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• W184477814 abstract "Quiet as it's kept, which is one of Nobel laureate Toni Morrison's favorite African American expressions, is a phrase used by someone who is about to reveal what is presumed to be a secret. Insisting she is not bothered by complaints of some black readers she is hanging out too much of black community's laundry (Minzesheimer), Morrison brings to light secrets in her novels--public and collective secrets--as she exposes to public view sensitive race matters. In deliberately setting out to confront vexed issues surrounding color and caste in her 2003 novel Love, Morrison deals with what has been called little secret and last taboo of African American culture: existence of intraracial color prejudice and discrimination--the so-called color complex--which continues to be an embarrassing and controversial subject for African Americans (Russell 3, 2, 1). Justas Morrison in her earlier novels investigates loaded issues of intraracial prejudice and class divisions within African American community as she repeatedly brings together dark-skinned, lower-class and light-skinned, middle-class characters, such as Pecola and Geraldine in The Bluest Eye, Sula and Nel in Sula, and Pilate and Ruth in Song of Solomon, so in Love she deliberately pairs dark-skinned, lower-class Heed with light-skinned, upper-middle-class Christine as she examines damaging impact of color-caste hierarchy on black identity. Even as Morrison in Love unflinchingly examines dirty business of intraracial and class prejudice in telling stories of Heed and Christine, she also is bent on effecting a cultural cure. Working to redeem her embattled characters, she ultimately puts them in touch with beloved within as she returns in Love to an idea has long haunted her and forms core of her loosely formed trilogy, Beloved, Jazz, and Paradise: nature of the beloved, which she has described as part of individual that is reliable, never betrays us, is cherished by us, we tend to cover up and hide and make into a personality (Straits Times). Counteracting her despairing vision of intraracial strife, Morrison provides, in closure of Love, a hopeful vision of healing, and loving, power of ancestral--and artistic--imagination. Continuing in her familiar role as cultural historian in Love, Morrison places very personal stories of her warring characters, Heed and Christine, against a broad history of black experience in twentieth-century America in her account of Cosey's Hotel, which thrives as an elegant and fashionable East Coast playground for wealthy blacks in segregationist 1940s; is in decline by integrationist 1960s; and, by 1990s, is an abandoned ruin haunted by spirit of Cosey's former cook, L. Examining exclusionary politics of class and caste in African American community, Morrison depicts Heed, Bill Cosey's widow, and Christine, his granddaughter, as mortal class enemies. Women in their sixties who live in Cosey's Monarch Street house even though they detest each other, they are locked in a battle to death over Cosey's disputed will--scribbled notes written by half-drunk Cosey on a greasy hotel menu left his house to his sweet Cosey child. As Morrison at once provides and withholds information from her readers in telling interlocking stories of Heed and Christine--stories reveal their differing perceptions and memories of pivotal events in past--she forces her readers to assemble and then reassemble personal histories of her characters and to assess and then reassess her characters and their situations as she, moving back and forth in time and memory, uncovers buried and more recent hurts and humiliations haunt Heed and Christine, who, as readers slowly learn, were once girlhood friends until fifty-two-year old Bill Cosey disrupted their friendship by marrying eleven-year-old Heed. …" @default.
• W184477814 created "2016-06-24" @default.
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• W184477814 date "2008-06-22" @default.
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• W184477814 title "Uncovering The Beloved in the Warring and Lawless Women in Toni Morrison's Love" @default.
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