Michael P. Murphy

Jim Daniels

Orlando Ricardo Menes

Philip Metres

Maryann Corbett

Pat Brisson

Joshua Hren

Kim Bridgford

Daye Phillippo

Sheryl St. Germain

Mike Aquilina

Kathleen Marks

Susan Signe Morrison

Stephen Gibson

Jill Pelaez Baumgaertner

Susan L. Miller

Barbara Crooker

Paul Willis

Dean Kostos

Pablo Medina

Gail White

Maria Mazziotti Gillan

Lynn Domina

Jeremiah Webster

Ned Balbo

Richard Cole

Jerry Harp

George Klawitter

C. X. Dillhunt

Julie L. Moore

Debra Bruce

James Matthew Wilson

D. S. Martin

Maryanne Hannan

Leonard Kress

Margaret Rozga

Joseph Bathanti

Richard Spilman

Tyler Farrell

Sharif Elmusa

Chelsea Martinez-Casiano

P. S. Dean

Alan Berecka

Tim Bete

Kathleen Bradley

Mary Buchinger

Roxana L. Cazan

Yuan Changming

Erica Charis-Molling

Joanna Currey

Jessica G. de Koninck

Dominic Gideon

Ed Granger

Lois Marie Harrod

Anne M. Higgins

Thomas Holahan

Siham Karami

Elaine Kehoe

Michael Angel Martin

Rhonda Miska

Robin Amelia Morris

Elizabeth Murawski

Stella Nesanovich

Matthew C. Nickel

Barry Peters

Mia Pohlman

Christopher Poore

Dennis Rhodes

Michael D. Riley

Lisa Toth Salinas

Nicholas Samaras

Janna Schledorn

Rita A. Simmonds

Sofia M. Starnes

Sophia Stid

Carole Stone

Maxine Susman

Maria Terrone

Brian Volck

Mark C. Watney

R. Bratten Weiss

Aleisa Zoecklin

Cydnee Devereaux

Jake Oresick

Mary Ladany

Juditha Dowd

Shanna Powlus Wheeler

Mia Schilling Grogan

New poems, translations, interviews, and book reviews in a yearly literary journal for Catholic Poetry.

: a Journal of Catholic Poetry

Presence

Toni Morrison's Beloved and the Apotropaic Imagination investigates Toni Morrison's Beloved in light of ancient Greek influences, arguing that the African American experience depicted in the novel can be set in a broader context than is usually allowed. Kathleen Marks gives a history of the apotropaic from ancient to modern times, and shows the ways that Beloved'sprotagonist, Sethe, and her community engage the apotropaic as a mode of dealing with their communal suffering. Apotropaic, from the Greek, meaning “to turn away from,” refers to rituals that were performed in ancient times to ward off evil deities. Modern scholars use the term to denote an action that, in attempting to prevent an evil, causes that very evil. Freud employed the apotropaic to explain his thought concerning Medusa and the castration complex, and Derrida found the apotropaic's logic of self-sabotage consonant with his own thought. Marks draws on this critical history and argues that Morrison's heroine's effort to keep the past at bay is apotropaic: a series of gestures aimed at resisting a danger, a threat, an imperative. These gestures anticipate, mirror, and put into effect that which they seek to avoid—one does what one finds horrible so as to mitigate its horror. In Beloved, Sethe's killing of her baby reveals this dynamic: she kills the baby in order to save it. As do all great heroes, Sethe transgresses boundaries, and such transgressions bring with them terrific dangers: for example, the figure Beloved. Yet Sethe's action has ritualistic undertones that link it to the type of primal crimes that can bring relief to a petrified community. It is through these apotropaic gestures that the heroine and the community resist what Morrison calls “cultural amnesia” and engage in a shared past, finally inaugurating a new order of love. Toni Morrison's Beloved and the Apotropaic Imagination is eclectic in its approach—calling upon Greek religion, Greek mythology and underworld images, and psychology. Marks looks at the losses and benefits of the kind of self-damage/self-agency the apotropaic affords. Such an approach helps to frame the questions of the role of suffering in human life, the relation between humans and the underworld, and the uses of memory and history.

Toni Morrison's Beloved and the Apotropaic Imagination

"Toni Morrison's Beloved and the Apotropaic Imagination investigates Toni Morrison's Beloved in light of ancient Greek influences, arguing that the African American experience depicted in the novel can be set in a broader context than is usually allowed. Kathleen Marks gives a history of the apotropaic from ancient to modern times, and shows the ways that Beloved'sprotagonist, Sethe, and her community engage the apotropaic as a mode of dealing with their communal suffering. Apotropaic, from the Greek, meaning "to turn away from," refers to rituals that were performed in ancient times to ward off evil deities. Modern scholars use the term to denote an action that, in attempting to prevent an evil, causes that very evil. Freud employed the apotropaic to explain his thought concerning Medusa and the castration complex, and Derrida found the apotropaic's logic of self-sabotage consonant with his own thought. Marks draws on this critical history and argues that Morrison's heroine's effort to keep the past at bay is apotropaic: a series of gestures aimed at resisting a danger, a threat, an imperative. These gestures anticipate, mirror, and put into effect that which they seek to avoid--one does what one finds horrible so as to mitigate its horror. In Beloved, Sethe's killing of her baby reveals this dynamic: she kills the baby in order to save it. As do all great heroes, Sethe transgresses boundaries, and such transgressions bring with them terrific dangers: for example, the figure Beloved. Yet Sethe's action has ritualistic undertones that link it to the type of primal crimes that can bring relief to a petrified community. It is through these apotropaic gestures that the heroine and the community resist what Morrison calls "cultural amnesia" and engage in a shared past, finally inaugurating a new order of love. Toni Morrison's Beloved and the Apotropaic Imagination is eclectic in its approach--calling upon Greek religion, Greek mythology and underworld images, and psychology. Marks looks at the losses and benefits of the kind of self-damage/self-agency the apotropaic affords. Such an approach helps to frame the questions of the role of suffering in human life, the relation between humans and the underworld, and the uses of memory and history."--Publishers website.

Kathleen Marks

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