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“... and groans, and Cootie’s muffled ‘Why?’ speak African-American volumes – the ones that Toni Morrison, among others, is striving to write. But the shortcomings of Ellington’s verbal narratives for My People and the Second Sacred Concert (1968) demonstrate that his instincts were sounder in 1928, and that bigger is not necessarily better. The ...”

“... of areas in which women can be heard speaking for themselves. She has written in celebration of Toni Morrison’s fiction before: here again, Morrison shows what a different perspective might look like: ‘Morrison begins by assuming quite simply that communities are women, just as ...”

“... main groups: ‘technomodernism’ (John Barth, Thomas Pynchon), ‘high cultural pluralism’ (Toni Morrison, Sandra Cisneros) and ‘lower-middle-class modernism’ (Raymond Carver, Joyce Carol Oates), with Venn diagrams illustrating the overlap between these groups, and their polarisation by aesthetic sub-tendencies such as maximalism and ...”

“... late 19th and mid-20th centuries for Zimbabwean independence. Festac ’77 took inspiration from Toni Morrison’s Black Book, published in 1974, which used a scrapbook style to tell the cultural history of African Americans in the United States. Morrison described the result in 2003 in an interview with the New ...”

“... of. Like the Eye of Providence winking on the back of a dollar bill, the ‘noncommittal eye’ in Toni Morrison’s novel Love is associated with an omniscience and ostensible neutrality. In Love, Christine has spent the 1950s and 1960s fighting for revolutionary causes alongside her boyfriend and comrade, Fruit. Along the way, she has had several ...”