifestyles of many writers during this time. Lastly, the Women’s Era which is all about the empowerment of women writers and their individual responses to men and their works during any literary period, and the acknowledgement of stereotypes placed upon black women. Which is why this novel, Sula by Toni Morrison is the ideal text because these themes are addressed deeply throughout the novel. The most appropriate era to use for Sula would be the Women’s
…show more content…
"Sula Theme of Gender." Shmoop.com. Shmoop University, Inc., 11 Nov. 2008. Web. 06 Nov. 2015. “Gender is one of those big themes that is a little difficult to nail down, in part because it often informs a text without being explicitly addressed. Of course, there are instances in Sula in which we do get direct commentary on gender and gender roles, particularly as they relate to the limits placed on women. But more often than not, we have to dig a little deeper to understand the gender dynamics. And it 's not just men who are invested in upholding certain gender roles while dismantling others. Some women are just as invested in maintaining these societal roles, no matter how restrictive they seem.” This in text citation discusses Sula and within the different gender roles expected of each gender. In Sula we see the Mama, the Jezebel, and the Sapphire through various women.
Shmoop Editorial Team. "Sula Theme of Race." Shmoop.com. Shmoop University, Inc., 11 Nov. 2008. Web. 06 Nov. 2015
< http://www.shmoop.com/sula/race-theme.html
The Unhealthy Relationship of Sula and Nel Organisms in nature rely on one another for their well being. However, sometimes those organisms become greedy and decide to take in the relationship, instead of sharing with their symbiotic partner. Through this action, it takes on parasitic characteristics. In Toni Morrison's work, Sula, Sula Peace and Nel Wright demonstrate how a symbiotic relationship goes awry. When one and relationship, which causes Sula to wither away. In the midst of her death, Sula finally realizes that she needs the symbiotic relationship with Nel to survive. The interactions between Sula and Nel began symbiotically; however, it develops into a parasitic one with the dependence of Sula on Nel. The symbiotic nature between Sula and Nel began during their adolescent years. Sula depended upon Ne dislikes her disheveled house, and wishes that she could live in the clean house of Nel's. Nel likes the homeliness of Sula's house. As their relationship progressed, they began to act as an individual, or a symbiotic relationship where "associations are peaceful.cooperations between two entirely different types of organisms" (Simon 13). Symbiosis describes the friend's relationship, because they depended on each Little, by throwing him into a river, Nel stuck by Sula. They both took responsibility for the accident, even though Sula was the only participant. At Chicken Little's funeral, "[Sula and Nel] held hands and knew that only the coffin would lie in the earth; the bubbly laughter would stay aboveground [with them] forever" (Morrison 66). Through this incident, Nel acts like "the poisonous tentacles of a sea an The change of the relationship from symbiotic to parasitic begins with Sula's return to the Bottoms, signaled by the immense number of robins that entered the town. Just like Sula, the appearance of the robins came as a surprise to everyone except Nel. Nel understood this natural phenomenon signaled the beginning of a string of unexpected events brought on by Sula's return 95). Their relationship dwindled when Sula left to find a more prosperous life. She did not think that she needed the friendship that Nel bestowed upon her, but she did. Without Nel, she had numerous parasitic relationships with men, in order to replace the symbiotic relationship that she lost when she left Nel in the Bottoms. Sula needed fulfillment, and she gave Nel fulfillment, and vice versa. Betrayal lead to the separation of the symbiotic relationship between Nel and Sula. However, "The efficient parasite does not seriously harm its host through its individual activities" (Simon 15). Jude, Throughout this order of events, Sula was confused. They had always shared men, and Sula did not understand why she could not share Nel's husband too. They were best friends who shared everything. Why was the situation different now? Now Nel's " thighs were truly empty and dead too, and it was Sula who had taken the life from them" (Morrison 110-111). Sula took Nel's a new man. Ajax. Ajax was "a heroic warrior in mythological stories. During the Trojan War, he was second only to Achilles in bravery. When Achilles was killed, Ajax demanded his armor for himself, instead it was given to Odysseus. Ajax went crazy and committed suicide by falling upon his sword" (O'Neill 82). Sul knew that the relationship between them would eventually turn parasitic. He would not be a good symbiotic partner for Sula. The man that Sula had clung to for protection left quickly without so much as a note. She said after he left, "I didn't even know his name. And if I didn't know his name, then there is nothing I did know and I have known nothing ever at all since.  kill herself.
In the book Sula by Toni Morrison, Morrison’s ambiguous link between good, evil, and guilt, she is able to show that these terms are relative to each other and often occur mutually. In her comparison of good and evil, Sula states that "Being good to somebody is just like being mean to somebody. Risky. You don't get nothing for it" (145). Good and evil are being compared as if they are equal and that is how the book is structured. For instance, Eva's burning of Plum is a complex conjunction of motherly love and practicality and cannot be described as simply being a good act or a bad one. The killing of Chicken Little is a similarly ambiguous situation from which Sula and Nel's feelings are unclear. Lastly Sula, upon her death bed, questions what it means to be good and suggests that it what may be considered bad could in reality be good. Both in the syncopated style of Morrison's writing and the morally ambiguous portrayal of characters, cause the reader to question morals and think about them on a larger scale.
Given the title of the novel, Sula Peace is a complex and thought provoking character in Toni Morrison’s, Sula. Her thoughts and actions often contradict, leaving the reader unable to decipher whether Sula should be praised or demonized. As a child, Sula grows up in a chaotic household that is run by strong-willed women. Because of this constant commotion, Sula loves quiet and neat settings, which is shown through her behavior at Nel’s home. In the novel it says, “She had no center, no speck around which to grow” (Morrison 119). This quote points out how much her home life as a child affects her behavior as an adult. Her mother, Hannah, has almost no sense of right and wrong. Her promiscuous behavior is observed by Sula and sets the foundation
Sula by Toni Morrison is a compelling novel about a unique, self-confident woman. As in many other books, each secondary character in the story serves as a vehicle to explain the main character. Hannah, Sula's mother, is dominated by the element of air; she is free spirited, frivolous and child-like. On the other hand, the element of fire is prevalent in Sula, who is impulsive, hot-tempered and passionate. Despite the differences between the two, Hannah's lifestyle intrigues and influences her daughter. The effect Hannah has on Sula is reflected in many of her daughter's perspectives and actions. As a result of the ubiquitous presence of fire within her, in contrast to her mother's blithe spirit, Sula carries all of Hannah's immorality and actions to a more extreme level. Both women have promiscuous tendencies, do not have close friendships with women, and become easily irritated by Eva. The difference is that Sula's fiery character leads her to act more cruelly than her mother.
Toni Morrison’s novel Sula is rich with paradox and contradiction from the name of a community on top of a hill called "Bottom" to a family full of discord named "Peace." There are no clear distinctions in the novel, and this is most apparent in the meaning of the relationship between the two main characters, Sula and Nel. Although they are characterized differently, they also have many similarities. Literary critics have interpreted the girls in several different ways: as lesbians (Smith 8), as the two halves of a single person (Coleman 145), and as representations of the dichotomy between good and evil (Bergenholtz 4 of 9). The ambiguity of these two characters allows for infinite speculation, but regardless of how the reader interprets the relationship their bond is undeniable. The most striking example of their connection occurs right before the accidental death of Chicken Little. In the passage preceding his death, Nel and Sula conduct an almost ceremonial commitment to one another that is sealed permanently when "the water darkened and closed quickly over the place where Chicken Little sank" (Morrison 61):
In the novel Sula, there were other important characters besides Sula. The character in this book I would like to focus on most is Eva Peace. Eva is a woman who has a disability but remains strong, and this will be the focus of this paper since it wasn’t focused on so much in the book.
Conformity and defying social norms were a common theme this week. In Toni Morrison’s book Sula, Sula Peace actively opposes gender roles. She does this by doing what she would like to do without the burden of her town’s expectations. Sula enjoyed sex and disregarded all of the opinions of the townspeople around committing adultery. Eli commented that it was even more unacceptable in that time period, but Sula’s main priority is being authentic. Even though she urged men to cheat she was still a risk taker and lived spontaneously, which was even more forbidden for a black woman and like Lauren said, the men were also to blame, not just Sula. Not many people in the Bottom share that trait because they are afraid of social isolation. For example, Nel didn’t stray far from the status quo due to her upbringing. Nel’s mother taught her to be proper and follow the set of rules given to her. Her mother often reminded her to “pull her nose” (28) so Nel could have a more appealing nose. On the other hand, Sula lived in an unconventional household with a constant flow of different people coming and going out of the house. Since she was not exposed to a father figure, she was not tainted by patriarchal expectations of the genders. She didn’t witness
Often in nature organisms rely on one another to survive. Relationships in which each partner gives equally are called symbiotic. The two partners live harmoniously along side one another depending on each other but still have the ability to stand and act alone should they need to. However, these perfect relationships do not always exist. Sometimes, certain organisms take more than they give and as a result the other organism suffers. Those that do this are called parasites. In Toni Morrison's novel, Sula, Sula Peace and Nel Wright demonstrate a symbiotic relationship gone awry. The two start off learning from each other and giving to each other equally, but as they spend more time together Sula seems to thrive and Nel seems to wither away. The relationship does not continue in this manner for Nel realizes that in order to survive she must remove Sula from her life and reverse the negative effect of their relationship. Using the relationship that she develops between Nel and Sula, Morrison implies that codependence can be compromising to oneself, suggesting that if one cannot stand on their own the result will be fatal.
Mobley, Marilyn Sanders. “ Toni Morrison.” The Oxford Companion to African American Literature. Eds. William L. Andrews, Frances Smith, and Trudier Harris. New York: Oxford UP, 1997.508-510.
In Toni Morrison’s novel Sula, the theme of the story is good versus evil. It’s embodied into the story in various forms to question what defines right and wrong. Good versus evil is presented in forms that are understood on the surface and beneath the surface which gives it multiple meanings. The relationship between Sula and Nel is the main expression of this theme, however, there are also many other contributors such as color schemes, gender and race differences, and life and death. This theme sheds light on the significance and interpretation of issues of everyday reality which includes controversies related to identity struggles, super natural forces, the impact and relevance of upbringing on development, family structure, and racism. Morrison demonstrates the importance of good versus evil with her writing in the way that she overlaps them and interprets them as products of one another. The friendship of Sula and Nel creates a presence of good and evil within their relationship to each other and their community.
Racism and sexism are both themes that are developed throughout the novel Sula, by Toni Morrison. The book is based around the black community of "The Bottom," which itself was established on a racist act. Later the characters in this town become racist as well. This internalized racism that develops may well be a survival tactic developed by the people over years, which still exists even at the end of the novel. The two main characters of this novel are Nel Wright and Sula Peace. They are both female characters and are often disadvantaged due to their gender. Nel and Sula are depicted as complete opposites that come together to almost complete one another through their once balanced friendship. Nel is shown to be a good character because she plays a socially acceptable role as a woman, submissive wife and mother, while Sula conforms to no social stereotypes and lets almost nothing hold her back, thus she is viewed as evil by the people in her community. Both women are judged by how well they fit into the preconceived social conventions and stereotypes that exist in "the Bottom."
There are many aspects of story that come together to create a complete narrative. A lot of the tools used by writers are intentional and serve the purpose of driving home certain aspects of the story or creating and engaging, and entertaining narrative. Toni Morrison—the author of Sula—is no different. Morrison employs many writing techniques and tools in her narrative Sula. It is important for the reader to be aware of and understand some of these narrative tools that the author uses because it allows the reader to gain a better understanding and appreciation for the narrative. In Sula a few narrative techniques that allow for the argument of women experiences to shine through are the use of a third person narrator, and gaps; throughout the story these tools allow the reader to become interested in and focus in on women experiences.
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
Women’s lives are represented by the roles they either choose or have imposed on them. This is evident in the play Medea by Euripides through the characters of Medea and the nurse. During the time period which Medea is set women have very limited social power and no political power at all, although a women’s maternal and domestic power was respected in the privacy of the home, “Our lives depend on how his lordship feels”. The limited power these women were given is different to modern society yet roles are still imposed on women to conform and be a dutiful wife.
The novel Sula by Toni Morrison exemplifies the new feminist literature described by Helene Cixous in "The Laugh of the Medusa" because of the final portrayal of the two main characters Nel and Sula. However, it is clear throughout the novel that both Cixous's and Gilbert and Gubar's descriptions of women characters are evident within this novel. The traditional submissive woman figure paradoxically is set against the new woman throughout the novel. It is unclear whether the reader should love or despise Sula for her independence until the very last scene. Although both the perspectives of Cixous and Gilbert/Gubar are evident within the text, ultimately it is the friendship of the two women that prevails and is deemed most important. This prevailing celebration of womanhood in all of its dualistic and mysterious aspects is exactly what Cixous pushes women writers to attempt.