Archives For Beloved

There is no surprise in reading the word “precision” in the language of the Common Core’s Mathematical Practice Standards. Mathematics requires precision:

CCSS.Math.Practice.MP6 Attend to precision.

Mathematically proficient students try to communicate precisely to others. They try to use clear definitions in discussion with others and in their own reasoning.

Writing requires precision as well. Proficient writers in every genre communicate precisely to others. Yet, one of the most difficult concepts to teach to students in recognizing the precision in an author’s craft. Word choice and punctuation are committed with intent by an author, yet, there are students who doubt these steps of precision made by an author. They believe that any text has stepped, as if full-formed or Athena-like, from the mind of an author. They think that novels pop into existence…unless, they are reading Toni Morrison.

Screenshot 2014-02-27 21.57.19

A “Wordsift” of precise language in Chapter 3 of “Beloved”; Denver and Sethe dominate as does the simile generator “like”.

My Advanced Placement English Literature students are currently reading Morrison’s 1988 Pulitzer Prize winning novel, Beloved. This story confronts the horrors of slavery by fictionalizing the true story of Margaret Garner who, in a failed bid for freedom, killed her baby daughter rather than have her returned to slavery.

A look at the opening two lines to Toni Morrison novel Beloved demonstrate her power as a storyteller and highlight her precision with language:

“124 was spiteful. Full of baby venom.”

An quick analysis of the specificity of language in these two short statements reveals:

  • 124 is the address (setting) where Paul D arrives looking for the run-away slave, Sethe.
  • 124 is also a combination of 1and 2 and 4…the first-born, the second-born, and the fourth-born children of Sethe. The third-born child (3), the child named Beloved, is missing numerically. That child chooses to make her presence known in more ghostly ways.
  • Morrison is exacting in her selection of word choice from her opening personification of the house as spiteful (“having or showing a desire to harm, anger, or defeat someone; malicious”) to the incongruous pairing of the words “baby” and “venom”.

So, when I asked students to write about the precision in word choice Morrison uses to craft imagery in the novel in the first 100 pages, they had much to choose from:

“In describing the choke cherry tree of scars on Sethe’s back, Morrison writes, ‘See, here’s the trunk it’s red and split wide open, full of sap and here’s the parting for the branches'(79). A history textbooks do not give details of slave wounds like that.”

“Sethe and Denver even accept ‘the lively spite the house felt for them'(3) …. Morrison utilizes this personification to show how objects took on the role of companionship when Sethe and Denver were ignored by their community.

“Sethe describes seeing the sunrise as menacing with ‘red baby blood’ with ‘pink gravestone chips'(34)  instead of seeing the colors as warm and inviting.”

In making these and other observations, students called attention to Morrison’s specific use of dialect, alliteration, hyperbole, synecdoche, repetition, smilies, symbols as well as the differences in syntax to serve her purpose in making the reader confront the irreparable harm of slavery. The closer the students read, and they were “close reading”, the more appreciative they became of Morrison’s style. They became more appreciative of her power to select specific words in creating a particular image. They had no idea they could have just as easily be applying a mathematical practice standard (“attend to precision”) in their literary analysis.

Morrison was awarded the Nobel Prize in 1993 in for her body of work that included the novel Beloved. In her acceptance speech, she addressed how precise language is used to describe; to depict [as if] by painting or drawing:

The vitality of language lies in its ability to limn the actual, imagined and possible lives of its speakers, readers, writers. … When a President of the United States thought about the graveyard his country had become, and said, “The world will little note nor long remember what we say here. But it will never forget what they did here,” his simple words are exhilarating in their life-sustaining properties because they refused to encapsulate the reality of 600, 000 dead men in a cataclysmic race war. Refusing to monumentalize, disdaining the “final word”, the precise “summing up”, acknowledging their “poor power to add or detract”, his words signal deference to the uncapturability of the life it mourns.

Morrison’s admiration for Lincoln’s precise language in the Gettysburg Address is a shared admiration. The speech is a suggested 9th/10th grade text for the Common Core Common Core State Standards for Literacy in History/Social Studies. Moreover, educators should note the literary connection between the president who led the nation to abolish slavery with authors like Morrison who use their craft in pressing the reader to face the horrors of slavery.

Finally, the Mathematical Practice Standard #6 states that by high school, students will “have learned to examine claims and make explicit use of definitions.” There could be no better claim on the damage inflicted on humans in bondage than Morrison’s story of Sethe and her Beloved.  The last lines of the novel, “This is not a story to pass on” communicates “You [reader] may not pass [or avoid] this story.” She explicitly defines the experiences of those “60 million or more” and captures their love and their longing for familial bonds by writing precisely what they could not.

Student: “Is this another unhappy book?”
Me:*sigh* “Yes.”

Toni Morrison is on my mind. The Advanced Placement English Literature Class (12th grade) has just finished reading her novel Beloved; the Advanced Placement English Language Class (11th grade) is currently offering The Bluest Eye. These are most certainly not written from a happy Ken and Barbie point of view. These novels are complex and difficult reads because the Nobel Prize winning Morrison makes the reader uncomfortable…yes, even unhappy.

In an interview on Oprah,  Morrison explained how she began her first novel, The Bluest Eye:

“Things were going very fast in 1965, so I decided I wanted to write a novel that was not a warning but was just literature, and I wanted to put at the center of that story the most helpless creature in the world—a little black girl who doesn’t know anything, who has never been center stage. I wanted it to be about a real girl, and how that girl hurts, and how we are all complicitous in that hurt. I didn’t care what white people thought, because they didn’t know anything about this. This was the age of ‘black is beautiful,’ and, well, yeah, that is certainly the case; however, let us not forget why that became a necessary statement.”

The Bluest Eye is set in Post-Depression America, 1941, in the author’s hometown of Lorain, Ohio.  Eleven year-old Pecola Breedlove, a black girl, longs to be a white child with blonde hair and blue eyes. In a particularly graphic scene, the reason the book is so controversial, she is raped and impregnated by her own father.  Much of the book centers on the ideal of beauty and Pecola’s inability to accept herself. She is exposed to the perfect life portrayed in the Dick and Jane series of reading primers at school which increases her conflict about her self-image as seen in an excerpt from The Bluest Eye:

 “I destroyed white baby dolls. But the dismembering of dolls was not the true horror. The truly horrifying thing was the transference of the same impulses to little white girls. The indifference with which I could have axed them was shaken only by my desire to do so. To discover what eluded me, the secret of the magic they weaved on others. What made people look at them and say, ‘Awwwww,’ but not for me.”

The other book, Beloved, is based on the true story of Margaret Garner, a runaway slave who crossed the frozen Ohio River to Cincinnati in January 1856 with her four children. Confronted by a slave catcher, Garner killed her daughter rather than have her returned to be a slave. In the novel, Sethe escapes with her newborn daughter, Denver, to meet up with her other three children, one of them the already-crawling? toddler who is known as Beloved. Sethe has 28 days of freedom where she is able to love her children for the first time:

“I was big, Paul D, and deep and wide and when I stretched out my arms all my children could get in between. I was that wide. Look like I loved em more after I got here. Or maybe I couldn’t love em proper in Kentucky because they wasn’t mine to love. But when I got here, when I jumped down off that wagon-there wasn’t nobody in the world I couldn’t love if I wanted to. You know what I mean?”

Soon after, the plantation owner School Teacher and a slave catcher arrive to claim their property, Sethe and her children. In an act of savage desperation taken in order to keep her children from a life of slavery, Sethe uses a saw to slice open the toddler’s neck , but she is prevented from killing her other children. In addition to this gruesome scene, the novel is also rife with rape, mutilations, and the supernatural. These elements  make its choice for a school curriculum as controversial as The Bluest Eye. However, both texts are often listed on the Advanced Placement Open Essay list, an indication that these books are exactly the kind of complex texts students should be reading. The demanding Advanced Placement prompts from past years are not answerable with less weighty books.

Teachers themselves struggle with complex and demanding texts, and the English Companion Ning often features posts from teachers who are looking for information on a topic or lesson plans on a text. There are always several posts about the use of Toni Morrison books in the high school curriculum. Many of these posts discuss the controversy these books cause for teachers who want to teach Morrison’s complex and compelling literature while addressing the concerns of  parents about the appropriateness of each novel’s content.

One teacher posted:

“I think it’s funny how we sometimes find things more shocking as adults than as kids.  I read The Bluest Eye in 11th grade and never thought about it being objectionable or age-inappropriate.  I actually read quite a bit of Toni Morrisson in HS.  As an adult, I think The Bluest Eye should be taught.  That said, any book with sensitive subject matter does need to be introduced in a thoughtful, open, and contextualized manner.”

While another offered a very balanced approach:

“Just want to mention that it is the parents’ responsibility to train up their children. It is not the responsibility of the school or the state. I worry that we teachers tend to forget that, making our relations with parents far more adversarial than they ought to be. Why not let the parents choose the appropriate novel for their child? Focus the classwork on skills that can be used with any novel, on practicing the thinking that will help students get through tough texts more independently, rather than on specific-novel content.

That said, strong instruction and discussion on what distinguishes great literature from not-so-great literature — literary fiction from commercial fiction, will help students see the difference between the great novels we English teachers want them to read and the … um, lightweight? novels they want to read.”

Morrison novels are demanding. They do not depict happiness. Their settings depict a world in stark contrast to the world of Ken and Barbie. While Ken and Barbie as fictional characters are perfectly formed, coiffed representatives of all that is perfect in the world, they have have not been marginalized as the fictional characters who people Morrison’s work; they have not experienced rejection, brutality, pain or suffering.

In the Oprah interview, Morrison attempts to explain a human’s want for acceptance by others but more importantly, by the self:

“I think a lot has changed since the ’60s in terms of self-image. But there’s still a lot of pain young girls feel because the bar is always being raised. The stakes are always higher….We don’t have the vocabulary to tell children what to value. We do say, “Oh, you’re so beautiful. Oh, you’re so pretty. Oh—that’s not really what we really ought to be saying. What do you tell a child when you want to say, “You are good, and I like that. You are honest and I like that. [Y]ou are courageous. I really like that. I really like the way you behave. I like the way you do yourself. Now. The way you are.’ That’s the vocabulary we need.”

Morrison’s admits that when she first started writing, she was writing for a different audience:
 “I guess I was just that arrogant. Nobody was going to judge me, because they didn’t know what I knew. No African-American writer had ever done what I did—none of the writers I knew, even the ones I admired—which was to write without the White Gaze. My writing wasn’t about them.”
 Morrison’s  The Bluest Eye and Beloved unapologetically stand in stark contrast to the world of Dick and Jane or Ken and Barbie. Her writing has received national and international praise for exactly that reason.

First impressions are made in seconds, which is why a book’s cover design is so important. While there are some wonderful book covers for the texts used in the high school classroom, there are are also some unappealing cover designs. Usually, the less attractive cover is the movie-tie in cover, and as I collect used texts for the classroom, I try to avoid these commercial texts.

Original Cover for hardcover and tradeFor example, Like Water for Chocolate  was published in 1989 by first-time Mexican novelist Laura Esquivel. This book is an independent choice in grade 10, and there are several trade paperback versions available.

The book’s original cover is a lovely tribute to Diego Rivera; a lovely turquoise border frames a painting of a two women preparing food in a kitchen. One woman sits stirring in a bowl on the left side of the painting; the central figure is dressed in white wistfully stares out to the reader as she molds a tortilla.

Cover with movie tie-in

The novel follows the story of a young girl named Tita is unable to marry Pedro, the man she loves, because a family tradition which requires her to care for her mother until the day she dies. The book is organized recipe by recipe, each marking Tita’s longing for Pedro. As Tita expresses herself when she cooks, the foods are bewitched with her emotions.

The movie tie-in cover for Like Water for Chocolate is not as charming. There is a close-up photo of Lumi Cavazos (Tita) and Marco Leonardi (Pedro) staring past each other; the effect is rather unsettling rather than engaging.

Likewise, the post-apocalyptic novel The Road by Cormac McCarthy, published in 2006, also has several cover versions. We teach this book in Grade 11. The original design is distinctive and bold with McCarthy’s name (brown ink) and title of the book (white ink) printed large across the front; there are no illustrations. This dramatic choice impresses the reader of both the book’s importance and the starkness of the world contained within. A father and his young son travel down through the Eastern states of a destroyed America. The environment has been destroyed, society has been destroyed, but the man and the boy struggle on maintaining a last hope for humankind. Their relationship, one of tenderness and compassion, is in sharp contrast to the nightmarish future McCarthy creates.

The film The Road was released in 2009 and the trade book movie tie-in cover depicts a weary Viggo Mortensen (the man) and Kodi Smit-McPhee (the boy) trudging down a road against a grey landscape. The mass-market tie-in is even worse with a close up profile of a filthy and distressed Mortensen. Both movie-tie in covers are commercial attempts to capture the book’s hostile setting and compassionate relationship between father and son.

The original bold cover for hardcovers and trade paperbacks in 2006

The trade paperback movie tie-in

The mass-market movie tie-in cover

However, there are some movie-tie in covers which are more suited for the material within. The covers for the novel Beloved by Nobel prize-winning author Toni Morrison have undergone multiple transformations, which is confusing at first to many of my Advanced Placement students who may have one of several copies. The 1987 release simply has the title across the cover. This release was an over-sized trade that does not stack well with other books.

Then, there were two paperback covers (1988 and 1994) that shared the same image of a faceless woman in a hat centered on the front.  This design more artistically captured a central theme in the novel. When the book was chosen by Oprah for her book club, the book was released again with a red cover and the word Beloved in gold script across the cover.

1987 Paperback Cover

1988 Paperback cover was similar to this cover in 1994

2004 Paperback cover

Of these three designs, the most appropriate cover was the faceless woman whose ghostly image alludes to the character of Beloved, a child murdered in order to prevent her return to slavery. Opening in a post Civil War South, the main character Sethe confronts the ghosts and people from her past, and the evils of slavery are described in painful detail.

Beloved Movie-tie in paperback cover

The movie-tie paperback cover for the film Beloved (1998) is far more dramatic; the actress Thandie Newton is pictured in side profile, back arched, against distorted tree branch. The result is dramatic without focusing on the film’s actress; this cover is not a blatant movie tie-in.

I rarely buy these movie-tie in paperbacks for two reasons. The art design usually features the actor or actress and not the elements of the story, and these covers immediately alert students that there is a film to watch rather than a book to read! However, the contrast in covers is an interesting lesson for students, and I have asked them which cover they prefer. Can they judge the book by its cover?