African American Literature Toni Morrisons Essay Black Matters
In Black Matters, Toni Morrison discusses "knowledge" and how it seems to take on a Eurocentric standpoint. The "knowledge" she discusses is the traditional literature that is "unshaped by the four-hundred-year-old presence of the first Africans and then African-Americans in the United States" (Morrison 310). Morrison also addresses the treatment of African Americans in current society dealing with "racial discourse" (311), in addition, to ignoring matters of race. Morrison strongly argues that the traditional canon, taught and respected by much of society, ignores black's contribution to society. She is also concerned with the lack of true African representation within the American canon, and says that what is within our American literature is an "invented Africa".
Morrison states, "American literature has been clearly the preserve of white male views, genius, and power, those views, genius, and power are removed from and without relationship to the presence of black people in the United States" (310). I agree with Morrison, these inequalities do ignore the importance of black experience. In today's society, why does the majority of teachers (K-12) only incorporate African American literature (writers) during the month of February? Is it because February is Black History month? As a child I learned and read about the black experience either at home or only during the month of February. Because of this, I always saw (or thought) whites as being the norm for literature in the school's curriculum.
Along with treating white Americans as the norm, Morrison illustrates that American literature portrays the black experience as insignificant and unworthy of attention. ...
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...s black presence is central to any understanding of our national literature," (310). In looking closely at "blackness," one will discover his or her "whiteness" (311). I strongly feel that studying the African-American experience in literature will greatly change or shape society and help all Americans learn about their history. The connection between all Americans, whether black or white, will encourage pride and a true knowledge about the black experience. If we achieve this, we may achieve "a deeper, richer, more complex life than the sanitized one commonly presented to us" (322).
Morrison, Toni. "Black Matters." Falling into Theory. Ed. Richter. 2nd ed. Boston:
Bedford/St. Martin's, 2000. 310-322.
Faulkner, William. "A Rose for Emily." The Compact Bedford Induction to Literature.
Ed. Michael Meyer. 5th ed. Boston: Bedford/ St. Martin's, 2000. 71-77.
It's not just about telling the story; it's about involving the reader. we (you, the reader, and I, the author) come together to make this book, to feel this experience" (Tate 125). But Morrison also indicates in each of her novels that images of the zero, the absence, the silence that is both chosen and enforced, are ideologically and politically revelatory. Morrison's male characters imagine themselves in flight and are almost all in love with airplanes. . In the tradition of black literature since Richard Wright's Native Son, however, the privilege of flight, at least in airplanes, is mostly reserved for white boys.
Mat Johnsons novel, Pym challenges readers not only to view his work with a new set of eyes but also the work of all American literature with the understanding that the idea of Whiteness still has a very strong power over literature today. It is unfortunate that in today’s society, the pathology of Whiteness still holds a very strong presence in literary world. Literature from American authors versus literature from African American authors still continues to be segregated and handled with two different sets of criteria. Johnson’s novel engages in different aspects of the argument presented in Toni Morrison’s work entitled Playing in the Dark: Whiteness and the Literary Imagination. One of the main ideals that Pym engages in is the thought that “…a figuration of impenetrable whiteness … surfaces in American literature whenever Africanist presence is engaged” (29). Through the character Chris Jaynes, Johnson’s novel focuses much attention on the Whiteness seen in the literary world and how it still affects literature today. Mat Johnson’s Pym addresses Morrison’s argument by challenging the reader to identify the pathology of whiteness as well as encourages readers not to only identify the problem but try to find new ways to combat it.
113-117. Modern Critical Views: Toni Morrison. New York: Chelsea House Publishing, 1990. Malcolm X. "On Afro-American History" - "The History of American History" Audubon Ballroom, Harlem, MA. 24 Jan 1965.
Sprouted from slavery, the African American culture struggled to ground itself steadily into the American soils over the course of centuries. Imprisoned and transported to the New World, the African slaves suffered various physical afflictions, mental distress and social discrimination from their owners; their descendants confronted comparable predicaments from the society. The disparity in the treatment towards the African slaves forged their role as outliers of society, thus shaping a dual identity within the African American culture. As W. E. B. DuBois eloquently defines in The Souls of Black Folk, “[the African American] simply wishes to make it possible for a man to be both a Negro and an American, without being cursed and
The idea of race and the stigma and stereotypes associated with different skin colors have been a constant in our society. From our country’s founding, race has been deeply engrained into our culture—the most prominent example being slavery—and has been the main source of conflict among people. The race issue in America has been illuminated in recent years both intellectually and physically; pieces of literature have been created that explore the repercussions of race in society and the historical implications situations, and events have sparked attention through the media that depict the issues that race creates. An example of examining race in America intellectually can be seen in Toni Morrison’s essay Playing in the Dark, which discusses
African American writing regularly addresses racial personality—from books on going to expositions on Black Power—from journalists as differed as W.E.B. DuBois, Zora Neale Hurston, and Toni Morrison. Be that as it may, these authors are once in a while studying on how they build a racial personality for themselves and their characters. Dark writings can possibly uncover the variables that make racial personality and clear up how the procedure of consideration and prohibition work inside the African American group. Building up a strategy for deciphering how racial character is tended to in African American writings is critical in comprehension the implicit rejection in the dark group. The answers (or inquiries) that rise up out of this study
Hare writes that the color white symbolizes purity and black stands for evil and derogatory referent and that “... theirs brains,..., at last has been washed white as snow.”. At a young age, children are taught how to read children’s books. ‘“Why are they always white children?” asked by a five-year old Black girl” (Larrick, 63), as many books seen are only white. Nancy Larrick wrote an article about children’s book and argued how children’s books portrays only whites in books, while there are many non white children and white children across the United States that are reading these books about white children. Larrick also points out that across the country 6,340,000 million non white children are learning to read and understand the American way of life in books which either omit them entirely or scarcely mention them in it (63), and of the 5.206 children's book, only 394 included one or more blacks, which was an average of 6.7 per cent (64). Children’s books will not contain a black hero/heroine because in the books, being depicted as a slave or a servant, or better yet to ...
The contradiction of being both black and American was a great one for Hughes. Although this disparity was troublesome, his situation as such granted him an almost begged status; due to his place as a “black American” poet, his work was all the more accessible. Hughes’ black experience was sensationalized. Using his “black experience” as a façade, however, Hughes was able to obscure his own torments and insecurities regarding his ambiguous sexuality, his parents and their relationship, and his status as a public figure.
The novel covered so much that high school history textbooks never went into why America has never fully recovered from slavery and why systems of oppression still exists. After reading this novel, I understand why African Americans are still racially profiled and face prejudice that does not compare to any race living in America. The novel left a mixture of frustration and anger because it is difficult to comprehend how heartless people can be. This book has increased my interests in politics as well and increased my interest to care about what will affect my generation around the world. Even today, inmates in Texas prisons are still forced to work without compensation because peonage is only illegal for convicts. Blackmon successfully emerged the audience in the book by sharing what the book will be like in the introduction. It was a strange method since most would have expected for this novel to be a narrative, but nevertheless, the topic of post Civil War slavery has never been discussed before. The false façade of America being the land of the free and not confronting their errors is what leads to the American people to question their integrity of their own
...al stereotypes to allow the readers to make their own assumptions based on their personal thoughts and beliefs. Many of the stereotypes that Morrison chose to use portray more of a socioeconomic class and not discriminating by race. As the setting or environment changed, it will be seen as a symbol of transformation of both Roberta and Twyla friendship. Each circumstance that they went through was distinctive. It tested the strength of their relationship with one another and exemplified their struggles they were facing in society. They had to adjust their beliefs to match the changing phases in the United States as many blacks and whites today still face problems in society about racial stereotypes and segregation. Toni Morrison portrayed racial identity not by black and white, but as irrelevant to relationships but rather by means of distinguishing between people.
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.
The structure and way this book is organized is a good clue of how Morrison wants us to see Pecola’s and all black peoples situations. Instead of ord...
“As rich in themes and poetic images as her Pulitzer Prize- winning Beloved…. Morrison conjures up hand of slavery on Harlem’s jazz generation. The more you listen, the more you crave to hear.”-Glamour
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.
Margolies, Edward. “History as Blues: Ralph Ellison’s Invisible Man.” Native Sons: A Critical Study of Twentieth-Century Negro American Authors. J.B. Lippincott Company, 1968. 127-148. Rpt. in Contemporary Literary Criticism. Ed. Daniel G. Marowski and Roger Matuz. Vol. 54. Detroit: Gale, 1989. 115-119. Print.