The Condition Of Women In Toni Morrison's Sula

Grotesque images of rape, murder, and sexual abuse are recurring throughout Toni Morrison's novel Beloved. The ideals of the white oppressor, be it murder, rape, or sexual abuse were powerful forces that shaped the lives of many of the characters, especially the character Sethe.

In the novel Sula, by Toni Morrison we follow the life of Sula Peace through out her childhood in the twenties until her death in 1941. The novel surrounds the black community in Medallion, specifically "the bottom". By reading the story of Sula’s life, and the life of the community in the bottom, Morrison shows us the important ways in which families and communities can shape a child’s identity. Sula not only portrays the way children are shaped, but also the way that a community receives an adult who challenges the very environment that molded them. Sula’s actions and much of her personality is a direct result of her childhood in the bottom. Sula’s identity contains many elements of a strong, independent feminist

Two young girls, coalescing on a grass-laden field while lying on their stomachs, dig a hole in unspoken harmony. A picture of youth and innocence, this scene depicts an innocuous moment which the two girls share as a result of their juvenescence--or does it? In Toni Morrison 's Sula, this scene, among others, appears at first to be both irrelevant to the novel’s underlying theme and out of place with regard to the rest of the plot. Yet, when analyzed further, the literary devices that Morrison uses in these scenes bring readers to a vastly different conclusion. These scenes serve as windows into the mind of Morrison and even into the larger themes present in the text. So, perhaps two girls sharing a seemingly casual experience is not as

Since they are taught at such a young age, they do not have the critical thinking skills and they automatically believe the ideas that their parents taught them. For example, in Sula, Nel is under the control of her mother. After she sees her mother places herself in an inferior position and smiles to the men on the train, she realizes that she does not want to be like her mother. Nel says, “I’m me. I’m not their daughter. I’m not Nel. I’m me. Me” (Morrison 28). She wants to be wonderful, unique and free. However, since she is too young, she cannot persist her dream of freedom under the control of her mother and she utterly gives up. Morrison writes, “Under Helene’s hand the girl became obedient and polite. Any enthusiasms that little Nel showed were calmed by the mother until she drove her daughter’s imagination underground” (Morrison 18). She finally becomes one of the “normal” women who does follow all the social conventions and loses her sense of self. She cares about how other people and the society think instead of how she feels. She marries a man and their marriage is not based on love, but instead, it is aimed to satisfy the normative expectation of their community. Therefore, one of the reasons why Nel loves Sula is because Sula succeeds in being unique, free and ignores all the social conventions that she does not like agree

In her novel Beloved, Toni Morrison spins an intricate web between names and numbers for the reader to unravel. The deep connection that lies between names and numbers is a direct correspondence to the identity and worth of black people during slavery. Beloved begins with the identity of the house which is characterized by a number. The house is given a temperament as if it is a living, breathing entity and yet it still referred to as a number. The significance of this is symbolic to the plight of the black slaves. Regarded as little above the common animal, slaves were defined by their selling price, essentially they were reduced to a number. Viewed as nonbeings they nevertheless feel and suffer their place in the south. The character Beloved is similar in this regard as well. All that defines her is an age and a name that remains unfluctuating through time. In an insufferable and cruel world, names and numbers play a critical role in understanding the identity of black existence in the South. To uncover the implications and nuances that names and numbers play will be instrumental to delving into the lives of black slaves. Beloved contains a vast amount of names and numbers and the connections between them deepen the novel and provide mammoth insight into understanding and interpreting Morrison’s work and purpose for juxtaposing such elaborate bonds between names and numbers.

Racism and sexism are both themes that are developed throughout the novel Sula, by Toni Morrison. The book is based around the black community of "The Bottom," which itself was established on a racist act. Later the characters in this town become racist as well. This internalized racism that develops may well be a survival tactic developed by the people over years, which still exists even at the end of the novel. The two main characters of this novel are Nel Wright and Sula Peace. They are both female characters and are often disadvantaged due to their gender. Nel and Sula are depicted as complete opposites that come together to almost complete one another through their once balanced

In her book Sula, Toni Morrison creates a parallel between good and evil through her use of symbolism and syntax. Coinciding with her abundance of symbolism, she often times uses birds to allow her readers to know when evil is present within her novel. Usually associated with happiness and rebirth, Morrison instead chooses to details birds as portents of death or wickedness within the Bottom. This parallel between the freedom and joy of a bird and the haunting imminence of death ultimately diminishes the severity of each calamity.

The atrocities of slavery know no bounds. Its devices leave lives ruined families pulled apart and countless people dead. Yet many looked away or accepted it as a necessary part of society, even claiming it was beneficial to all. The only way this logic works is if the slaves are seen as less than human, people who cannot be trusted to take care of themselves. In Toni Morrison’s Beloved the consequences of a lifetime of slavery are examined. Paul D and seethe, two former slaves have experienced the worst slavery has to offer. Under their original master, Mr. Garner the slaves were treated like humans. They were encouraged to think for themselves and make their own decisions. However, upon the death of Mr. Garner all of that changes. Under

 Organisms in nature rely on one another for their well being.  However, sometimes those organisms become greedy and decide to take in the relationship, instead of sharing with their symbiotic partner.  Through this action, it takes on parasitic characteristics.  In Toni Morrison's work, Sula, Sula Peace and Nel Wright demonstrate how a symbiotic relationship goes awry.  When one partner betrays the other, by taking instead of giving, the other partner suffers.  Nel and Sula's relationship suffers because Sula unfortunately takes actions that lead to partaking in a parasitic relationship where she begins to wither away.  Nel refuses the parasitic lifestyle and

Toni Morrison’s Pulitzer Prize winning book Beloved, is a historical novel that serves as a memorial for those who died during the perils of slavery. The novel serves as a voice that speaks for the silenced reality of slavery for both men and women. Morrison in this novel gives a voice to those who were denied one, in particular African American women. It is a novel that rediscovers the African American experience. The novel undermines the conventional idea of a story’s time scheme. Instead, Morrison combines the past and the present together. The book is set up as a circling of memories of the past, which continuously reoccur in the book. The past is embedded in the present, and the present has no

Because of the sexual confidence Hannah Peace has, Sula must disguise her difference, just like her grandmother Eva had too. Eva’s drastic measures were repeated by Sula an act of survival and denial of powerlessness and vulnerability. Nel and Sula are regularly picked on by the same group of boys, causing Sula to take matter into her own hands. At one point, Sula takes out a knife and cuts off part of her finger saying, “ ‘If I can do that to myself, what you suppose I’ll do to you?’ ” (54-55). This severe act if Sula’s moment of self-recognition of her connection to her grandmother Eva. Here, Sula realizes that she has to fight against her own vulnerability, and establish her identity, hereby following her grandmother Eva’s example. Though this moment shows Sula’s inner strength, it can never disguise her enough of being different from the rest of her community. Just as Eva and Hannah, Sula continues the unpreventable, mature line of breaking past the typical gender roles of the time. Eva’s overly independent attitude and removal from caring and mothering a daughter correctly, leaves her daughters with unlearned, societal caretaking skills. This results in Sula’s highly inappropriate and unnecessary act of clumsy caretaking within her relationship with Nel. Yet, it is understandable because Sula has never been taught normal and conventional means for problem solving. The denial of motherly love from

In that timelessness of afterlife, Toni Morrison allows Othello’s wife Desdemona to tell the stories that William Shakespeare did not allow her to tell (Sciolino). Desdemona is a collaboration between writer Toni Morrison, musician Rokia Traoré and director Peter Sellars. It retells the story of William Shakespeare’s Othello and, thus, serves a prequel and sequel to the tragedy (Carney 1). Toni Morrison’s play examines Desdemona’s relationship with her husband Othello as well as with other female characters, in particular, Desdemona’s relationship with her nurse Barbary (Erickson 3-4). Furthermore, the drama introduces the social conflicts the women come into contact with which are based on gender and ethnicity. An analysis of Toni Morrison’s Desdemona shows the social construction of the division of the sexes as well as the division of ethnicities. This division is known as Otherness:

Sula is such a complicated character that it is difficult to define her. She is an unusual child that matures into a determined woman, resisting suppression and hatred from the community in which she lives. She is neither positive nor idealistic, and refuses to place herself in a space where she will be relegated as the “other of the other”. Her complex characteristics and unusual behavior consistently deconstructs and questions stereotypical images of black womanhood and womanhood in general. Her description of black women is realistic and varied. Embodying autonomy, curiosity, irregularity, passion and danger, she represents the new black woman who challenges social norms and determines to live a disillusioned life. As the new modern black

portrays how humans were treated as animals. Being marked denotes how these genuine human beings, who possessed the very same anatomical features as that of any white individual, were not only dehumanized but also dispossessed of and defenseless from being identified as virtual beings.

Morrison’s use of the traditional African American materials have always attracted the attention of the scholars. Since the beginning of Morrison’s literary career, critics have been emphasising on her representation of the black culture from three different perspectives—Euro-American, African and African American. Keeping in the mind the huge quantity and wide variety of such critical works a selective literature review in chronological sequence is felt to be of some help in tracing out the objectives of this research project: