In the novel “Sula”, Toni Morrison presents a very different view on gender in the black community between 1919 and 1965. Written in 1973 after the Civil Rights movement and during the feminist movement, Morison breaks down the traditional gender barriers from as early as 1919, proving that black females were “women” much sooner than their white “lady” counterparts. Morrison depicts matriarchal homes where the women are the dominant figures who even go as far as to emasculate their male opposites. All the women are presented as being independent due to being either abandoned by their husbands or refusing to conform to the convention of marriage. The relationship between Nel and Sula goes far beyond the bounds of a normal relationship. They are doubles or ‘doppelgangers’ whose bonds are severed when Nel conforms to the expectations of the community and marries Jude. Both are able to express the desires or dreams of the other and Sula escapes from Medallion, just as Nel wished when she was a child.
In “Sula” Toni Morrison attempts to break the traditional stereotype of women as mothers and caregivers as she portrays strong, independent women who are able to survive without a male partner. Women in black communities not only had to endure being women in a male dominated society but were black women in society dominated by white males. Yet, despite this, Morrison’s women are very much independent either by choice such as Sula and Hannah, or are forced into it by the betrayal of their partners; Nel and Eva. Nel’s mother, Helene is a single mother to a certain extent; her husband works away from home and Helene is depicted as being very independent. Eva expresses her matriarchal dominance throughout the story yet is only able to use h...
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...s World of Fiction. The Whitson Publishing
Company, Troy, New York, 1993.
McKay, Nellie. Critical Essays on Toni Morrison. G.K Hall and Co., Boston, Massachusetts, 1988.
Morrison, Toni. Sula. London: Random House. 1973.
Otten, Terry. The Crime of Innocence in the Fiction of Toni Morrison. University
of Missouri Press. Columbia and London, 1989.
Peach, Linda. Toni Morrison. Macmillan, 1995.
Bibliography
Carmean, Karen. Toni Morrison’s World of Fiction. The Whitson Publishing
Company, Troy, New York, 1993.
McKay, Nellie. Critical Essays on Toni Morrison. G.K Hall and Co., Boston, Massachusetts, 1988.
Morrison, Toni. Sula. London: Random House. 1973.
Otten, Terry. The Crime of Innocence in the Fiction of Toni Morrison. University
of Missouri Press. Columbia and London, 1989.
Peach, Linda. Toni Morrison. Macmillan, 1995.
In the novel “Sula” by Toni Morrison two significant themes that contributed to the overall message of the novel include friendship and family. A friendship is an intimate relationship with another individual that is created and sustained voluntarily. In today’s society friendships are expected to contain qualities such as loyalty, empathy, encouragement, and understanding to be considered healthy. However, relationships with family members are usually involuntary and each member is expected to be nurturing, supportive, patient, trustworthy, and responsive. Love is expected to be present in both of these types of relationships and in “Sula” it was shown how love or the lack there of can impact the treatment of others.
Historically, the job of women in society is to care for the husband, the home, and the children. As a homemaker, it has been up to the woman to support the husband and care for the house; as a mother, the role was to care for the children and pass along cultural traditions and values to the children. These roles are no different in the African-American community, except for the fact that they are magnified to even larger proportions. The image of the mother in African-American culture is one of guidance, love, and wisdom; quite often the mother is the shaping and driving force of African-American children. This is reflected in the literature of the African-American as a special bond of love and loyalty to the mother figure. Just as the role of motherhood in African-American culture is magnified and elevated, so is the role of the wife. The literature reflects this by showing the African-American man struggling to make a living for himself and his family with his wife either being emotionally or physically submissive. Understanding the role of women in the African-American community starts by examining the roles of women in African-American literature. Because literature is a reflection of the community from which it comes, the portrayal of women in Zora Neale Hurston's Their Eyes Were Watching God (1937) and James Baldwin's Go Tell it on the Mountain (1952) is consistent with the roles mentioned above.
Sula, the second and the only chronicled novel of Morrison, describes how the Harlem Renaissance influenced the common blacks in a little community of Medallion. They keep the black tradition of "the ancient properties", taking care of the orphans, the old, and accept even the prostitutes as their neighbors. The protagonist, Sula, enjoys her free life without marrying and concentrates on her own pleasure unlike the other villagers to criticize the community spirit of her village. As a result, they turn their backs on Sula and exclude her from all relationships, accusing her a devil.
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.
What art succeeds in doing is transmute the sexual expression into an acceptable form - by turning it into a thing of beauty and approximating it into a haze of sublimity. In the post- modern climate of media, eros as sexuality reels dangerously on the brink of pornography. Yet what is also important is to realize that it is an important lens to view our social, political and cultural identities. At the beginning of the twentieth century, sexuality rode on the tide of social progressivism and became a vehicle for artistic expression in the novel. Also, when eros as sexuality serves as a principal theme in serious or popular literature, it is often used as a means of remarking upon the dynamics in a society. This is the point that is scrutinised and analysed in this paper where the sexuality of women is seen as an important definition and perspective in Toni Morrison’s Sula (1973).The novel explores the lives and friendship of Sula Peace and Nel Wright in the black neighbourhood dubiously named ‘The Bottom’ in the city of Medallion . The novel also investigates lives of its various female characters in this community who add to our understanding of the life of African American women. Morrison is one of the most remarkable African-American authors of the twentieth century and her novels remind readers that the position of African-Americans in the white-dominant society of the United States of
The sewing circle is a matrifocal space of political and social engagement that serves as Hopkins’ fictionalization of the black women’s club movement (Patterson 72). Here, the women of Contending Forces gather together to raise money, discuss political concerns, and forge social coalitions. A blackboard occupies a central space in the parlor of Ma Smith’s boardinghouse, and upon it each woman has contributed some news or raised a concern pertaining to the community. The gathering and discussion of these women makes the circle fertile ground for Hopkins’ linking of race, class, and gender concerns through the figure of the New Negro Woman. This space, filled with female voices and domestic tasks, features several versions of womanhood. And like other communal spaces, Hopkins argues for the collaboration of each woman figure and the value of all expressions of womanhood when united under the collective goal of racial uplift. Mrs. Willis and Mrs. Smith represent alternative approaches to motherhood—Ma Smith offers space but cedes the intellectual energy to the younger women, while Mrs. Willis figures more as a race mother that influences and directs the path of racial progress. Mrs. Willis is also a foil to Sappho in this scene as a
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.
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):
Morrison’s authorship elucidates the conditions of motherhood showing how black women’s existence is warped by severing conditions of slavery. In this novel, it becomes apparent how in a patriarchal society a woman can feel guilty when choosing interests, career and self-development before motherhood. The sacrifice that has to be made by a mother is evident and natural, but equality in a relationship means shared responsibility and with that, the sacrifices are less on both part. Although motherhood can be a wonderful experience many women fear it in view of the tamming of the other and the obligation that eventually lies on the mother. Training alludes to how the female is situated in the home and how the nurturing of the child and additional local errands has now turned into her circle and obligation. This is exactly the situation for Sethe in Morrison’s Beloved. Sethe questions the very conventions of maternal narrative. A runaway slave of the later half of 19th century, she possesses a world in which “good mothering” is extremely valued, but only for a certain class of women: white, wealthy, outsourcing. Sethe’s role is to be aloof: deliver flesh, produce milk, but no matter what happens, she cannot love. During the short space of time (which is 28 days) Sethe embraces the dominant values of idealised maternity. Sethe’s fantasy is intended to end upon recover, however, it doesn’t, on that ground she declines to give her family a chance to be taken from her. Rather she endeavours to murder each of her four kids, prevailing the young girl whom she named Beloved. Sethe’s passion opposes the slave proprietor’s- and the western plot line's endeavours at allocations, for better or in negative ways. It iwas an act arranged in the space between self-attestation and selflessness, where Sethe has taken what is humane and protected it
Morrison uses multiple literary techniques such as this in order to vividly describes the emotions of the characters in the book, to appeal to the readers and to expose them to the harsh truth of effects of social and political issues of the time.the description of the war which Shadrak spent and its effect on him shows in part the psychological ties political and social issues contain. Morrison also represents the struggle people face by putting characters in inevitable and difficult situation in order to test their tolerance. People of the bottom blame sula for the things that happen before she left the town but when she leaves they realize that their problems seems to only get worse and when she returns the problems lessen only to start up again after her death. The reason for this is because the society has for so long used the free spirited woman as an escape goat it prevented them from realizing their real problem which only returned when they had no one to blame for it. Morrison is also known to use Human nature as starting bases for her books. In sula she uses Love, friendship, trust and evil within her work. Although there wasn’t a set definition of love in sula, she uses love by describing multiple ways that different mothers love or care for her children and love between friends such as Sula and Nel. Sula and Nel have such a great bond and relationship that even after Sula cheats with Nel's husband, Nel still found it in her heart to forgive sula for what she has done. Nel realize what was the strongest bond that she had during her life was sula the one person whom she could find flaws in to make herself seem better. Cruelty and evil seen throughout this novel where trusts were broken people were mistreated. It is truly shown when a white man finds a dead black boys body in the river and treats it as if
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
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 lack of support and affection protagonists, Sula Peace and Nel Wright, causes them to construct their lives on their own without a motherly figure. Toni Morrison’s novel, Sula, displays the development of Sula and Nel through childhood into adulthood. Before Sula and Nel enter the story, Morrison describes the history of the Peace and Wright family. The Peace family live abnormally to their town of Medallion, Ohio. Whereas the Wrights have a conventional life style, living up to society’s expectations.The importance of a healthy mother-daughter relationship is shown through the interactions of Eva and Hannah Peace, Hannah and Sula, and between Helene Wright and Nel. When Sula and Nel become friends they realize the improper parenting they
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."
When you see a man who is hurt or in pain a realistic answer instead consoling him would be " be a MAN, stop being such a GIRL." Now if a woman was hurt, an instinctual thing to do is ask " are you okay? or do you need help?" Why do we have such differences. What’s really happening between women and men in contemporary society? Society loves to say "You’ve come a long way, baby" whenever an individual woman rises to the top of a "male" profession. It also enjoys turning househusbands into afternoon talk show guests. Throughout history, women have had the misfortune of being labeled as “the other” to men. According to many philosophers, women are the second sex. This idea of women as the second sex is fueled by the notion that the feminine is a mistake, and that masculinity is the correct approach to life. This idea has even been given a new name recently: androcentrism. Androcentrism is a new kind of sexism that, rather than just favoring men over women, favors masculinity over feminist universally. In Paradise, Toni Morrison shows through her style of writing and the way she sets up the chapters shows different images of how men in the town of Ruby are oppressing these women in the convents.