This Wednesday we met to discuss Home (2012) – Toni Morrison’s latest
novel or, rather, a longer novella since some of us complained that it was too
short. On barely 145 pages, the author includes
concisely such themes as race, masculinity, color(blindness), love, politics,
property, violence, dysfunctional family and history/memory. Although we were
all enchanted by the narrative and language, some critics find fault with our beloved (!) writer.
They accuse her of being repetitive, sentimental,
exploiting the same topics over and over again as well as of using clichés. However,
we find these allegations ridiculous and unfounded. Each and every novel is
different and innovative, even though Morrison refers to the same themes. In
her works, she tries to give a full picture of the horrors and humiliations the
African Americans have experienced throughout history. She also stresses the
importance of community in the process of healing one’s physical and
psychological wounds. This process turns out to be extremely painful inasmuch
as the protagonists’ home is haunted by traumatic experiences from the past (especially
by the figure of the monstrous grandmother). Nevertheless, Frank and Cee have
the resources to turn over a new leaf and forget the evil done to them with the
help of others, thusly implying that only together can people overcome the shadows
of their past. Such approach is deeply contrasted with individualism and
suffering in silence present in the WASP (White Anglo-Saxon Protestant)
literature. What is more, Morrison always tries to end her novels on a
relatively positive note, which suggests her faith in mankind.
As a writer, she is sincere and authentic. This
translates into her novels insofar as she creates real and full-fledged
characters whose stories are moving and astounding. Finally, the author’s
literary craft has no equal. Morrison aptly contrasts extreme images; for
instance, the beauty of wild horses with Korean girl’s brutal death accompanied
by the ultimate degradation of the human being. She also resorts to good old tricks
used in popular literature, such as a gripping beginning (Frank’s stay in a mental
institution, a mysterious letter from his sister), Gothic elements (doctor’s
strange and cold house) and movie like action (the scene of Cee’s rescue). Does
anyone still have any doubts about Toni Morrison’s genius?
Last month, while discussing Cosmopolis, we wondered whether DeLillo
deserves the title of the greatest contemporary American writer (as many
literary critics had suggested). BLASt, in turn, once again is contesting this
decision: we unanimously jump at a conclusion that DeLillo confronted with
Morrison has no chances of winning title.
by Marta Makoś
