Analysis of Toni Morrison's Recitatif - Essay Example

? Toni Morrison’s Recitatif Introduction Toni Morrison is recognized as one of the world’s greatest living While her work spans a wide arrayof thematic investigations, some of her most prominent concerns are civil rights and the struggles African Americans face against oppression on the American continent. Her style veers from simple and direct to complex and abstract; additionally, she is recognized for vivid dialogue, strong details, and lifelike characters. Undoubtedly, Morrison’s most renowned writing is found in her novels, such as the Pulitzer Prize winning Beloved. Still, she has made seminal contributions through her poetry and short stories. Notably, her short story Recitatif is considered a seminal work in racial writing. This essay specifically examines Morrison’s Recitatif, tracing the theme of race throughout the text. Analysis Perhaps the most notable aspect of Morrison’s Recitatif is that while the short story is almost primarily concerned with race, the issue itself is only addressed indirectly. Morrison even subtly toys with this ambiguity writing, “it didn't matter that we looked like salt and pepper standing there” (Morrison), while never revealing who is salt and who is pepper. Indeed, the text never even fully reveals the racial background of the two primary characters. While there are a variety of reasons for this technique, it’s been argued that, “Throughout the story Morrison scatters information about Twyla and Roberta that proves inconclusive in terms of firmly determining the women’s racial identities. The ambiguity of these details suggests that what is essential about the women…is the nature of their relationship and their emotional connection with each other” (Gillespie, p. 163). Within this spectrum of investigation the argument is made that Morrison neglects directly revealing these protagonists’ racial backgrounds as a means of demonstrating the true importance in life is their relationship. This is a highly potent statement as it doesn’t merely reflect a theme occurring within the context of the text, or even solely to racial considerations, but rather can be extended to all forms of human interaction; that is, not only is Morrison exploring racial and social divides, but she is pointing the way forward towards a better and more equitable world. Ultimately, it is this mode of writing that places this text in a literary position that extends beyond merely a pleasurable narrative, but also makes the text truly important. In examining the theme of race in Morrison’s Recitatif it is necessary to examine it through the prism of Twyla and Roberta’s relationship. While race is a central concern, this issue emerges as an inter-connected aspect of their social interactions. Indeed, from the very beginning of the story Morrison links their development, as they were both required to visit the shelter because of their mothers, “My mother danced all night and Roberta’s was sick” (Morrison). While the line is simple and direct it underlines the complex interaction these characters will have throughout the text. It also symbolically links their life struggles to similar circumstances, showing that many of universal challenges of the human condition are not at all linked to race. In addition to these connections there are many instances towards the beginning of the text where Morrison implements vivid and descriptive narrative techniques to demonstrate the strong bond Twyla and Roberta share. Morrison writes, “We got along all right, Roberta and me. Changed beds every night, got F's in civics and communication skills and gym…We were the only ones dumped and the only ones with F's in three classes including gym” (Morrison). Although these descriptions have nothing to do with race, they demonstrate the poignant and profound connection the two girls have obtained. This connection is not contingent on race, but instead involves similar backgrounds, perspectives, and situational challenges. The story’s intentions seem partly to be to expose the absurdity of racial stereotypes. While in many instances race is dealt with directly, Morrison also directly confronts race at times as a means of satire. Early in the text she writes, “my mother, she was right. Every now and then she would stop dancing long enough to tell me something important and one of the things she said was that they never washed their hair and they smelled funny. Roberta sure did. Smell funny, I mean” (Morrison). In this instance Morrison does not reveal the specific race that Twyla is referring to. In removing the specific race, yet retaining the stereotype, Morrison has heightened the absurdity of the comment. Additionally, the specific nature of the comment – they never washed their hair and smell funny – is more ridiculous that incisive. While the text parodies racial stereotypes, there are also a number of instances where Morrison confronts racism in a somber context. A notable concern in these regards is the location of Roberta and Twyla at St. Bonny’s. To an extent it seems that Morrison implements this setting as a means of removing these protagonists from the corrupting influence of society. Even as St. Bonny’s falls far short of utopia, Morrison juxtaposes it against the outside world as a means of highlighting racial divisions. Perhaps the most prominent instance this occurs is when Twyla and Roberta’s mothers encounter each other: Mary, simple-minded as ever, grinned and tried to yank her hand out of the pocket with the raggedy lining-to shake hands, I guess. Roberta's mother looked down at me and then looked down at Mary too. She didn't say anything, just grabbed Roberta with her Bible-free hand and stepped tout of line, walking quickly to the rear of it. Mary was still grinning because she's not too swift when it comes to what's really going on. Then this light bulb goes off in her head and she says "That bitch!" really loud and us almost in the chapel now (Morrison). In this instance, Twyla’s mother Mary has tried to shake hands with Roberta’s mother and been rebuffed because of racial reasons. In addition to the overt rejection based on racial grounds, this occurrence is notable for a number of reasons. One considers the irony Morrison implements as Roberta’s mother rejects Mary while holding a Bible in her free hand; this is compounded by Twyla’s mother being named Mary – the name of Jesus own mother. This juxtaposition highlights the hypocrisy between individuals claiming to embrace Biblical teachings, while at the same time clinging adamantly to racial prejudices. Throughout this entire occurrence Morrison retains the ambiguity between the races, further exploring these absurd elements of racial prejudice, as the reader cannot even determine the reasons of prejudice for themselves. The ambiguity of the two protagonists’ ethnicities is made a central part of the text in some instances. One considers the significance behind the scene where Twyla encounters Roberta at the Howard Johnson’s. Seemingly an insignificant part of the narrative, further analysis reveals the complexity of their interaction. Twyla had been working at the Howard Johnson’s when she spots and later encounters Roberta. After cordialities, Roberta states, “‘We're on our way to the Coast. He's got an appointment with Hendrix’ She gestured casually toward the boy next to her” (Morrison). Twyla then responds, "Hendrix Fantastic," I said. "Really fantastic. What's she doing now?" (Morrison). This interaction is contingent on the misunderstanding regarding Jimi Hendrix. Most individuals today recognize Hendrix as a seminal African American guitarist. The complexity of this comes into play as while Hendrix was African American, he performed in the rock genre and largely had a white fan base. This is further complicated as Twyla does not recognize who Hendrix is, adding further ambiguity to her racial background. Morrison is making a statement regarding race and cultural productions that there need not be any distinctions or divisions based on race. Ultimately, this scene brings the reader closer to the essence of humanity by further deconstructing and exposing the absurdity of racial divisions. While in the first two environments – St. Bonny’s and Howard Johnson’s – race is not a major concern of the two women, it surfaces in their later encounter in the grocery store. Morrison writes, “’Oh, Twyla, you know how it was in those days: black-white. You know how everything was.’ But I didn't know. I thought it was just the opposite. Busloads of blacks and whites came into Howard Johnson's together. They roamed together then: students, musicians, lovers, protesters. You got to see everything at Howard Johnson's and blacks were very friendly with whites in those days” (Morrison). This conversation is significant as it contrasts the way the two girls remember past circumstances. While Twyla remembers the incident as free from racial considerations, Roberta specifically mentions these racial elements. Although it is difficult to clearly identify Morrison’s intentions here, it seems that to a degree she is referring to the negative influence society has had on Roberta. When the girls were at St. Bonny’s they were removed from broader issues of racial prejudice and forced to consider each only in terms of personal relations. As they have entered the world they have been influenced by racial prejudice. This scene then further emphasizes the primacy of personal relationships that aren’t influenced by race. The next time Twyla and Roberta interact further explores concepts of race, this time through the prism of politics. The scene appears to be exploring occurrences surrounding the integration of the public school system. Again Morrison advances the ambiguity regarding the women’s races. While this is notable for the aforementioned reasons it is significant in this specific context as it highlights political concerns. While the main political is directly involved with race – segregation – it is impossible for the reader to clearly determine which side each of the women is on. Rather, it seems that Morrison uses the racial ambiguity in this situation to argue that often times political divides are contingent on personal disagreements masquerading as race. Regarding Twyla’s protest, Morrison writes, “I had gotten addicted now. My signs got crazier each day, and the women on my side decided that I was a kook. They couldn't make heads or tails out of my brilliant screaming posters” (Morrison). This instance both highlights the absurdity of the political protests, but also indicates that Twyla and conceivably other protestors are motivated out of personal disagreements rather than deep racial prejudice. In addition to the statement on politics Morrison is making, the interaction Twyla and Roberta have regarding segregation demonstrates their further subjection and influence by social perspectives on racism. This section of the story is seemingly the most metaphorical and figurative; in addition to functioning on a purely narrative level it can seemingly operate as the figurative dissolution of the women’s relationship and their complete psychological submission to racial stereotypes. One consider that even past events – Roberta accuses Twyla of kicking a black woman at St. Bonny’s – are reimagined within the spectrum of race. At one instance Twyla states, “I wonder what made me think you were different" and Roberta responds, "I wonder what made me think you were different" (Morrison). It’s been argued that while there is a clear literal meaning to these statements, the parallel structure Morrison implements seems to have the figurative power of indicating their complete psychological shift (Goldstein-Shirley). Ultimately, if a comprehensive statement can be made regarding this scene, it is that Morrison is making a political statement, as well as indicating that racial prejudice is learned rather than innate. To a great degree the final encounter between Twyla and Roberta seems to function as a happy ending for the story. To this degree one could consider that it does not fit within the evolutionary trajectory of the story. Since the beginning of the story Twyla and Roberta have progressively moved away from the strength of their St. Bonny’s relationship and been increasingly influenced by society’s racial prejudice. To a great extent Morrison has made a powerful statement socially, politically, and psychologically through this evolutionary process. It seems this final scene, where the two women reconcile during Christmas time, is partially selling-out these thematic trends. Still, there might be a wider-ranging literary significance to this final interaction. One considers that the end of the story is cyclical in that it references some of the elements that were considered earlier. Morrison writes, “’Did I tell you My mother, she never did stop dancing.’‘Yes. You told me. And mine, she never got well’” (Morrison). These statements are a direct reference to the opening lines of the text. In eschewing their previous disagreements it seems that to an extent Morrison is ending the story on a positive note as a means of making the contention that just because individuals experience racial prejudice there is also room for reconciliation. Morrison implements the social institution of Christmas as a backdrop to this scene. While it is a stretch to attach any direct significance to this, in keeping with the argument that the text explores the social influence of racial stereotypes, the implementation of Christmas – a social institution – could function as a means of indicating that inherent in the very fabric of society are intermittent periods where people can come together under love and reconciliation. Conclusion In conclusion, this essay has examined the theme of race in Toni Morrison’s Recitatif. Within this spectrum of investigation the essay has traced the way Morrison explores race throughout the text. The research has argued Morrison’s primary narrative device is ambiguity, as she purposely fails to reveals the main characters’ races as a means of highlighting the absurdity of prejudice. Additionally, Morrison has demonstrated how prejudice evolves over time, specifically through the influence of society. Ultimately, it’s clear that Morrison’s intentions have been to expose the absurdity of racism and to point the way forward toward better modes of social interaction. References Gillespie, Carmen. "Critical Companion to Toni Morrison." . Pentleton, 2010. Web. 7 May 2012. Goldstein-Shirley, David. "Race and Response: Toni Morrison's 'Recitatif.'" Short Story. 5.1 (Spring 1997): 77-86. Morrison, Toni. "Recitatif." nbu. N.p., 2009. Web. 7 May 2012. . Read More