BTAN3014MA04

North American Department, IEAS, University of Debrecen, Fall 2012

Topics in North American Literature after 1900THE LIFE AND ART OF TONI MORRISON

Fall 2012 Zoltán Abádi-Nagy, office: main bldg., 120/2TH 10:00-11:40 Phone: (52) 512-900/22507 (no voice mail)Rm.: main bldg. 119 E-mail: abnagyzo@yahoo.com Office hours: TH 11:40-12:30 and by appointment.Make-up classes, when needed:

Prospectus

The seminar will be a figure course, involving a detailed study of Nobel-laureate Toni Morrison’s art of fiction, through discussions of some major novels as well as some of her theoretical writing and interviews. The world of her fiction confronts us with, is also thematically representative and technically illustrative of, much that has been at the centre of social-cultural as well as literary debates in America the past four decades. Thus, reading and discussing her texts requires immersion in, or, at least basic familiarity with theories of race and ethnicity, Cultural Studies and Cultural Criticism, postcoloniality, self and (cultural) identity, psychoanalysis, Gender Studies and Black Feminism, modernity and postmodernity, deconstruction, intertextuality, dialogism, orality and the vernacular, magical realism, reader-response criticism, rhetorical criticism, genre theory, narrative theory, and reconceptualizations in (New) American Studies.

Class Format: discussion combined with brief lecture sections and debates

Credit: 3 credit hours.

General Course Requirements Students will be expected to attend class faithfully, to keep up with the readings, and to come to class prepared with questions and comments for discussion. The classes will be conducted in an atmosphere in which the instructor and the students take the time to discuss readings and share

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their insights. We can set aside part of any class meeting for informal discussion of our work if needed.

Specific Requirements

Reader's journal; informed attendance; participation in class discussion; presentation; writing workshop; in-class essay; out-of-class essay; final test.

Presentation

One ten-minute presentation (or fifteen minutes if two students team up to do one): an exposition and critique of a PRINTED critical essay based on any ONE of these theories: race and ethnicity, Cultural Studies and Cultural Criticism, postcoloniality, self and (cultural) identity, psychoanalysis, Gender Studies and (Black) Feminism, modernity and postmodernity, deconstruction, intertextuality, dialogism, orality and the vernacular, magical realism, myth, psychoanalysis, reader-response criticism, rhetorical criticism, genre theory, narrative theory, or one Morrison essay (from Playing in the Dark or elsewhere)—in relation to any ONE Morrrison novel. The presenter’s aim is to generate a good debate by using the interrogative (question-and-answer) method. Sign-up deadline for presentations: February 19. (Maximum two presentations per class session.) Sign-up sheet available.

Writing Assignments

JOURNAL—Each student will keep a reader's journal in a separate notebook, making an entry of at least one page per assigned reading, raising at least one pertinent issue for classroom discussion. You are free to choose your own topics. (More about this in class.) The journal entries may be hand-written or typed, as you prefer. Journals will be collected at least twice during the term, beginning the fourth week of class.PAPERS—1) The in-class essay topics will be based on the novels discussed up to that point (topic assigned). 2) The out-of-class essay (eight double-spaced, word-processed pages) will be both theoretically guided and a topic of your own designing. (This will be elaborated in class.) It is a research essay, with at least 2 printed sources quoted. You can sign up for individual conference sessions in my office hours if you have difficulty in designing a topic. The take-home essay will be discussed in a peer workshop before it is submitted. The writing workshop is fundamental to the course. Students who do not participate in it, because they are absent without good cause or do not have a fully drafted version of their paper, will lose 5 points on the grade of the paper once it is handed in. You must give me and your fellow students copies in the class preceding the project session week. For due date see "Schedule" below. Assignments 1 and 2 will be discussed in detail in class. 3) The final test will be

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cumulative, a combination of various kinds of identification questions. It will be described more fully in class near the end of the semester.

N.B.1. Documentation, format —When you consult or quote a source, document it according to the

usual academic principles. In all matters of form, use the MLA format. If you have questions about how to do so, ask me, or ask a librarian for the 4th or 5th edition of the MLA Handbook.

2. Editing —Take pride in your work, edit it carefully, root out mechanical errors. Expect your out-of-class paper and final exam essay to lose one point per five errors.

3. Font, margins —Out-of-class papers must be typed in an ordinary font. Those with abnormally wide margins or typeface, will be returned unmarked, and must be resubmitted as directed.

4. Late paper policy —The presentation deadlines are not negotiable. Out-of-class essays can be submitted on May 7 at the latest, without penalty.

5. Academic misconduct —Plagiarism will not be tolerated. You can be assigned a grade of F for it. The Institute of English and American Studies expects its students to adhere to the university’s code of student conduct, especially as it pertains to academic misconduct. The following statement must be typed on the title page of your essay and signed in hand: “This paper has been prepared in full awareness of the international norms of academic conduct.”

Grading

Participation in discussion (inclusive of occasional quizzes—unannounced, and evaluated on an S/F basis, F meaning a loss of one point in each case—designed to check if you have actually read the day’s reading) will count 10%,

journal: 10%,presentation 10%,in-class essay 10%,take-home essay 30%,final test 30%.

A/5=91-100; B/4=81-90; C/3=71-80; D/2=61-70; F/1 is 60% or below.

N.B.

1. Course requirements —The out-of-class essay and the final test are course requirements in that without satisfying these, you cannot pass the course.

2. Incompletes —Incomplete grades will be possible only if you must miss classes or the final test because of verified illness or for scheduled activities of official university student organizations—if (this applies to the latter case) I am notified in advance of your absence.

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3. Absence policy —Grades can be lowered for three unexcused absences and denied for more than three. If circumstances exist that cause you to be absent more than twice in the semester, make an appointment to speak to me about your progress in the course. However, more than three unexcused absences will automatically fail the course. It is possible to fail the course by absences alone.

4. Tardy policy —Tardiness and early departures are not allowable. They are offensive to your fellow students and to the instructor because they disrupt class work. If you have a compelling reason for arriving late or leaving early, speak with me about the problem. If you regularly cut the beginning and/or the end of class sessions, it can add up to unexcused full-class-time absences.

5. Extra credit —You can get 10 extra credits for researching and electronically submitting the periodical bibliography of any ONE of the Morrison novels (except Jazz); or, for reading Morrison’s Tar Baby, Paradise, Love, or A Mercy (two students each) and preparing a two-page, single-spaced handout (story and brief discussion of themes – one page each) about the novel of your choice. (Introducing and discussing one of her two nonfiction books – The Dancing Mind or Playing in the Dark – is also possible.) More about this in class. A sign-up sheet will be made available.

6. Borderline grades —If your grade is borderline, it depends on attendance and the general pattern of your work (performance improvements) if you can get a break.

7. Discussing grades —If you have questions about how I evaluated your work, please stop by to see me. It is my policy to discuss grades in person only, and not over the telephone.

8. Disabilities policy —Students who need course adaptations or accommodations because of certified disability or who have emergency medical information to share, should speak to me after the first class meeting.

S C H E D U L E

Month Day Assignments

September 20 Orientation

27 The Bluest Eye 1: “Autumn,” Winter”

October 4 The Bluest Eye 2: “Spring,” “Summer”

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Sign-up deadline for presentations

Month Day Assignments

October 11 Sula 1: “Part One”

25 Sula 2: „Part Two“

Start conferences as needed

November 8 Song of Solomon 1: Part I, chs 1-3

In-class essay

15 Song of Solomon 2: Part I, chs 4-9

22 Song of Solomon 3: Part II, chs 10-15

29 Beloved 1: One/1-2

December 6 Beloved 2: Two and Three

Writing workshop13 Jazz 1

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20 Jazz 2Final test

Out-of-class essays

due

TEXTS: Morrison’s novels and essay volume in various editions.

Recommended Theoretical and Critical Reading

THEORY, GENERAL CRITICISM (Items indicated as “IL” are available in the Institute’s Library.)

Baker, Houston A., Jr. Afro-American Poetics: Revisions of Harlem and the Black Aesthetic. Madison: U of Wisconsin P, 1988.

Barkan, Elliott Robert, ed. A Nation of Peoples: A Sourcebook on America’s Multicultural Heritage. Westport, CT: Greenwood, 1999.

Barrett, Lindon. Blackness and Value. Cambridge: Cambridge UP, 1999. ILBhabha, Homi. The Location of Culture. London: Routledge, 1994.Buenker, John D., and Lorman A. Ratner, eds. Multiculturalism in the United States: A

Comparative Guide to Acculturation and Ethnicity. Westport, CT: Greenwood, 1992.Cooke, Michael G. Afro-American Literature in the Twentieth Century. New Haven: Yale UP,

1984. ILDe Weever, Jacqueline. Mythmaking and Metaphor in Black Women’s Fiction. New York:

St. Martin’s, 1991. ILDickson-Carr, Darryl. The Columbia Guide to Contemporary African American Fiction.

New York: Columbia UP, 2005. ILEvans, Mari, ed. Black Women Writers (1950-1980): A Critical Evaluation. New York: Anchor,

1984. ILFisher, Dexter, ed. The Third Woman: Minority Women Writers of the United States. Boston:

Houghton, 1980. ILGalens, Judy, Anna Sheets, and Robyn V. Young, eds. Gale Encyclopedia of Multicultural

America. Vols. 1 and 2. Detroit, MI: Gale, 1995.Gates, Henry Louis, Jr. The Signifying Monkey: A Theory of Afro-American Literary Criticism.

New York: Oxford UP, 1988.

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---, ed. Reading Black, Reading Feminist: A Critical Anthology. New York: Meridian, 1990. ILGiddings, Paula. When and Where I Enter: The Impact of Black Women on Race and Sex in

America. New York: Bantam, 1984.Graham, Maryemma, ed. The Cambridge Companion to the African American Novel.

Cambridge: Cambridge UP, 2004. ILHernton, Calvin C. The Sexual Mountain and Black Women Writers: Adventures in Sex,

Literature, and Real Life. New York: Doubleday, 1987.Hogue, W. Lawrence. Race, Modernity, Postmodernity. Albany: State U of New York P, 1996.Juan, E. San, Jr. Racism and Cultural Studies: Critiques of Multiculturalist Ideology and the

Politics of Difference. Durham, NC: Duke UP, 2002.Lee. A. Robert. Designs of Blackness: Mappings in the Literature and Culture of Afro-America.

London: Pluto, 1998.---. Multicultural American Literature: Comparative Black, Native, Latino/s and

Asian American Fictions. Jackson: UP of Mississippi, 2003.Lerner, Gerda, ed. Black Women in White America: A Documentary History. New York:

Vintage, 1972.Levine, Lawrence W. The Opening of the American Mind: Canons, Culture and History.

Boston, MA: Beacon, 1996.McKee, Patricia. Producing American Races: Henry James, William Faulkner, Toni Morrison.

??? ILMiller, John J. The Unmaking of Americans: How Multiculturalism has Undermined the

Assimilationist Ethic. New York: Free, 1998.Muller, Gilbert H. New Strangers in Paradise:The Immigrant Experience and Contemporary

American Fiction. Lexington KY: UP of Kentucky, 1999.Napier, Winston, ed. African American Literary Theory: A Reader. New York: New York UP,

2000. ILOlney, James, ed. Afro-American Writing Today. Anniversary issue of Southern Review.

Baton Rouge. LA: U of Louisiana P, 1989.Palumbo-Liu, David, ed. The Ethnic Canon: Histories, Institutions, and Interventions.

Minneapolis: U of Minnesota P, 1995.Reed, Ishmael, ed. MultiAmerica: Essays on Cultural Wars and Cultural Peace. New York:

Viking, 1997.Ruiz, Vicki L., and Ellen Carol DuBois, eds. Unequal Sisters: A Multi-Cultural Reader in U.S.

Women’s History. 2nd ed. New York: Routledge, 1994.Russell, Cheryl. Racial and Ethnic Diversity: Asians, Blacks, Hispanics, Native Americans and

Whites. Ithaca, NY: New Strategist, 1998.Said, Edward. Orientalism. New York: Random/Vintage, 1978.San Juan, E., Jr. Racism and Cultural Studies: Critiques of Multiculturalist Ideology and the

Politics of Difference. Durham, NC: Duke UP, 2002.Schlesinger, Arthur M., Jr. The Disuniting of America: Reflections on a Multicultural Society.

New York: Norton, 1992. Schmidt Alvin J. The Menace of Multiculturalism: Trojan Horse in America. Westport, CT:

Praeger, 1997.Singh, Armritjit, Joseph T. Skerrett, Jr., and Robert E. Hogan, eds. Memory, Narrative, and

Identity: New Essays in Ethnic American Literatures. Boston: North Eastern UP, 1994.---, and Peter Schmidt, eds. Postcolonial Theory and the United States: Race, Ethnicity, and

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Literature. Jackson: UP of Mississippi, 2000.Sollors, Werner, ed. The Invention of Ethnicity. New York, Oxford UP, 1989.---, ed. Theories of Ethnicity: A Classical Reader. New York: New York UP, 1996.Spivak, Gayatri Chakravorty. In Other Worlds: Essays in Cultural Politics. New York: Thernston, Stephen, ed. Harvard Encyclopedia of American Ethnic Groups. Cambridge, MA:

Harvard UP, 1980.Williams, Lisa. The Artist as Outsider in the Novels of Toni Morrison and Virginia Woolf.

Westport, CT: Greenwood, 2000. ILWilliams, Patrick, and Laura Chrisman, ed. Colonial Discourse and Postcolonial Theory: A

Reader. New York: Columbia, 1994.

CRITICISM—AUTHOR AND INDIVIDUAL WORKS (Items indicated “IL” are available in the Institute’s Library)

MORRISON – background literature and general works on Morrison

Abádi Nagy Zoltán. “Toni Morrison.” Mai amerikai regénykalauz, 1970-1990. Budapest: 1995. 379-81. IL

Adams, Anne. “Straining to Make Out the Words to the ‘Lied’: The German Reception of TonMorrison.” McKay, Critical Essays 190-214. IL

Atkinson, Yvonne. “Language That Bears Witness: The Black English Oral Tradition in theWorks of Toni Morrison.” Conner 12-30. IL

Beaulieu, Elizabeth Ann. Black Women Writers and the American Neo-Slave Narrative: Femininity Unfettered. Westport, CT: Greenwood, 1999. IL

Bjork, Patrick Bryce. The Novels of Toni Morrison: The Search for Self and Place within the Community.

Bloom, Harold. Toni Morrison. Modern Critical Views S.Bouson, J. Brooks. Quiet As It’s Kept: Shame, Trauma, and Race in the Novels of Toni

Morrison. Albany: State U of New York P, 2000.---. “’Speaking the Unspeakable’: Shame, Trauma, and Morrison’s Fiction.” Bouson 1-21.Caruth, Cathy. Unclaimed Experience: Trauma, Narrative, and History. Baltimore: Johns

Hopkins UP, 1996. ILChristian, Barbara T. “Layered Rhythms: Virginia Woolf and Toni Morrison.” Peterson 19-36.Conner, Marc. C., ed. The Aesthetics of Toni Morrison: Speaking the Unspeakable. Jackson:

P of Mississippi, 2000. IL---. “From the Sublime to the Beautiful: The Aesthetic Progression of Toni Morrison.” Conner

49-76. ILDavis, Cynthia A. “Self, Society and Myth in Toni Morrison’s Fiction.” Peach, Toni Morrison

(New Casebooks) 27-42.Dennard, Carolyn. “The Convergence of Feminism and Ethnicity in the Fiction of Toni

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Morrison.” McKay, Critical Essays 171-79. IL DeKoven, Marianne. “Postmodernism and Post-Utopian Desire in Toni Morrison and E. L.

Doctorow.” Peterson 111-30.Drake, Kimberly. “Rape and Resignation: Silencing the Victim in the Novels of Morrison and

Wright.” Literature Interpretation Theory 6.1 (1995): 63-72.Eyerman, Ron. Cultural Trauma: Slavery and the formation of African American identity (sic).

Cambridge: Cambridge UP, 2001. ILFurman, Jan. Toni Morrison’s Fiction. Understanding Contemporary American Literature.

1996.Columbia: U of South Carolina P, 1999.Gates, Henry Louis, and K. A. Appiah, eds. Toni Morrison: Critical Perspectives Past and

Present.Harding, Wendy, and Jacky Martin. “Projections of Self,” and “Modes of Belonging in

Community.”A World of Difference: An Inter-Cultural Study of Toni Morrison’s Novels.Westport, CT: Greenwood, 1994. 13-35, 87-109.

Harris, Trudier. Fiction and Folklore: The Novels of Toni Morrison. Knoxville: U of Tennessee P, 1991. IL

Hirsh, Marianne. The Mother/Daughter Plot: Narrative, Psychoanalysis, Feminism. Bloomington: Indiana UP, 1989. IL

Hogue, W. Lawrence. Race, Modernity, Postmodernity. Albany: State U of New York P, 1996.---. “Race, Modernity, Postmodernity: A Look at the History of People of Color since the

1960s.” Hogue 1-27.Kella, Elizabeth. Beloved Communities: Solidarity and Difference in Fiction by Michael

Ondaatje, Toni Morrison, and Joy Kogawa. Uppsala: Uppsala U, 2000. ILKhayati, Abdellatif. “Representation, Race, and the ‘Language’ of the Ineffable in Toni

Morrison’s Narrative.” African American Review 33.2 (1999): 313-24.Kubitschek, Missy Dehn. Toni Morrison: A Critical Companion. Westport,

CT: Greenwood, 1998.

Lester, Cheryl. “Meditations on a Bird in the Hand: Ethics and Aesthetics in a Parable by Toni Morrison.” Conner 125-38. IL

Matus, Jill L. Toni Morrison. Contemporary World Writers. Manchester: Manchester UP, 1998.---. “Contexts and intertexts.” Matus 1-36.McBride, Dwight A. “Speaking the Unspeakable: On Toni Morrison, African American

Intellectuals and the Uses of Essentialist Rhetoric.” Peterson 131-52.McKay, Nellie Y., ed. Critical Essays on Toni Morrison. Boston: Hall, 1988. IL---, and Kathryn Earle, eds. Approaches to Teaching Toni Morrison.Middleton, David L., ed. Toni Morrison’s Fiction: Contemporary Criticism. New York:

Garland. 1997.Morey, Ann-Janine. “Margaret Atwood and Toni Morrison: Reflections on Postmodernism and

the Study of Religion and Literature.” David L. Middleton 247-68.Morrison, Toni. “Nobel Lecture 1993.” Peterson 267-73.

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---. “Rootedness: The Ancestor as Foundation.” Evans 339-60. ILPage, Philip. Dangerous Freedom: Fusion and Fragmentation in Toni Morrison’s Novels.

Jackson: UP of Mississippi, 1995. ---. “Morrison’s Novels as Texts, Not Novels.” Page 26-36.---. “What’s the World For If You Can’t Make It Up the Way You Want It?”Page 178-88.Peach, Linden. Toni Morrison. Macmillan Modern Novelists. Houndmills: Macmillan, 1995.

Second edition. 2000. IL---, ed. Toni Morrison. New Casebooks S. New York: St. Martin’s, 1998.---. “Language.” Toni Morrison 128-34.Peterson, Nancy J., ed. Toni Morrison: Critical and Theoretical Approaches. Baltimore:

Johns Hopkins UP, 1997.---. “’Say Make Me, Remake Me’: Toni Morrison and the Reconstruction of African-American

History.” Peterson 201-21. Pryse, Marjorie, and Hortense J. Spillers, eds. Conjuring: Black Women, Fiction, and Literary

Tradition.” Bloomington: Indiana UP, 1985. ILReviews of Morrison’s novels. McKay, Critical Essays 19-39. ILRice, Herbert William. Toni Morrison and the American Tradition: A Rhetorical Reading.Rigney, Barbara Hill. The Voices of Toni Morrison.Rushdy, Ashraf H. A. “’Rememory’: Primal Scenes and Constructions in Toni Morrison’s

Novels.” David L. Middleton 135-61.Russell, Sandi. “A Deeper Reckoning (1970s-present): Toni Morrison.” Render Me My Song:

African-American Women Writers from Slavery to the Present. New York: St. Martin’s,1991. 91-114. IL

Sage, Lorna. Women in the House of Fiction: Post-War Women Novelists. Houndmills: Macmillan, 1992. (Morrison: 178-85.) IL

Samuels, Wilfred D., and Clenora Hudson-Weems. Toni Morrison.Smith, Valerie. “Toni Morrison’s Narratives of Community.” Self-Discovery and Authority in

Afro-American Narrative. 122-53. ILStern, Katherine. “Toni Morrison’s Beauty Formula.” Conner 77-91. ILStepto, From Behind the Veil: A Study of Afro-American Narrative. Urbana: U of Illinois P,

979.

Turner Darwin T. “Theme, Characterization, and Style in the Works of Toni Morrison.” Evans 361-70. IL

Taylor-Guthrie, Danielle, ed. Conversations with Toni Morrison. Jackson: UP of Mississippi, 1994.

Walker, Melissa. Down from the Mountaintop: Black Women’s Novels in the Wake of the Civil Rights Movement. New Haven: Yale UP, 1991. IL

Wagner, Linda W. “Toni Morrison: Mastery of Narrative.” Contemporary American WomenWriters: Narrative Strategies. Ed. Catherine Rainwater and William J. Scheick. Lexington, KY: UP of Kentucky, 1985. 191-205.

Wilkerson, Margaret B. “The Dramatic Voice in Toni Morrison’s Novels.” McKay, Critical Essays 179-90. IL

Willis, Susan. Specifying: Black Women Writing the American Experience. Madison: U of

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Wisconsin P, 1987. IL---. “Eruptions of Funk: Historicizing Toni Morrison.” Willis 83-109. ILWood, Michael. “Sensations of Love.” Conner 113-24. IL

THE BLUEST EYE (1970)

Awkward, Michael. “Roadblock and Relatives: Critical Revisions in Toni Morrison’s The Bluest Eye.” McKay, Critical Essays 57-68. IL

Bouson, J. Brooks. “’The Devastation That Even Casual Racial Contempt Can Cause’: Chronic Shame, Traumatic Abuse, and Racial Self-Loathing in The Bluest Eye.” Bouson 23-45.

Furman, Jan. “Black Girlhood and Black Womanhood: The Bluest Eye and Sula.” Toni Morrison’s Fiction 12-22.

Guerrero, Ed. “Tracking ‘The Look’ in the Novels of Toni Morrison.” David L. Middleton 27-41.

Harris, Trudier. “The Bluest Eye.” Fiction and Folklore 15-51. IL---. “Reconnecting Fragments: Afro-American Folk Tradition in The Bluest Eye.” McKay,

Critical Essays 68-76. ILLedbetter, Mark. “Through the Eyes of a Child: Looking for Victims in Toni Morrison’s The

Bluest Eye.” Victims and the Postmodern Narrative, or Doing Violence to the Body: AnEthic of Reading and Writing. Basingstoke: Macmillan, 1996. 22-36. IL

Matus, Jill. “Shame and anger in The Bluest Eye.” Matus 37-54.Miner, Madonne M. “Lady No Longer Sings the Blues: Rape, Madness, and Silence in The

Bluest Eye.” Pryse and Spillers 176-91. ILPage, Philip. “The Break Was a Bad One: The Split World of The Bluest Eye.” Page 37-59.Peach, Linden. “The Bluest Eye.” Toni Morrison 24-38.Walker, Melissa. “From the Great War to World War II: The Bluest Eye.” Walker 47-60. ILWallace, Michele. “Variations on Negation and the Heresy of Black Feminist Creativity.”

Gates, Reading Black, Reading Feminist 52-67. ILTirrell, Lynne. “Storytelling and Moral Agency.” David L. Middleton 3-25.Williams, Lisa. (Virginia Woolf and The Bluest Eye) Lisa Williams 23-74. IL

SULA (1973)

Baker, Houston A., Jr. “Knowing Our Place: Psychoanalysis in Sula.” Peach, Toni Morrison (New Casebooks) 103-109.

Bouson, J. Brooks. “’I Like My Own Dirt’: Disinterested Violence and Shamelessness in Sula.”Bouson 47-73.

Dubey, Madhu. “’No Bottom and No Top’: Oppositions in Sula.” Peach, Toni Morrison (New Casebooks) 70-88.

Furman, Jan. “Black Girlhood and Black Womanhood: The Bluest Eye and Sula.” Toni Morrison’s Fiction 22-33.

Gillespie, Diane, and Missy Dehn Kubitschek. “Who Cares? Women-Centered Psychology in Sula.” David L. Middleton 61-91.

Grant, Robert. “Absence into Presence: The Thematics of Memory and ‘Missing” Subjects in

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Toni Morrison’s Sula.” McKay, Critical Essays 90-103. ILHarris, Trudier. “Sula.” Fiction and Folklore 52-84. ILHirsch, Marianne. “Maternal Narratives: ‘Cruel Enough to Stop the Blood.’” Reading Black,

Reading Feminist 415-30. IL---. “Speaking with Two Voices: Morrison’s Sula.” The Mother/Daughter Plot

176-86. ILJohnson, Barbara. “’Aesthetic’ and ‘Rapport’ in Toni Morrison’s Sula.” Conner 3-11. ILMatus, Jill. “Sula: war and Peace traumas.” (sic) Matus 55-71.McDowell, Deborah E. “’The Self and the Other’: Reading Toni Morrison’s Sula and the Black

Female Text.” McKay, Critical Essays 77-90.McKee, Patricia. “Spacing and Placing Experience in Toni Morrison’s Sula.” Peterson 37-62.Page, Philip. “Shocked into Separateness: Unresolved Oppositions in Sula.” Page 60-83. Peach, Linden. “Sula.” Toni Morrison 39-54.Powell, Timothy B. “Toni Morrison: The Struggle to Depict the Black Figure on the White

Page.” David L. Middleton 45-60.Walker, Melissa. “Private Lives before the Movement: Sula.” Walker 119-28. ILWilliams, Lisa. (Virginia Woolf and Sula) Lisa Williams 75-123. IL

SONG OF SOLOMON (1977)

Abádi Nagy Zoltán. “Salamon-ének.” Mai amerikai regénykalauz 81-85.Awkward, Michael. “’Unruly and Let Loose’: Myth, Ideology, and Gender in Song of

Solomon.” Furman, Toni Morrison’s Song of Solomon 67-93. ILBouson, J. Brooks. “’Can’t Nobody Fly with All That Shit’: The Shame-Pride Axis and Black

Masculinity in Song of Solomon.” Bouson 75-101.Brenner, Gerry. “Song of Solomon: Rejecting Rank’s Monomyth and Feminism.” McKay,

Critical Essays 114-25. IL Also Furman, Toni Morrison’s Song of Solomon 95-109. ILCowart, David. “Faulkner and Joyce in Morrison’s Song of Solomon.” David L. Middleton

95-108. Also: American Literature 62.1 (1990): 87-100.Duvall, John N. “Doe Hunting and Masculinity: Song of Solomon and Go Down, Moses.”

Furman, Toni Morrison’s Song of Solomon 113-36. ILFabre, Genevieve. “Geneological Archeology of the Quest for Legacy in Toni Morrison’s Song

of Solomon.” McKay, Critical Essays 105-14. ILFurman, Jan, ed. Toni Morrison’s Song of Solomon: A Casebook. Oxford: Oxford UP, 2003.---. Introduction. Toni Morrison’s Song of Solomon: A Casebook 3-20. IL---. “Male Consciousness: Song of Solomon.” Toni Morrison’s Fiction 34-48.Harris, Trudier. “Song of Solomon.” Fiction and Folklore 84-115. ILHirsch, Marianne. “Knowing Their Names: Toni Morrison’s Song of Solomon.” Smith 69-92.Hogue, W. Lawrence. “The Retreat from Modernity: Toni Morrison’s Song of Solomon and

N. Scott Momaday’s House Made of Dawn.” Hogue 29-74.Imbrie, Ann E. “’What Shalimar Knew’: Toni Morrison’s Song of Solomon as a Pastoral

Novel.” College English 55.5 (1993): 473-90. ILLee, Catherine Carr. “The South in Toni Morrison’s Song of Solomon.” Furman, Toni

Morrison’s Song of Solomon 43-64. ILKrumholz, Linda. “Dead Teachers: Rituals of Manhood and Rituals of Readingn in Song of

Solomon.” Furman, Toni Morrison’s Song of Solomon 201-29. IL

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Lester, Julius. “People Who Could Fly.” Furman, Toni Morrison’s Song of Solomon 21-23. ILLubiano, Wahneema. “The Postmodernist Rag: Political Identity and the Vernacular in Song of

Solomon.” Smith 93-116.MacKethan, Lucinda H. “Names to Bear Witness: The Theme and Tradition of Naming in Toni

Morrison’s Song of Solomon.” Furman, Toni Morrison’s Song of Solomon 185-97. ILMatus, Jill. “Song of Solomon: rasising Dead fathers.” (sic) Matus 72-84.Middleton, Joyce Irene. “From Orality to Literacy: Oral Memory in Toni Morrison’s Song of

Solomon.” Smith 19-39.Mobley, Marilyn Sanders. “Call and Response: Voice, Community, and Dialogic Structures in

Toni Morrison’s Song of Solomon.” Smith 41-68.O’Shaughnessy, Kathleen. “’Life life life life’: The Community as Chorus in Song of Solomon.”

McKay, Critical Essays 125-33. ILPage, Philip. “Putting It All Together: Attempted Unification in Song of Solomon.” Page

84-107.Peach, Linden. “Song of Solomon.” Toni Morrison 55-74.Rigney, Barbara. “Hagar’s Mirror: Self and Identity in Morrison’s Fiction.” Peach, Toni

Morrison (New Casebooks) 52-69.Schappell, Elissa. “The Art of Fiction.” Furman, Toni Morrison’s Song of Solomon 233-65. ILSkerrett, Joseph T., Jr. “Recitation to the Griot: Storytelling and Learning in Toni Morrison’s

Song of Solomon.” Pryse and Spillers 192-202. ILSmith, Valerie. “The Quest for and Discovery of Identity in Toni Morrison’s Song of

Solomon..” Furman, Toni Morrison’s Song of Solomon 27-41. IL---, ed. New Essays on Song of Solomon. Cambridge: Cambridge UP, 1995.Thomi é res , Daniel. “Milkman’s Flight: The Concept of Flight in Toni Morrison’s Song of

Solomon.” British and American Studies 8 (2002): 67-76.Walker, Melissa. “From Desegregation to Voting Rights: Song of Solomon.” Walker 129-47. ILWegs, Joyce M. “Toni Morrison’s Song of Solomon: A Blues Song.” Furman, Toni Morrison’s

Song of Solomon 165-84Wilentz, Gay. “Civilizations Underneath: African Heritage as Cultural Discourse in Toni

Morrison’s Song of Solomon.” David L. Middleton 109-33. Also Furman, Toni Morrison’s Song of Solomon 137-63. IL

TAR BABY (1981)

Bouson, J. Brooks. “’Defecating Over a Whole People’: The Politics of Shame and the Failure of Love in Tar Baby.” Bouson 103-30.

DiBattista, Maria. “Contentions in the House of Chloe: Morrison’s Tar Baby.” Conner 92-112. IL

Furman, Jan. “Community and Cultural Identity.” Toni Morrison’s Fiction 49-66.Harris, Trudier. “Tar Baby.” Fiction and Folklore 116-50. ILLepow, Lauren. “Paradise Lost and Found: Dualism and Edenic Myth in Toni Morrison’s Tar

Baby.” David L. Middleton 165-81.Matus, Jill. “Tar Baby: a message mailed from under the sink.” (sic) Matus 85-102.Mbalia, Doreatha Drummond. “Tar Baby: A Reflection of Morrison’s Developed Class

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Consciousness.” Peach, Toni Morrison (New Casebooks) 89-102.Otten, Terry. “The Crime of Innocence: Tar Baby and the Fall Myth.” Peach, Toni Morrison

(New Casebooks) 43-51.Page, Philip. “Everyone Was Out of Place: Contention and Dissolution in Tar Baby.” Page

108-32.Paquet, Sandra Pouchet. “The Ancester as Foundation in Their Eyes Were Watching God and

Tar Baby.” David L. Middleton 183-206.Peach, Linden. “Tar Baby.” Toni Morrison 75-92.Pereira, Malin Walther. “Be(e)ing and ‘Truth’: Tar Baby’s Signifying on Sylvia Plath’s Bee

Poems.” Twentieth Century Literature 42.4 (1996): 526-34.Traylor, Eleanor W. “The Fabulous World of Toni Morrison: Tar Baby.” McKay, Critical

Essays 135-50. ILRyan, Judylyn S. “Contested Visions/Double-Vision in Tar Baby.” Peterson 63-87.Walker, Melissa. “In the Wake of the Movement: Tar Baby.” Walker 189-98. ILWerner, Craig H. “The Briar Patch as Modernist Myth: Morrison, Barthes and Tar Baby As-Is.”

McKay, Critical Essays 150-67. IL

BELOVED (1987)

Andrews, William L., and Nellie Y. McKay, eds. Toni Morrison’s Beloved: A Casebook.New York: OUP, 1999. IL

Askeland, Lori. “Remodelling the Model Home in Uncle Tom’s Cabin and Beloved.” Andrews and McKay 159-78. IL

Atkinson, Yvonne. “The Black English Oral Tradition in Beloved: ‘listen to the spaces.’” Solomon 247-60.

Ayer (Sitter), Deborah. “The Making of a Man: Dialogic Meaning in Beloved.” Solomon 189-204.

Bell, Bernard W. “Beloved: A Womanist Neo-Slave Narrative; or Multivocal Remembrances of

Things Past.” Solomon 166-76.Bouson, J. Brooks. “’Whites Might Dirty Her All Right, but Not Her Best Thing’: The Dirtied

and Traumatized Self of Slavery in Beloved.” Bouson 131-62.Bowers, Susan. “Beloved and the New Apocalypse.” David L. Middleton 209-30.Capuano, Peter J. “Truth in Timbre: Morrison’s Extention of Slave Narrative Song in Beloved.”

African American Review 37.1 (2003): 95-103.Carden, Mary Paniccia. “Models of Memory and Romance: The Dual Endings of Toni

Morrison’s Beloved.” Twentieth Century Literature 45.4 (1999): 401-27. ILCarl, Plasa. Toni Morrison, Beloved.Christian, Barbara, Deborah McDowell, Nellie Y. McKay. “A Conversation on Toni Morrison’s

Beloved.” Andrews and McKay 203-20. ILCorey, Susan. “Toward the Limits of Mystery: The Grotesque in Toni Morrison’s Beloved.”

Conner 31-48. IL Cutter, Martha J. “The Story Must Go on and on: The Fantastic, Narration, and Intertextuality

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in Toni Morrison’s Beloved and Jazz.” African American Review 34.1 (2000): 61-75.

Elliott, Mary Jane Suero. “Postcolonial Experience in a Domestic Context: Commodified Subjectivity in Toni Morrison’s Beloved..” MELUS 25.3-4 (2000): 181-202.

Finney, Brian. “Temporal Defamiliarization in Toni Morrison’s Beloved.” Solomon 104-16.Fitzgerald, Jennifer. “Selfhood and Community: Psychoanalysis and Discourse in Beloved.”

Peach, Toni Morrison (New Casebooks) 110-27.Furman, Jan. “Sethe’s Re-memories: The Covert Return of What Is Best Forgotten.” Solomon

261-71.---. “Remembering the ‘Disremembered’: Beloved.” Toni Morrison’s Fiction 67-84.Hall, Cherry. “Beyond the ‘Literary Habit’: Oral Tradition and Jazz in Beloved.” MELUS

19.1 (1994): 89-95.Harding, Wendy, and Jacky Martin. “Reading at the Cultural Interface: The Corn Symbolism of

Beloved.” Solomon 233-44.Harper, Frances Ellen Watkins. “The Slave Mother: The Tale of the Ohio.” Andrews and

McKay 21-23. ILHarris, Trudier. “Beloved: Woman, Thy Name Is Demon.” Andrews and McKay 127-57. IL

Also: Solomon 127-37. Also: Fiction and Folklore 151-83. ILHeinze, Denise. “Beloved and the Tyranny of the Double.” Solomon 205-10.Henderson, Mae G. “Toni Morrison’s Beloved: Remembering the Body as Historical Text.”

Andrews and McKay 79-106. ILHinson, D. Scot. “Narrative and Community Crisis in Beloved.” MELUS 26.4 (2001): 147-67.Holloway, Karla F. C. “Beloved: A Spiritual.” Andrews and McKay 67-78. ILHorvitz, Deborah. “Nameless Ghosts: Possession and Dispossession in Beloved.” Solomon

93-103.House, Elizabeth B. “Toni Morrison’s Ghost: The Beloved Who Is Not Beloved.” Solomon

117-26.Joyner, Louisa. “Beloved.” Toni Morrison 27-84. ILKella, Elizabeth. “Shadows Holding Hands: Performative Community in Toni Morrison’s

Beloved.” Kella 113-52. ILKing, Lovalerie. “The Disruption of Formulaic Discourse: Writing Resistance and Truth in

Beloved.” Solomon 272-83. Koolish, Lynda. “’To Be Loved and Cry Shame’: A Psychological Reading of Toni Morrison’s

Beloved.” Contemporary Literature 32.2 (1991): 194-210. IL---. “Fictive Strategies and Cinematic Representations in Toni Morrison’s Beloved: Postcolonial

Theory/Postcolonial Text.” African American Review 29.3 (1995): 421-38.Krumholz, Linda. “The Ghosts of Slavery: Historical Recovery in Toni Morrison’s Beloved.”

Andrews and McKay 107-25. ILLawrence, David. “Fleshly Ghosts and Ghostly Flesh: The Word and the Body in Beloved.”

David L. Middleton 231-46.Matus, Jill. “Beloved: the possessions of history.” (sic) Matus 103-20.May, Samuel J. “Margaret Garner and seven others.” Andrews and McKay 25-36. ILMoreland, Richard C. “’He Wants to Put His Story Next to Hers’: Putting Twain’s Story Next

to Hers in Morrison’s Beloved.” Peterson 155-79.Ochoa, Peggy. “Morrison’s Beloved: Allegorically Othering ‘White’ Christianity.” MELUS

24.2 (1999): 107-23.

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Otten, Terry. “Transfiguring the Narrative: Beloved—from Melodrama to Tragedy.” Solomon 284-99.

Page, Philip. “Anything Coming Back to Life Hurts: Circularity in Beloved.” Page 133-58.Peach, Linden. “Beloved.” Toni Morrison 93-111.Pérez-Torres, Rafael. “Knitting and Knotting the Narrative Thread: Beloved as

Postmodern Novel.” Modern Fiction Studies 39.3-4 (1993): 689-707. Also: Andrews and McKay 179-201. IL; Peach, Toni Morrison (New Casebooks) 128-39; Peterson 91-109.

Phelan, James. “Toward a Rhetorical Reader-Response Criticism: The Difficult, the Stubborn, and the Ending of Beloved.” Peterson 225-44.

Rigney, Barbara Hill. “’Breaking the Back of Words’: Language, Silence, and the Politics of Identity in Beloved.” Solomon 138-47.

Rodrigues, Eusebio L. “The Telling of Beloved.” Solomon 148-65.Rushdy, Ashraf. H. “Daughters Signifyin(g) History: The Example of Toni Morrison’s

Beloved.” Andrews and McKay 37-66. Also: Peach, Toni Morrison (New Casebooks) 140-53. IL

Sale, Maggie. “Call and Response as Critical Method: African-American Oral Traditions andBeloved.” Solomon 177-88.

Scarpa, Giulia. “Narrative Possibilities at Play in Toni Morrison’s Beloved.” MELUS 17.4 (1991): 91-103.

Solomon, Barbara H., ed. Critical Essays on Toni Morrison’s Beloved. New York: Hall, 1998.---, ed. Reviews of Beloved. (Atwood, Clemons, Snitow, Kastor, Brown, Crouch, Thurman,

Edwards, Darling). Solomon 39-87.Terzieva-Artemis, Rossitsa. “Toni Morrison’s Beloved: Feminine Mystiques.” The

AnaChronisT 10 (2004): 125-42.Walker, Melissa. “Slavery and Reconstruction: Beloved.” Walker 33-46. ILWilliams, Lisa. (Virginia Woolf and Beloved.) Lisa Williams 126-68. ILWoidat, Caroline M. “Talking Back to Schoolteacher: Morrison’s Confrontation with

Hawthorne in Beloved.” Peterson 181-200.Wyatt, Jean. “Giving Body to the Word: The Maternal Symbolic in Toni Morrison’s Beloved.”

Solomon 211-32.

PLAYING IN THE DARK: WHITENESS AND THE LITERARY IMAGINATION (1992)

Furman, Jan. “Literary and Social Criticism: Playing in the Dark.” Toni Morrison’s Fiction 104-11.

Morrison, Toni. Playing in the Dark: Whiteness and the Literary Imagination. New York:Vintage, 1993.

JAZZ (1992)

Abádi-Nagy Zoltán. “A szépirodalmi narratíva kulturalizációja I.” Filológiai Közlöny 48.1-2 (2002): 46-56

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---. “A szépirodalmi narratíva kulturalizációja II.” Filológiai Közlöny 49.1-4 (2003): 55-69. ---. “Fabula and Culture: Case Study of Toni Morrison’s Jazz.” European Journal of English

Studies 8.1 (2004): 13-25.---. “From Fabula to Story: Cultural Potential and Narrative Technique.” Universitate şi

Cultur. Ed. Nicolae Bocşan et al. Cluj-Napoca: Presa Universitară Clujeană, 2006: 307-16.

---. “A trópus mint kulturalizációs narrativitás.” A regény és a trópusok. Tanulmányok: amásodik veszprémi regénykollokvium. Diszkurzívák. Ed. Kovács Árpád. Budapest: Argumentum, 2007. 7-20.

Aguiar, Sarah Appleton. “'Everywhere and Nowhere': Beloved's 'Wild' Legacy in Toni Morrison's Jazz.” Notes on Contemporary Literature 25.4 (1995): 11-12.

Albrecht-Crane, Christa. “Becoming Minoritarian: Post-Identity in Toni Morrison's Jazz.” Journal of the Midwest Modern Language Association 36.1 (2003): 56-73.

Alwes, Derek. “The Burden of Liberty: Choice in Toni Morrison’s Jazz and Toni Cade Bambara’s The Salt Eaters.” African American Review 30.3 (1996): 353-65. IL

Andrews, Jennifer. “Reading Toni Morrison's Jazz: Rewriting the Tall Tale and Playing the Trickster in the White American and African American Humour Traditions.” Canadian Review of American Studies/Revue Canadienne d'Etudes Américaines 29.1 (1999): 87-107.

Atlas, Marilyn J. “Cracked Psyches and Verbal Putty: Geography and Integrity in Toni Morrison's Jazz.” Midwestern Miscellany 24 (1996): 63-76.

Barnes, Deborah H. “Movin’ on up: The Madness of Migration in Toni Morrison’s Jazz.”

David L. Middleton 283-95.Bingham, Arthur. “A Linguistic Rationalization for the Universal Appeal of Toni Morrison's

Jazz.” Language and Literature 23 (1998): 1-12. Bjork, Patrick Bryce. “Cultural Reconstruction in the African-American Novel.” The

Novels of Toni Morrison: The Search for Self and Place within the Community.

New York: Lang, 1992. 17-30.Bouson, J. Brooks. “’The Dirty, Get-on-Down Music’: City Pride, Shame, and Violence in

Jazz.” Bouson 163-90.Brown, Caroline. “Golden Gray and the Talking Book: Identity as a Site of Artful

Construction in Toni Morrison’s Jazz.” African American Review 36.4 (2002): 629-42. IL

Burton, Angela. “Signifyin(g) Abjection: Narrative Strategies in Toni Morrison’s Jazz.” Peach, Toni Morrison (New Casebooks) 170-93.

Cannon, Elizabeth M. “Following the Traces of Female Desire in Toni Morrison’s Jazz.” African American Review 31.2 (1997): 235-47. IL

Carabi, Angels. “Interview: Toni Morrison on Jazz.” Belles Lettres 10.2 (1995): 40-43.Cutter—cf. Beloved section aboveDickson-Carr, Darryl. “The Projection of the Beast: Subverting Mythologies in Toni

Morrison’s Jazz.” CLA Journal 49.2 (2005): 168-83.Eckard, Paula Gallant. “The Interplay of Music, Language, and Narrative in Toni Morrison's

Jazz.” College Language Association Journal 28.1 (1994): 11-19.FitzGerald, Jennifer. “Signifyin(g) on Determinism: Commodity, Romance and Bricolage in

Toni Morrison's Jazz.” Lit: Literature Interpretation Theory 12.4 (2001): 381-409.

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Folks, Jeffrey J. “Language and Cultural Authority in Toni Morrison's Jazz.” Journal of Literary Studies/Tydskrif vir Literatuurwetenskap 15.1-2 (1999): 146-59.

Furman, Jan. “City Blues: Jazz.” Toni Morrison’s Fiction 85-103.

Hardack, Richard. “'A Music Seeking Its Own Words': Double-Timing and Double Consciousness in Toni Morrison's Jazz.” Callaloo 18.2 (1995): 451-71.

Heinze, Denise. “Up in the Bottom: Morrison’s Social Dialectic.” The Dilemma of

Double-Consciousness”: Toni Morrison’s Novels. Athens: U of Georgia P, 1993.

102-48.Jones, Carolyn M. “Traces and Cracks: Identity and Narrative in Toni Morrison’s Jazz.”

African American Review 31.3 (1997): 481-95. ILJoyner, Louisa. “Jazz.” Toni Morrison 85-137. ILKim, Yeonman. “Involuntary Vulnerability and the Felix Culpa in Toni Morrison's Jazz.”

Southern Literary Journal 33.2 (2001): 124-33.Knadler, Stephen. “Domestic Violence in the Harlem Renaissance: Remarking the Record

from Nella Larsen’s Passing to Toni Morrison’s Jazz.” African American Review 38.1 (2004): 99-118. IL

Kubitschek, Missy Dehn. “Jazz (1992).” Kubitschek 139-61. Lai, Wei-ching. “Re-Membering the Song of My Self-African American Self-Formation in

Toni Morrison’s Jazz.” EurAmerica 36.4 (2006): 591-612.LeSeur, Geta. “'Sweet Desolation' and Seduction in Toni Morrison's Jazz.” Popular Culture

Review 16.1 (2005): 21-30.Lesoinne, Veronique. “Answer Jazz’s Call: Experiencing Toni Morrison’s Jazz.” MELUS

22.3 (1997): 151-66. ILLeusmann, Harald. “'Come and Do Wrong': Musical Memory in Toni Morrison's Jazz.” Notes

on Contemporary Literature 29.1 (1999): 8-10.Lewis, Barbara Williams. “The Function of Jazz in Toni Morrison’s Jazz.”David L. Middleton

271-81. Lilienfeld, Jane. “’To Have the Reader Work with the Author’: The Circulation of

Knowledge in Virginia Woolf’s To the Lighthouse and Toni Morrison’s Jazz.” MFS: Modern Fiction Studies 52.1 (2006): 42-65. IL

Lindroth, James R. “Archetypes of Love, Hate, and Rebirth in Toni Morrison's Jazz.” JAISA: The Journal of the Association for the Interdisciplinary Study of the Arts 1.1 (1995): 113-19.

Loris, Michelle C. “Self and Mutuality: Romantic Love, Desire, Race, and Gender in Toni Morrison’s Jazz.” Sacred Heart University Review 14.1-2 (1993-1994): 53-62.

Ludigkeit, Dirk. “Collective Improvisation and Narrative Structure in Toni Morrison's Jazz.” Lit: Literature Interpretation Theory 12.2 (2001): 165-87.

Matus, Jill. “’A sweetooth for pain’: history, trauma and replay in Jazz.”(sic) 121-44.Mayberry, Katherine J. “The Problem of Narrative in Toni Morrison’s Jazz.” David L.

Middleton 297-309.Mayer, Sylvia. “Assessments of the Urban Experience: Toni Morrison’s Jazz and T. S.

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Eliot’s The Waste Land.” Connotations 8.3 (1999): 25-55. ILMitchell, Angelyn. “'Sth, I Know That Woman': History, Gender, and the South in Toni

Morrison's Jazz.” Studies in the Literary Imagination 31.2 (1998): 49-60.Mori, Aoi. “Embracing Jazz: Healing of Armed Women and Motherless Children in Toni

Morrison's Jazz.” CLA Journal 42.3 (1999): 320-30.Morgan, Kathleen. “The Homeric Cyclops Episode and 'Otherness' in Toni Morrison's Jazz.”

Classical and Modern Literature: A Quarterly 18.3 (1998): 219-29.Munton, Alan. “Misreading Morrison, Mishearing Jazz: A Response to Toni Morrison's Jazz

Critics.” Journal of American Studies 31.2 (1997): 235-51.Nowlin, Michael. “Toni Morrison’s Jazz and the Racial Dreams of the American Writer.”

American Literature 71.1 (1999): 151-74. ILO'Keefe, Vincent A. “From 'Other' Sides of the Realist Tracks: (A)Gnostic Narratives in

Toni Morrison's Jazz.” Centennial Review 41.2 (1997): 331-49.O’Reilly, Andrea. “In Search of My Mother’s Garden, I Found My Own: Mother-Love,

Healing, and Identity in Toni Morrison’s Jazz.” African American Review 30.3

(1996): 367-79. ILPage, Philip. “Make Me, Remake Me: Traces, Cracks, and Wells in Jazz.”Page

159-77. ---. “Traces of Derrida in Toni Morrison’s Jazz.” African American Review 29.1 (1995): 55-

66. ILPaquet-Deyris, Anna-Marie. “Toni Morrison’s Jazz and the City.” African American Review

35.2 (2001): 219-31. ILPeach, Linden. “Jazz.” Toni Morrison 112-27.Pearce, Richard. “Toni Morrison's Jazz: Negotiations of the African American Beauty

Culture.” Narrative 6.3 (1998): 307-24.Perry, Carolyn and Tonya Maddox. “Repetition and Revision in Toni Morrison's Jazz.”

Publications of the Missouri Philological Association 21 (1996): 62-68.Pici, Nicholas F. “Trading Meanings: The Breath of Music in Toni Morrison’s Jazz.”

Connotations 7.3 (1998): 372-98. ILPici, Nick. “Trading Meanings: The Breath of Music in Toni Morrison's Jazz.” CEA Critic

62.3 (2000): 18-38. Rodrigues, Eusebio L. “Experiencing Jazz.” Peach, Toni Morrison (New Casebooks) 154-69.

Also: Peterson 244-66.Rody, Caroline. “Impossible Voices: Ethnic Postmodern Narration in Toni Morrison’s Jazz

and Karen Tei Yamashita’s Through the Arc of the Rain Forest.” Contemporary Literature 41.4 (2000): 618-41. IL

Rubenstein, Roberta. “Singing the Blues/Reclaiming Jazz: Toni Morrison and Cultural Mourning.” Mosaic 31.2 (1998): 147-63. IL

Ryan, Judylyn S. “Morrison’s Jazz: ‘A Knowing So Deep.’” Approaches to Teaching the

Novels of Toni Morrison. Ed. Nellie Y. McKay and Kathryn Earle. New York: MLA:

1997. 179-Tally, Justine. The Story of Jazz: Toni Morrison’s Dialogic Imagination. FORECAST 7.

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Hamburg: LIT, 2001.Treherne, Matthew. “Figuring In, Figuring Out: Narration and Negotiation in Toni

Morrison's Jazz.” Narrative 11.2 (2003): 199-212.Walter, Roland. “The Dialectics between the Act of Writing and the Act of Reading in Alice

Walker's The Temple of My Familiar, Gloria Naylor's Mama Day and Toni Morrison's Jazz.” Southern Quarterly: A Journal of the Arts in the South 35.3 (1997): 55-66.

Yoo, JaeEun. “’Talking to You and Hearing to You Answer – That’s the Kick’: History and Dialogue in Toni Morrison’s Jazz.” Exit 9: The Rutgers Journal of Comparative Literature 7 (2005): 87-101.

PARADISE (1998)

Bouson, J. Brooks. “’He’s Bringing Along the Dung We Leaving Behind’: The Intergenera-tional Transmission of Racial Shame and Trauma in Paradise.” Bouson 191-216.

Gray, Paul. “Paradise Found.” Time 19 Jan. 1998: 63-68.Joyner, Louisa. “Paradise.” Toni Morrison139-93. ILKella, Elizabeth. “The ‘Chimera’ of African American Community: Toni Morrison’s Paradise.”

Kella 209-34. ILMatus, Jill. “Postscript on Paradise.” Matus 154-67.Peach, Linden. “The 1990s: Jazz (1992) and Paradise (1998).” Toni Morrison. 2nd ed.

126-71. ILTally, Justine. Paradise Reconsidered: Toni Morrison’s (Hi)stories and Truths. 1999.

LOVE (2003)

A MERCY (2008)

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