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63 pages 2 hours read

Toni Morrison

Jazz

Fiction | Novel | Adult | Published in 1992

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Background

Series Context: The Beloved Trilogy

The origin of the trilogy is Greek, first appearing as a series of three tragedies by the author Aeschylus for the Dionysian Drama Festival in Athens in the fifth century. Morrison, who performed classical drama at Howard University in the 1950s, was familiar with the work of Aeschylus and the way trilogies could build tension and explore complex ideas. However, Morrison’s trilogy departs from traditional examples in the genre. The three works do not follow the same characters or even the same periods. Instead, they expand upon a theme of love and its connection to violence and trauma within a history of Black experience in American spaces.

All three works in the trilogy—Beloved, Jazz, and Paradise—are inspired by real people and events. Beloved was inspired by a newspaper article about Margaret Garner who killed one of her children in 1856 rather than see her child enter a life of slavery. Jazz was born from a photograph of a woman who bled to death rather than reveal the identity of her lover who shot her. This photograph, taken by James VanDerZee appears in The Harlem Book of the Dead, a 1978 collection of funerary portraits. Beloved’s fictional town of Haven is modeled after Black settlements which formed after Reconstruction.

Each novel investigates a different facet of love. In Beloved, Morrison writes about motherly love through the character Sethe in 1873 Ohio. Sethe escaped slavery with her children, but she is discovered. The mother tries to rescue her children from a life of slavery by killing them, and successfully murders her infant child. Morrison examines Violence as an Act of Love, a theme that carries into the second book in the trilogy. Jazz moves away from maternity and, instead, focuses on how trauma impacts the love and violence of couples. The final installment, Paradise, explores the love found in communities, particularly among communities of women.

Morrison uses the literary device of the trilogy to expand understanding about the impact of racial trauma on love and relationships. Although the three novels do not follow the same characters, the ghosts and pain the characters encounter weaves throughout the works, revealing the generational impact of racial violence on how Black Americans love and are loved.

Socio-Historical Context: Toni Morrison’s Jazz and the Harlem Renaissance

Each of the three novels which comprise the Beloved trilogy utilize American space and historical context to develop narrative. In a 1993 interview with Charlie Rose, before completing the third novel in the series, Morrison described her writing process (“Toni Morrison.” Charlie Rose. PBS, 7 May 1993). She explained that she began with a question. For both Beloved and Jazz, her question was the same; she wanted to discover the identity of the person inside that could be trusted, the “beloved.” Who was this “best thing”? To prepare for the writing of Jazz, Morrison immersed herself in the culture and history of the Harlem Renaissance. As Black people moved from the South to New York City at the turn of the 20th century in what is often referred to as the Great Migration, the Harlem neighborhood of New York City became an explosive site of Black cultural innovation and art. Figures like Langston Hughes, Zora Neale Hurston, and Louis Armstrong were at the forefront of this cultural revolution. Jazz evolved from work songs, blues, and spirituals. This new musical genre was a form of expression for Black Americans and served as a catalyst for social revolution. Morrison’s Jazz uses techniques of the musical genre to explore lives of Black men and women during the Jazz Age. In her research of the era, Morrison immersed herself in newspapers written for Black readers from the year 1926 and was inspired by the image of a young girl who had bled to death because she refused to seek help for fear her lover who shot her might be arrested.

The structure of Morrison’s work mirrors the qualities of jazz music in many ways, including its improvisational and informal tone. When a work uses techniques from another medium, it is called intermedial. Morrison’s work incorporates characteristics of jazz to inform the structure and format of the book itself and to tell the stories of its characters. Morrison’s other works utilize structure to support the meaning of the text, but Jazz has a structure that presents its own context and meaning. For example, each chapter is accompanied by a blank page, requiring the reader to pause and turn before continuing the narrative. In a jazz performance, the band pauses or breaks to allow a soloist to improvise. In Morrison’s novel, the break gives the reader the opportunity to improvise thought and reflect upon the chapter.

Additionally, the narration mirrors the conversational and improvisational nature of jazz music. This improvisational quality is continued in the way the narration switches from character to character and the stream-of-consciousness style of writing. The reader learns the thoughts and histories of Dorcas, Violet, Joe, the city, and many other neighbors and friends. This speaks to the ensemble element of jazz music. Each character has a part to play in the collective composition. Polyphony is a musical term which describes how distinct parts play different melodies, coming together to form a type of harmony. Morrison’s use of different characters’ perspectives gives a sense of a greater musical structure. Each character has a set of thoughts, individual traumas, and opinions which contribute to a larger understanding about how culture and violence impact love. Morrison presents a text that, in every way, mirrors the culture and complexity of the Harlem Renaissance.

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