Toni Morrison: Critical Perspectives Past and Present (Amistad Literary Series) Hardcover – February 1, by Henry Louis Gates (Editor), Kwame Anthony Appiah (Editor) out of 5 stars 2 ratings/5(2). Toni Morrison: Critical Perspectives Past and Present (Amistad Literary Series) Hardcover – February 1, by Henry Louis Gates (Editor), Kwame /5(2). Henry Louis Gates, Jr., writes in the preface of Toni Morrison: Critical Perspectives Past and Present, coedited with K.A. Appiah, that "Morrison's greatest capacities as a writer are her ability Contributor: Henry L. Gates.
In four magic realist/gothic African-American novels that re-present haunting by slavery — Octavia Butler's Kindred (), Toni Morrison's Beloved (), Gloria Naylor's Mama Day (), and Phyllis Perry's Stigmata () — empathy arises through the evocation of the psychological and physical pain endured in being ripped out of. Toni Morrison: Critical Perspectives Past and Present (Amistad Literary Series) Hardcover - February 1, by Henry Louis Gates (Editor), Kwame Anthony Appiah (Editor) out of 5 stars 2 ratings. Henry Louis Gates, Jr., writes in the preface of Toni Morrison: Critical Perspectives Past and Present, coedited with K.A. Appiah, that "Morrison's greatest capacities as a writer are her ability to create a densely lyrical narrative texture that is instantly recognizable as her own, and to make of the particularity of the African-American.
Henry Louis Gates, Jr., writes in the preface of Toni Morrison: Critical Perspectives Past and Present, coedited with K.A. Appiah, that "Morrison's greatest capacities as a writer are her ability to create a densely lyrical narrative texture that is instantly recognizable as her own, and to make of the particularity of the African-American 'experience' the basis for a representation of humanity tout court.". Henry Louis Gates, Jr. Toni Morrison: Critical Perspectives Past and Present Toni Morrison' s God and Her Use of Jazz To Tell a Love Story By John M McDonough From the opening inscription to the narrator 's lonely lament at the end, one must object to Gates' conclusion that the disembodied narrator of Jazz is both unidentifiable and sexless. In his introduction to Toni Morrison: Critical Perspectives Past and Present Henry Louis Gates, Jr., aptly describes the power of Morrison’s writing as lying in the fact that it is ‘‘at once.
0コメント