Toni Morrison

Chloe Anthony Wofford Morrison (born Chloe Ardelia Wofford February 18, 1931 – August 5, 2019), known as Toni Morrison, was an American novelist, essayist, book editor, and college professor, who received the Pulitzer Prize in 1988 and the Nobel Prize in Literature in 1993.

Quotes



 * Here is the house. It is green and white. It has a red door. It is very pretty.
 * The Bluest Eye (1969) First lines


 * There is really nothing more to say — except why. But since why is difficult to handle, one must take refuge in how.
 * The Bluest Eye (1969)


 * Women's rights is not only an abstraction, a cause; it is also a personal affair. It is not only about "us"; it is also about me and you. Just the two of us.
 * Commencement address at Barnard College (May 1979) as quoted in Ms. magazine (September 1979)


 * At some point in life the world's beauty becomes enough. You don't need to photograph, paint or even remember it. It is enough. No record of it needs to be kept and you don't need someone to share it with or tell it to. When that happens — that letting go — you let go because you can.
 * Tar Baby (1981)


 * Was there anything so loathsome as a wilfully innocent man? Hardly. An innocent man is a sin before God. Inhuman and therefore untrustworthy. No man should live without absorbing the sins of his kind, the foul air of his innocence, even if it did wilt rows of angel trumpets and cause them to fall from their vines.
 * Tar Baby (1981)


 * Of course I'm a black writer.... I'm not just a black writer, but categories like black writer, woman writer and Latin American writer aren't marginal anymore. We have to acknowledge that the thing we call "literature" is more pluralistic now, just as society ought to be. The melting pot never worked. We ought to be able to accept on equal terms everybody from the Hassidim to Walter Lippmann, from the Rastafarians to Ralph Bunche.
 * Interview in Newsweek (30 March 1981)


 * I think women dwell quite a bit on the duress under which they work, on how hard it is just to do it at all. We are traditionally rather proud of ourselves for having slipped creative work in there between the domestic chores and obligations. I'm not sure we deserve such big A-pluses for all that.
 * Interview in Newsweek (30 March 1981)


 * Writing to me is an advanced and slow form of reading. If you find a book you really want to read but it hasn't been written yet, then you must write it.
 * Morrison said this in her talk at the annual meeting of the Ohio Arts Council in Cincinnati in September 1981. Variants, unsourced:
 * If there's a book you really want to read but it hasn't been written yet, then you must write it.
 * If there is a book that you want to read, but it hasn't been written yet, you must be the one to write it.


 * Black women write differently from white women. This is the most marked difference of all those combinations of black and white, male and female. It's not so much that women write differently from men, but that black women write differently from white women. Black men don't write very differently from white men.
 * Black Women Writers at Work (1983) by Claudia Tate


 * Anger... it's a paralyzing emotion... you can't get anything done. People sort of think it's an interesting, passionate, and igniting feeling — I don't think it's any of that — it's helpless... it's absence of control — and I need all of my skills, all of the control, all of my powers — and I need clarity, in order to write — and anger doesn't provide any of that — I have no use for it whatsoever. I can feel melancholy, and I can feel full of regret, but anger is something that is useful to the people who watch it... it's not useful to me.
 * Interview with Don Swaim (1987)


 * You need intelligence, and you need to look. You need a gaze, a wide gaze, penetrating and roving — thats what's useful for art.
 * Interview with Don Swaim (1987)


 * For me, Art is the restoration of order. It may discuss all sort of terrible things, but there must be satisfaction at the end. A little bit of hunger, but also satisfaction.
 * Interview with Don Swaim (1987)


 * Beginning Beloved with numerals rather than spelled out numbers, it was my intention to give the house an identity separate from the street or even the city... Numbers here constitute an address, a thrilling enough prospect for slaves who had owned nothing, least of all an address. And although the numbers, unlike words, can have no modifiers, I give these an adjective — spiteful… A few words have to be read before it is clear that 124 refers to a house … and a few more have to be read to discover why it is spiteful, or rather the source of the spite. By then it is clear, if not at once, that something is beyond control, but is not beyond understanding since it is not beyond accommodation by both the "women" and the "children." The fully realized presence of the haunting is both a major incumbent of the narrative and sleight of hand. One of its purposes is to keep the reader preoccupied with the nature of the incredible spirit world while being supplied a controlled diet of the incredible political world. … Here I wanted the compelling confusion of being there as they (the characters) are; suddenly, without comfort or succor from the "author," with only imagination, intelligence, and necessity available for the journey. …. No compound of houses, no neighborhood, no sculpture, no paint, no time, especially no time because memory, pre-historic memory, has no time. There is just a little music, each other and the urgency of what is at stake. Which is all they had. For that work, the work of language is to get out of the way.
 * "Unspeakable Things Unspoken: The Afro-American Presence in American Literature" in Michigan Quarterly Review 28, no. 1 (Winter 1989)


 * All water has a perfect memory and is forever trying to get back to where it was.
 * As quoted in Grace Notes (1989) by Rita Dove


 * In this country American means white. Everybody else has to hyphenate.
 * The Guardian (29 January 1992)


 * The ability of writers to imagine what is not the self, to familiarize the strange and mystify the familiar, is the test of their power.
 * "Black Matters" in Playing in the Dark: Whiteness and the Literary Imagination (1992)


 * I was thrilled that my mother is still alive and can share this with me. And I can claim representation in so many areas. I'm a Midwesterner, and everyone in Ohio is excited. I'm also a New Yorker, and a New Jerseyan, and an American, plus I'm an African-American, and a woman. I know it seems like I'm spreading like algae when I put it this way, but I'd like to think of the prize being distributed to these regions and nations and races.
 * On receiving the Nobel Prize, in The New York Times (8 October 1993)


 * I remember a very important lesson that my father gave me when I was twelve or thirteen. He said, "You know, today I welded a perfect seam and I signed my name to it." And I said, "But, Daddy, no one's going to see it!" And he said, "Yeah, but I know it's there." So when I was working in kitchens, I did good work.
 * As quoted in the New York Times Magazine (11 September 1994).


 * What I think the political correctness debate is really about is the power to be able to define. The definers want the power to name. And the defined are now taking that power away from them.
 * As quoted in the New York Times Magazine (11 September 1994).


 * Everywhere, everywhere, children are the scorned people of the earth.
 * As quoted in Woman to Woman (1994) by Julia Gilden and Mark Riedman


 * I'm just trying to look at something without blinking, to see what it is like, or it could have been like, and how that had something to do with the way we live now. Novels are always inquiries for me.
 * Interview in Salon magazine ( 2 February 1998)


 * white skin notwithstanding, this is our first black President
 * About Bill Clinton. Comment, The New Yorker, 5 October 1998.


 * They shoot the white girl first. With the rest they can take their time. No need to hurry out here. They are seventeen miles from a town which has ninety miles between it and any other. Hiding places will be plentiful in the Convent, but there is time and the day has just begun.
 * Paradise'' (1998) First lines


 * The idea of a wanton woman is something I have inserted into almost all of my books. An outlaw figure who is disallowed in the community because of her imagination or activity or status — that kind of anarchic figure has always fascinated me. And the benefits they bring with them, in spite of the fact that they are either dismissed or upbraided — something about their presence is constructive in the long run.
 * O, The Oprah Magazine (November 2003)


 * It is easily the most empty cliché, the most useless word, and at the same time the most powerful human emotion — because hatred is involved in it, too. I thought if I removed the word from nearly every other place in the manuscript, it could become an earned word. If I could give the word, in my very modest way, its girth and its meaning and its terrible price and its clarity at the moment when that is all there is time for, then the title does work for me.
 * On the title of her book Love (2003), in O, The Oprah Magazine (November 2003)


 * You marvel at the economy and this choice of words. How many ways can you describe the sky and the moon? After Sylvia Plath, what can you say?
 * On British mystery writer Ruth Rendell, The New York Times (6 October 2005)


 * We all know nations that can be identified by the flight of writers from their shores. These are regimes whose fear of unmonitored writing is justified because truth is trouble. It is trouble for the warmonger, the torturer, the corporate thief, the political hack, the corrupt justice system, and for a comatose public. Unpersecuted, unjailed, unharrassed writers are trouble for the ignorant bully, the sly racist, and the predators feeding off the world’s resources. The alarm, the disquiet, writers raise is instructive because it is open and vulnerable, because if unpoliced it is threatening. Therefore the historical suppression of writers is the earliest harbinger of the steady peeling away of additional rights and liberties that will follow.
 * Burn This Book, p. 2 (2009)


 * You free. Nothing and nobody is obliged to save you but you.
 * Home (novella), p. 126 (2012)


 * I want to see a white man convicted for raping a black woman.
 * «Toni Morrison: 'I want to see a white man convicted for raping a black woman'» by Oliver Laughland, The Guardian (20 April 2015)


 * I always know the ending; that's where I start.
 * in Every Day a Word Surprises Me & Other Quotes by Writers by Phaidon (2018) with citation

Sula (1973)

 * In that place, where they tore the nightshade and blackberry patches from their roots to make room for the Medallion City Golf Course, there was once a neighborhood.
 * First lines


 * Like any artist with no art form, she became dangerous.


 * I know what every colored woman in this country is doing. . . . Dying. Just like me. But the difference is they dying like a stump. Me, I'm going down like one of those redwoods. I sure did live in this world.


 * The mirror by the door was not a mirror by the door, it was an altar where he stood for only a moment to put on his cap before going out. The red rocking chair was a rocking of his own hips as he sat in the kitchen. Still, there was nothing of his — his own — that she could find. It was as if she were afraid she had hallucinated him and needed proof to the contrary. His absence was everywhere, stinging everything, giving the furnishings primary colors, sharp outlines to the corners of rooms and gold light to the dust collecting on table tops. When he was there he pulled everything toward himself. Not only her eyes and all her senses but also inanimate things seemed to exist because of him, backdrops to his presence. Now that he had gone, these things, so long subdued by his presence, were glamorized in his wake.


 * It was a fine cry — loud and long — but it had no bottom and it had no top, just circles and circles of sorrow.

A Humanist View (1975)

 * "A Humanist View", an address at the Portland State University Black Studies Center Public Dialogue on the American Dream Pt. 2 (30 May 1975) · Audio online at Soundcloud

Because the very nature of history is to make large distinctions, it encourages the intellect, therefore, to forgo finer ones. Because historians must deal with rice in bulk, rather than grain-by-grain, heavy dependence on the conventions of that discipline lead us to do likewise in human relationships. If such history continues to be the major informer of our sensibilities, we will remain functionally unintelligent. Because, after all, it is the ability to make distinctions — and the smaller the distinctions made, the higher the intellect that makes them — by which we judge intellect.
 * No one can blame the conqueror for writing history the way he sees it, and certainly not for digesting human events and discovering their patterns according to his own point of view. But it must be admitted … that conventional history supports and complements a very grave and almost pristine ignorance.


 * It would seem that to continue to see race of people, any race of people as one single personality is an ignorance of gothic proportions, an ignorance so vast, so public, and perception so blind and so blunted, imagination so bleak that no nuance, no subtlety, no difference among them can be ascertained. Which may explain in part why in 1975 we are left with pretty much the same mental equipment we had in 1775 — the equipment that hadn’t the curiosity to record the names of human beings in a ship’s manifest, hasn’t the curiosity to examine the medieval minds of scientific racists, theologic [sic] racists, historical racists, literary racists; an intelligence that is so crippled that it could in all seriousness ask W.E.B. Du Bois, in 1905, in pursuit of some study as a White professor from Clark University did, whether colored people shed tears.


 * It’s important, therefore, to know who the real enemy is, and to know the function, the very serious function of racism, which is distraction. It keeps you from doing your work. It keeps you explaining over and over again, your reason for being. Somebody says you have no language and so you spend 20 years proving that you do. Somebody says your head isn’t shaped properly so you have scientists working on the fact that it is. Somebody says that you have no art so you dredge that up. Somebody says that you have no kingdoms and so you dredge that up. None of that is necessary. There will always be one more thing.

And I urge you to be careful. For there is a deadly prison: the prison that is erected when one spends one’s life fighting phantoms, concentrating on myths, and explaining over and over to the conqueror your language, your lifestyle, your history, your habits. And you don’t have to do it anymore. You can go ahead and talk straight to me. '''To avoid the prison of reacting to racism is a problem of the very first order. Where the mind dwells on changing the minds of racists is a very dank place.''' Where the spirit hangs limp in silk cords of the racial apologists who want soft and delicate treatment for the poor victims is a very dim place. And where the will that you allow to be eroded day by day, day by day, by consistent assaults from racists, then the will just settles into a little tiny heap of sand, and you just have a second-rate existence, jammed with second-hand ideas.
 * To the artist one can only say, not to be confused, — not to be confused. You don’t waste your energy fighting the fever; you must only fight the disease. And the disease is not racism. It is greed and the struggle for power.

They are the petulant ones who call themselves proud, and they are the disdainful ones who call themselves fastidious, and they are the mean-spirited ones who call themselves just. They thrive on the failures of those unlike them; they are the ones who measure their wealth by the desperation of the poor. They are the ones who know personal success only when they can identify deficiencies in other racial and ethnic groups. They are in prisons of their own construction: and their ignorance and their stunted emotional growth consistently boggle the mind.
 * Racial ignorance is a prison from which there is no escape because there’re no doors. And there are old, old men, and old, old women running institutions, governments, homes all over the world who need to believe in their racism and need to have the victims of racism concentrate all their creative abilities on them. And they are very easily identified.

And unless all races and all ages of man have been totally deluded, there seems to be such a thing as grace, such a thing as beauty, such a thing as harmony — all of which are wholly free, and available to us.
 * We are the moral inhabitants of the globe. And to deny it is to lie in prison. Oh yes, there’s cruelty, and cruelty, because it destroys the perpetuator as well as the victim, is a very mysterious thing. But if you look at the world as one long brutal game between “us” and “them,” then you bump into another mystery. And that’s the mystery of the tree-shaped scar, and the canary that might sing on the crown of a scar.

Song of Solomon (1977)

 * What difference do it make if the thing you scared of is real or not?


 * Too much tail. All that jewelry weighs it down. Like vanity. Can't nobody fly with all that shit. Wanna fly, you got to give up the shit that weighs you down.
 * Guitar to Milkman on why a male peacock can't fly much better than a chicken.


 * Pretty woman, he thought. Pretty little black-skinned woman. Who wanted to kill for love, die for love. The pride, the conceit of these doormat women amazed him. They were always women who had been spoiled children. Whose whims had been taken seriously by adults and who grew up to be the stingiest, greediest people on earth and out of their stinginess grew their stingy little love that ate everything in sight. They could not believe or accept the fact that they were unloved; they believed that the world itself was off balance when it appeared as though they were not loved. Why did they think they were so lovable? Why did they think their brand of love was better than, or even as good as, anybody else's? But they did. And they loved their love so much they would kill anybody who got in its way.


 * If you surrendered to the air, you could ride it.

Beloved (1987)

 * 124 was spiteful. Full of a baby's venom.
 * First lines


 * My first-born. All I can remember of her is how she loved the burned bottom of bread. Can you beat that? Eight children and that's all I remember.


 * If a Negro got legs he ought to use them. Sit down too long, somebody will figure out a way to tie them up.


 * I got a tree on my back and a haint in my house, and nothing in between but the daughter I am holding in my arms. No more running — from nothing. I will never run from another thing on this earth. I took one journey and I paid for the ticket, but let me tell you something, Paul D Garner: it cost too much! Do you hear me? It cost too much.


 * A man ain't nothing but a man. But a son? Well, now, that's somebody.


 * Anything dead coming back to life hurts.


 * The picture is still there and what's more, if you go there — you who never was there — if you go there and stand in the place where it was, it will happen again; it will be there for you, waiting for you. So, Denver, you can't never go there. Never. Because even though it's all over — over and done with — it's going to always be there waiting for you.


 * Would it be all right? Would it be all right to go ahead and feel? Go ahead and count on something?.


 * They were not holding hands, but their shadows were. Sethe looked to her left and all three of them were gliding over the dust holding hands. Maybe he was right. A life.


 * Why was there nothing it refused? No misery, no regret, no hateful picture too rotten to accept? Like a greedy child it snatched up everything. Just once, could it say, No thank you? I just ate and can't hold another bite? . . . But my greedy brain says, Oh thanks, I'd love more . . . my brain would go right ahead and take it and never say, No thank you. I don't want to know or have to remember that. I have other things to do: worry, for example, about tomorrow, about Denver, about Beloved, about age and sickness not to speak of love. But her brain was not interested in the future. Loaded with the past and hungry for more, it left her no room to imagine, let alone plan for, the next day.


 * More it hurt more better it is. Can't nothing heal without pain, you know.


 * It's a tree, Lu. A chokecherry tree. See, here's the trunk — it's red and split wide open, full of sap, and this here's the parting for the branches. You got a mighty lot of branches. Leaves, too, look like, and dern if these ain't blossoms. Tiny little cherry blossoms, just as white. Your back got a whole tree on it. In bloom. What God have in mind, I wonder.


 * Bit by bit, at 124 and in the Clearing, along with others, she had claimed herself. Freeing yourself was one thing; claiming ownership of that freed self was another.


 * They stayed that way for a while because neither Denver nor Sethe knew how not to: how to stop and not love the look or feel of the lips that kept on kissing.


 * She had been so close, then closer. And it was so much better than the anger that ruled when Sethe did or thought anything that excluded herself. She could bear the hours — nine or ten of them each day but one — when Sethe was gone. Bear even the nights when she was close but out of sight, behind walls and doors lying next to him. But now — even the daylight time that Beloved had counted on, disciplined herself to be content with, was being reduced, divided by Sethe's willingness to pay attention to other things. Him mostly.


 * The return of Denver's hearing, cut off by an answer she could not bear to hear, cut on by the sound of her dead sister trying to climb the stair, signaled another shift in the fortunes of the people of 124. From then on, the presence was full of spite. Instead of sighs and accidents there was pointed and deliberate abuse.


 * Except for an occasional request for color she said practically nothing — until the afternoon of the last day of her life when she got out of bed, skipped slowly to the door of the keeping room and announced to Sethe and Denver the lesson se had learned from her sixty years a slave and ten years free: that there was no bad luck in the world but whitepeople. "They don't know when to stop," she said, and returned to her bed, pulled up the quilt and left them to hold that thought forever.


 * They killed the flirt whom folks called Life for leading them on. Making them think the next sunrise would be worth it; that another stroke of time would do it at last. Only when she was dead would they be safe. The successful ones — the ones who had been there enough years to have maimed, mutilated, maybe even buried her — kept watch over the others who were still in her cock-teasing hug, caring and looking forward, remembering and looking back.


 * It was noon, quite light outside; inside it is not. A few cuts of sun break through the roof and walls but once there they are too weak to shift for themselves. Darkness is stronger and swallows them like minnows.


 * Darkness or not, she moves rapidly around, reaching, touching cobwebs, cheese, slating shelves, the pallet interfering with each step. If she trumbles, she is not aware of it because she does not know where her body stops, which part of her is an arm, a foot or a knee. She feels like an ice cake torn away from the solid surface of the stream, floating on darkness, thick and crashing against the edges of things around it. Breakable, meltable and cold.


 * This is worse than when Paul D came to 124 and she cried helplessly into the stove. This is worse. Then it was for herself. Now she is crying because she has no self . . . She doesn't move to open the door because there is no world out there. She decides to stay in the cold house and let the dark swallow her like the minnows of light above. She won't put up with another leaving, another trick. Waking up to find one brother then another not at the bottom of the bed, his foot jabbing her spine. Sitting at the table eating turnips and saving the liquor for her grandmother to drink; her mother's hand on the keeping-room door and her voice saying, 'Baby Suggs is gone, Denver.' And when she got around to worrying about what would be the case if Sethe died or Paul D took her away, a dream-come-true comes true just to leave her on a pile of newspaper in the dark.


 * When he stood up from the supper table at 124 and turned toward the stairs, nausea was first, then repulsion. He, he. He who had eaten raw meat barely dead, who under plum trees bursting with blossoms had crunched through a dove's breast before its heart stopped beating. Because he was a man and a man could do what he would: be still of six hours in a dry well while night dropped; fight raccoon with his hands and win; watch another man, just so the roasters would know what a man was like. And it was he, that man, who had walked from Georgia to Delaware, who could not go or stay put where he wanted to in 124 — shame.


 * He knew what she was thinking and even though she was wrong — he was not leaving her, wouldn't ever — the thing he had in mind to tell her was going to be worse. So, when he saw the diminished expectation in her eyes, the melancholy without blame, he could not say it. He could not say to this woman who did not squint in the wind, "I am not a man."


 * Resolve, he thought. That was all it took, and no motherless gal was going to break it up. No lazy, stray pup of a woman could turn him around, make him doubt himself, wonder, plead or confess. Convinced of it, that he could do it, he threw his arm around Sethe's shoulders and squeezed. She let her head touch his chest, and since the moment was valuable to both of them, they stopped and stood that way — not breathing, not even caring if a passerby passed them by. The winter light was low. Sethe closed her eyes. Paul D looked at the black trees lining the roadside, their defending arms raised against attack. Softly, suddenly, it began to snow, like a present come down from the sky. Sethe opened her eyes to it and said. "Mercy." And it seemed to Paul D that it was — a little mercy — something given to them on purpose to mark what they were feeling so they would remember it later on when they needed to.


 * Now he was grateful a second time. He felt as though he had been plucked from the face of a cliff and put down on sure ground. In Sethe's bed he knew he could put up with two crazy girls — as long as Sethe made her wishes known. Stretched out to his full length, watching snowflakes stream past the window over his feet, it was easy to dismiss the doubts that took him to the alley behind the restaurant: his expectations for himself were high, too high. What he might call cowardice other people called common sense.


 * Unless carefree, motherlove was a killer.


 * The couple upstairs, united, didn't hear a sound, but below them, outside, all around 124 the snow went on and on and on. Piling itself, burying itself. Higher. Deeper.


 * What for? What does a sixty-odd-year-old slavewoman who walks like a three-legged dog need freedom for? And when she stepped foot on free ground she could not believe that Halle knew what she didn’t; that Halle, who had never drawn one free breath, knew that there was nothing like it in this world. It scared her.


 * Could she sing? (Was it nice to hear when she did?) Was she pretty? Was she a good friend? Could she have been a loving mother? A faithful wife? Have I got a sister and does she favor me? If my mother knew me would she like me?


 * Something's the matter. What's the matter? What's the matter? She asked herself. She didn't know what she looked like and was not curious. But suddenly she saw her hands and thought with a clarity as simple as it was dazzling, "These hands belong to me. These my hands." Next she felt a knocking in her chest and discovered something else new: her own heartbeat. Had it been there all along? This pounding thing? She felt like a fool and began to laugh out loud.


 * When the four horsemen came — schoolteacher, one nephew, one slave catcher and a sheriff — the house on Bluestone Road was so quiet they thought they were too late. Three of them dismounted, one stayed in the saddle, his rifle ready, his eyes trained away from the house to the left and to the right, because likely as not the fugitive would make a dash for it. Although sometimes, you could never till, you'd find them folded up tight somewhere: beneath floorboards, in a pantry — once in a chimney. Even then care was taken, because the quietest ones, the ones you pulled from a press, a hayloft, or, that once, from a chimney, would go along nicely for two or three seconds. Caught red-handed, so to speak, they would seem to recognize the futility of outsmarting a whiteman and the hopelessness of outrunning a rifle. Smile even, like a child caught dead with his hand in the jelly jar, and when you reached for the rope to tie him, well, even then you couldn't tell. The very nigger with his head hanging and a little jelly-jar smile on his face could all of a sudden roar, like a bull or some such, and commence to do disbelievable things. Grab the rifle at its mouth; throw himself at the one holding it — anything. So you had to keep back a pace, leave the tying to another. Otherwise you ended up killing what you were paid to bring back alive. Unlike a snake or a bear, a dead nigger could not be skinned for profit and was not worth his own dead weight in coin.


 * She smiled then, at the memory of it. The smile broke in two and became a sudden suck of air, but she did not shudder of close her eyes. She wheeled.


 * "I did it. I got us all out. Without Halle too. Up till then it was the only thing I ever did on my own. Decided. And it came off right, like it was suppose to. We was here. Each and every one of my babies and me too. I birthed them and I got em out and it wasn't no accident. I had help, of course, lots of that, but still it was me doing it; me saying Go on, and Now. Me having to look out. Me using my own head. But it was more than that. It was kind of selfishness I never knew nothing about before. It felt good. Good and right. I was big, Paul D, and deep and wide and when I stretched out my arms all my children could get in between. I was that wide. Look like I loved em more after I got here. Or maybe I couldn't love em proper in Kentucky because they wasn't mine to love. But when I got here, when I jumped down off that wagon — there wasn't nobody in the world I couldn't love if I wanted to. You know what I mean?"


 * He knew exactly what she meant: to get to a place where you could love anything you choose — not to need permission for desire — well now, that was freedom.


 * "You got two feet, Sethe, not four..."


 * With that, she gathered her blanket around her elbows and ascended the lily-white stairs like a bride. Outside, snow solidified itself into graceful forms. The peace of winter staars seemed permanent.


 * Born Joshua, he renamed himself when he handed over his wife to his master’s son. Handed her over in the e sense that he did not kill anybody, thereby himself, because his wife demanded he stay alive. Otherwise sense that he did not kill anybody, thereby himself, because his wife demanded he stay alive. Otherwise, she reasoned, where and to whom could she return when the boy was through? With that gift, he decided that he didn’t owe anybody anything. Whatever his obligations were, that act paid them off. He thought it would make him rambunctious, renegade—a drunkard even, the debtlessness, and in a way it did. But there was nothing to do with it. Work well; work poorly. Work a little; work not at all. Make sense; make none. Sleep, wake up; like somebody, dislike others. It didn’t seem much of a way to live and it brought him no satisfaction. So he extended this debtlessness to other people by helping them pay out and off whatever they owed in misery. Beaten runaways? He ferried them and rendered them paid for; gave them their own bill of sale, so to speak. “You paid it; now life owes you.” And the receipt, as it were, was a welcome door that he never had to knock on, like John and Ella’s in front of which he stood and said, “Who in there?” only once and she was pulling on the hinge.


 * Clever, but schoolteacher beat him anyway to show him that definitions belonged to the definers — not the defined.


 * Whitepeople believed that whatever the manners, under every dark skin was a jungle. Swift unnavigable waters, swinging screaming baboons, sleeping snakes, red gums ready for their sweet white blood. In a way, he thought, they were right. The more coloredpeople spent their strength trying to convince them how gentle they were, how clever and loving, how human, the more they used themselves up to persuade whites of something Negroes believed could not be questioned, the deeper and more tangled the jungle grew inside. But it wasn’t the jungle blacks brought with them to this place from the other (livable) place. It was the jungle whitefolks planted in them. And it grew. It spread. In, through and after life, it spread, until it invaded the whites who had made it. Touched them every one. Changed and altered them. Made them bloody, silly, worse than even they wanted to be, so scared were they of the jungle they had made. The screaming baboon lived under their own white skin; the red gums were their own.


 * I would have known right away who you was when the sun blotted out your face the way it did when I took you to the grape arbor. I would have known at once when my water broke. And when I did see your face it had more than a hint of what you would look like after all these years. I would have known who you were right away because the cup after cup of water you drank proved and connected to the fact that you dribbled clear spit on my face the day I got to 124. I would have known right off, but Paul D distracted me. Otherwise I would have seen my fingernail prints right there on your forehead for all the world to see. From when I held your head up, out in the shed. And later on, when you asked me about the earrings I used to dangle for you to play with, I would have recognized you right off, except for Paul D.


 * All the time, I'm afraid the thing that happened that made it all right for my mother to kill my sister could happen again. I don't know what it is, I don't know who it is, but maybe there is something else terrible enough to make her do it again. I need to know what that thing might be, but I don't want to. Whatever it is, it comes from outside this house, outside the yard, and it can come right on in the yard if it wants to. So I never leave this house and I watch over the yard, so it can't happen again and my mother won't have to kill me too.


 * I am Beloved and she is mine. I see her take flowers away from leaves she puts them in a round basket the leaves are not for her she fills the basket she opens the grass I would help her but the clouds are in the way how can I say things that are pictures I am not separate from her there is no place where I stop her face is my own and I want to be there in the place where her face is and to be looking at it too a hot thing.


 * I see the dark face that is going to smile at me it is my dark face that is going to smile at me the iron circle is around our neck she does not have sharp earrings in her ears or a round basket she goes in the water with my face.


 * I am not dead I sit the sun closes my eyes when I open them I see the face I lost Sethe's is the face that left me Sethe sees me see her and I see the smile her smiling face is the place for me it is the face I lost she is my face smiling at me doing it at last a hot thing now we can join.


 * Beloved, you are my sister, you are my daughter, you are my face; you are me.


 * Garner called and announced them men — but only on Sweet Home, and by his leave. Was he naming what he saw or creating what he did not?


 * It is sprinkling now. A teasing August rain that raises expectations it cannot fill.


 * "Tell me something, Stamp." Paul D's eyes were rheumy. "Tell me this one thing. How much is a nigger supposed to take? Tell me. How much?"
 * "All he can," said Stamp Paid. "All he can."
 * "Why? Why? Why? Why? Why?"


 * Maybe they were sorry for her. Or for Sethe. Maybe they were sorry for the years of their own disdain. Maybe they were simply nice people who could hold meanness toward each other for just so long and when trouble rode bareback among them, quickly, easily they did what they do to trip him up. In any case, the personal pride, the arrogant claim staked out at 124 seemed to them to have run its course. They whispered, naturally, wondered, shook their heads. Some even laughed outright at Denver's clothes of a hussy, but it didn't stop them caring whether she ate and it didn't stop the pleasure they took in her soft "Thank you."


 * Anybody white could take your whole self for anything that came to mind. Not just work, kill, or maim you, but dirty you. Dirty you so bad you couldn't like yourself anymore. And though she and others lived through and got over it, she could never let it happen to her own. The best things she was, was her children. Whites might dirty her all right, but not her best thing, her beautiful, magical best thing — the part of her that was clean.


 * What's fair ain't necessarily true.


 * Human life is holy, all of it.


 * Everybody knew what she was called, but nobody anywhere knew her name. Disremembered and unaccounted for, she cannot be lost because no one is looking for her, and even if they were, how can they call her if they don't know her name? Although she has claim, she is not claimed.


 * This is not a story to pass on.

Jazz (1991)

 * Sth, I know that woman. She used to live with a flock of birds on Lenox Avenue. Know her husband, too. He fell for an eighteen-year-old girl with one of those deepdown, spooky loves that made him so sad and happy he shot her just to keep the feeling going. When the woman, her name is Violet, went to the funeral to see the girl and to cut her dead face they threw her to the floor and out of the church. She ran, then, through all that snow, and when she got back to her apartment she took the birds from their cages and set them out the windows to freeze or fly, including the parrot that said, "I love you."
 * First lines


 * How soon country people forget. When they fall in love with a city it is forever, and it is like forever. As though there never was a time when they didn't love it. The minute they arrive at the train station or get off the ferry and glimpse the wide streets and the wasteful lamps lighting them, they know they are born for it. There, in a city, they are not so much new as themselves: their stronger, riskier selves.
 * Ch. 2


 * Even if the room they rented was smaller than the heifer’s stall and darker than a morning privy, they stayed to look at their number, hear themselves in an audience, feel themselves moving down the street among hundreds of others who moved the way they did, and who, when they spoke, regardless of the accent, treated language like the same intricate, malleable toy designed for their play.
 * Ch. 2

Paradise (1997)

 * Born lost. Take over the world and still lost.


 * The screams of a hurt woman were indistinguishable from everyday traffic.


 * Which was what love was: unmotivated respect.


 * Let me tell you about love, that silly word you believe is about whether you like somebody or whether somebody likes you or whether you can put up with somebody in order to get something or someplace you want or you believe it has to do with how your body responds to another body like robins or bison or maybe you believe love is how forces or nature or luck is benign to you in particular not maiming or killing you but if so doing it for your own good. Love is none of that. There is nothing in nature like it. Not in robins or bison or in the banging tails of your hunting dogs and not in blossoms or suckling foal. Love is divine only and difficult always. If you think it is easy you are a fool. If you think it is natural you are blind. It is a learned application without reason or motive except that it is God. You do not deserve love regardless of the suffering you have endured. You do not deserve love because somebody did you wrong. You do not deserve love just because you want it. You can only earn - by practice and careful contemplations - the right to express it and you have to learn how to accept it. Which is to say you have to earn God. You have to practice God. You have to think God-carefully. And if you are a good and diligent student you may secure the right to show love. Love is not a gift. It is a diploma. A diploma conferring certain privileges: the privilege of expressing love and the privilege of receiving it. How do you know you have graduated? You don't. What you do know is that you are human and therefore educable, and therefore capable of learning how to learn, and therefore interesting to God, who is interested only in Himself which is to say He is interested only in love. Do you understand me? God is not interested in you. He is interested in love and the bliss it brings to those who understand and share the interest. Couples that enter the sacrament of marriage and are not prepared to go the distance or are not willing to get right with the real love of God cannot thrive. They may cleave together like robins or gulls or anything else that mates for life. But if they eschew this mighty course, at the moment when all are judged for the disposition of their eternal lives, their cleaving won't mean a thing. God bless the pure and holy. Amen.


 * Nothing like other folks' sin for distraction.


 * Now they will rest before shouldering the endless work they were created to do down here in paradise.

Nobel Prize Lecture (1993)

 * Address in Stockholm, Sweden (7 December 1993) Official transcript




 * I believe that one of the principal ways in which we acquire, hold, and digest information, is via narrative — so I hope you will understand when the remarks I make begin with the first sentence of our childhood — that we all remember — the phrase: "Once upon a time."


 * "Once upon a time there was an old woman. Blind but wise." Or was it an old man? A guru, perhaps. Or a griot soothing restless children. I have heard this story, or one exactly like it, in the lore of several cultures. "Once upon a time there was an old woman. Blind. Wise." In the version I know the woman is the daughter of slaves, black, American, and lives alone in a small house outside of town. Her reputation for wisdom is without peer and without question. Among her people she is both the law and its transgression. The honor she is paid and the awe in which she is held reach beyond her neighborhood to places far away; to the city where the intelligence of rural prophets is the source of much amusement. One day the woman is visited by some young people who seem to be bent on disproving her clairvoyance and showing her up for the fraud they believe she is. Their plan is simple: they enter her house and ask the one question the answer to which rides solely on her difference from them, a difference they regard as a profound disability: her blindness. They stand before her, and one of them says, "Old woman, I hold in my hand a bird. Tell me whether it is living or dead." She does not answer, and the question is repeated. "Is the bird I am holding living or dead?" Still she doesn't answer. She is blind and cannot see her visitors, let alone what is in their hands. She does not know their color, gender or homeland. She only knows their motive. The old woman's silence is so long, the young people have trouble holding their laughter. Finally she speaks and her voice is soft but stern. "I don't know", she says. "I don't know whether the bird you are holding is dead or alive, but what I do know is that it is in your hands. It is in your hands." 


 * A dead language is not only one no longer spoken or written, it is unyielding language content to admire its own paralysis. Like statist language, censored and censoring. Ruthless in its policing duties, it has no desire or purpose other than maintaining the free range of its own narcotic narcissism, its own exclusivity and dominance. However moribund, it is not without effect for it actively thwarts the intellect, stalls conscience, suppresses human potential. Unreceptive to interrogation, it cannot form or tolerate new ideas, shape other thoughts, tell another story, fill baffling silences.


 * Tongue-suicide is not only the choice of children. It is common among the infantile heads of state and power merchants whose evacuated language leaves them with no access to what is left of their human instincts for they speak only to those who obey, or in order to force obedience. The systematic looting of language can be recognized by the tendency of its users to forgo its nuanced, complex, mid-wifery properties for menace and subjugation. Oppressive language does more than represent violence; it is violence; does more than represent the limits of knowledge; it limits knowledge. Whether it is obscuring state language or the faux-language of mindless media; whether it is the proud but calcified language of the academy or the commodity driven language of science; whether it is the malign language of law-without-ethics, or language designed for the estrangement of minorities, hiding its racist plunder in its literary cheek — it must be rejected, altered and exposed. It is the language that drinks blood, laps vulnerabilities, tucks its fascist boots under crinolines of respectability and patriotism as it moves relentlessly toward the bottom line and the bottomed-out mind. Sexist language, racist language, theistic language — all are typical of the policing languages of mastery, and cannot, do not permit new knowledge or encourage the mutual exchange of ideas.


 * There is and will be rousing language to keep citizens armed and arming; slaughtered and slaughtering in the malls, courthouses, post offices, playgrounds, bedrooms and boulevards; stirring, memorializing language to mask the pity and waste of needless death. There will be more diplomatic language to countenance rape, torture, assassination. There is and will be more seductive, mutant language designed to throttle women, to pack their throats like paté-producing geese with their own unsayable, transgressive words; there will be more of the language of surveillance disguised as research; of politics and history calculated to render the suffering of millions mute; language glamorized to thrill the dissatisfied and bereft into assaulting their neighbors; arrogant pseudo-empirical language crafted to lock creative people into cages of inferiority and hopelessness.


 * The vitality of language lies in its ability to limn the actual, imagined and possible lives of its speakers, readers, writers. Although its poise is sometimes in displacing experience it is not a substitute for it. It arcs toward the place where meaning may lie. When a President of the United States thought about the graveyard his country had become, and said, "The world will little note nor long remember what we say here. But it will never forget what they did here," his simple words are exhilarating in their life-sustaining properties because they refused to encapsulate the reality of 600, 000 dead men in a cataclysmic race war. Refusing to monumentalize, disdaining the "final word", the precise "summing up", acknowledging their "poor power to add or detract", his words signal deference to the uncapturability of the life it mourns.


 * Language can never "pin down" slavery, genocide, war. Nor should it yearn for the arrogance to be able to do so. Its force, its felicity is in its reach toward the ineffable. Be it grand or slender, burrowing, blasting, or refusing to sanctify; whether it laughs out loud or is a cry without an alphabet, the choice word, the chosen silence, unmolested language surges toward knowledge, not its destruction. But who does not know of literature banned because it is interrogative; discredited because it is critical; erased because alternate? And how many are outraged by the thought of a self-ravaged tongue?


 * Word-work is sublime... because it is generative; it makes meaning that secures our difference, our human difference — the way in which we are like no other life. We die. That may be the meaning of life. But we do language. That may be the measure of our lives.


 * Passion is never enough; neither is skill. But try. For our sake and yours forget your name in the street; tell us what the world has been to you in the dark places and in the light. Don't tell us what to believe, what to fear. Show us belief's wide skirt and the stitch that unravels fear's caul.


 * Language alone protects us from the scariness of things with no names. Language alone is meditation.


 * Tell us what it is to be a woman so that we may know what it is to be a man. What moves at the margin. What it is to have no home in this place. To be set adrift from the one you knew. What it is to live at the edge of towns that cannot bear your company.

Quotes about Morrison

 * The O.G. Toni Morrison.
 * Elizabeth Acevedo Interview (2021)


 * Today, great writers from minority groups in the U.S. are finding their voice in the wonderful, rich imagery of magic realism. Writers such as Louise Erdrich, Toni Morrison, Alice Walker, and Amy Tan all have a unique, rich way of writing that can be described as magic realism. These women are among those who have broken away from the style of writing that defines most of the fiction coming from industrialized countries: that pragmatic, minimalist style and way of facing reality in which the only things one dares talk about are those things one can control.
 * 1991 interview in Conversations with Isabel Allende (1999)


 * Right now I am reading a group of women writers that belong to ethnic minorities in this country. They are great writers, Chicanas, Japanese, Latinas. They are writing extraordinary works, and they are taking over the world of literature that the white men in New York monopolized. Minimalist literature is dying. And it was about time. We are seeing a return to great narrations, to the baroque narrative. We are seeing a return to artistry in words, in sentences, in the extravagance of the story itself. I am very attracted by that. (...What do you think of Toni Morrison's work?) She is a good example of what we are speaking about. She is a black writer who publishes books of great interest to the public, where she also tells things that had to be told about slavery. She talks about poverty and the female condition. Toni Morrison heads that movement.
 * 1993 Translated from Spanish by Virginia Invernizzi interview included in Conversations with Isabel Allende (1999)


 * I don’t think I would have ever written Bastard if I hadn’t read The Bluest Eye by Toni Morrison. In fact, I know I wouldn’t. It was like somebody cracked my world open when I read that book.
 * Dorothy Allison interview quoted here


 * A black woman would have tremendous difficulties, like a black man, to go to the nitty gritty, to express what is really going on inside. Because what happens is that you are being treacherous. By telling the truth about myself I am telling the truth about my father, my mother and a whole lot of other people, too. You can get crucified for that…it's one of the things that happen when you live in a sick society. And some black women like Gwendolyn Brooks, Toni Morrison and Paule Marshall have gotten beyond that at whatever price, but they got beyond it.
 * 1980 interview in Conversations with James Baldwin edited by Louis H. Pratt and Fred L. Standley (1989)


 * Toni Morrison's gift is in allegory. Tar Baby is an allegory. In fact all her novels are. But they're hard to talk about in public. That's where you get in trouble because her books and allegory are not always what they seem to be about. I was too occupied with my recent illness to deal with Beloved. But, in general, she's taken a myth, or she takes what seems to be a myth, and turns it into something else. I don't know how to put this-Beloved could be about the story of truth. She's taken a whole lot of things and turned them upside down. Some of them-you recognize the truth in it. I think that Toni's very painful to read. (Why?) Because it's always, or most times, a horrifying allegory; but you recognize that it works. But you don't really want to march through it. Sometimes people have a lot against Toni, but she's got the most believing story of everybody, this rather elegant matron, whose intentions really are serious, and according to some people, lethal…
 * 1988 interview in Conversations with James Baldwin edited by Louis H. Pratt and Fred L. Standley (1989)


 * Realism in Morrison's work is blurred. There's a scene in Sula where two little girls accidentally drown a much younger child and don't tell anybody about it. That's grotesque, maybe even fantastic, but I believed every word. I don't think it's at all unlikely that the girls would try to "Who, us?" their way out of it. There are several other things Morrison does in the book that are equally strange, but they rang absolutely true.
 * 1988 interview in Conversations with Octavia Butler (2009)


 * Toni Morrison did make me aware that there are ways to use words, ways that I hadn't been using. I came in by way of pulp science fiction which had begun to annoy me even before I began to think about what else I might do. So writers like Toni Morrison who use the language so well made me aware of other possibilities.
 * 1997 interview in Conversations with Octavia Butler (2009)


 * It wasn't African literature that I came to first. It was the Afro-American women writers, I found them very helpful. (Such as, for example?) Toni Morrison, who is really incredible.
 * Tsitsi Dangarembga in Talking with African Writers by Jane Wilkinson (1992)


 * Your work, my goodness, the work is sublime. And we do not just read it, we experience it. You gave us both lullabies and battle cries. You turned pain into flesh, and you brought spirits to life. You urged us to be dangerously free.You led this foreigner to a different type of home.
 * Edwidge Danticat quoted here (2019)


 * The immigrant artist, to borrow from Toni Morrison's Nobel lecture knows what it is "to live at the edge of towns that cannot bear" our company, hamlets that need our labor but want our children banned from their schools, villages that want our sick shut out from their hospitals, big cities that want our elderly, after a lifetime of impossible labor, to pack up and go off somewhere else to die.
 * Edwidge Danticat chapter 1, "Create Dangerously: The Immigrant Artist at Work"


 * I also especially liked Sandra Cisneros, Jamaica Kincaid, Alice Walker, and, of course, Ms. Morrison, Toni Morrison, my favorite of all time being Song of Solomon.
 * 2009 interview included in Conversations with Edwidge Danticat edited by Maxine Lavon Montgomery (2017)


 * So many of us feel that we have found ourselves through, because of and in relation to Toni and her work...I was in my late twenties when we met. And although she was in her early forties, she was not yet Toni Morrison, the internationally acclaimed writer. But she was on a mission to open the U.S. publishing industry to black writers and activists. “I wanted to give back something,” she later said to Hilton Als. “I wasn’t marching. I didn’t go to anything. I didn’t join anything. But I could make sure there was a published record of those who did march and did put themselves on the line”...I learned so much from Toni: the evocative element of perception and language, the expansiveness of the political beyond traditional realms of power, the importance of identifying and attempting to contest the white gaze, the male gaze. But what I value most among all of her many gifts is how she demonstrated a way of being in the world that allowed her simultaneously to inhabit multiple dimensions. She was always here and there at the same time, totally present with you, but also, at the same time, creating new universes.
 * Angela Davis quoted here (2019)


 * I read Toni Morrison’s Beloved, and it changed the way I saw the world and what was possible in fiction.
 * Jaquira Díaz Interview


 * To me, the great writers who come from ethnic minorities writing in English come from America. I think the deep, the real deep thinkers now writing in the English language are the black women, such as Toni Morrison, Gloria Naylor, Alice Walker, etc. (F.J.: Where they are using black English in a certain kind of way to signify their difference?) Emecheta: Exactly.
 * Buchi Emecheta In Interviews with Writers of the Post-Colonial World edited by Feroza Jussawalla and Reed Way Dasenbrock (1992)


 * Toni Morrison, Kay Boyle, Philip Roth, Peter Matthiessen, Anne Tyler, and Rosellen Brown read an unknown manuscript and responded with those quotes and marks of approval that appear on book jackets. These were completely unsolicited and I still find it remarkable that these writers, overwhelmed with pleas and manuscripts, picked up Love Medicine and responded. There were a great number of people kind along the way. One hears much more about the egomania and posturing of writers than one does about the devotion that writers have for one another's work.
 * 1993 interview in Conversations with Louise Erdrich and Michael Dorris edited by Allan Chavkin and Nancy Feyl Chavkin (1994)


 * She writes such complicated, interwoven, shocking, comforting, rich internal lives for her characters. She is a master of physical sensation and description and demanding narratives. And she is a very brave writer, too, as well as a funny down-to-earth person. I once heard her read, and began to cry, her voice has such a quiet and moving power. Vitality.
 * 1993 interview in Conversations with Louise Erdrich and Michael Dorris edited by Allan Chavkin and Nancy Feyl Chavkin (1994)


 * My ambition, that toward which I aspire to write, has long been guided by Toni Morrison, Beloved, and through her words, seeing how a novel can be mysterious and true, mythical and raw, how a novel can honor memory even when we want to look away or forget.
 * Roxane Gay interview quoted here


 * As I was writing the first draft (of Libertie), I was also teaching the Toni Morrison novel Love. I was reading a lot of her interviews around the time that book came out, and she did this really wonderful interview with Charlie Rose. He asks her about her characters being happy and she says something like, “They know something about themselves that they didn’t know before. And so in that way, they have won.” And she said, “Winning isn’t like your character gets a fancy car at the end or a big job, or gets the girl or anything like that. Winning is, they didn’t know something about themselves before and now they understand something about themselves fundamentally at the end of the narrative. And in that way, they have ‘won.’” And then she says, sort of very playfully, as she does in her interviews, she says, “I only write about winners.” So I think about that a lot when I’m writing and thinking about what sort of choices the characters make and why you may follow a character through a story and what that might look like when you’re writing.
 * Kaitlyn Greenidge Interview


 * The message seems to be that if you're white, you're a user. You can go home. But if you're black, you're a trafficker. You must go to jail. And you can remain there for several months without ever appearing before a judge...Toni Morrison's extraordinary novel Paradise came to mind. In it, the author noted that paradise is "defined by who's not there, by the people who are not allowed in."
 * Carl Hart Drug Use for Grown-Ups: Chasing Liberty in the Land of Fear (2021)


 * Don't forget books. What would life be without them? Emily Brontë, Edgar Allan Poe, F. Scott Fitzgerald, Toni Morrison, Jane Austen, William Faulkner. Read the greats-they're great for a reason. They know how to chart the human soul. (p 32)
 * Alice Hoffman Survival Lessons (2013)


 * (Whom do you consider your literary heroes?) Toni Morrison, Grace Paley, Emily Brontë, Ray Bradbury, all for different reasons, all adored...My favorite novelist working today is our greatest living writer, Toni Morrison. Nothing compares with her lyrical, heart-wrenching, gorgeous prose.
 * Alice Hoffman Interview (2014)


 * I’ve been inspired by the profound and timeless writings of James Baldwin, Frederick Douglass, Toni Morrison, and Nina Simone.
 * Ekua Holmes Interview


 * it looks like Leslie Silko and Toni Morrison are doing what I'm doing too. When we've talked about our backgrounds in myth and storytelling, it sounds like we grew up in very similar ways. Toni was trying to figure out where we belong, and she kept using that term "magical realism"; she thought we were in that tradition...we went to China together. I do feel an affinity not only because I love them as people but because we seem to write alike. There is so much human emotion and richness and story and imagery and colors and things to eat. Nobody is alienated from life; everybody is warm. I feel that we write like that because we are warm, and even though we all-I hate to say master-we are all very good with words, words aren't the only thing that's important. We care about stories about people, and also that magical real place that we are all visiting. When I compare our work to some of the mainstream work, it seems as if many of them are only playing with words. The "language" people's world seems gray and black and white. Toni's and Leslie's and my aliveness must come from our senses of a connection with people who have a community and a tribe. We are living life in a more dangerous place. We do not live in new subdivisions without ceremony and memory; and if those other writers have to draw from that non-magical imagination, then of course, their writing will be gray and black and white.
 * 1986 interview in Conversations with Maxine Hong Kingston (1998)


 * Toni Morrison and I and Leslie Marmon Silko traveled through China together five years ago, with Allen Ginsberg, Gary Snyder, and Francine du Plessix Gray. ..Toni Morrison talked about her method of writing-she saw the novel like a big painting, all black, and then there's orange over here and blue over here. So she thinks about various incidents in color terms: because maybe we have some blood red over here, we've got to balance with some more over here. Like a painter...In Beloved, she is getting for the black people alive now, for all of us, she's getting the energy from the ancestors. The way you get energy from the ancestors is you find out the truth about them. Some of her images-putting a gag in a slave's mouth that has to do with silence and voice and freedom. By writing that book she takes the gag out. Toni is so important. The Chinese have had a lot of help remembering ancestors because we have a whole religion around it. But there's been all kinds of attacks against blacks to take the history away, take the voice away. That's what it means to put that gag on. Toni is someone who can tap into her ancestral memory, her collective unconscious.
 * 1989 interview in Conversations with Maxine Hong Kingston (1998)


 * Speaking of secrecy, did you notice that Alice Walker and Toni Morrison both began books with almost that same sentence: "You must not tell anyone,' my mother said, 'what I am about to tell you." " Alice Walker's novel [The Color Purple] begins: "You better not tell nobody but God," and then Toni Morrison [in The Bluest Eye] has the line, "Quiet as it's kept..." You see everybody has that same line; it's the same struggle to break through taboos, to find your voice. It's that same "exile, secrecy, and cunning" that Joyce was talking about.
 * 1986 interview in Conversations with Maxine Hong Kingston (1998)


 * Reviewers tend to have trouble with a writer like Toni Morrison, getting a handle on her, because she is doing something truly new. This is always difficult.
 * 1994 interview in Conversations with Ursula Le Guin (2008)


 * Toni Morrison says you have to make your work seamless.
 * Dahlma Llanos-Figueroa interview in Latina Authors and Their Muses edited by Mayra Calvani (2015)


 * With greater solidarity, justice for people of color could be won. And an even bigger prize would be possible: a U.S. society that advances beyond "equality," beyond granting people of color a respect equal to that given to Euro-Americans. Too often "equality" leaves whites still at the center, still embodying the Americanness by which others are judged, still defining the national character. In her book Playing in the Dark, Toni Morrison writes eloquently of this problem from an African-American perspective. Her words resonate for other peoples of color as well: "American means white, and Africanist people struggle to make the term applicable to themselves with ethnicity and hyphen after hyphen after hyphen.... In the scholarship on the formation of an American character [a] major item to be added to the list must be an Africanist presence-decidedly not American, decidedly 'other.'
 * Elizabeth Martinez, De Colores Means All of Us (1998)


 * I remember reading that [The Bluest Eye by Toni Morrison] in high school and my mind being blown. I remember that book being really, really pivotal for me in actually getting me interested in reading.
 * Noname (rapper) attributed in article (2019)


 * (I recommend over and over again:) A three-way tie of Toni Morrison books: The Bluest Eye, Beloved, and Jazz. Amazing novels—and for writers, master classes in basically everything.
 * Celeste Ng Interview (2022)


 * To stay awake, I listened to audio-books, the longer the better-novels mostly (John le Carré and Toni Morrison were favorites)
 * Barack Obama A Promised Land (2020)


 * Ms. Morrison is a person who gives you her full attention; who wants, even in the context of an interview, to have a conversation; who is entirely self-possessed without being the least bit self-obsessed; who is at every minute teaching, and at every minute eager to learn.
 * O, The Oprah Magazine (November 2003)


 * I read writers like Toni Cade Bambera and Toni Morrison because they write fiction that is not boring or alienating to me but moving
 * Marge Piercy "An Appreciation of Joanna Russ" in Parti-Colored Blocks for a Quilt (1983) First published as "From Where I Work," in American Poetry Review 6, no. 3 (1977).


 * To hold up the mirror of language to a society in fracture, porous with lying and shrill with contempt for meaning, is not the same thing as creating-if only in the poem itself-another kind of space where other human and verbal relationships are possible. What Toni Morrison calls the "struggle to interpret and perform within a common language shareable imaginative worlds" surely requires keeping that language "endlessly flexible." It also requires vigilance against self-reference and solipsism.
 * Adrienne Rich Arts of the Possible (2001)


 * I consider Toni Morrison the patron saint of my writing. To write with her level of honesty and clarity is my North Star.
 * Erika Sánchez Introduction in Crying in the Bathroom: A Memoir (2022)


 * Toni Morrison writes about sex and desire in a way that makes me want to close the book and pray to the sky.
 * Erika Sánchez interview (2022)


 * she's a fascinating writer.
 * Wole Soyinka in Talking with African Writers by Jane Wilkinson (1992)