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(FIRST DRAFT) Lit 650 7-1 Final Project II Milestone I - Academic Essay Draft
(FIRST DRAFT) Lit 650 7-1 Final Project II Milestone I - Academic Essay Draft
(FIRST DRAFT) Lit 650 7-1 Final Project II Milestone I - Academic Essay Draft
Dr O’Connor-Colvin
Lit 650
Toni Morrison is perhaps one of the most important writers of the 20th century. She
was the first African American woman to win the Nobel Peace Prize for Literature, which
she won in 1993, and has written a number of novels, short stories, plays, and essays. Race is
a prominent theme, in addition to gender and sexuality, in many of her works which is
particularly relevant to her own experiences as a Black American woman. Two of her most
renowned novels, The Bluest Eye and Beloved, were both published in the second half of the
20th century, after the Civil Rights Movement; more specifically, The Bluest Eye, which is
set in Ohio during the 1940s, was published in 1970 whilst Beloved was published in 1987
and is set in in the South during 1873, less than a decade after the Emancipation
Proclamation was signed. Morrison attempts to depict the conflicts and the collective trauma
resulting from American racism, specifically the psychosocial impacts of racism, beginning
with slavery, through Jim Crow era segregation, and even beyond the Civil Rights
Movement. She explores the struggles of Black Americans and portrays the Black
community’s outward and inward conflicts as a result of America’s troubled history with
race. Therefore, the final research paper will attempt to analyze the ways Morrison critically
portrays the psychosocial impacts of White hegemony on Black Americans, highlighting how
this group is defined by the dominant one, resulting in double consciousness; however, in
doing so, Morrison offers a form of resistance and encourages Black Americans to redefine
themselves.
Ethnic studies or critical race studies, at least within the discipline of cultural studies
and literature, is a critical way of evaluating the representation of various racial or cultural
groups; furthermore, this critical lens analyzes the relationships and conflicts between such
groups, the ways in which race is constructed more generally, and the sociological and
psychological impacts of such constructions, via its depictions in literature. Ethnic or race
theorists in the study of literature might also examine the literary canon, that is to analyze
what has and what has not been included in addition to how Black authors might use
W.E.B DuBois, the first African American graduate of Harvard, founder of the
NAACP and the Crisis, writer and thinker, is perhaps one of the most important figures
within race studies. In his essay “Strivings of the Negro People”, DuBois writes of “two
souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose
dogged strength alone keeps it from being torn asunder.” He specifically refers to the
psychosocial conflict that lies within the non-White subaltern in a White Centric society, in
his case African Americans in White America. One way this conflicted twoness can occur is
in the way Black individuals attempt to view themselves through a White lens only to then be
aware that they are treated differently (Posnock 327). This idea was later expanded upon by
thinker Frantz Fanon who, like DuBois, was also a prominent and educated thinker who was
still met with racism, chained to the ways White society defined ‘the native’ (Posnock 328).
Fanon argues that the subaltern “tr[ies] to grasp his own being,” only to have it “shattered” as
an “illusion” when he is defined by the dominant group (137). He continues to claim that
when the Black community have their future and past stolen, they lose an identity making it
easier for a new identity, one which legitimizes their status, to be defined for them by White
society (138). In his “Psychopathology of the Black Community,” Fanon discusses the
cinema, and even the church as constructing narratives and binaries, such as the White
explorers and Black savages, which “collapses the ego” of those in the Black community,
“stopping themselves from behaving as an actional person,” and making “the goal” of the
performance to become the Other as to have at least some worth and space in White society
(154). In other words, within a White hegemony, Black individuals are defined by the
dominant White group as being their binaristic Other, often as passive or inferior, and in an
Fanon’s and DuBois’s assertions are both reflected in Morrison’s work, which were
also a reflection of their place in time. Whilst The Bluest Eye is set in the 1940s and Beloved
in 1873, both were written in the late 20th century, in 1970 and 1984, respectively. In fact,
The Bluest Eye was written between "1965-69, a time of great social upheaval in the lives of
black people" (Morrison 208). This Civil Rights period was an era where Black Americans
fought inequality; but one cannot ignore the assassination of Civil Rights Activists like
Medgar Evers in 1963, Malcolm X in 1965, Martin Luther King in 1968, Fred Hampton in
1969 as part of the struggles to which Morrison refers. These leaders sought to redefine what
it meant to be Black in America, fighting for an equal space in American society, yet were
silenced and killed. Politically, Morrison’s early novels can be said to carve out a space for
Black voices in America at the time. In addition to the Civil Rights Movement, there was the
Black Arts Movement during this period which promoted racial pride and a “Black is
Beautiful” ideal. This movement defined Art as "political, anti-white, anti-American, and
anti-middleclass" which would be "meaningful to black masses and promote racial pride"
(Tally xvi). Kuzmanović cites postcolonial theorist Edward Said in reference to this, writing
that “a text represents a self-confirming will to power and possesses a voice which tries to
accomplish certain political agenda of the time it was written” (64). This is certainly true for
The Bluest Eye, wherein Morrison notes in an afterword that she wanted to capture the
gaze" (206). The novel portrays Black individuals, notably Black women, belonging to a
world in which White hegemonic beauty standards, through binaries, cause them to see
In The Bluest Eye, Pecola Breedlove is a young Black American girl who comes to
stay with Claudia MacTeer. White hegemonic ideals of beauty are introduced first via the
symbolism of the Shirley Temple cup. Pecola was particularly “fond of [the cup] and took
every opportunity to drink out of it” (21). She is placed in contrast to the younger Claudia
who disliked Shirley Temple, as she did her White-skinned “big, blue-eyed baby doll” (18).
Claudia notes that the world “had agreed that a blue-eyed, yellow-haired, pink-skinned doll
was what every girl child treasured,” and admits that she later “learned much later to worship
[this image], just as [she] learned to delight in cleanliness, knowing that [...] the change was
an adjustment without improvement” (20-21). Here, Morrison draws attention to how
cultural apparatuses define beauty with the privileging of White traits, excluding Black
pink-skinned” explicitly link bodily features as being innately White. Whilst Claudia is
initially portrayed as operating outside of this ideology due to her young age, she admits to
later believing it, signifying the impact of such socialization in young woman of color, but
noting that this “was an adjustment without improvement” to suggest that fitting in to this
worldview was a process of reconstructing identity without it having any positive impact. In
a White dominant society, this dominant group defines beauty in their image, excluding
people of color. This reflects what Fanon states about attempting to relate to “white culture,
white beauty, white whiteness,” for if the Other can be accepted based on these qualities in
the dominant society, it must mean that they are truly beautiful and worthy (63). According
stereotypes and attributes associated with one’s racial group at an early stage of life” (Fitory).
Other symbols are used to signify Pecola’s loss of personal value as she attempts to
construct a version of herself based on White values. This symbolism is in the form of the
Mary Jane candy, which Pecola remembers through tears (45). She tries to escape her own
Blackness by ingesting Whiteness; in particular, Pecola wants to “eat the eyes, eat Mary Jane.
Love Mary Jane. Be Mary Jane” with “blond hair in gentle disarray, blue eyes looking at her
out of a world of clean comfort” (45). On her way to purchase the Mary Jane candy, Pecola’s
innocence is iterated as walks past a row of dandelions she describes as beautiful, wondering
why parents did not feel similarly; however, after being treated with contempt by the shop
owner who sees her as ugly, with “phlegm and impatience mingl[ing] in his voice” as he tries
“not to touch her hand,” Pecola finds the flowers ugly (47). This is a “revelation” to her,
where she becomes aware of her own position in her White society as the veil is removed.
Here, Morrison reflects the “process by which [Black girls] realize the limitations they face
as an African American child, in [...] the face of this white man” who is able to define her
through treatment (Feathers 6). Pecola’s illusion of her own ideas of beauty is shattered,
leaving her to symbolically “abandon the specificities of [her] cultural heritage, adopt an
anti-racial patriotic attitude, and, [...] assimilate with white Americans” (Fitory). This is fully
emphasized by her attitudes towards the weeds, which cause her to lose focus and trip,
feeling shame. This could be interpreted as a critique of how attempting to conform limits
progress.
The symbolism of blue eyes, from which the novel takes its name, becomes Pecola’s
focus throughout. To her, emphasized by other children, to be Black is to be ugly (71). Later
in the novel, Pecola visits Soaphead Church, a light skinned West Indian man, and failed
preacher who is now a "Reader, Adviser, and Interpreter of Dreams.” She asks him to give
her blue eyes, described by Soaphead’s narration as “an ugly little girl asking for beauty [...]
a little black girl who wanted to rise up out of the pit of her blackness and see the world with
blue eyes (172). Soaphead’s diction of “pit” suggests that Blackness is something individuals
must escape, with its imagery evoking feelings of emptiness and fear. Soaphead, despite
showing some consciousness writing that people of color brought to America attempt to
wrongfully adopt the colonizer’s worst characteristics, still acknowledges the ideal of
Whiteness being beautiful and therefore its binary opposite being ugly. Upon granting Pecola
this wish, after having her unknowingly poison a dog, as though she must undergo further
loss of innocence, Soaphead writes a letter wherein he writes that even if others will not see
her eyes as blue, “she will. And she will live happily ever after” (180). The inclusion of this
line presents conforming to White beauty, as a person of color, instead of trying to redefine
beauty in the Black community’s own image, is akin to a fairy tale - a simple narrative all
In the final chapter, Pecola has undergone a transformation with her sense of self and
sanity being called into question. Her psychosis is portrayed via her conversing with herself,
absorbed in a paralyzing state of fear and anxiety, wondering whether her eyes are enough, or
Please. If there is somebody with bluer eyes than mine, then maybe there is
somebody with the bluest eyes. The bluest eyes in the whole world.
No.
Trapped in her mind, Pecola’s fractured identity still cannot say for sure whether she has
reached the pinnacle of her goal, underscoring the idea that such a construct of beauty does
not exist; the tragedy is in that if such an ideal cannot exist even within Pecola’s own
thoughts, then she ceases to exist: she has no identity. Feathers argues that “it is the dark side
of double consciousness, and it arises from the fact that a little African American girl cannot
ever become white. She can’t even accomplish this in her thought life, without losing that
which is most precious to her soundness of mind: her identity” (9). Furthermore, Chattaraj
argues that Morrison’s works are groundbreaking for the ways they capture the often
ambivalent psychology of marginalized races, including the pride, melancholy, fear, love, and
desired which can never be attained. Pecola’s desires being unattainable creates such a
melancholic tone towards American society from the perspective of Black individuals who
impacts of White hegemonic beauty standards which, at best, exclude Black girls and, at
worst, define Black individuals as ugly through binary opposition. The novel, therefore,
achieves a critical tone towards this cultural ideology, whilst remaining melancholic in its
depiction of those who suffer. However, Morrison offers resistance, notably in the form of
Claudia. Despite noting that she later also learnt to worship the image of her white doll, she
did “[begin] with an innocent destruction of white dolls but culminat[es] in the politically
effective and successful affirmation that “black is beautiful”” (Al-Abbood 25). Claudia
comes to learn that Pecola’s beauty was “assassinated” by those around her, and describes the
land where “certain seeds will not nurture, [and] certain fruit will not bear,” in an
encouragement to rip of DuBois’s metaphorical veil and redefine what beauty should look
like with their own image at the center. She speaks of Pecola as being a mix of “waste” and
“beauty”, taking all of the latter from those around, and having a pure, innocent beauty to
begin with which was taken by others (203). Metaphorically, Claudia asserts Blackness is
beautiful, and only becomes ugly when society tries to position it as so; its binaristic position
of ugliness only exists to privilege its opposite and legitimize power, calling for action and
change. This embodies the Black Arts Movement of the 60s and 70s, echoing the idea that
Black is Beautiful.
result of being defined as the binaristic opposition to White beauty, is not limited to Pecola in
the novel; Pecola’s mother, Pauline Breedlove is another victim of double conscious after
trying to to mimic the dominant White group. After going to see a movie, a cultural apparatus
which was an “education” for Pauline, she attempts to see herself through the lens of the
White community by mimicking Whiteness, although aware of her difference: She describes
how she had styled her hair like Jean Harlow, “well, almost just like,” drawing attention to
her attempt to perform a White role, but her recognition that she is still Other. This idea is
fully explored when Pauline breaks a tooth which breaks, further cementing her awareness of
difference, to which she responds by “settl[ing] down to just being ugly,” wearing her hair
back and plaited (121). Symbolically, this could be interpreted as a fracture in her idea of
whiteness, given the color of teeth, and how her now imperfect smile is a reminder of how
she can never be white nor whole. section captures the impacts of White hegemony, resulting
in internalized White supremacy within Pauline as she attempts to mimic the dominant
addition to the disillusionment, estrangement, and self-loathing captured when the subaltern
becomes aware of their Otherness and inability to perform like the dominant group. The fact
that Pauline attempts to mimic an actress playing a character, a literal performer and
constructed role, is significant as it underscores the idea that race is constructed through
signs, such as one’s hair. The contempt Pauline feels towards her Blackness upon her
discovery is reiterated when she refers to herself as “ugly.” Pauline tries to hide under
DuBois’s metaphorical veil, instead of ripping it off, as he suggests Black individuals should,
creating their own identity. Instead, Pauline first attempts to define herself as White, realizes
she is not, and then settles into a definition of Blackness constructed by White hegemonic
ideas (Hosseiny and Shabanirad 126). Her identity becomes fractured and she cannot bear her
current version of Blackness in the White setting in which she lives. As a result, the
characterization of Pauline is useful to the argument that Morrison’s works, specifically The
Bluest Eye, capture the psychosocial impacts of racism. In particular, it portrays the effects of
White hegemonic beauty standards and double consciousness amongst Black individuals.
Like Pecola, such a depiction acts as a cautionary tale, encouraging Black women in
particular to redefine for themselves what it means to be beautiful, divorced from White
ideals.
Unlike Pecola and Pauline in The Bluest Eye who are implicitly socialized into being
defined by cultural apparatuses, Morrison’s novel Beloved depicts a more direct means of the
White dominant culture defining Black individuals. Beloved, set in 1873 during the
Reconstruction and after the Emancipation Proclamation, depicts Sethe, an runaway slave
now living in the haunted 124 Bluestone Road, Ohio. She is visited by another former slave
of Sweet Home, where she was enslaved, named Paul D, and via their different perspectives
and flashbacks, the novel captures the violent abuse during Sweet Home as well as their
In particular, the novel is able to highlight how being defined as animalistic by the
White dominant group, notably by the master known as schoolteacher, limits the Black slaves
of Sweet Home both psychologically and socially. Paul D, for example, describes the ways
schoolteacher came to define, via torturous methods, him as less than a human - as something
animal. For instance, schoolteacher affixed an iron bit in Paul D's mouth which Sethe relays
seeing done to others. She describes “the wildness that shot up into the eyes the moment the
lips were yanked back” which, even after the bit was removed, would never “take the
wildness out the eyes” (71). After this experience, Paul D compares himself to the rooster,
named Mister, and explicitly states that “schoolteacher changed [him]. [He] was something
else and that something was less than a chicken sitting in the sun on a tub,” and that even the
rooster, Mister “was allowed to be and stay what he was. But [Paul D] wasn’t allowed to be
and stay what [he] was. Even if you cooked [Mister] you’d be cooking a rooster named
Mister. But wasn’t no way [Paul D would] ever be Paul D again, living or dead.
schoolteacher changed [him]” (72). Here, the schoolteacher has been able to define Paul D
and construct an animalistic, less-than-human identity via his abuse. The diction of
“wildness” evokes the idea of savagery, a limiting stereotype used to justify White positions
of power and disempower Black people. Fanon, in particular, notes that this myth of Black
men being savage is a pretense for White dominance, and that in such a society this myth is
an inescapable anxiety that individuals are only a White man’s declaration away from it
becoming true (117). For Paul D, he is not even allowed to become a man, but must be
transformed into an animal, not even worthy of the respect of a rooster. His entire identity
falls within the construction of his White master. Paul D succumbs to only being able to view
himself through the lens of the schoolteacher and “discovered his worth” only relative to
what financial worth he had in a White society. He questions “is that where the manhood lay?
In the naming done by a whiteman” (125). Paul D struggles with a double consciousness
whereby Black individuals can only “view their culture through the ideologies of the
dominant white culture” (Rotter 8). Therefore, through Paul D’s testimony, Morrison
critically portrays the double consciousness and psychosocial impacts of Black individuals
Stamp Paid offer more direct criticisms of White power and the individuals that wield
it in a White dominated society. Stamp Paid, who changed his name from Joshua after his
master ‘s sexual act with his wife, directly alludes to the myth perpetuated by White society:
“white people believed that whatever the manners, under every dark skin was a jungle. Swift,
unnavigable waters, swinging screaming baboons, sleeping snakes, red gums ready for their
sweet white blood” (198). He continues, echoing Fanon’s remarks that one cannot truly
escape this myth and that, in trying and failing, the ego becomes fractured, stating that “the
more coloredpeople spent their strength trying to convince them how gentle they were, how
clever and loving, how human, the more they used themselves up to persuade whites of
something Negroes believed could not be questioned, the deeper and more tangled the jungle
grew inside” (198). Here, Stamp Paid uses imagery conjuring scenes of an untamed African
jungle which, when considering a colonial context, needs civilizing by White Europeans; yet,
his parallelism stressing attempts to conform but unable to be truly seen is an example of
DuBois’s double consciousness. Moreover, the metaphor of a jungle growing more tangled
implies that this conflict is restricting. Under this White hegemony, Black individuals are
defined by the dominant group and see themselves through this lens. However, the conflict
arises from attempting to try and conform in this limited space without an ability to really be
seen. This disconnect from the impossible desire to be recognized as individuals creates an
example of melancholia (Tettenborn 110). As such, Morrison’s inclusion of Stamp Paid urges
Black individuals to redefine themselves instead of trying to limit themselves to the limiting
Stamp Paid directly addresses White hegemony arguing that they created this jungle
in their own image. Specifically, “the screaming baboon lived under their own white skin; the
red gums were their own,” and refers to this damaging belief as a “silent” killer which
“secret[ly] spread [...] this new kind of whitefolk’s jungle” (199). In doing so, Morrison
implies that the negative myth that Black and African Americans being savage or brutal is
constructed only as a result of ideology behind White supremacy’s true nature: White power
structures are violent, and so this culture comes to view the Other only through this lens.
Baby Suggs later offers similar critiques. Baby Suggs, who was defined as Jenny when at
Sweet Home “cause that what’s on [her] sales ticket,” prevented her from defining herself,
from “discover[ing] what she was like” (140). She makes her critique of this power clear
when she states “those white things have taken all [she] had or dreamed [...] and broke [her]
heartstrings too. There is no bad luck in the world but whitefolks” (89). This dialogue
explicitly critiques White structures which take everything from Baby Suggs, and her
hyperbole underscores the suffering inflicted on the Black community. Morrison’s inclusion
of the matriarchal Baby Suggs, who later stays in bed thinking only of color, is an example of
the fatigue often felt by attempting to resist. Lame and bedridden, avoiding the world, Baby
Suggs can only have an identity so long as she is alienated from society at large, although she
Although Baby Suggs later is resigned to her bed, her words echo a larger contextual
call to Black Americans, with an inspiring tone, critical of American society, both in its
history of slavery and in Morrison’s own historical context. She symbolically calls out the
ways Black Americans have been systematically denied agency, referencing the literal
blinding, maiming, and silencing, in addition to the structural ways America has done this,
either via enslavement, or Jim Crow Laws, Redlining, imprisonment, and any other number
Yonder they do not love your flesh. They despise it. They don’t love your
eyes; they’d 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. Raise them up and kiss them.... No, they don’t love your mouth.
You got to love it. ...The dark, dark liver—love it, love it, and the beat and
Baby Suggs’s call to action echoes DuBois’s own call to “rip of the veil” and to construct a
new identity divorced from what White hegemony had defined for them, or mimicked White
identity which would never be equal for their is “innate love of harmony and beauty” in
Black Americans (DuBois). He encouraged, like Baby Suggs, to cultivate and love “deft
hands, quick eyes and ears, and the broader, deeper, higher culture of gifted minds”
(DuBois). To this extent, Morrison offers motivation and a roadmap to achieving a new
In addition to Baby Suggs, Stamp Paid, and Paul D, Morrison’s portrayal of White
hegemony and Black resistance to this is also portrayed via Sixo. Sixo is another of the
Sweet Home slaves who tries to escape with a woman whom he has gotten pregnant. Sixo is
later caught and is shot trying to escape. Surviving, the schoolteacher instead decides he is to
be burnt for “this one will never be suitable” and is tainted. Sixo shows signs of resistance,
unwilling to be defined, and is punished as a result. As Sixo burns and “his feet are cooking;
the cloth of his trousers smokes. He laughs. Something is funny.” Whilst burning, Sixo
shouts “Seven-O.” Here, Sixo remains defiant, unwilling to lose his identity. His laughter and
reference to “Seven-O” are in reference to the pregnant woman whom he thinks has escaped,
suggesting that he, and his legacy, cannot be killed, for it will live on in his children.
Morrison offers resistance and hope here. It was Sixo who told Paul D that “ “definitions
belonged to the definers - not the defined” (190). However, his unwillingness to be defined,
Sethe similarly offers a form of resistance, albeit an extremely melancholic one. Like
Paul D and Sixo, and the other men at Sweet Home, schoolteacher in particular came to
define Sethe as animalistic. This is made explicit via his studies, where Sethe overhears him
tell his nephews “to put her human characteristics on the left; her animal ones on the right”
(193). This alludes to the pseudoscientific, colonial ideologies that Black individuals were
less than human, closer to the lower animal world, legitimizing colonialism. Schoolteacher’s
and his nephew’s beliefs that Sethe is more animal manifests in a violent way when she is
sexually assaulted, held down, and has her milk taken. She states that “even after they stole
it; after they handled me like I was the cow, no, the goat, back behind the stable because it
was too nasty to stay in with the horses” (236-7). Sethe’s identity comes to be defined as a
lowly animal through this practice. However, Sethe does escape and refuses to let this
definition become her. Instead, she defines herself as a mother who will do anything to
protect her children from the same dehumanization, even if it means infanticide. Of Beloved,
who it is implied is the grown up ghost of the child Sethe had killed, Sethe states “I'll tend
her as no mother ever tended a child, a daughter. Nobody will ever get my milk no more
except my own children. I never had to give it to nobody else” (240). Thus, Sethe highlights
the strength and love of the Black community, even after the horrors endured, offering a form
of resistance as she rips DuBois’s metaphorical veil, not viewing herself through the lens of
her White masters, but she defines herself as mother and, symbolically, as nurturer of future
Black children and culture, for “the best thing [Sethe] was, was her children. Whites might
dirty her all right, but not her best thing” (251). In escaping the structures wherein she was
defined and excluded from constructing her own identity as a mother, Sethe was limited, but
in escaping this, she “was big [...] and deep and wide and when [she] stretched out [her] arms
all [her] children could get in between [...] there wasn't nobody in the world [she] couldn't
love if [she] wanted to” (162). The use of polysyndeton here draws attention to the
possibilities and compassion within the Black community once free from the structures
which seek to limit them, with her love for her children possibly signifying a love for the
Black community and future of it more generally, perpetuating the “Black is Beautiful” and
Pro-Black ideals of the Black Arts Movement. In doing so, Morrison calls for Black
individuals to protect their own and to nurture a space for future generations, aware of how
escaping and making her way to 124 Bluestone Road with the newly birthed Denver, where
she rejoins Baby Suggs and her other children, schoolteacher, a slave catcher, and the sheriff
turn up in search of her. As a response to this fear of being taken back to Sweet Home, Sethe
takes her four children with the intent of murdering them. She is able to murder her eldest
daughter in a shocking act of infanticide. Interestingly, Sethe and the killing of her daughter
to avoid recapture was based on a real person: Margaret Garner, an escaped slave who
committed infanticide fearing recapture. In reality, “Margaret Garner was sentenced for
escaping, and thus depriving her owner of his property, rather than for infanticide and was
never freed” (Kuzmanovic). However, in Morrison’s novel, Sethe is arrested and lives in
prison with her youngest Daughter Denver until she is later freed. Ropero argues that this
“de-emphasizes the economic implications of Sethe’s escape, focusing on the human cost of
her ordeal. Morrison ‘rips the veil’ to shed light on what has been silenced in the history of
black people, as well as in the isolated testimonies of black people themselves” (177).
Sethe’s act, whilst horrific, is an act of resistance towards being defined by White
dominance. Of the act, she tells Paul that “[she] stopped him [...] and took and put [her]
babies where they'd be safe" (192). She justifies this because “she was safer in the ground
than in the hands of those whites” (188). Ashraf Rushdy notes that Sethe's infanticide, while
a morally ambiguous act, can be understood as an assertion of her maternal rights and an
attempt to resist the commodification of her children by the slave system (Rushdy 19).
Moreover, Tettenborn asserts that in Beloved destruction of the self is the first step in creating
the new and a step towards ultimate survival (112). Therefore, Morrison offers a melancholic
but determined attitude towards fighting oppressive racial systems in America. The act, and
the novel more generally, is often full of sorrow, but this reflects the realities of being the
Black subaltern in American history. Morrison captures this sorrow but presents nuanced
resistance against these systems of oppression as a reflection of the difficult yet determined
struggles of Black individuals who have fought in movements and more generally.
In sum, Beloved and The Bluest Eye by Toni Morrison offer a critique of psychosocial
impacts of White hegemony on Black Americans, specifically portraying the ways in which
White culture come to define Black individuals, results in double consciousness; however,
via characters challenging such definitions or by acting as cautionary tales, Morrison offers a
form of resistance and encourages Black Americans to redefine themselves. In The Bluest
Eye, Morrison captures the implicit ways, through cultural apparatuses, that White hegemony
affects the psychology of Black individuals, including the ways cinema can cause
internalized White supremacy and internalized racism, as is the case with Pauline. Cultural
icons, like Shirley Temple or Mary Jane, impacts Pecola and cause her to hate herself, and
even Claudia learns to worship blonde, blue-eyed, white-skinned dolls. These characters,
specifically Pauline and Pecola exhibit examples of double consciousness; yet Morrison uses
these characters as cautionary tales and, like Claudia, urges resistance amongst Black
individuals, particularly women, against such hegemonic ideals of beauty which exclude
Black women or suggest ugliness through binary opposition. The novel exemplifies the
Black Arts Movement’s ideal of “Black is Beautiful” through her criticisms. On the other
hand, Beloved highlights the ways Black individuals come to be defined in White hegemonic
structures through more explicit means; in particular, Black slaves like Paul D, Sethe, Baby
Suggs, Stamp Paid, and Sixo are all defined by White men to different extents, whether this
means being given a name, as is the case with Baby Suggs, to being characterized as an
animal, like the rest of the Sweet Home slaves; moreover, it includes being defined only by
their economic value as labor in which they are not paid. Morrison pains a melancholic and
sorrowful outlook of how being defined to such horrific degrees, branded with unescapable
mythos such as being ‘the African savage,’ impacts the Black community psychologically.
Characters come to see themselves only through the eyes of their White Masters, and
resistance often leads to alienation or death. However, Morrison offers plentiful warnings
through these characters explicitly and implicitly, and as a result encourages resistance as a
collective. Therefore, both Beloved and The Bluest Eye can be defined as examples of Black
resistance within the literary canon, capturing the damaging psychological impacts of double
consciousness and criticizing White dominant structures which often vilify, exploit, or
Morrison’s works, with Beloved and The Bluest Eye being notable examples, have left
a large cultural mark in the 20th and 21st century. In fact, Carla Kaplan, the Davis
and women’s history and culture, argues that Morrison “has done for the modern novel what
Shakespeare did for theatre” (Callahan). Morrison’s legacy is undeniable; she is a Pullitzer
and Nobel Prize winning author who, before becoming an author, worked as a editor at
Random House, giving a voice to important proponents of the Black Civil Rights Movement,
including Angela Davis, Gayl Jones, Toni Cade Bambara, and Muhammad Ali (Callahan).
As an author, Morrison carved out a space in the canon as a feminist and Black author to be
reckoned with. In her works, Morrison used many experimental modern and postmodern
consciousness, framed narratives, and nonlinear time in order to convey the impacts of
racism on the Black consciousness. In fact, Chattaraj argues that her works are
groundbreaking for the ways they capture the often ambivalent psychology of marginalized
races, including the pride, melancholy, fear, love, and shame regularly experienced
simultaneously. Her novels, notably Beloved, are argued to be some of the best examples of
Afro Surrealism and Afro Horror, which express the absurdity and horrors of racism through
inclusions of the bizarre. These artistic movements and genres later include monumental
cultural phenomena, like Jordan Peele’s Get Out, Donald Glover’s Atlanta, and Boots Riley’s
Sorry to Bother You (Bakare). They all owe some credit to Morrison and her work.
Works Cited
Bakare, Lanre. “From Beyoncé to Sorry to Bother You: The New Age of Afro-surrealism.”
www.theguardian.com/tv-and-radio/2018/dec/06/afro-surrealism-black-artists-racist-s
ociety
Callahan, Molly. “Toni Morrison’s Influence Extends Beyond Literature in Her Chronicling
news.northeastern.edu/2019/08/09/in-her-chronicling-of-black-history-and-identity-to
ni-morrisons-influence-extends-beyond-literature
Callahan, Molly. “Toni Morrison ‘Has Done for the Modern Novel What Shakespeare Did
news.northeastern.edu/2019/08/06/toni-morrison-has-done-for-the-modern-novel-wha
t-shakespeare-did-for-theater.
www.theatlantic.com/magazine/archive/1897/08/strivings-of-the-negro-people/305446.
n-double-consciousness.
Hosseiny, Sediqeh, and Ensieh Shabanirad. “A Du Boisian Reading of the Bluest Eye by Toni
Kuzmanović, Denis. “Fear of the Past in Toni Morrison’s Beloved - a New Historicism
https://doi.org/10.47960/2831-0322.2022.2.26.63.
https://doi.org/10.26881/jk.2018.9.07.
Posnock, Ross. “How It Feels to Be a Problem: Du Bois, Fanon, and the ‘Impossible Life’ of
the Black Intellectual.” Critical Inquiry, vol. 23, no. 2, University of Chicago Press,
Ropero, María Cristina Gallego. “‘Beating Back the Past’: Toni Morrison’s Beloved as
https://doi.org/10.12795/ph.1999.v13.i02.19.