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Posts Tagged ‘Toni Morrison

“I always said I’m a teacher who writes or an editor who writes”*…

Toni Morrison at work

Nobel Literature laureate Toni Morrison was indeed a teacher (a professor at Princeton from 1989 until 2006). Before that, she was an editor (at Random House, working with authors including Angela Davis, Gayl Jones, Toni Cade Bambara and Muhammad Ali), where, as Melina Moe explains, Morrison’s critical skills and generosity were already evident– as much in her rejection letters as in the works she shepherded through the press…

“I found it extremely honest, forthright, and moving in ways I had not expected it to be,” Toni Morrison wrote to an aspiring novelist in 1977, “but it is a shuddering book and one that offers no escape for any reader whatsoever.” Still, Morrison, then a senior editor at Random House, liked the manuscript so much that, before responding, she passed it around the office to drum up support. The verdict was “intelligent,” but also “very ‘down,’ depressing, spiritually abrasive.” Whatever the merits of the writing, Morrison’s colleagues predicted, the potent mix of dissatisfaction, anger, and mournfulness would limit the book’s commercial appeal—and Morrison reluctantly agreed. “You don’t want to escape and I don’t want to escape,” her letter concludes, “but perhaps the public does and perhaps we are in the business of helping them do that.”

During her 16 years at Random House, Morrison wrote hundreds of rejection letters. Usually typed on pink, yellow, or white carbonless copy paper, and occasionally bearing Random House’s old logo and letterhead, these are now filed among her correspondence in the Random House archives at Columbia University’s Rare Book & Manuscript Library. While many of the letters were mailed to New York, Boston, and even Rome, others were sent to writers in more obscure places; some are addressed to “general delivery” in various small towns across the United States.

Regardless of destination, Morrison’s rejections tend to be long, generous in their suggestions, and direct in their criticism. The letters themselves—generally one, two at most, exchanged with a given writer—constitute an asymmetrical archive. On one end of each communiqué is the ghost of a submitted manuscript (absent from the archive after being returned to the sender, although in some cases survived by a cover letter). On the other is a rejection from Morrison, sometimes brusque yet typically offering something more than an expression of disinterest—notes on craft, character development, the need for more (or less) drama. But also: Autopsies of a changing, and in many ways diminishing, publishing industry; frustrations with the tastes of a reading public; and sympathies for poets, short story writers, and other authors drawn to commercially hopeless genres…

A fascinating (and instructive) read that leaves one feeling even more warmly about Morrison: “There Is No Point in My Being Other Than Honest with You: On Toni Morrison’s Rejection Letters,” from @LAReviewofBooks.

(Image above: source)

* Toni Morrison

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As we open the envelope, we might note that today mark’s the anniversary of another epistolary event of literary note: on this date in 1816, Jane Austen sent a momentous missive…

Towards the end of 1815, Jane came into contact with Rev. James Stanier Clarke, the Prince Regent’s Librarian. The Prince, it appeared, was an avid reader of novels and was a particular fan of Jane Austen’s works – keeping a set at each of his residences.

Stanier Clarke invited Jane to visit the Prince’s lavish library at Carlton House, and during the visit he suggested that, as the Prince admired her work, she would be ‘at liberty to dedicate any future novel to him’.

Jane did not like or approve of the Prince (or the ‘P.R.’ as she charmingly dubs him in her letters), who was famously debauched and profligate. Nevertheless, she complied with the royal request, dedicating Emma to the Prince…

Her correspondence with Stanier Clarke continued into the spring of 1816, when this letter was written. In it, Jane responds to Stanier Clarke’s suggestion that for her next work she might attempt a ‘Historical Romance illustrative of the History of the august house of Cobourg’.

She tactfully declines the idea, writing that although such a work might be more profitable or popular than her ‘pictures of domestic Life in Country Villages’, she ‘could no more write a Romance than an Epic Poem’…

“LETTER FROM JANE AUSTEN TO JAMES STANIER CLARKE, 1 APRIL 1816” Jane Auten House (facsimile at this link)

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“Sometimes we drug ourselves with dreams of new ideas”*…

Further to last week’s piece on Samuel Arbesman‘s “incremental humanism,” Jennifer Banks unpacks the differences between the two leading “flavors” of humanism afoot today: one akin to Arbesman’s; the other, not so much…

In 2003, Edward Said wrote in the wake of the terrorist attacks of 11 September 2001 and in the context of the United States’ war on terror that ‘humanism is the only, and, I would go so far as saying, the final, resistance we have against the inhuman practices and injustices that disfigure human history.’ The moment, he felt, was ‘apocalyptic’, and the end was indeed near for him; he died of leukaemia later that year.

So why was it humanism that he held to so tightly as war and sickness cinched time’s horizon around him? Humanism, an intellectual and cultural movement that emerged in Renaissance Europe emphasising classical learning and affirming human potential, had been subject to decades of critique by the time Said was writing this. Among its many detractors were postcolonialists who argued that humanism’s elevation of a particular kind of human – Eurocentric, rational, empiricist, self-realising, secular and universal – had provided thin cover for the exploitation of large swaths of the world’s population.

But Said, one of the founders of postcolonial studies, hadn’t given up on the term, despite its imperialist entanglements. He imagined a humanism abused but not exhausted, an –ism more elastic and plural, more subject to critique and revision, and more acquainted with the limits of reason than many humanisms have historically been. Humanism, he argued, was more like an ‘exigent, resistant, intransigent art’ – an art that was not, for him, particularly triumphant. His humanism was defined by a ‘tragic flaw that is constitutive to it and cannot be removed’. It refused all final solutions to the irreconcilable, dialectical oppositions that are at the heart of human life – a refusal that ironically kept the world liveable and the future open.

At stake in his defence was not only the survival of the humanistic fields of study he had devoted his academic career to, but the survival, freedom and thriving of actual people, including those populations that humanisms had historically excluded. Various antihumanisms had gradually been eroding humanism’s stature within the academy, but it was humanism, he believed, with its positive ideas about liberty, learning and human agency – and not antihumanist deconstructions – that inspired people to resist unjust wars, military occupations, despotism and tyranny.

Humanism, however, fell further out of vogue in the two decades that followed. Humanities enrolments dropped dramatically at universities, and funding for departments like comparative literature, women’s studies, religion, and foreign languages got slashed. Increasingly, however, it wasn’t just the inadequacies of any –ism that were the problem. It was the subject at the heart of humanism that came under widespread attack: the human itself. Given that history could be read as a catalogue of human greed, blindness, exclusions and violence, the future seemed to belong to someone – or something – else. The humane in humanism seemed to be missing. Alternative ideologies like antihumanism, transhumanism, posthumanism and antinatalism seeped from the fringes into the mainstream, buoyed by their conviction that they might offer the planet or even the cosmos something more ethical, more humane even, than humans have ever been able to. Humanity’s time, perhaps, was simply up.

In his book The Revolt Against Humanity: Imagining a Future Without Us (2023), the American critic Adam Kirsch identifies the contested line between humanists and non-humanists as one of the defining faultlines of our political and cultural moment. The debates between them can feel merely semantic, the stuff of graduate seminars, but the revolt against humanity is likely to have major implications for our future, Kirsch argues, even if its prophecies about our imminent extinction don’t come true. ‘[D]isappointed prophecies,’ he writes, ‘have been responsible for some of the most important movements in history, from Christianity to Communism.’ Anyone committed to the prospect of a liveable future should pay close attention to what’s going on here.

I might have never put too much stock in a term like humanism if I had not read around in the transhumanist literature. I came to this work while researching a book on birth that explored the relationship between birth, death and the question of a human future. Does humanity have a future? Do we deserve one? What will that future look like? The answers to those questions will be determined by many forces – technological, economic, political, environmental and more – but also by how we experience and think about our own births and deaths. Despite large areas of convergence, humanists and transhumanists can end up with wildly different visions of our future, based on dramatically different understandings of birth and death, as one can see by comparing how a novelist (Toni Morrison) and a philosopher (Nick Bostrom) have explored these themes. Morrison offers us a prophetic celebration of Earthly, ongoing, biological generation and a future that allows for human freedom, while Bostrom points us toward a highly controlled surveillance world order, organised around a paranoid fear of human action, and oriented toward the pristine emptiness of outer space. Which future, we should ask ourselves, would we willingly choose?

Do read on for her analysis: “What awaits us?“, from @jenniferabanks in @aeonmag.

Apposite: “The Philosophy Of Co-Becoming” from @NoemaMag and “To pay attention, this is our endless and proper work,” @LMSacasas on Illich.

Audre Lorde

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As we ponder possibility, we might spare a thought for Dandara, “the Warrior Queen” of the Quilombo dos Palmares, a settlement of Afro-Brazilian people who freed themselves from enslavement during Brazil’s colonial period. She was captured by colonial authorities on this date in 1694 and committed suicide rather than be returned to a life of slavery.

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“What’s the point of having great knowledge and keeping them all to yourself?”*…

 

One of the most attractive books in history, a colossal best seller, everybody knows this, The Great Gatsby, by F. Scott Fitzgerald. Really successful book, believe me. Why F.? I put my initial in the middle, I think it’s more normal that way, but everybody has his own style…

From the glorious Sherman Oaks Review of Books, an imagination of Donald Trump’s review of The Great Gatsby: “Celebrity Book Reviews: Donald on Scott.”

[image above: source]

* Donald J. Trump, Why We Want You To Be Rich: Two Men, One Message

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As we rethink the classics, we might send send elegiac birthday greetings to James Arthur Baldwin; he was born on this date in 1924.  A novelist, essayist, playwright, poet, and social critic, he charted the unspoken but palpable intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-20th-century America, and their inevitable tensions.  His essays (e.g., Notes of a Native Son and The Fire Next Time) and his novels (perhaps especially Giovanni’s Room) shaped a generation of writers.  Nobel Laureate Toni Morrison eulogized Baldwin in The New York Times:

You knew, didn’t you, how I needed your language and the mind that formed it? How I relied on your fierce courage to tame wildernesses for me? How strengthened I was by the certainty that came from knowing you would never hurt me? You knew, didn’t you, how I loved your love? You knew. This then is no calamity. No. This is jubilee. “Our crown,” you said, “has already been bought and paid for. All we have to do,” you said, “is wear it.”

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Written by (Roughly) Daily

August 2, 2016 at 1:01 am

“There are three rules for writing a novel. Unfortunately, no one knows what they are”*…

 

There are all sorts of theories and ideas about what constitutes a good opening line. It’s tricky thing, and tough to talk about because I don’t think conceptually while I work on a first draft — I just write. To get scientific about it is a little like trying to catch moonbeams in a jar.

But there’s one thing I’m sure about. An opening line should invite the reader to begin the story. It should say: Listen. Come in here. You want to know about this….

When I’m starting a book, I compose in bed before I go to sleep. I will lie there in the dark and think. I’ll try to write a paragraph. An opening paragraph. And over a period of weeks and months and even years, I’ll word and reword it until I’m happy with what I’ve got. If I can get that first paragraph right, I’ll know I can do the book…

– Stephen King (click here for full interview)

Find inspiration– or just enjoyment– at Kick Ass Ledes (“Your Daily Fix of Damn Good Opening Lines”).

Readers can follow KAL on Twitter… and noticing the the skew there toward long-form non-fiction and short stories, can further explore the implications of Mr. King’s advice in other, more novel-centric lists (e.g., here).

* W. Somerset Maugham

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As we sharpen our pencils, we might send carefully-composed birthday greetings to Chloe Ardelia Wofford; she was born on this date in 1931.  A convert to catholicism at age 12, she took the baptismal name “Anthony,” which family and friends shortened to “Toni”; then at age 27, she married George Morrison…. so it was as Toni Morrison that she published her first novel, The Bluest Eye, in 1970.  She went on to write 9 more novels (including Beloved and Song of Solomon), a number of non-fiction books, a pair of plays, a host of essays, and an opera libretto– all while serving as a university professor at Howard, SUNY, Rutgers, and now Princeton.  She won the Pulitzer Prize in 1988 for Beloved, the Nobel Prize for Literature in 1993, and the Presidential Medal of Freedom in 2012.

They shoot the white girl first.

– Toni Morrison, (the first line of) Paradise

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Written by (Roughly) Daily

February 18, 2014 at 1:01 am

Covered…

 

Your correspondent is off to Grits-A-Palooza, the annual festival of deep frying held amidst the dunes of the Barrier Islands.  Consequently, regular service will be interrupted until August 12 or so.  But lest readers fret, here is something to occupy the interim:

In February of 1966, Nancy Sinatra released her recording of Lee Hazlewood’s “These Boots Are Made For Walking”: an instant success, the single hit #! on the Billboard charts in both the U.S. and the U.K. that same month, and did equally well around the world.

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Since then, the song has taken on a life of its own: it’s been covered and released in styles ranging from country and swing, through metal, pop, rock, and punk, to dance and industrial.  “Dying For Bad Music” has helpfully collected 172 of these versions– all available to hear here.

It’s tough to choose a favorite:  Siouxsie’s version has sentimental appeal; KMFDM sets the industrial standard… but how to understand David Hasselhoff’s version, or Megadeath’s?  In the end, your correspondent has to go with the always-astounding Residents’ version

But, of course, the more important question is:  what do you choose?

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As we tap our (steel) toes, we might send elegant birthday greetings to James Arthur Baldwin; he was born on this date in 1924.  A novelist, essayist, playwright, poet, and social critic of extraordinary insight and grace, Baldwin is best known for his novels Go Tell It On The Mountain and Giovanni’s Room, and for essays like those collected in The Fire Next Time.

Baldwin was a friend and collaborator of folks as various as Richard Avedon (his high school classmate), Marlon Brando, Charlton Heston, Billy Dee Williams, Huey Newton, Nikki Giovanni, Jean-Paul Sartre, Jean Genet, Lee Strasberg, Elia Kazan, Rip Torn, Alex Haley, Miles Davis, Amiri Baraka, Martin Luther King, Jr., Margaret Mead, Josephine Baker, Allen Ginsberg, Maya Angelou, and Toni Morrison.  Indeed, Nobel Laureate Morrison credits Baldwin with being “her literary inspiration, the person who showed her the true potential of writing”; in her eulogy for Baldwin she said:

You knew, didn’t you, how I needed your language and the mind that formed it? How I relied on your fierce courage to tame wildernesses for me? How strengthened I was by the certainty that came from knowing you would never hurt me? You knew, didn’t you, how I loved your love? You knew. This then is no calamity. No. This is jubilee. Our crown, you said, has already been bought and paid for. All we have to do, you said, is wear it.

Carl Van Vechten’s portrait of Baldwin

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Written by (Roughly) Daily

August 2, 2013 at 1:01 am