In Toni Morrison’s novels it was inevitably mothers, grandmothers, aunts, sisters who kept families and communities together
SHE DID not look away. When Toni Morrison’s clear imagining gaze met uncomfortable things, she faced them down. A poisoned dog jerking round the yard like a toy. Human placenta in a field. The transparent underskin of a bobcat gutted on a kitchen table. The greyish panties, still round her ankles, of an 11-year-old girl raped by her father as she washed the dishes.
Hers was a work to reclaim lost black voices. Slaves in wagons singing under their breath, ghosts and haints staring silently from tree stumps, ancestors whose names were hidden in children’s chants. Or simply girls like herself raised to womanhood in the Midwest, beside a steel mill, in a small house obsessively painted and sluiced with Fels-Naptha as though at any moment they might be forced to leave.
Who could rescue language, ensure it stayed supple, strong and alive? That it was un-arrogant, and would keep reaching towards the ineffable? Women could. Black women could. In her novels it was inevitably mothers, grandmothers, aunts, sisters who kept families and communities together with that mesh of loving bossiness: pull up your socks, comb your head, do your chores, hush your mouth.
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