I have put off reading Morrison for many years, simply not drawn to her portrait of black society. But this is supposed to be one of her best, I thought, so let’s give it a try.
Once I started this 1987 book, however, I was immediately lost. Who is Baby Suggs? What is the relationship among these people? What is going on? Fortunately, there is a Foreword, and in it Morrison explains that she has deliberately dumped the reader into the middle of a complex situation. Because this is what life is, especially for black people, who must react to the world around them, often without help.
However, the relationships among these people remain unclear for some time. Especially when Beloved arrives on their doorstep, a young woman whom Denver, daughter of Sethe, relates to. Who is she? Is she a ghost? Because another baby has died earlier. And this new arrival not only has the same name but is the title character. So we know she is important.
There is also a white woman named Amy, who helps Sethe on the day she bears a child. Sethe is grateful, and learns her last name is Denver, which she likes. That baby appears to be Denver, now a teenager. What is clear is that this episode takes us back in time, that we are dealing here with events on different time levels. Which adds complexity to the relationships.
For a long while we have no reference point for the memories and interaction among Sethe, Beloved, Paul D, a former slave, and others. But with more detail, the relationships begin to come together. This is Faulkner territory to a degree, as we bounce around in time. Thus, Paul D escapes from a Georgia chain gang, moves in with Sethe, boots out a baby ghost, and then runs into the opposition of the newly-arrived Beloved, who suggests both that banished baby and a past returned to haunt the present.
Confusion is amplified as the story continues to move about in time, even introducing a new character, Stamp Paid, a ferryman who brought Sethe to freedom. He tries to persuade Paul D to make a realistic appraisal of Sethe, whom Stamp once found with two children, one covered with blood. Nothing is clearly stated, but the implication is that she has killed one child in order to preserve it from the life she has known. But, unlike in Faulkner, where confusion reigns but is eventually clarified, my frustration continues.
Until we remain in the present, where new details finally begin to make sense. That Stamp Paid stopped Sethe from killing Denver, after she had killed her other child, presumably Beloved, and tells this to a distraught Paul D. That Paul D and Beloved hate each other, and she is triumphant when he leaves after learning this. That Sethe still loves Beloved, and now tries to justify what she did by emphasizing the plight of fellow coloreds. But Beloved refuses to listen; and, as they argue, Beloved gains control over her mother, for Sethe is fearful Beloved will leave.
The climax occurs when Denver seeks a job with Quaker abolitionist Bodwin in order to support Sethe and Beloved, but to get that job she has to reveal the situation at home. Which riles up the local woman, who gather at the house to pray just as Bodwin arrives to pick up Denver. At the height of the action, Sethe rushes from Beloved’s side to attack Bodwin, thinking he is a slave catcher. This act also frees her from Beloved. And from her past?
A chapter later, we learn what happened and that Beloved is gone. The house also appears empty, except the faithful Paul D finds Sethe lying in bed, as grandmother Suggs did before she died. Who was Beloved, the town asks. Did she really exist? A final chapter recalls how she has been forgotten.
To sum up, this novel’s mysteriousness and misdirection certainly hearkens back to Faulkner. Why did Morrison take this approach? Partly, I think, because so much of the action is internal, and that while the life of the colored people is vividly captured, not much happens dramatically in the novel’s present. What happens is offstage or in the past, and often told indirectly, with the emphasis on the reaction to those developments.
As presented here, my interests were too much distributed among Sethe, Denver, Paul D, and Stamped Paid. Might the latter two, in fact, have been combined? And Beloved, torn between being real and being a ghost, is not vivid enough. She is described more through others reacting to her than through her acting on them. She thus becomes a symbol more than a real person. Especially when she is naked at the end, and some outsiders see her and some do not.
This work does not urge me to seek further Morrison. I must work too hard to understand what is going on. Which is deliberate, as I said, for the Foreword states: “I wanted the reader to be kidnapped, thrown ruthlessly into an alien environment as the first step into a shared experience with the book’s population—just as the characters were snatched from one place to another, from any place to any other, without preparation or defense.”
This is a valid purpose. And the work is beautifully written. But the approach makes it difficult to identify with the characters, as the author both moves from one character to another and moves back and forth in time. This is another case in which the events are not told sequentially. Often this is to hide the lack of a dramatic cause and effect, but here it is also because Morrison is emphasizing the significance of the events rather than the events themselves, and the repercussions of the events rather than their causes.
I can understand why Morrison is thought of so highly. Her message, her portrait of where today’s black society came from, is important. And perhaps requiring the reader to dig for that portrait and its repercussions is a valid means to impress that history on the white reader. But I for one would rather have been so immersed in the fate of these characters—instead of having to figure them out—that the same message would have been implanted in my emotions as much as in my mind. Which, I suggest, is the more traditional literary approach. And one that I am more comfortable with.
I regret my reaction to this work. I am still a conservative in literary terms, however, even if I am liberal in social and political terms. (June, 2015)