scholarly journals A Study on the Postmodern Narrative Features in Toni Morrison’s Song of Solomon

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.

2017 ◽  
Vol 7 (2) ◽  
pp. 65
Author(s):  
Mohammed Mahameed ◽  
Majed Abdul Karim

The question of alienation has always been a pervasive theme in the history of modern thought, and it occupies a considerable place in contemporary work. Literature in general, and fiction in particular, raise this issue to reveal its influence on human beings and communities. Novelists have been trying to unravel its complexities and concomitant consequences. The paper aims to explore the experience of alienation through depicting the issue not as a purely racial reality, or something restricted to the colour of the skin or gender of the victim. It is rather presented as a distressing state which cripples the victims and makes them susceptible captives of the dominant forces. In the selected novels, Toni Morrison has delved deep into the experience of alienation through her male and female characters, showing the different forms of this experience. The present research investigates Morrison’s portrayal of the issue from an African-American prospect. References will be made to novels such as Tar Baby, Sula, The Bluest Eye, Song of Solomon, and Beloved.


Author(s):  
jan furman

Novelist, essayist, librettist, book editor, teacher, scholar, and public intellectual, Toni Morrison was a major contributor to contemporary understandings of the enduring and complex roles of race, sexuality, gender, and class in shaping American experience and identity. Morrison was born Chloe Anthony Wofford on 18 February 1931 in Lorain, Ohio, where she grew up with parents, George and Ramah Wofford, an older sister, and two younger brothers. After high school she attended Howard University, where she took on the name Toni. In 1953 she was graduated with a BA in English and two years later earned an MA from Cornell. In the nine years that followed, Morrison spent two teaching English at Texas Southern University before returning to Howard as an instructor. During this period, she married Harold Morrison and gave birth to two sons. In 1964 the marriage ended in divorce, and Morrison moved to New York to begin a nearly twenty-year tenure at Random House, first at the textbook subsidiary in Syracuse and then at the trade division in New York City. There she published Angela Davis, Henry Dumas, Toni Cade Bambara, Mohammad Ali, Gayle Jones, and other writers whose time had come, she thought. “I made it my business,” she once said of her work as an editor, “to collect African Americans who were vocal, either politically, or just writing wonderful fiction.” At Random House, Morrison also began publishing her own stories, writing the kind of books she says she wanted to read. The Bluest Eye appeared in 1970, although she began it much earlier as a young wife and mother in a writing group. It was out of print by 1974 but has since been reprinted and is now considered a masterwork. Ten novels followed: Sula (1973); Song of Solomon (1977); Tar Baby (1981); a trilogy, Beloved 1987, Jazz (1992), and Paradise (1998); Love (2003); A Mercy (2008); Home (2012); and God Help the Child (2015). Morrison spoke of her early stories as “evolutionary. One comes out of the other.” Later novels, too, have evolved from and toward a continuing (de)construction of America’s story of race. Over the years, as Morrison’s fiction unfolded, so did her involvement in the academy and civil conversations. She held several visiting professorships, and in 1989 she joined Princeton’s faculty as the Robert F. Goheen Professor of the Humanities where she continued until 2006. Her essays and lectures on critical theory and culture are morally imaginative, encouraging new thinking about social power and public narrative in America. For her many contributions Morrison received high praise and a number of awards, including the National Book Critics Circle Award for Song of Solomon, a Pulitzer Prize for Beloved, and for her collective achievements the Nobel Prize for literature in 1993. The Swedish Academy recognized her as one who, “in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality.” In 2010, Morrison was inducted into the Legion of Honour, France’s highest order of merit. Two years later, President Barack Obama awarded her the nation’s top civilian honor, the Presidential Medal of Freedom; the following year she received the PEN/Saul Bellow Award for achievement in American Fiction. Morrison died on 5 August 2019 at Montefiore Medical Center in New York from complications of pneumonia. She was eight-eight.


Author(s):  
Ilana Pardes

This chapter focuses on Toni Morrison’s renditions of new Shulamites in Song of Solomon (1977) and Beloved (1987). The female characters of both novels highlight the power and bold eroticism of the Shulamite’s voice, calling for a different perception of gender relations and feminine sexuality. While offering new representations of femininity, Morrison is no less eager to fashion a new grand Song as a base for a redefinition of the African-American community. In Song of Solomon, the ancient biblical love poem merges with African folk songs and legends and in Beloved, the ghostly Beloved is both a tormented and tormenting Shulamite as well as the spirit of the many slaves whose sufferings she embodies. Special attention is given to Morrison’s response to African-American commentaries on the verse ‘I am black, but comely’ and to points of affinity between her exegesis and feminist biblical criticism in the 1970s and 1980s.


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.


Author(s):  
Mala Annamma Mathew

This research paper looks into the effect of slavery, as a traumatic communal experience, on music and lyrics. It focuses on the development of narratives out of the collective memory of trauma in the African-American community; which in turn worked first as a tool for freedom and evolved to function as cure and testimony. It addresses the issue of trauma being imbibed into a collective consciousness of a culture and its reflection in the narratives. The research paper looks at narratives used as escape slave codes and deconstructs them. While the primary text used to understand cultural trauma is the lyrics to the song “Strange Fruit” sung by Billie Holiday and written by Abel Meeropol. Trauma theories by Cathy Caruth, Jeffrey C. Alexander and Toni Morrison are used to understand how trauma is manifested in lyrics. The research paper will also look into the account of Billie Holiday to understand the development of Strange Fruit as an anthem and how she performed the song for racially integrated audiences when she felt that the song would receive its due.


2007 ◽  
Vol 17 (1) ◽  
pp. 93-118 ◽  
Author(s):  
Jennifer Terry

In examining representations of engagements with the North American landscape in the fiction of Toni Morrison, this article seeks to explore the author’s revision of dominant discourses about the topography and symbolic spaces of the continent and her exposure thereby of historical structures of power. Focusing on her fourth novel, Song of Solomon (1977), it traces how Morrison attempts to give voice to African American experience and identity and to revisit and contest familiar stories of national belonging and being in the land. In crafting tales of black displacement, dispossession, estrangement, travel, discovery, connection and home, the author is found to excavate buried perspectives and shape her own potent narrative act.


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