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.
While other political authors dedicate their written word to a more exact version of rhetoric, very few writers can enchant lines that are both fascinating and politically energized in the same circumstances. Toni Morrison combines literature and diplomacies into a consolidated figure, that one can describe as a brilliant choreography of exposition. Specifically, Morrison dedicates most of her work toward the organization of oppression. Precisely, the topic of segregation that is placed on display within novels such as Sula and Love; where one is the tale of African-American accomplishment under the suffocating umbra of segregation while the other interjects an African American entrepreneur who derides the African American community and endeavors
In Toni Morrison’s novel Sula, a variety of themes, characters, and controversies are portrayed. There have been many literary criticisms published over Sula such as Sara Blackburn’s “You Still Can’t Go Home Again,” Jackie Kay’s “Book of A Lifetime: Sula, By Toni Morrison,” Rebecca Carroll’s “Great American Novel: Sula by Toni Morrison,” and Barbara Christian’s “The Community’s Use of Sula’s ‘Evil Nature’.” Morrison flawlessly uses descriptive language and her own style to convey the many aspects of this novel such as relationships, the purpose of evil, and the boundaries that are placed upon the
Human life is often experienced as a slow and steady drift from one day to the next, with nothing in particular distinguishing each day as unique. In passively conforming to societal norms and expectations, individuals fashion lives for themselves that lack the spark of passionate purpose that characterizes true individuality. Such a poor soul soon develops habits that allow her to cope with the monotony of her existence, and once caught in this perpetual cyclic motion she finds herself advanced in age without ever having truly grappled with the fundamental questions underlying her own existence; she finds herself having already lived her life without yet knowing the life that she wants to live. Fortunately, this cancer of human inertia is neither incurable nor inevitable. A person who is cognizant of her freedom, of her ability to set the course of her own life, can overcome her inertia and begin to define herself through her actions, rather than passively defining herself through her inaction. Such a person can be a positive force in her community by shocking others into examining not just where their own lives are headed, but who they are and who they are becoming. A small impulse, however, provided by one person, cannot single-handedly overcome the overwhelming inertia of a community of stationary individuals. Other forces must be active in order for individuals to reshape their perspectives on life. It is in this context of transformation, of striving to overcome the inertia of everyday life to find the meaning and passion at the core of existence, that sex, violence, racism, even death, and, ultimately, Sula, are appropriately viewed as positive forces.
Exploring Personal Choices in Toni Morrison's Beloved
At the climax of her book Beloved, Toni Morrison uses strong imagery to examine the mind of a woman who is thinking of killing her own children. She writes,
"Because the truth was simple, not a long-drawn-out record of flowered shifts, tree cages, selfishness, ankle ropes and wells. Simple: she was squatting in the garden and when she saw them coming and recognized schoolteacher's hat, she heard wings. Little hummingbirds stuck their needle beaks right through her headcloth into her hair and beat their wings. And if she thought anything, it was No.
Toni Morrison's Sula
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).
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.
On the contrary, Sula is given too much freedom as a child, a controlling force in itself as she never has any structure in her life. Although this freedom allows Sula to create her own identity and make a life for herself apart from society’s expectations of her as a woman, it also prevents her from knowing what it would be like to have a normal life. Due to the constant presence of noise, disorder, and commotion at home, Sula favours the quiet “oppressive neatness of [Nel’s] home” (29). This speaks to Sula’s character because although she is viewed as impulsive and emotional, she can “sit on [Helene’s] red-velvet sofa for ten to twenty minutes at a time - still as dawn” (29), simply observing the calm around her. This shows that Sula yearns for the sense of order she never experiences in her own home. *CONCLUSION AND TRANSITION TO NEXT
In this informative, instructive and opportune work, the writer Pierrette Hondagneu Sotelo proudly accentuates the experiences, demands and views of Central American and Mexican women who take care for children of other people and their homes, the new prelude focuses on the recent problems facing by migrant household workers in a worldwide perspective.
Society has established that emotional labor of women is expected to nurture the well-being of family as well as work. But with the geographical distance between mother and children, transnational mothers face a challenge to provide her children with the emotional care that they need. If the mothers are expected to remain responsible for the emotional labor of their families, children in these households are prone to what is known as the "care deficit", meaning someone else besides the mother has to be responsible for the emotional care....