Morrison, Toni

Author(s):  
Kristine Yohe

Born in 1931 in Lorain, Ohio, as Chloe Ardelia Wofford, the woman who is now Toni Morrison has experienced a life of great depth, length, and breadth—ranging from working as a housekeeper at age 12 to winning the Nobel Prize in Literature when she was 62. Extraordinarily, now 87 years old, Morrison has continued to write. She was named Woman of the Year by Ladies Home Journal in 2002 and was awarded the Presidential Medal of Freedom by Barack Obama in 2012. But what stands out the most are her books. In writing challenging novels about abused children, ghosts, enslaved mothers, bankers, beauty-supply salesmen, hoteliers, veterans, nuns, fashion models, and child brides, Morrison dives deeply into black culture, black history, and black love. While fulfilling her primary goal of bearing witness for her target audience, African American readers, her novels also provide readers of other races rich and varied glimmers of understanding into African American life, history, and culture. Morrison’s works are brave, unvarnished, direct, gutsy, earthy, and true. Her oeuvre includes eleven novels; nine children’s books; several books of analysis, literary reaction, and cultural critique; one libretto; one book of poems, one short story; one published play; one unpublished play; dozens of essays; and numerous edited books. Her most acclaimed novel, Beloved, was published in 1987 and won the Pulitzer Prize for Fiction in 1988. Ten year later, in 1998, it was adapted as a movie produced by and starring Oprah Winfrey. Her most obscure work may be the co-authored College Reading Skills, published in 1965. In addition to becoming an acclaimed author, Morrison has been an accomplished editor, a university professor at Princeton and Harvard, and she has been a guest curator at the Louvre in Paris. She has a brilliant mind, an irreverent sense of humor, and a youthful sense of self, having said on more than one occasion that even at her age she feels exactly 23 years old inside. With her former husband, Harold Morrison, a Jamaican architect whom she married in 1958 and divorced in 1964, she birthed two sons, Harold Ford, an architect, and Slade Kevin, an artist who died of cancer in 2010. She has two granddaughters, Nidal and Safa, and a daughter-in-law, Cecilia Rouse, who worked in the Obama White House. Now in her 80s, she is long retired from teaching. Because of back trouble, she is mostly wheelchair bound, but she is thinking clearly, and she is writing, with at least two more books in the works—a book of essays as well as her twelfth novel, tentatively titled Justice. While some have called her the “conscience of America,” she manages to be simultaneously regal and down-to-earth, and she still calls herself “Chloe.” Toni Morrison is all of these things and more; she and her esteemed novels and nonfiction demonstrate the breadth of her varied interest as an artist and as one of America’s most important public intellectuals.

2021 ◽  
Vol 11 (3) ◽  
pp. 28
Author(s):  
Miaomiao WANG ◽  
Chengqi LIU

Toni Morrison (1931-2019) is renowned as the Nobel and Pulitzer Prize-winning American novelist. Her third novel Song of Solomon was written in the context of postmodernism, which embodies a variety of postmodern narrative features. Postmodern works are frequently inclined to ambiguity, anarchism, collage, discontinuity, fragmentation, indeterminacy, metafiction, montage, parody, and pluralism. Such postmodern narrative features as parody, metafiction and indeterminacy have been manifested in Song of Solomon. In this novel, Toni Morrison employs the strategy of parody in order to subvert traditional narrative modes and overthrow the western biblical narrative as well as African mythic structure. Meta-narratives are also used in the text to dissolve the authority of the omniscient and omnipotent narrator. By questioning and criticizing the traditional narrative conventions, Morrison creates a fictional world with durative indeterminacy and unanswered problems. Through presenting parody, metafiction and indeterminacy, this paper attempts to analyze the postmodern narrative features in Song of Solomon and further explore Morrison’s writing on the African-American community and its future development.


2021 ◽  
pp. 009579842110342
Author(s):  
Lydia HaRim Ahn ◽  
Angel S. Dunbar ◽  
Erica E. Coates ◽  
Mia A. Smith-Bynum

The present study tested a path analytic model that addressed two questions regarding the connection between one aspect of racial socialization (cultural pride reinforcement), communication between mothers and their adolescent children, adolescent ethnic identity, and mental health. First, we tested whether quality of communication moderated the relationship between cultural pride reinforcement and ethnic identity affirmation and anxiety/depressive/withdrawn symptoms. Then, we examined whether cultural pride reinforcement and quality of communication with mothers were directly linked to ethnic identity affirmation and in turn lower anxiety/depressive symptoms and withdrawn behaviors. Our sample included 111 African American adolescents (58.2% female; ages 14–17) in the mid-Atlantic region. Results of a path analysis indicated that cultural pride reinforcement and quality of communication independently and uniquely related to internalizing symptoms through ethnic identity affirmation. Findings contribute to a novel understanding of how both cultural (cultural pride reinforcement) and universal (quality of communication) are important factors to foster African American adolescents’ healthy adjustment and sense of self.


2020 ◽  
Vol 13 (3) ◽  
pp. 305-318 ◽  
Author(s):  
Valentina Rapetti

Tina Benko is an American stage, screen and television actress who has steadily trodden the Broadway boards for twenty years while starring in films and TV series and teaching acting and movement in New York City. An intensely focused and versatile performer, Benko has played in a broad variety of genres, ranging from screwball and Shakespearean comedies to realistic Russian, Scandinavian and American plays. In this interview, she discusses the factors that attracted her to drama and theatre, her acting training and approach to character-building, and theatre as a space for healing and reconciliation as she experienced it while working in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, and music and lyrics by Malian singer-songwriter Rokia Traoré.


Author(s):  
Daniel L. Smith-Christopher

Scholars working on the connection of literature, narrative, and trauma have made important connections between an individual’s ability to maintain a coherent sense of self (a personal narrative) and their own psychological and social well-being. Some literary expressions from traumatic circumstances, therefore, can be read as individual attempts to repair personal narratives. The biblical book of Lamentations may well be such an exercise in narrative repair. Using these ideas to introduce ways of reading the biblical book of Lamentations, the chapter makes the connection with African American blues traditions as another form of narrative repair very much in the spirit of the biblical material. In fact, the comparison with the blues may well lead to new reading strategies for Lamentations as well.


2020 ◽  
Vol V (IV) ◽  
pp. 45-53
Author(s):  
Fayaz Ahmad Kumar ◽  
Colette Morrow

This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.


2019 ◽  
Vol 2 (1) ◽  
pp. 40
Author(s):  
Zoi Arvanitidou

The Ballroom scene is an underground subculture created by African Americans and Latinos and gives emphasize in issues of race, gender, and sexual orientation within the heterogeneous society. The members of this subculture live in an organized social structure based on the acceptance and the celebration of sexual and gender expression. Balls are competitions where transgender people are involved, performing different kinds of dances. Balls provide to the queer community a cozy place to build their sense of self in their hidden world without the limitations imposed by society on gender and sexual expression. Balls are a combination of fashion, competition, and dance. “Voguing” is the characteristic dance of Balls and it is an extremely stylized dance form. Vogue magazine’s model poses to inspire it, and it uses the arms and legs with dramatic, rapid and feminine edgy ways. “Voguing” includes catwalk, dance, spins and other risky styles of movement. The “Voguing” has the major role in Ballrooms that contain fashion catwalk and competitions, where African and Latinos gays and transgender participate in a competition, imitating fashion models in the catwalk with gestures and poses to win an award. The panel of the critics, in a Ball, judges them from the movements of their dance, attitudes, costumes and the ingenuity in all of these areas. Today there are three basic types of Voguing: a) the Old Way, b) The New Way and, c) The Vogue Femme.


Author(s):  
Karim A. Remtulla

This chapter produces a socio-cultural critique of the ‘rational training’ workplace e-learning scenario. In this workplace e-learning scenario, workplace e-learning for workplace adult education training is used to justify the workforce through standards, categories, and measures. The alienating effects that arise out of this rush towards technocentric rationalization of the workforce through workplace e-learning are also discussed. These are the unintended and paradoxically opposite outcomes to the effects actually anticipated. An exploratory case study problematizes the unquestioned acceptance of the technological artefacts of workplace e-learning within organizations as credible sources to provide a rationale to justify workforces within workplaces. This approach critiques the presumption of infallibility of the technological artefacts of workplace e-learning; considers the short-comings of the conceiving of workplace e-learning as ‘finished’; and, reveals the ‘underdetermined’ nature of workplace e-learning technological artefacts. Socio-cultural insensitivity from workplace e-learning, in this scenario, comes from the basic, unquestioned assumption that workers are essentially socially flawed and culturally inferior; accountable for overcoming their sociocultural flaws and inferiorities; and, need to be justified by workplace e-learning, through standards, categories, and measures, to meet the expectations of the infallible and commodified workplace. A workplace e-learning that is deployed to justify the workforce, through standardization, categorization, and measurement, all result in a workforce being alienated from: (a) each other (worker-worker alienation); (b) their work (worker-work alienation); and, (c) their personal identities and sense of self (worker-identity alienation). Social rationalization is not the means to social justice in the workplace when it comes to workplace adult education and training, workplace e-learning, and the diverse and multicultural learning needs of a global cohort of adult learners.


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