Abstract
The fiction of the past quarter-century has seen a resurgence of the fascination with community which has been a leitmotif in American women’s narratives. Just as earlier periods of cultural transformation witnessed a flowering of fictions with fresh notions of community at their centre (for instance, during the breakdown of Victorian certitudes in the 1890s), so this period (1970–95) can be described as a phase of radical communitarianism. For writers such as Cynthia Ozick, Toni Morrison and Maxine Hong Kingston the novelist remains a storyteller (all three are indebted to the folkloric modernism of the 1920s and 1930s); but the relationship between storyteller and community has become more complex, and sometimes fraught. For the communitarians, storytelling is complicated by the interplay of the imagined communities addressed by the writer. The communitarian writes for a readership of women, for her own ethnic or cultural ‘village’ (in Morrison’s term); but these authors also claim a national significance for their stories, addressing fundamental national subjects (migration, race, cultural pluralism). In writing about the structures of community (the lore of Judaism, say, in Ozick’s Puttermesser stories) these authors provide local fictional templates for a conceptualised understanding of what culture is and how the individual situates herself within cultures.
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Notes
See, for example, Rafael Pérez-Torres, ‘Knitting and Knotting the Narrative Thread — Beloved as Postmodern Novel’, Modern Fiction Studies, 39 (1993), pp. 689–707.
Caroline Rody, ‘Toni Morrison’s Beloved: History, “Rememory,” and a “Clamor for a Kiss”’, American Literary History, 7 (1995), 92–119
Toni Morrison, interview with Tom LeClair, in Leclair and Larry McCaffery (eds), Anything Can Happen: Interviews with Contemporary American Novelists (Urbana, Ill.: University of Illinois Press, 1983), pp. 252–61
Toni Morrison, The Bluest Eye (1970; London: Picador, 1990), pp. 1–2.
Susan Willis, ‘Eruptions of Funk: Historicizing Toni Morrison’, in Henry Louis Gates, Jr (ed.), Black Literature and Literary Theory (1984; New York and London: Methuen, 1987), pp. 263–83
Toni Morrison, Beloved (1987; London: Picador, 1988), p. 3.
Ashraf H. A. Rushdy, ‘Daughters Signifyin(g) History: the Example of Toni Morrison’s Beloved’, American Literature, 64 (1992), pp. 567–97.
Peter Kolchin, American Slavery, 1619–1877 (1993; London: Penguin, 1995), pp. 50
Bessie W. Jones and Audrey Vinson, ‘An Interview with Toni Morrison’ (1985), reprinted in Danille Taylor-Guthrie (ed.), Conversations with Toni Morrison (Jackson, Miss.: University Press of Mississippi, 1994), pp. 171–87
Toni Morrison, cited by David Cowart, ‘Faulkner and Joyce in Morrison’s Song of Solomon’, American Literature, 62 (1990), pp. 87–100
Henry Louis Gates, Jr, ‘Harlem on Our Minds’, Critical Inquiry, 24 (1997), pp. 1–12
Maxine Hong Kingston, The Woman Warrior (1977; London: Picador, 1981), p. 148.
‘A MELUS Interview: Maxine Hong Kingston’, with Marilyn Chin, MELUS, 16 (1989), pp. 57–74
Sau-ling Cynthia Wong, ‘Necessity and Extravagance in Maxine Hong Kingston’s The Woman Warrior: Art and the Ethnic Experience’, MELUS, 15 (1988), pp. 3–26
Cynthia Ozick, ‘What Literature Means’, Partisan Review, 49 (1982), 294–7.
Janet Handler Burstein, ‘Cynthia Ozick and the Transgressions of Art’, American Literature, 59 (1987), 85–101.
Interview with Cynthia Ozick, conducted by Elaine M. Kauvar, Contemporary Literature, 34 (1993), pp. 359–94.
Cynthia Ozick, ‘The Question of Our Speech: the Return to Aural Culture’, Partisan Review, 51 (1984), pp. 755–73.
Cynthia Ozick, ‘Levitation’, in Levitation: Five Fictions (1976; Syracuse, NY: Syracuse University Press, 1995), p. 3.
Cynthia Ozick, The Messiah of Stockholm (New York: Alfred A. Knopf, 1987), p. 104.
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© 1999 Guy Reynolds
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Morrison, T., Kingston, M.H., Ozick, C. (1999). Fictions for the Village. In: Twentieth-Century American Women’s Fiction. Palgrave, London. https://doi.org/10.1007/978-1-349-27794-0_9
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