Namwali Serpell celebrates Toni Morrison's literary genius in 'On Morrison'

On Morrison: A Deep Dive into Namwali Serpell’s Analysis of Toni Morrison’s Work

Key Concepts:

• Biographical Fallacy: The idea that a work of literature should not be interpreted solely through the lens of the author’s life.
• Black Aesthetic: Artistic principles and values rooted in Black culture and experience, emphasizing communal engagement and improvisation.
• Signifying: A uniquely Black rhetorical strategy involving playful repetition, parody, and indirect commentary.
• Village Literature: Morrison’s concept of literature as a social and communal form, designed to provoke discussion and debate.
• Formal Choices: The deliberate stylistic and structural decisions made by an author, impacting the reader’s experience.
• Egalitarianism (in reading/writing): The idea that the literary experience should be a mutual engagement between author and reader, requiring active participation from both.

I. The Focus on the Work, Not the Woman

Namwali Serpell’s book, “On Morrison,” undertakes a comprehensive examination of Toni Morrison’s entire oeuvre – her eleven novels, play, criticism, poetry, and more. A foundational principle of Serpell’s approach, as she explicitly states, is a deliberate distancing from Morrison’s biography. She “never met Morrison. I never tried to either. I have loved knowing her through reading her over the decades of my life.” This choice stems from Morrison’s own aversion to biographical interpretations of her work. Morrison believed authors possess a “copyright on their selves” and prioritized invention and imagining fully realized characters over autobiographical narratives. She actively discouraged her creative writing students from focusing on “your little selves,” advocating instead for the creation of “other people.” Even her attempt at a memoir was abandoned because she felt her life was “not that interesting.”

Serpell emphasizes that reading and writing were fundamentally intertwined for Morrison, with writing being a “slow and advanced form of reading.” This literary relationship, rather than a biographical one, forms the core of Serpell’s analysis.

II. The “Difficulty” of Morrison’s Work as a Deliberate Choice

Morrison’s work is frequently described as “difficult,” often presented as a criticism. Serpell reframes this perception, arguing that the difficulty is not a flaw but a deliberate “demand placed on the reader.” Morrison intentionally incorporated “gaps and spaces” into her writing, requiring readers to actively participate in constructing meaning. This approach, Serpell explains, is rooted in an ethos of “egalitarianism,” fostering a “communal, mutually enforcing engagement” between the work and the audience. Unlike work that simply “tells you what happens,” Morrison’s novels necessitate active effort from the reader to “make the work come to life.” This active participation, Serpell argues, is integral to a “black aesthetic,” drawing parallels to the interactive nature of a jazz performance where audience participation – “hoots and hollers and the calls and the clapping” – is as vital as the music itself.

III. Institutionalization vs. True Understanding: A Paradox

Serpell addresses a striking paradox: despite Toni Morrison being thoroughly “institutionalized” – widely taught in academic settings – her work is often “fundamentally misunderstood and not read on her own terms.” Fran Lebowitz, a close friend of Morrison, articulated this sentiment after Morrison’s death, observing that her writing was “underappreciated” because it was often viewed “through the prism of her being black and being a woman.” This led to a presumption of brilliance without genuine engagement with the text.

Serpell argues that a lack of attention has been given to the experimental and innovative nature of Morrison’s writing, and to her skillful integration of “black cultural forms” like “signifying,” “shade,” and “jazz” into her novels. She positions herself as contributing to the conversation by focusing on Morrison’s “mastery of black form,” bridging the gap between traditional literary analysis and an understanding of Black cultural context.

IV. The Value of Morrison’s Work in a Culture of Instant Comprehension

In a contemporary context that prioritizes “clarity and accessibility and instant comprehension,” Serpell highlights the enduring value of Morrison’s work. Morrison sought to revive what she termed “village literature,” a concept emphasizing literature’s role as a social and communal experience. “Village literature” doesn’t aim to deliver a singular message but to “open up questions” and stimulate debate. The goal is to create an “experience” that prompts readers to seek out conversation and engage with the text on a deeper level, rather than simply receiving a pre-packaged interpretation.

V. Embracing Difficulty: Freedom for Black Women Writers

Serpell concludes by expressing her aspiration to emulate Morrison’s “freedom to be at ease with being difficult.” She acknowledges the societal pressures that often label Black women as “difficult” when they exhibit willfulness, anger, or a refusal to conform. However, she argues for the importance of embracing the “complexity of our experience” and the “complexity of art itself.” Morrison herself believed that being considered “difficult” was a “good sign,” indicating that one was being “taken seriously.” Serpell desires to be recognized for her intellectual rigor and artistic vision, refusing to be relegated to the role of “comfort[ing] or placat[ing] or translat[ing] things for people,” but instead aiming to “inspire” and “engage” her audience.

Data & Statistics:

While the conversation doesn't present specific numerical data, it implicitly highlights the statistical reality of Morrison's widespread inclusion in academic curricula versus the depth of critical engagement with her work.

Logical Connections:

The conversation flows logically from establishing Serpell’s methodological approach (focusing on the work, not the author) to unpacking the complexities of Morrison’s style and its reception. The discussion then moves to the broader implications of Morrison’s work in a contemporary cultural landscape, culminating in a personal reflection on the importance of artistic freedom.

Conclusion:

Namwali Serpell’s “On Morrison” offers a nuanced and insightful re-evaluation of Toni Morrison’s literary legacy. The book challenges readers to move beyond superficial interpretations and engage with the deliberate complexities of Morrison’s writing, recognizing its innovative form and its deep roots in Black cultural traditions. Serpell’s analysis underscores the enduring relevance of Morrison’s work, particularly in a society that often prioritizes accessibility over intellectual rigor, and advocates for a continued commitment to artistic freedom and the exploration of complex truths.