In her analysis of Morrison's five novels - Beloved, The Bluest Eye, Song of Solomon, Sula, and Tar Baby - Rigney defines a black feminine/feminist aesthetic. The many qvoicesq of Toni Morrison, Rigney argues, are manifested in her radical use of language, her reformulations of self and identity, her reinterpretations of history as both fact and mythology, and her images of female desire. As Rigney describes Morrison's texts, they are characterized by deliberate and meaningful silences, by the movement beyond language into music, and by representations of magic realism and the conjure world. While Morrison's fictions disrupt traditional chronologies and diffuse linearity, they also bear historical witness to the realities and brutalities of slavery, reconstruction, depression, and war - and thus, Rigney documents, they are always profoundly political. Rigney's study, like Morrison's novels, transcends traditional interpretations, maps new territory for postmodern fictions, and cultivates a commonground for, a discourse on theory, race, and gender.... at the time of the telling, nor do its aquot;nightshade and blackberry patches, aquot; nor the beech trees, nor Irenea#39;s Palace of Cosmetology, ... Little, but her recognition of the aquot;closed place in the wateraquot; where he has disappeared, the aquot;something newly missingaquot; (52). ... Shadrack, too, is defined by negation: aquot;with no past, no language , no tribe, no source, no address book, no comb, no Breaking the Back of Words 23.
|Title||:||The voices of Toni Morrison|
|Author||:||Barbara Hill Rigney|
|Publisher||:||Ohio State Univ Pr - 1991|