Colour Consciousness is a constant presence in Tony Morrison’s The Bluest Eye”. Discuss.
Toni Morrison wrote about her people. Her black people.
Black people aren't a race. They're simply, people. They're people with a
different shade of colour. In America, Morrison discovered colour is the name
of belonging, or not- belonging. America is defined by colour. In God Help the
Child (2015), the lighter bearded mama is spooked of the “ night-black” skin of
her son and says, “ Her colour is a cross she'll always carry.” Black wasn't
just a colour but a dread, marked by the fears of acceptance. In real life,
Morrison’s says of her great-grandmother who was veritably black “ Colour Consciousness is a constant presence in Tony Morrison’s The Bluest Eye”.
Discuss.She plant
lighter- barked blacks to be impure — which was the contrary of what the world
was saying about skin color and the scale of skin color.” It's a rear psyche
regarding the colour black among black people that reveals a rear scale of
belonging. Colour, like estate, is a notion. It's a notion before it becomes,
before it translates into, other effects, before it turns into structures of
exploitation. Racism doesn't allow colour to remain colour, to remain “
natural”. Caste, unlike colour, is instinctively constructed. But order, like
racism, is a notion of difference. Estate colours the aspect, just as colour
colours the aspect. Race is the ideational colouring of colour. Race is the
paranoia and nausea of difference. Race is violence upon colour.
Morrison laid bare
the ruinous impacts of this notion in novel after novel. And yet, her black
women were bold enough to live their madness. In The Bluest Eye (1970), the
African-American girl, Pecola, regarded “ unattractive”, Colour Consciousness is a constant presence in Tony Morrison’s The Bluest Eye”.
Discuss.battling an
inferiority complex, didn't vacillate to make the ridiculous and touching
request to the Jeremiah if he could give her blue eyes. Looking for beauty
makes you pitiable. A despair that you didn't produce, that others forced upon
you, leads you to look for escape, for reinvention, for magic “ Beauty wasn't
simply commodity to behold; it was commodity one could do.”
Morrison holds a different, shaky glass before the world
through her violent women characters. When Morrison reflects on why Pecola and
her family suffer from the physical anxiety of being monstrous, we nod with her
“ You looked at them
and wondered why they were so unattractive; you looked nearly and couldn't find
the source. Also you realized that it came from conviction, their conviction.
It was as though some mysterious each- knowing master had given each one a
cloak of ugliness to wear, and they had each accepted it without question.”
In The Antichrist, Nietzsche argues the genealogical roots
of conviction are steeped in tone- vision “ What if falsehood be also one of
these embryonic forms of conviction? — Occasionally all that's demanded is a
change in persons what was a taradiddle in the father becomes a conviction in
the son” ( Section 55). There are forces that play a part in satisfying people
what they warrant, inferiorising them in their own eyes, as much as the
contrary, making people believe in tone and race pride. The people who declare
others unattractive monopolise the idea of beauty. Colour Consciousness is a constant presence in Tony Morrison’s The Bluest Eye”.
Discuss.The “ mysterious each-
knowing master” of historically ordained conviction, is the voice of reason
that internalises and externalises the notion of prejudice grounded on colour
and enforces it on themselves, and other people. The notion that masters
history and its knowledge establishes the order of effects. It's this order
that freedom seeks to challenge and upturn to reverse the aspect and the notion
of effects, of what's beautiful and unattractive, of what's superior and
inferior, of what's respectable and what's not.
What makes the each-
knowing master “ mysterious”? The roots of literal reason are mysterious,
because reason is guided by sundries. Colour Consciousness is a constant presence in Tony Morrison’s The Bluest Eye”.
Discuss.Despite the conglomerate of reason
beginning its reign since the 18th century, has racism retrograded, faded? On
the negative, the violence continues. Colour Consciousness is a constant presence in Tony Morrison’s The Bluest Eye”. Discuss. Reason can not alter the notion that both
precedes it and instills it. Reason is a cover-up of sundries. In Obliteration
of Caste, Ambedkar raised a striking question
.The alternate question, I've mentioned away, introduces a
prerequisite to the capability to use reason In order to use reason, you have
to be free. The Hindu isn't free to use reason because he's tied to his notion
of estate. Also, we can ask with Morrison, can white men and women claim pure
reason on their side, a reason devoid of sundries of colour? If freedom from
sundries alone guarantees a pure status to reason, history tells us that pure
reason doesn't live.
The “ mysterious”
element about the master who afflicts people with racism lies in the nature of
the narrative. Explaining the confusion, Morrison says in her interview to The
Paris Review “ I did this lecture for my scholars that took me ever, which was
tracking all the moments of withheld, partial, or intimation, when a ethnical
fact or indication kind of comes out but does n’t relatively arrive. I just
wanted to chart it. I listed its appearance, disguise, and exposure on every
runner”. Colour Consciousness is a constant presence in Tony Morrison’s The Bluest Eye”.
Discuss.Racism is real and visible, but its narrative is always as slippery as
a tail, as slippery as the line of conviction.
Black music poses one
similar challenge to the narrative of race. In Jazz (1992), Morrison starts
with the judgment on Violet “ Sth, I know that woman. She used to live with a
flock of catcalls on Lenox Avenue”. The narrator stands between her character
and anthology, suggesting and demanding a relationship of trust. Colour Consciousness is a constant presence in Tony Morrison’s The Bluest Eye”.
Discuss.That trust is
simply the trust in the fibber. It's also a subtle assignation to read the
voluptuous language of music. Then too, we face the question of notion and
prejudice.
Jazz, Morrison
reminds us, was “ considered … devil music; too voluptuous and instigative, and
so on. But for some black people jazz meant claiming their own bodies.” That
makes jazz the music of discordance, civic and yet not in tune with the civic,
separated by a radically other experience, in the interstices between how to be
black, and how to be seen as black. The megacity is a dangerous lure. The signs
of the megacity both consolidate and blur the possibilities of experience “Colour Consciousness is a constant presence in Tony Morrison’s The Bluest Eye”.
Discuss. The
City is smart at this smelling and good and looking nasty; transferring secret
dispatches disguised as public signs this way, open then, peril to let colored
only single men on trade woman wanted private room stop canine on demesne
absolutely no plutocrat down fresh funk free delivery presto.” The megacity is
hallucinatory, and Morrison throws it open for us, its racism, its pledge, its
loves and its despairs.