{"id":176476858,"date":"2017-10-12T21:54:17","date_gmt":"2017-10-13T02:54:17","guid":{"rendered":"http:\/\/kalamu.com\/neogriot\/?p=176476858"},"modified":"2017-10-12T21:54:17","modified_gmt":"2017-10-13T02:54:17","slug":"info-toni-morrisons-radical-vision-of-otherness","status":"publish","type":"post","link":"https:\/\/kalamu.com\/neogriot\/2017\/10\/12\/info-toni-morrisons-radical-vision-of-otherness\/","title":{"rendered":"INFO: Toni Morrison\u2019s Radical Vision of Otherness"},"content":{"rendered":"<p>&nbsp;<\/p>\n<div id=\"attachment_176476863\" style=\"width: 207px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-176476863\" decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-176476863\" src=\"http:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/new-republic-logo.jpg\" alt=\"\" width=\"197\" height=\"38\" \/><p id=\"caption-attachment-176476863\" class=\"wp-caption-text\">October 11, 2017<\/p><\/div>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<div class=\"article-title\">\n<h1 class=\"article-headline\"><span style=\"color: #000000; font-size: 36pt;\">Toni Morrison\u2019s<br \/>\nRadical Vision<br \/>\nof Otherness<\/span><\/h1>\n<h2 class=\"article-subhead\"><span style=\"color: #000000; font-size: 18pt;\"><strong>The history of racism and exclusion<br \/>\nin the United States is the history<br \/>\nof whiteness.<\/strong><\/span><\/h2>\n<p>&nbsp;<\/p>\n<\/div>\n<div class=\"article-meta\">\n<div class=\"author-list author-list-all author-list-inline\"><span style=\"color: #000000; font-size: 14pt;\"><strong><span class=\"author-list-item\">BY <a class=\"author-link\" title=\"Nell Irvin Painter\" href=\"https:\/\/newrepublic.com\/authors\/nell-irvin-painter\">NELL IRVIN PAINTER<\/a><\/span><\/strong><\/span><\/div>\n<h4 class=\"article-media-credit\"><span style=\"font-size: 14pt; color: #000000;\"><strong>ILLUSTRATION BY ENAM BOSOKAH<\/strong><\/span><\/h4>\n<\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_176476859\" style=\"width: 609px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-176476859\" decoding=\"async\" loading=\"lazy\" class=\" wp-image-176476859\" src=\"http:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-01-768x1024.jpg\" alt=\"\" width=\"599\" height=\"799\" srcset=\"https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-01-768x1024.jpg 768w, https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-01-225x300.jpg 225w, https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-01-920x1226.jpg 920w, https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-01.jpg 1000w\" sizes=\"(max-width: 599px) 100vw, 599px\" \/><p id=\"caption-attachment-176476859\" class=\"wp-caption-text\"><span style=\"color: #000000; font-size: 10pt;\"><strong>Reference photo: Jean-Christian Bourcart\/Getty<\/strong><\/span><\/p><\/div>\n<p>&nbsp;<\/p>\n<div class=\"article-body\" data-reactid=\".w470yg66tc.2.1.0.0.$0.1\">\n<div class=\"content-body\" data-reactid=\".w470yg66tc.2.1.0.0.$0.1.0\">\n<div class=\"article-text-wrap\">\n<div class=\"article-text-grid\">\n<p><span style=\"color: #000000; font-size: 14pt;\">A generation ago, as the culture wars raged, Toni Morrison often stood at the front lines,<a href=\"http:\/\/www.nytimes.com\/1994\/09\/11\/magazine\/chloe-wofford-talks-about-toni-morrison.html?pagewanted=all\" target=\"_blank\" rel=\"nofollow noopener\"> demanding the desegregation<\/a> of the American literary canon. In her Tanner Lectures in 1988, and later in her book <a href=\"https:\/\/www.amazon.com\/Playing-Dark-Whiteness-Literary-Imagination\/dp\/0679745424\" target=\"_blank\" rel=\"nofollow noopener\"><em>Playing in the Dark<\/em>,<\/a> she <a href=\"http:\/\/tannerlectures.utah.edu\/_documents\/a-to-z\/m\/morrison90.pdf\" target=\"_blank\" rel=\"nofollow noopener\">argued against <\/a>a monochromatic literary canon that had seemed forever to be naturally and inevitably all-white but was, in fact, \u201cstudiously\u201d so. She accused scholars of \u201clobotomizing\u201d literary history and criticism in order to free them of black presence. Broadening our conception of American literature beyond the cast of lily-white men would not simply benefit nonwhite readers. Opening up would serve the interests of American mental as well as intellectual health, since the white racial ideology that purged literature of blackness was, Morrison said, \u201csavage.\u201d She called the very concept of whiteness \u201can inhuman idea.\u201d<\/span><\/p>\n<div id=\"attachment_176476860\" style=\"width: 410px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-176476860\" decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-176476860\" src=\"http:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-02.jpg\" alt=\"\" width=\"400\" height=\"656\" srcset=\"https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-02.jpg 400w, https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-02-183x300.jpg 183w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-176476860\" class=\"wp-caption-text\"><span style=\"color: #000000; font-size: 10pt;\"><strong>THE ORIGIN OF OTHERS by Toni Morrison Harvard University Press,136 pp., $22.95<\/strong><\/span><\/p><\/div>\n<aside id=\"recirc-0\" class=\"recirc-most-popular pull-right pull-small\"><\/aside>\n<p><span style=\"color: #000000; font-size: 14pt;\">In her new book, <a href=\"http:\/\/www.hup.harvard.edu\/catalog.php?isbn=9780674976450\" target=\"_blank\" rel=\"nofollow noopener\"><em>The Origin of Others<\/em>, <\/a>Morrison extends and sharpens these themes as she traces through American literature patterns of thought and behavior that subtly code who belongs and who doesn\u2019t, who is accepted in and who is cast out as \u201cOther.\u201d She has previously written of how modernist novelists like William Faulkner (who saw race) and Ernest Hemingway (who did not) respected the codes of Jim Crow by dehumanizing black figures or ignoring the connotations of blackness in their nonblack figures. But the process of exiling some people from humanity, she observes here, also ranges beyond American habits of race: One need only look at the treatment of millions <a href=\"http:\/\/www.unhcr.org\/en-us\/news\/stories\/2017\/6\/5941561f4\/forced-displacement-worldwide-its-highest-decades.html\" target=\"_blank\" rel=\"nofollow noopener\">now in flight<\/a> from war and economic desperation. Othering as a means of control is not just the practice of white people in the United States, for every group perfects its self-regard through exclusion.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Morrison anchors her discussion of these complexities in her personal experience, recounting a memory from her childhood in the 1930s: a visit from her great-grandmother, Millicent MacTeer, a figure of enormous power whose skin was very black. On her arrival, MacTeer looked at Toni and her sister, two girls with light skin, and pronounced them \u201ctampered with.\u201d Colorism ordinarily refers to black people\u2019s denigration of dark skin and preference for people who are light, but in this case it meant, more broadly, a judgment based on skin color. \u201cIt became clear,\u201d Morrison writes, \u201cthat \u2018tampered with\u2019 meant lesser, if not completely Other.\u201d Deemed \u201csullied, not pure\u201d as a child, Morrison finds that Othering, as well as the racial self-loathing of colorism, begin in the family and connect to race, class, gender, and power.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Morrison\u2019s history of Othering represents an intervention in history on several fronts. Although the theme of desegregating the literary canon reappears in <em>The Origin of Others<\/em>, times have changed since <em>Playing in the Dark<\/em>. Surely thanks to the more multicultural, multiracial canon that Morrison helped foster, no respectable version of American literature today omits writers of color. Morrison herself has received nearly all the honors a novelist can win: the Pulitzer Prize for fiction, the Nobel Prize in Literature, the Presidential Medal of Freedom, and the French Legion of Honor, among many more. The <em>Origin of Others<\/em> is the result of her lectures in the prestigious Charles Eliot Norton series at Harvard University, where she is only the fourth woman and the second black lecturer in the 92-year history of the series.<\/span><\/p>\n<\/div>\n<\/div>\n<div class=\"article-text-wrap\">\n<div class=\"article-text-grid\">\n<p><span style=\"color: #000000; font-size: 14pt;\">Within the Norton Lectures\u2019 tradition of wisdom, and among its tellers, Morrison represents a novelty by virtue of her gender, her race, and her American subject matter. Historically the series has shown a preference for European topics and for British scholars as avatars of learning. <a href=\"http:\/\/www.thecrimson.com\/article\/2014\/2\/4\/herbie-hancock-first-norton\/\" target=\"_blank\" rel=\"nofollow noopener\">Not until 2014<\/a>, when Herbie Hancock addressed \u201cThe Ethics of Jazz,\u201d did the Norton recognize wisdom in the humanities as both pertaining to American culture and emanating from a black body. Morrison\u2019s lectures and book are a historic achievement, as they confirm the impact of her intellectual tradition in American thought\u2014a tradition that links her to James Baldwin, and in a younger generation Ta-Nehisi Coates, in the critique of whiteness.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\"><strong>Morrison\u2019s earliest witnesses of Othering<\/strong><br \/>\nare two women who had been enslaved, Mary Prince and Harriet Jacobs, both of whom later recorded their physical and mental torture at the hands of their owners. In her 1831 memoir, Prince <a href=\"http:\/\/docsouth.unc.edu\/neh\/prince\/prince.html\" target=\"_blank\" rel=\"nofollow noopener\">described<\/a> her owner\u2019s reinforcement of hierarchy through beating; her master \u201cwould stand by and give orders for a slave to be cruelly whipped\u2026walking about and taking snuff with the greatest composure.\u201d Thirty years later, Jacobs <a href=\"http:\/\/docsouth.unc.edu\/fpn\/jacobs\/jacobs.html\" target=\"_blank\" rel=\"nofollow noopener\">wrote<\/a> of how slavery made \u201cthe white fathers cruel and sensual; the sons violent and licentious.\u201d Within slavery, the process of Othering is physical, and is meant to work in only one direction, from the slaver to the slave.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Morrison asks instead, \u201cWho are these people?\u201d\u2014focusing not on the victimized enslaved, but on the victimizing owners. \u201cThe definition of the inhuman describes overwhelmingly the punisher&#8230;the pleasure of the one with the lash.\u201d Rendering the slave \u201ca foreign species,\u201d Morrison concludes, \u201cappears to be a desperate attempt to confirm one\u2019s own self as normal.\u201d Humanity links the enslaved and the enslaver, no matter how viciously owners seek to deny the connection. Torture, the crucial ingredient of slave ownership, dehumanizes not the slave but the owner. \u201cIt\u2019s as though they are shouting, \u2018I am not a beast! I\u2019m not a beast!\u2019 \u201d Neither side escapes unscathed.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Even when physical force is used, the people doing the Othering can also bolster their self-definition through words. Thomas Thistlewood, an English planter and rapist who moved to Jamaica in 1750, <a href=\"http:\/\/www.thesocialhistorian.com\/journals-of-thomas-thistlewood\/\" target=\"_blank\" rel=\"nofollow noopener\">documented his assaults<\/a> on the women he owned, categorizing those that took place on the ground, in the fields, and in large and small rooms, whenever, wherever he wished. He noted the rapes in his journal in Latin. Harriet Beecher Stowe\u2019s novel <em>Uncle Tom\u2019s Cabin<\/em> takes a very different tone, defining the Other by making a romance of slave life. Stowe presents a slave\u2019s cabin through dulcet description that Morrison calls \u201coutrageously inviting,\u201d \u201ccultivated,\u201d \u201cseductive,\u201d and \u201cexcessive.\u201d Here, a white child can enter black space without fear of the dark, the very sweetness of the language reinforcing the Otherness of places where black people live.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Othering is expressed through codes of belonging as well as difference. Most commonly, pronouns convey the boundaries between \u201cwe\u201d and \u201cthem\u201d through the use of first- and third-person plurals. \u201cWe\u201d belong; \u201cthey\u201d are Other and cannot belong. Those who are \u201cthem\u201d can be described in the negative language of disgust: black as ugly, black as polluting. Definitions of color, Morrison says, define what it means to be an American, for belonging adheres to whiteness. The possession of whiteness makes belonging possible, and to lack that possession is not to belong, to be defined as something lesser, even something not fully human. Neither possession nor lack is natural or biological. Something has to happen; a process needs to get underway.<\/span><\/p>\n<\/div>\n<\/div>\n<div class=\"article-text-wrap\">\n<div class=\"article-text-grid\">\n<p><span style=\"color: #000000; font-size: 14pt;\">Flannery O\u2019Connor\u2019s story <a href=\"http:\/\/producer.csi.edu\/cdraney\/2011\/278\/resources\/o'connor_artificial.pdf\" target=\"_blank\" rel=\"nofollow noopener\">\u201cThe Artificial Nigger,\u201d<\/a> set in 1950s Georgia, well after the end of the slavery that kept people in place, exemplifies how Othering and belonging work in tandem. A white man, Mr. Head, and his grandson Nelson visit Atlanta for the day. Mr. Head, a poor and sad old man, undertakes to tutor Nelson in racial hierarchy. On the train to the city, a prosperous black man passes by. At first, Nelson sees \u201ca man.\u201d Then, under Mr. Head\u2019s questioning, \u201ca fat man\u2026an old man.\u201d These are wrong answers. Nelson must be educated. Mr. Head corrects him: \u201cThat was a nigger.\u201d Nelson must undergo the process of unseeing a well-dressed man and reseeing a \u201cnigger,\u201d to understand the man as Other and himself and his uncle as people who belong to society.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\"><strong>Blackness remains the great challenge to writers<\/strong><br \/>\nof fiction on all sides of the color line, for the central role of race in American Othering affects us all, white and nonwhite, black and nonblack, not just writers who are white. Morrison describes her own struggles with color codes in her work, notably in her novels <em><a href=\"https:\/\/www.amazon.com\/Paradise-Vintage-International-Toni-Morrison\/dp\/0804169888\" target=\"_blank\" rel=\"nofollow noopener\">Paradise<\/a><\/em> (1997) and <em><a href=\"https:\/\/www.amazon.com\/Home-Vintage-International-Toni-Morrison\/dp\/0307740919\/ref=asap_bc?ie=UTF8\" target=\"_blank\" rel=\"nofollow noopener\">Home<\/a><\/em> (2012), and her story and play<em>Recitatif<\/em> (1983). \u201cWriting non-colorist literature about black people,\u201d she writes, \u201cis a task I have found both liberating and hard.\u201d Non-colorist literature does not make racial identity do the work of character creation. Characters may have racial identities\u2014in the USA, race is too salient a part of experience to overlook. But race should not decide how a character acts or thinks or speaks or looks.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Morrison articulates her determination \u201cto de-fang cheap racism, annihilate and discredit the routine, easy, available color fetish, which is reminiscent of slavery itself.\u201d But it is far from easy. The actors in <em>Recitatif<\/em>, like editors and many readers, want to identify characters by race\u2014a crucial ingredient of American identity, but one defined by generalizations rooted in the history of slavery and too facilely evoked through recognizable stereotypes. Racial identification, invented to serve needs of subjugation, can diminish a character\u2019s individual specificity, that hallmark of Morrison\u2019s brilliance.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Where Morrison identifies race, she struggles against the expectations of race.\u00a0<em>Paradise<\/em> begins with color\u2014\u201cThey shoot the white girl first.\u201d But she never says which of the women in the group under attack is white, and offers almost no clues. (\u201cSome readers have told me of their guess,\u201d Morrison reveals in <em>The Origin of Others<\/em>, \u201cbut only one of them was ever correct.\u201d) <em>Paradise<\/em> turns to themes of black colorism\u2019s purity requirements and misogyny, the deadly means of Othering that Morrison\u2019s characters employ. Colorism appears early on in the novel with wealth; in 1890, members of an established black community turn away a group of freedmen deemed too poor and too dark. The freedmen go on to found the town of Haven and its successor, Ruby, and from that moment up to the novel\u2019s present in the 1970s, they pride themselves on their unadulterated blackness. Nearby, a group of women, seeking refuge from unhappy pasts, move into an old convent. One source of the Ruby men\u2019s murderous hatred of the women is their racial heterogeneity\u2014their utter lack of racial purity. But that is not the only source: In <em>Paradise<\/em>, misogyny fuels the hatred that kills.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Looking back on <em>Home<\/em>, Morrison admits to misgivings. It was a mistake, she concludes, to accede to her editor\u2019s request for color-coding the main character, Frank Money. A minor mistake, for Money\u2019s race only appears obliquely, after a two-page description of the hospital he is leaving. A reader would have to know that in the tiny AME Zion church that succors Money, AME means African Methodist Episcopal. A few pages later, the reader would need to grasp the meaning of he \u201cwon\u2019t be able to sit down at any bus stop counter.\u201d If Morrison lost the struggle between individual characterization and racial identification, which not only flattens out characters but also furthers racist habits of thought, it was just barely. Throughout her career, Morrison has confronted those habits and broken them down, not just in her own writing but also in her work as an editor.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">In her 19 years at Random House, Morrison <a href=\"https:\/\/www.newyorker.com\/magazine\/2003\/10\/27\/ghosts-in-the-house\" target=\"_blank\" rel=\"nofollow noopener\">made known <\/a>the stories of a variety of specific lives and their individual identities. She <a href=\"https:\/\/www.nytimes.com\/2015\/04\/12\/magazine\/the-radical-vision-of-toni-morrison.html?mcubz=0&amp;_r=0\" target=\"_blank\" rel=\"nofollow noopener\">published<\/a>biographies of the writer Toni Cade Bambara, the activist-scholar Angela Davis, and the athlete Muhammad Ali. In 1974, she published a nonfiction anthology:<a href=\"http:\/\/www.npr.org\/templates\/story\/story.php?storyId=121289328\" target=\"_blank\" rel=\"nofollow noopener\"><em>The Black Book<\/em>,<\/a> a scrapbook of black history drawn from the collection of Middleton A. Harris, who <a href=\"http:\/\/www.culturalfront.org\/2015\/02\/middleton-harris-toni-morrison-and.html\" target=\"_blank\" rel=\"nofollow noopener\">also served <\/a>as its editor. There readers discovered photographs of black soldiers in impeccable uniforms, black families in their Sunday best, patents for typewriters and laundry machines, and early black movie stars, along with postcards of smiling white people at a lynching. The abundance and variety of material relating to the history of people of African descent in <em>The Black Book<\/em> opened millions of eyes to diversity within blackness, a crucial step in loosening the grip of American apartheid.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">One of Morrison\u2019s major novels was inspired by an 1856 article she found in<em>The Black Book<\/em>. Titled \u201cA Visit to the Slave Mother Who Killed Her Child,\u201d the article presented an interview with the fugitive slave Margaret Garner, who had murdered her youngest child after she and her family were captured in Ohio. Garner\u2019s mother-in-law did not condemn the infanticide. Rather she condoned an act that saved a child from enslavement. The figure of the supportive mother-in-law fascinated Morrison and formed the basis for the character Baby Suggs, the un-churched folk preacher of black self-love, in her 1987 novel<em><a href=\"https:\/\/www.amazon.com\/Beloved-Toni-Morrison\/dp\/1400033411\" target=\"_blank\" rel=\"nofollow noopener\">Beloved<\/a><\/em>. <em>Beloved<\/em> won the Pulitzer Prize for fiction and the American Book Award; Oprah Winfrey made the novel into a movie. Embedding the emotional costs of enslavement in Morrison\u2019s powerful language, <em>Beloved<\/em> spoke American history at the level of heart and gut, transforming the institution of slavery into tragedy with resonance for every reader and moviegoer. The novel and the movie communicated to everyone who loved their family the anguish of enslavement, of knowing your children were not yours at all.<\/span><\/p>\n<\/div>\n<\/div>\n<div class=\"article-text-wrap\">\n<div class=\"article-text-grid\">\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\"><span style=\"font-size: 18pt;\"><strong><span style=\"font-size: 14pt;\">What places <em>The Origin of Others<\/em> in this<\/span><br \/>\n<\/strong><\/span><\/span><span style=\"font-size: 14pt;\"><span style=\"color: #000000;\">very moment<\/span> <span style=\"color: #000000;\">of twenty-first-century American history\u2014a moment that, sadly, bears much in common with earlier awful times\u2014are two texts Morrison quotes at length. One is a testimony of lynchings committed in America in the early twentieth century. The other comes from Baby Suggs\u2019s sermon to her people in <em>Beloved<\/em>.<\/span><\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">The testimony of lynchings continues for the better part of two pages. This is only a small portion of it:<\/span><\/p>\n<blockquote><p><span style=\"color: #000000; font-size: 14pt;\">Ed Johnson, 1906 (lynched on the Walnut Street Bridge, in Chattanooga, Tennessee, by a mob that broke into jail after a stay of execution had been issued).<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Laura and L.D. Nelson, 1911 (mother and son, accused of murder, kidnapped from their cell, hanged from a railroad bridge near Okemah, Oklahoma).<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Elias Clayton, Elmer Jackson, and Isaac McGhie, 1920 (three circus workers accused of rape without any evidence, lynched in Duluth, Minnesota; no punishment for their murders).<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Raymond Gunn, 1931 (accused of rape and murder, doused with gasoline and burned to death by a mob in Maryville, Missouri).<\/span><\/p><\/blockquote>\n<p><span style=\"color: #000000; font-size: 14pt;\">Here is Baby Suggs, the mother-in-law figure in <em>Beloved<\/em>, as quoted in <em>The Origin of Others<\/em>:<\/span><\/p>\n<blockquote><p><span style=\"color: #000000; font-size: 14pt;\">\u201cHere,\u201d she said, \u201cin this here place, we flesh; flesh that weeps, laughs; flesh that dances on bare feet in grass. Love it. Love it hard. Yonder they do not love your flesh. They despise it. They don\u2019t love your eyes; they\u2019d just as soon pick em out. No more do they love the skin on your back. Yonder they flay it. And O my people they do not love your hands. Those they only use, tie, bind, chop off and leave empty. Love your hands! Love them.\u201d<\/span><\/p><\/blockquote>\n<p><span style=\"color: #000000; font-size: 14pt;\">To these, I would add a list currently circulating on Facebook of police shootings for which no one has been convicted of murder. As of late summer, the list looked like this, but, as we know, it is tragically subject to additions at any time:<\/span><\/p>\n<blockquote><p><span style=\"color: #000000; font-size: 14pt;\">#PhilandoCastile = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#TerenceCrutcher = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#SandraBland = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#EricGarner = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#MikeBrown = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#RekiaBoyd = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#SeanBell = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#TamirRice = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#FreddieGray = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#DanroyHenry = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#OscarGrantIII = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#KendrecMcDade = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#AiyanaJones = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#RamarleyGraham = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#AmadouDiallo = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#TrayvonMartin = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#JohnCrawfordIII = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#JonathanFerrell = No Conviction<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">#TimothyStansburyJr = No Conviction<\/span><\/p><\/blockquote>\n<p><span style=\"color: #000000; font-size: 14pt;\">These lists, and Baby Suggs\u2019s sermon, capture the physical peril of existing in the United States in a body that is black, <a href=\"https:\/\/www.gq.com\/story\/dylann-roof-making-of-an-american-terrorist\" target=\"_blank\" rel=\"nofollow noopener\">of the deep and long tradition <\/a>of black hating and black murder. And in doing so, they address a persistent theme in the writing of two other authors who play a part in <em>The Origin of Others<\/em>, one by name, one as a presence.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Ta-Nehisi Coates, author of <em>Between the World and Me<\/em>, the phenomenally best-selling personal statement in the guise of a letter to his teenage son, provides the foreword to <em>The Origin of Others<\/em>. Toni Morrison provided a blurb for Coates\u2019s book: \u201cI\u2019ve been wondering who might fill the intellectual void that plagued me after James Baldwin died. Clearly it is Ta-Nehisi Coates.\u201d Coates says Morrison\u2019s endorsement was the only one he craved. Morrison recognized in Coates, the cultural critic Michael Eric Dyson <a href=\"https:\/\/www.theatlantic.com\/politics\/archive\/2015\/07\/james-baldwin-tanehisi-coates\/399413\/\" target=\"_blank\" rel=\"nofollow noopener\">has written<\/a>, a quality that she prized in Baldwin, and that we can see in her own work: \u201ca forensic, analytical, cold-eyed stare down of white moral innocence.\u201d Coates cites Baldwin\u2019s 1963 essay <em>The Fire Next Time<\/em> as a crucial inspiration, in form and in tone, to<em>Between the World and Me<\/em>.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">Born in 1924, Baldwin serves as the intellectual ancestor to both Morrison and Coates, as tribune of the themes of violence against black people and of the process by which European immigrants came to see themselves as white people in America. Baldwin began <em>The Fire Next Time<\/em> with a letter to his 15-year-old nephew, James, accusing his fellow Americans of the unforgivable crime of having destroyed and continuing to destroy thousands of black lives without knowing and without wanting to know. Coates in 2015 <a href=\"https:\/\/www.theatlantic.com\/politics\/archive\/2015\/07\/tanehisi-coates-between-the-world-and-me\/397619\/\" target=\"_blank\" rel=\"nofollow noopener\">writes<\/a> to his then 15-year-old son that \u201cin America, it is traditional to destroy the black body\u2014<em>it is heritage<\/em>.\u201d Morrison in 2017 adds, as I quoted above: \u201cThe necessity of rendering the slave a foreign species appears to be a desperate attempt to confirm one\u2019s own self as normal.\u201d Both echo Baldwin\u2019s <a href=\"http:\/\/www.cwsworkshop.org\/pdfs\/CARC\/Family_Herstories\/2_On_Being_White.PDF\" target=\"_blank\" rel=\"nofollow noopener\">1984 short essay, <\/a>\u201cOn Being White\u2026and Other Lies,\u201d first published in <em>Essence<\/em>, a magazine for black women. Refocusing black discourse from black subjects to whites, Baldwin made an early contribution to what would become whiteness studies at the end of the twentieth century.<\/span><\/p>\n<div id=\"attachment_176476861\" style=\"width: 610px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-176476861\" decoding=\"async\" loading=\"lazy\" class=\" wp-image-176476861\" src=\"http:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-03.jpg\" alt=\"\" width=\"600\" height=\"396\" srcset=\"https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-03.jpg 800w, https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-03-300x198.jpg 300w, https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-03-768x507.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><p id=\"caption-attachment-176476861\" class=\"wp-caption-text\"><span style=\"color: #000000; font-size: 10pt;\"><strong>Among the first to critique whiteness, James Baldwin serves as an intellectual ancestor to Morrison.Ralph Gatti\/AFP\/Getty<\/strong><\/span><\/p><\/div>\n<p><span style=\"color: #000000; font-size: 14pt;\">It\u2019s perhaps inevitable that such prominent authors would come to be seen as representatives of the entire community of black Americans. Coates <a href=\"http:\/\/www.npr.org\/sections\/codeswitch\/2016\/04\/06\/473224606\/a-reluctant-king-ta-nehisi-coates-takes-on-marvels-black-panther\" target=\"_blank\" rel=\"nofollow noopener\">says<\/a> he speaks only for himself. Still, his vast audience demands spokesmanship from him. Morrison embraces the responsibility, and welcomed the message that her<a href=\"https:\/\/www.nobelprize.org\/nobel_prizes\/literature\/laureates\/1993\/morrison-lecture.html\" target=\"_blank\" rel=\"nofollow noopener\">Nobel Prize<\/a> belonged not only to her, but to black women writers generally. Certainly Baldwin embraced the role of black spokesman in the 1960s with a passion that sometimes moved his audiences profoundly\u2014as in a Cambridge University debate with the conservative William F. Buckley in 1965. When Baldwin appeared, impassioned, on the <em>The Dick Cavett Show<\/em> in 1968, the host and other guests remained <a href=\"https:\/\/www.youtube.com\/watch?v=a6WlM1dca18\" target=\"_blank\" rel=\"nofollow noopener\">stolid and inert<\/a>, even looking away in discomfort. The video is painful to watch, but instructive in the history of white American willful unknowing.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">American culture has changed: Whether writing as oneself alone\u2014Coates\u2014or speaking for a people\u2014Morrison\u2014these two black writers have reaped the named and remunerated honors that are their due. Baldwin, who died in 1987, did not share their good fortune, despite informal recognition of his work\u2019s fundamental importance and utter necessity. Between Baldwin and Coates, Morrison forms the keystone in an arch from neglect to celebration. This is not by accident or automatic recognition of genius. Historical agency, the action of protest, disrupted the withholding that was Baldwin\u2019s fate. Activism hoisted Morrison\u2019s reputation into its rightful place.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">In the aftermath of Baldwin\u2019s death in 1987, 48 prominent black poets, novelists, and scholars took note of his fate and demanded redress. In a letter published in <em>The New York Times<\/em>, they <a href=\"http:\/\/www.nytimes.com\/books\/98\/01\/11\/home\/15084.html?mcubz=0\" target=\"_blank\" rel=\"nofollow noopener\">protested<\/a> Baldwin\u2019s neglect and insisted it not be repeated. They focused attention on the literary establishment\u2019s ongoing habit of ignoring black writers, and pointed to the need to support another distinguished black author who had been denied commensurate honors: Toni Morrison, whose <em>Beloved<\/em> had recently lost the National Book Award. After the letter appeared in the <em>Times<\/em>, things did start to change.<em>Beloved<\/em> received the Pulitzer Prize, and Morrison\u2019s work was never again disregarded. Morrison, in that moment, became a historical event. With the recognition of her writing and her whole tradition, America was opening up and offering black Americans and black authors belonging.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\"><strong>In the history that connects Baldwin to Morrison<\/strong><br \/>\nand Morrison to Coates, much has been gained in terms of literary reception. At the same time, however, something that distinguishes Morrison\u2019s fiction has been diminished: women and gender. Not entirely lost, for in <em>The Origin of Others<\/em>, Morrison discusses her novels of women\u2014notably <em>Paradise<\/em> and <em>A Mercy<\/em>. (She might well have added another of her major women-centered works, <em>Sula<\/em>.) She also cites the woman-to-woman relationship of motherhood that binds Sethe and Baby Suggs in <em>Beloved<\/em>. But to the extent that they complicate the racial Othering that the two male writers also treat, these themes lose sharpness.<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\">In <em>Paradise,<\/em> Morrison touches on the <a href=\"http:\/\/www.gradientlair.com\/post\/84107309247\/define-misogynoir-anti-black-misogyny-moya-bailey-coined\" target=\"_blank\" rel=\"nofollow noopener\">scapegoating of the women <\/a>who live in the Convent<em>.<\/em> But the murder described in the opening pages is a murder of women by men, a brutal act of woman-hating that cannot be explained purely by race or by the line\u2014\u201cThey shoot the white girl first\u201d\u2014that opens the book so sensationally. <em>A Mercy<\/em> begins and ends with a mother\u2019s relinquishment of her daughter to the <a href=\"https:\/\/qz.com\/1012692\/this-is-what-reparations-could-actually-look-like-in-america\/\" target=\"_blank\" rel=\"nofollow noopener\">American domestic slave trade<\/a> that tore more than a million people, many of them children, from their families. The mother\u2019s act can be partially explained by the history of the Atlantic slave trade, for the mother, an African captive, had been raped on her arrival in Barbados. Historical explanation, however, neglects the child\u2019s emotional meaning and the centrality of women in Morrison\u2019s work. In the novel, the child becomes the protagonist. Only at the end does she seem to understand the circumstances of her abandonment and drop the bitter thread running through the narrative.<\/span><\/p>\n<div id=\"attachment_176476862\" style=\"width: 610px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-176476862\" decoding=\"async\" loading=\"lazy\" class=\" wp-image-176476862\" src=\"http:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-04.jpg\" alt=\"\" width=\"600\" height=\"401\" srcset=\"https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-04.jpg 799w, https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-04-300x201.jpg 300w, https:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2017\/10\/toni-morrison-04-768x513.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><p id=\"caption-attachment-176476862\" class=\"wp-caption-text\"><span style=\"color: #000000; font-size: 10pt;\"><strong>Beloved, adapted for film in 1998, helped open up the literary canon.Touchstone Pictures\/Photofest<\/strong><\/span><\/p><\/div>\n<p><span style=\"color: #000000; font-size: 14pt;\">Morrison\u2019s depiction of women, of motherhood, of misogyny, of hatred and self-hatred within and around race constitutes the foundation of her genius as a writer and thinker. Nearly all Morrison\u2019s protagonists are women whose identities and narrative trajectories fill entire fictional universes. A universe of women emerges most clearly in <em>Paradise<\/em>, in the community of lost and broken women who come together in the Convent and heal themselves, free of men\u2019s oversight. The women in the Convent are Othered through race, but as women, they create their own belonging, which proves their undoing. Free women enrage the men of Ruby, whose \u201cpure oil of hatred\u201d clarifies the \u201cvenom\u201d they feel towards them. Bent on murder, the men attack with \u201crope, a palm leaf cross, handcuffs, Mace and sunglasses, along with clean, handsome guns.\u201d<\/span><\/p>\n<p><span style=\"color: #000000; font-size: 14pt;\"><em>The Origin of Others<\/em> combines Toni Morrison\u2019s accustomed eloquence with meaning for our times as citizens of the world. But the breadth of her humanist imagination emerges most gloriously from her magnificent fiction, in which women play leading roles, in which social and racial identities influence but never determine individual character; her novels guide our understanding of how both race and gender inflect experience without diminishing psychological uniqueness. Although her lectures and the race-centered tradition of James Baldwin and Ta-Nehisi Coates are crucial to understanding her thought, they cannot contain her extraordinary vision of human Othering and belonging.<\/span><\/p>\n<p><span style=\"font-size: 14pt;\"><strong>Nell Irvin Painter<\/strong> is the Edwards professor of American history,\u00a0emerita, at Princeton University, where she directed the Program\u00a0in African American Studies. She is the author of numerous books,\u00a0including\u00a0<i>The History of White People<\/i>, <i>Standing at Armageddon:\u00a0<\/i><i>A Grassroots History of the Progressive Era,<\/i> and <i>Creating\u00a0<\/i><i>Black Americans.\u00a0<\/i><a class=\"bio-twitter\" href=\"https:\/\/twitter.com\/PainterNell\" target=\"_blank\" rel=\"noopener\" data-reactid=\".w470yg66tc.2.1.0.0.$0.2.0:$0.0.1\">@PainterNell<\/a><\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<footer class=\"article-footer-wrap\" data-reactid=\".w470yg66tc.2.1.0.0.$0.2\">\n<div class=\"article-author-bio\" data-reactid=\".w470yg66tc.2.1.0.0.$0.2.0:$0\"><\/div>\n<div data-reactid=\".w470yg66tc.2.1.0.0.$0.2.2\"><\/div>\n<div data-reactid=\".w470yg66tc.2.1.0.0.$0.2.2\"><\/div>\n<div class=\"article-footer-tags\" data-reactid=\".w470yg66tc.2.1.0.0.$0.2.2\">&gt;via:\u00a0<a href=\"https:\/\/newrepublic.com\/article\/144972\/toni-morrisons-radical-vision-otherness-history-racism-exclusion-whiteness\">https:\/\/newrepublic.com\/article\/144972\/toni-morrisons-radical-vision-otherness-history-racism-exclusion-whiteness<\/a><\/div>\n<\/footer>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; &nbsp; &nbsp; &nbsp; Toni Morrison\u2019s Radical Vision of Otherness The history of racism and exclusion in the United States is the history of whiteness. &nbsp; BY NELL IRVIN PAINTER ILLUSTRATION BY ENAM BOSOKAH &nbsp; &nbsp; A generation ago, as the culture wars raged, Toni Morrison often stood at the front lines, demanding the desegregation [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mo_disable_npp":"","_s2mail":"yes"},"categories":[6],"tags":[4,12,11],"_links":{"self":[{"href":"https:\/\/kalamu.com\/neogriot\/wp-json\/wp\/v2\/posts\/176476858"}],"collection":[{"href":"https:\/\/kalamu.com\/neogriot\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kalamu.com\/neogriot\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kalamu.com\/neogriot\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/kalamu.com\/neogriot\/wp-json\/wp\/v2\/comments?post=176476858"}],"version-history":[{"count":11,"href":"https:\/\/kalamu.com\/neogriot\/wp-json\/wp\/v2\/posts\/176476858\/revisions"}],"predecessor-version":[{"id":176476908,"href":"https:\/\/kalamu.com\/neogriot\/wp-json\/wp\/v2\/posts\/176476858\/revisions\/176476908"}],"wp:attachment":[{"href":"https:\/\/kalamu.com\/neogriot\/wp-json\/wp\/v2\/media?parent=176476858"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kalamu.com\/neogriot\/wp-json\/wp\/v2\/categories?post=176476858"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kalamu.com\/neogriot\/wp-json\/wp\/v2\/tags?post=176476858"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}