Jean Wyatt

In Love and Narrative Form in Toni Morrison’s Later Novels, Jean Wyatt explores the interaction among ideas of love, narrative innovation, and reader response in Toni Morrison’s seven later novels. Love comes in a new and surprising shape in each of the later novels; for example, Love presents it as the deep friendship between little girls; in Home it acts as a disruptive force producing deep changes in subjectivity; and in Jazz it becomes something one innovates and recreates each moment—like jazz itself. Each novel’s unconventional idea of love requires a new experimental narrative form. Wyatt analyzes the stylistic and structural innovations of each novel, showing how disturbances in narrative chronology, surprise endings, and gaps mirror the dislocated temporality and distorted emotional responses of the novels’ troubled characters and demand that the reader situate the present-day problems of the characters in relation to a traumatic African American past. The narrative surprises and gaps require the reader to become an active participant in making meaning. And the texts’ complex narrative strategies draw out the reader’s convictions about love, about gender, about race—and then prompt the reader to reexamine them, so that reading becomes an active ethical dialogue between text and reader. Wyatt uses psychoanalytic concepts to analyze Morrison’s narrative structures and how they work on readers. Love and Narrative Form devotes a chapter to each of Morrison’s later novels: Beloved, Jazz, Paradise, Love, A Mercy, Home, and God Help the Child.

Love and Narrative Form in Toni Morrison’s Later Novels

Sheldon George

In what innovative ways do novels by diasporic Black women writers experiment with the representation of Black subjectivity? This collection explores the inventiveness of contemporary Black women writers – Black British, African, Caribbean, African American – who remake traditional understandings of blackness. As the title word “experimental” signals, these essays foreground the narrative form and stylistic innovations of the black-authored novels they analyze. They also show how these experiments with form mirror the novels' convention-breaking experiments with reimagining Black female subjectivities. While each novel, of course, represents the complexities of diasporic experiences differently, some issues emerge that are broadly shared not just within a regional group, but across geographical borders. One feature of the collection is a comparative look at such linking themes across borders, under the rubrics: a return to precolonial systems of belief, reinventions of mothering, relational subjectivities, memory, history and haunting, and posthumanist revaluations. These themes take different shapes across the multitude of diverse cultures studied in this book. But together they establish a pan-global imaginative practice.

Race and Narrative Innovation

Experimental Subjectivities in Global Black Women's Writing

Looks at the dynamics of identification, envy, and idealization in fictional narratives by Margaret Atwood, Angela Carter, Sandra Cisneros, Toni Morrison, and others, as well as in nonfictional accounts of cross-race relations by white feminists and feminists of color.

Identification, Race, and Community in Contemporary Fiction and Feminism

Risking Difference

Contemporary African American and Black British Women Writers: Narrative, Race, Ethics brings together British and American scholars to explore how, in texts by contemporary black women writers in the U. S. and Britain, formal narrative techniques express new understandings of race or stimulate ethical thinking about race in a reader. Taken together, the essays also demonstrate that black women writers from both sides of the Atlantic borrow formal structures and literary techniques from one another to describe the workings of structural racism in the daily lives of black subjects and to provoke readers to think anew about race. Narratology has only recently begun to use race as a category of narrative theory. This collection seeks both to show the ethical effects of narrative form on individual readers and to foster reconceptualizations of narrative theory that account for the workings of race within literature and culture.

Race, Ethics, Narrative Form

Reading Contemporary Black British and African American Women Writers

This provocative study explores the function of the unconscious in reading and creative processes. The book asks if reading can change the reader and if women, through reading, can change the unconscious fantasy structures that govern desire. Using models

The Role of the Unconscious in Women's Reading and Writing

Reconstructing Desire

This is a book Jean Wyatt felt compelled to write, as she has for many years wrestled with questions surrounding the love and the justice of God, his salvation and judgment through Jesus Christ, and the effect of our response (or lack of response) to that salvation. The Bible gives glimpses of hope that in the end God will restore all things, and that finally all people will worship him. If it is God's will that all should be saved, is it possible to resist that will for all eternity? Or dare we hope that God will continue to seek and ultimately save those who now reject his offered salvation? Dare we hope that hell will be a place of restorative justice and cleansing, with redemption as its aim? Wyatt has come to the conclusion that we can answer "Yes" to both these questions. The fire of God consumes evil and cleanses people. Meanwhile, in the here and now in which we live as disciples of Jesus Christ, we are called to be witnesses to the kingdom of God and to work for his kingdom to come "on earth as it is in heaven."

Towards a Universalist Understanding of Salvation

The Judge Is the Savior

Introduction: Love and narrative form -- Maternal language and maternal history in Beloved -- Riffing on love and playing with narration in Jazz -- Displacement--political, psychic, and textual--in Paradise -- Love's time and the reader: ethical effects of nachträglichkeit (belatedness) in Love -- Failed messages, maternal loss, and narrative form in A mercy -- Severed limbs, the uncanny, and the return of the repressed in Home -- Love, trauma, and the body in God help the child -- Conclusion: Revisioning love and slavery

Jean Wyatt

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