["Why I Hate Toni Morrison's Beloved" was first presented as the Seymour Fischer Lecture at the Free University of Berlin, on January 17, 2001. It has been greatly revised and expanded.]
by Scott Bradfield
The first time I told someone that I had problems reading Toni Morrison's Beloved, she started yelling at me in a Marie Callender's restaurant in Dana Point, California. I had recently received my Ph.D. in English at U.C. Irvine, just a dozen miles north, and we were having what graduate students consider a "blow out" (food and beer) at a moderately-priced franchise restaurant; it marked the saying of our goodbyes before I drove my truckload of books to the heretofore unglimpsed state of Connecticut. This wasn't the first time that someone has yelled at me in a restaurant, by the way. I don't even think it was the first time someone has yelled at me in a Marie Callender's restaurant. But it was the first time anybody has ever yelled at me, at length and in volume, for disliking a book. Oddly enough, I didn't even hate Toni Morrison's Beloved at the time. I was just having trouble reading through its middle pages and seeing what the fuss was all about.
There are two reasons why the title of this essay appealed to me so much that I decided to write some pages to follow it up.
First, it strikes me as an almost unspeakable statement. In our apparently jaded culture, where every conceivable obscenity has already been made a common topic of talk radio, web cams and trash TV, it still manages to anger and shock people; and unlike most expressions of relative value, it makes me hesitate before uttering it. Now, let me say that I hate a lot of things, and hating them has rarely gotten me into any trouble, or caused anybody to yell at me in restaurants. I hate, for example, margarine. I hate chemical sweeteners, automatic transmissions, trade paperbacks, and just about every book Norman Mailer has ever published. I hate that smarmy sitcom "Friends," George W. Bush and Al Gore, the CBS Evening News with Dan Rather, Jay Leno (who's going to burn in hell someday, I swear), genetically modified food, rap music, static electricity, Bruce Willis, the Modern Language Association, kiwi fruit, and the Grammys. We all like and dislike different things, love and hate them, but we accept that personal opinion is a free-form, shoot-from-the-hip business, so we do our best to tolerate one another, and not get too bent out of shape when we like and dislike different things. But hating Toni Morrison's most famous novel seems to bother people to an exceptional degree, especially those who teach literature (as I do) at an American university.
What's more, saying "I hate Toni Morrison's Beloved" may actually be unhearable. As an expression of personal opinion, preference, idiosyncracy, taste, what have you, I am not sure that people hear this statement in itself, since all sorts of cultural, social, and historical meaning gets tangled up with it. To take an obvious example, an Anglo-Irish non-denominational suburban guy such as myself will be "heard" in a variety of ways that he might never wish to be heard; and, whether he likes it or not, many assumptions will be inferred about his opinions on history, race, politics, power and so forth. Or, to dispense with the issue of race altogether (something that's not easy to do when discussing Beloved), I could even be accused of writerly bad faith. I mean, we writers are an envious lot, and here I am hating a book which has succeeded spectacularly in ways that none of mine ever have or, I can admit it now, ever will—such as winning a Nobel Prize for its author, appearing on Oprah and selling a gazillion copies.
And let's not overlook the issue of gender, either; I certainly can't. For example, when I was yelled at in that restaurant, I was told that my inability to appreciate Toni Morrison's Beloved manifested a genetic failure on the part of my man-ness. The argument ran, as I recall, thus:
I felt threatened by the success of a woman novelist because of my inborn inability to embrace her radically new perspective on history which could only be generated by all-embracing female heterogeneity; in fact, by disliking Morrison, I was validating many opinions that many female colleagues already held about me and the fact that I had completed my Ph.D. in a manifestly sexist English Department, since at least one member of my committee was a known sexist who had reputedly engaged in a long-standing affair with a female graduate student....
And so forth. It really did continue for a while, dredging up a lot of unspoken emotions. Some of them surprised me; others didn't. I won't belabor this conversation, or the way my statement was "heard" by an individual whom I liked, respected, and continue to be friends with. But I do want to place this anecdotal moment in the context of contemporary academic scholarship, since I don't consider it arbitrary or inconsequential. In many ways, it strikes me as surprisingly representative of contemporary scholarly thought.
To put it simply, there are many important issues raised by the ways my statement ("I hate Toni Morrison's Beloved") can be heard or misheard by intelligent individuals. And while I concede that issues like sex, race, the canonizing of texts and the subverting of canons all provoke, and should provoke, a lot of heat when we discuss them in university, this still doesn't get me past my immediate concerns as a reader and a writer:
1) I have trouble saying that I hate Toni Morrison's Beloved, mainly because I don't want people to think I am either a racist or a sexist, and;
2) people have trouble hearing what I think I'm saying.
As a teacher of literature, where does that leave me when I try to teach Beloved? If neither I nor my students, can express a simple statement of opinion or conviction, where does that leave us when called upon to explore even more difficult issues? And where does it leave the common reader who picks up books and puts them down again according to the many multifaceted, and deeply idiosyncratic reasons we all pick up books and put them down again?
As academics, can we even begin to discuss what it means to read, enjoy, and dislike books?
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In a sense, I'm writing about two different objects of reading. On the one hand, there is the specific book that I hold in my possession, a blue jacketed thirty-eighth printing Plume paperback that I purchased across the street from the University of Connecticut at the Paperback Trader. This is a limited, identifiable object. On the other hand, there is this, I don't know what to call it exactly, this illimitable presence, this "landmark of contemporary literature," this vast region of wisdom and light which stands over us in judgment, a manifest benevolence which can only be called
Toni Morrison's Beloved.
I've set these words off in twenty-point boldface type, which doesn't do justice to the way I see them projected on the screen of our cultural imagination. As I really see them, they flicker above and behind all our heads, just out of vision, emitting a vibratory thrum, like a neon sign. You can feel the words in the air before you glimpse them. To my mind, twenty-point type doesn't do these words justice. Thirty-point type, perhaps. Forty-point. But then I wouldn't have any space left over for writing this essay, there would just be page after page of
Toni Morrison's Beloved.
Which might be a little hard to take.
Now maybe it's my imagination, but whenever I hear those words spoken, they are accompanied by a little sigh, a half-sensible expiration. The speaker places a hand over his or her chest, a little woozy in admiration. They aren't just speaking the name of a book, you see; they are speaking their own puny inarticulacy in the face of this, this thing called
Toni Morrison's Beloved.
A silence falls over us in our divided spaces.
What else can you say?
It's up there now, looking down as I type these words. This vast pulsing network of affirmation, filled with superlatives.
Finest. Greatest. Inspiring. Unparalleled.
You have to love it or—
Or.
I would like to get to this "or" in a moment.
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According to the MLA International Bibliography, since 1987 there have been more than five hundred articles published in respectably vetted journals on the subject of
Toni Morrison's Beloved.
And almost every one of them is laudatory in the extreme. Occasionally you might find an article which appears value-neutral—examining image-clusters or ideological configurations or whatever—but for the most part these articles never make a negative or qualifying statement about Beloved; and they almost always refer to it as a masterpiece, or one of the twentieth century's greatest novels, or something along those lines.
At my university library, for example, one and a half shelves are devoted to Toni Morrison, and most of them contain the word Beloved in their title, or in one of their chapter titles. And each year, many more books on the subject are published, along with at least two or three introductory texts for beginning students, since Beloved is already a significant topic on everything from the SATs to your next Master's exam. Now the liberal academy often likes to congratulate itself for being "open-minded" on the subject of books and ideas; our systems of tenure and advancement are built upon the unexamined assumption that it is not what you say that counts, but only how responsibly you say it. But if you would like to investigate just how tolerant the academy really is to disagreement within its ranks, you might like to read one of these introductory surveys on Toni Morrison's Beloved.
Take, as a purely arbitrary example (it's on top of the stack of books I have assembled in my office), the Ikon Critical Guide, edited by Carl Plasa. This survey of critical essays and topics contains interviews with Morrison, framing comments by the editor, and a fairly standard critical bibliography. Subtitled "The Student Guide to Secondary Sources," it is designed to teach students how to compare and analyze arguments, then extrapolate new arguments of their own. Like most books teaching you how to do something, it teaches you how not to do something as well. And what it teaches you not to do is pretty frightening.
In his introduction, Plasa reminds us of the existing approbation: calling Morrison a "superstar," and "the American and African-American (woman) writer to reckon with." He then assures his readers that ever since Beloved's publication, almost every critic and reviewer has been "fully in step" with the "general acclaim," the only notable exception being an article in The New Republic by "the right-wing commentator, Stanley Crouch." As Plasa goes on to explain (just so you know what to think about Crouch's review when you get to it, sixteen pages later):
The extract from Crouch, by contrast, is a denunciation of Beloved/Morrison, as vehement as it is both scurrilous and wrong-headed. Running thoroughly counter to the overwhelmingly positive critical reaction to Beloved, it is included here less in the interests of some spurious critical balance than as an illustration of just how highly charged debates about Morrison's work can sometimes be.
"Highly charged," indeed. I guess it's a good thing that even-handed critics like Plasa are around to help the cooler heads prevail; perhaps this is why he prefaces Crouch's review with a comment by Nancy Petersen, which accuses Crouch of "capitalizing on the desire of white readers to consume black women's tales of being abused by black men." (I'm sorry, but I have no idea what that means.) Plasa then takes every opportunity to misread or selectively quote from Crouch in order to make some pretty damning statements. At one point, he claims that Crouch, insensitive to the brutality of slavery, refers to the Middle Passage as little more than a "trip across the Atlantic." This is an inaccurate and misleading statement. Crouch doesn't appear to suggest anything of the sort, though he does argue that Morrison misreads historical events in order to validate modern presumptions, especially feminist ones. It's an argument worth considering by any serious student.
I must confess that I don't know much about Stanley Crouch. I saw him interviewed recently on PBS, so I know he's black; he writes for The New Republic, a so-called "neo-conservative" weekly out of D.C. which I have no interest in reading; and he clearly knows how to get up people's noses. His work may well reflect some serious cultural and political biases; but the same could be said of Plasa and his colleagues, pumping away on their critical Stairmasters. Finally, though, I wouldn't call Crouch's review of Beloved any more "wrong-headed" or irresponsible than any of the others reprinted by Plasa; at least he writes more clearly, and raises some interesting and contentious points—points that deserve, but don't receive from Plasa, fair-minded consideration and reply.
Which is, of course, the job of any critic or, for that matter, any teacher.
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Here are some lessons a young student might learn from the first thirty pages of Plasa's book, thus equipping him or her for a high-flying career in literary scholarship:
1) Some white male and female academics consider themselves incapable of saying anything about Beloved—though this doesn't render them incapable of asserting that Toni Morrison represents "a major figure of our national literature";
2) Everybody who loves Beloved is "fully in step" with the vast mass of scholarship being produced today;
3) Anybody who disagrees with points 1) or 2) above is probably "scurrilous" and "wrong headed," and may well be pandering to white readers who like to see black women abused by black men.
That's quite a tutorial.
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When I walk down the corridors of any literature department in any university anywhere in the world, I get the overpowering sense that my relationship to an individual book (in this case, my thirty-eighth printing trade paperback of Beloved) is overseen, and in some sense monitored, by this huge presence called Toni Morrison's Beloved, a presence elevated above us, in a region that we can't quite see.
And I have to say that I hate that. I really, really hate Toni Morrison's Beloved.
I hate the smugness of it. I hate the sanctimony. I hate the unquestioning sense of superiority. And I hate everything about it that takes the individual book out of the individual reader's hand. This hateable thing clearly isn't limited to Beloved, by the way. For example, I might just as well have entitled this essay "Why I Hate Herman Melville's Moby-Dick," a book which I have enjoyed hating with genuine conviction over the years. I studied American literature in grad school, and wrote my dissertation (and a subsequent book) on it, and while I've always liked the man Melville appears to have been, and many passages of Moby-Dick are undeniably angry and beautiful and unique, I've always considered it a big fat drag to read from beginning to end. I'll concede that you can learn all sorts of things about American culture from it; it can be fun to teach, and to be taught; and Melville had a lot of interesting observations about consumer culture, racism, and those institutions of slavery that he saw around him as a sailor, a writer, and a clerk. But there are still many books I'd rather take on my next plane trip; it contains far too many descriptions of harpoons; and out of all the dozens of articles and books I've read on the subject of Moby-Dick, none have more accurately defined my feelings for it than this statement from one of my best (and first) undergraduate students: "It's just too long." That statement comes to mind every time I see, or discuss, or consider discussing Melville's Moby-Dick. Not a lot of blather about landmarks of cultural hegemony deconstructing the western metaphysic blah blah but just the simple fact of it in your hand, and the daily task of reading it.
Moby-Dick is simply "too long."
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Or I could have written about "Why I Hate Gunter Grass's The Tin Drum," which I simply never got through, or "Salman Rushdie's Midnight's Children," which, sure, it's probably a very intelligent book and has lots to say about post-colonial rhetoric and so on, but Rushdie has a wooden ear and his sentences are, I'm afraid, just too angular and clunky. And while we're at it, let's add Thomas Pynchon's Gravity's Rainbow to the list, and anything by William Burroughs or Jack Kerouac, and most of Saul Bellow, and more than half of Ulysses, and the entirety of Henry James's late period, and Vladimir Nabokov's Ada (which is nowhere near as good as Lolita or even his great early novel, Laughter in the Dark), and okay, you can probably hear it, I'm getting a little out of breath, I'm ranting, I'll stop. But I'm afraid this is what happens when I start exercising about all these books and authors I've forced myself to read, or failed to read, or could only read in order to teach for some survey course which paid my rent.
Books that are bigger than I am, and bigger than my students, staring down at us from on high, and inviting us to share our opinions about them—just so long as we don't say anything "scurrilous" such as, say, that we don't like them.
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Consider my trade paperback copy of Beloved, purchased second-hand for $2 from the Paperback Trader in the late spring of 1999. It features an author photo of an attractive, middle-aged woman, along with some pretty impressive jacket copy, most notably:
Winner of THE NOBEL PRIZE in Literature
and a highly-placed quote from the important American reviewer, John Leonard, who says: "I can't imagine American literature without it."
When I hold this book in my hand, I do not feel alone; nor do I feel like a free individual with his own thoughts and opinions. The presence of Toni Morrison's Beloved looms oppressively, its bristly tentacles and veiny suction devices wrapping themselves around me, coating me with a warm, treacly substance. It entangles my limbs and thoughts, attaches itself to my nerves and vertebrae and belly, feeding me reality like one of those pod-spiders in The Matrix. In order to read this book, clearly and simply, as one person reads any book in the privacy of his own head, I require something I don't normally bring to my reading experience. I require an act of will and a monumental act of forgetting. I must uproot all the snake-like wiring and suction creatures and find my own way, word after word and page after page. And frankly, I don't know how well I can do that. I don't know how well I can let this book speak for itself, amidst the sanctimonious reverberating thrum of Toni Morrison's Beloved. And if I'm honest with myself, and I think as clearly as I can about what I've read, I find myself concluding something a lot more outrageous than that I hate it.
The book starts off really well; the central character of Sethe, and the haunting of her family, is strange and surprising and beautifully written; but the book never recovers from the arrival of the mysterious ghost-girl. I lose sight of Sethe; and the succubus doesn't work for me at all—some of the passages told through her eyes strike me as sentimental and phony, like beat poetry. Finally, I don't like it when the town's wise women come along at the end to sort things out; I'm always annoyed by books where the women turn out to be more noble and capable than the stupid men, since it's the longest-reigning trope of just about every TV commercial I've ever seen since I was three years old. ("Oh, honey, stop fiddling with that drain. Just pick up the phone and call Roto-Rooter!")
I've been in academia long enough to know that all my objections to Beloved can be explained away by critical methodology—theories of alterity and the mise en abyme and so forth. ("You're supposed to be lost when the succubus appears—you're experiencing Sethe's self-estrangement.") I am even willing to accept that I suffer from my fair share of cultural misconceptions; that I'm not as smart as I should be; and that my missing the point of Beloved may be precisely its point. But, at the same time, none of these theories have anything to do with the way I read books. Nor do they explain the pleasures I experience when reading a book I enjoy, or the annoyance I feel when I'm reading a book I don't.
#
Like many people who enjoy books, I have fond memories of being read to as a child. It is strange to think that while my parents did many things for me when I was growing up—fed and clothed and housed me—that I still remember evening bedtime stories with a special fondness. In my early years, before my brother was born, my parents guided me through large picture books—I especially enjoyed the ones filled with photographs of lions and tigers and zebras. Later, we read smaller pages with more words in them—books which I didn't understand sometimes, and didn't need to. There was something about the ritual warmth of reading that mattered more than what the words conveyed. It provided, in fact, a different sort of consensus: cuddling up around the book with my brother and one of my parents, I would listen to that night's chapter of Call of the Wild, say, or Alice in Wonderland, and ask endless questions about what it conveyed, and what might happen next. ("I don't know," my Mom or dad would explain simply, "we'll have to wait until tomorrow to find out, won't we?") Finally, after making sure I knew the title of tomorrow's chapter, and had glimpsed at least one of its illustrations, I went to bed with these weird visions of other worlds in my head. I might imagine my brother and me riding bobsleds across the frozen steppes, or sitting down to tea with the Mad Hatter, or leading Black Beauty home to her lost master. They weren't better than me, these books. They were inseparable from the imaginative life I lived in my home. They never spoke to my mind, but conversed with it.
Eventually, I learned to read books for myself, preferring stories about travelling to faraway countries and planets. The word "Voyage" figured often in their titles, as in A Voyage to the Mushroom Planet, or The Voyages of Doctor Doolittle. I was especially intrigued by stories about boys who built things in their basements—zoos, printing presses, secret laboratories—and overcame various obstacles in order to achieve worldwide renown. Sherlock Holmes figured prominently on my bookshelf. And I read everything I could find about Snoopy, the Hardy Boys, and Encyclopedia Brown.
About the same time that I was reading books to find out what was in them, I was growing intrigued by the mass, volume and variety of all the books I couldn't read. Both of my parents had been to college, and their old textbooks were assembled in a long, waist-high wooden bookshelf that divided the living room from the hallway in our suburban tract-style house in San Luis Obispo. If I lay down in this hallway, hidden away from my parents in the smack-dab middle of the house, I found myself in a "secret place" of books where I never felt entirely lost. They included quite a few dog-eared and spine-warped bestsellers, such as the James Bond novels my Dad was always reading, and about which he seemed vaguely embarrassed. ("They're kind of like grown-up comic-books," he used to say.) Then there were my mother's nursing textbooks, featuring glossy schemata of bowels and reproductive organs and brains and lymphatic tissue. And finally, there were the "adult story books." Most of these were in Modern Library editions, without even jackets anymore to illustrate what they were about; their titles and authors were embossed in flaking gilt on fading green spines, just above the figure of a tiny ankle-winged Hermes, messenger of the Gods, weirdly poised like a ballet dancer.
I still remember the titles of these books as vividly as anything I have ever read. There was Of Human Bondage, of course, and I had no trouble imagining what that was about. Some brave man, captured by Indians, lay trussed up in a closet for 837 pages until he triumphed, broke free, and saved his family from being burned at the stake. Then there was War and Peace (which couldn't be half bad), and Native Son (young Navaho seeks freedom on the plains), and finally Pride and Prejudice, which, somewhere on the periphery of my suburb-locked understanding, seemed to invoke all these news reports I had been hearing about long hot summers and bussing in the south.
I remember loving Moby Dick before I read it. What's not to love when you're five or six years old? This one-legged Captain driving his crew across the seven seas in search of a gigantic white whale? What a great book not to read. I even loved the movie when I was little (it was on par with "The Amazing Colossal Man," though it didn't give me so many nightmares), and I went on to purchase the Classics Illustrated edition at the local Rexall drugstore. I read and reread it, carrying it around scrunched up in my back pocket until it resembled the head of a mop. In fact, I read it so often and so intensely that, many years later, as an undergraduate at UCLA, I got away without reading the actual novel on at least two exams. I have many friends who love Melville, and I hope that the day arrives when I can say I like Melville as much as I loved that Classics Illustrated comic book. In my most subjective universe, that would be saying something.
Then there was The Brothers Karamazov, another one of those titles that jumped out at me when I was five years old. I had a brother three years younger than myself, and we were very close, so I figured it had something to do with us and the games we played together. My mother aroused my interest even further by informing me that it concerned a murder ("Great!") and finding out who did it ("Even better!") and that one of the four brothers who might have committed the murder was an atheist who didn't believe in God.
Wow, I thought. And, for that matter, still do.
For me, Dostoevsky has always been one of those rare writers who lives up to the hype.
I remember this space on the hall floor, surrounded by books I couldn't quite read, with great fondness. These books were far from objects of worship, and I played with them like toys, stacking them in interesting configurations—pyramids and forts and obelisks—and imagining what might happen if the characters they contained were to wander out of their books and move into one another's spaces. Would Ellison's Invisible Man be a match for the Invisible Man of H.G. Wells? Would Mailer's naked soldiers perform bizarre and unconscionable acts with Samuel Butler's flesh-bound travellers, very likely in a hot bath before bedtime? I played with these books and even developed a sense of commitment to reading them some day, when I grew up, because I wanted to know what was really in them and wanted them to know what was in me.
Whenever I think about books, or the act of reading, with pleasure, I always think about this time I spent alone on the floor with these books I couldn't yet read. It was the most enjoyable relationship with books I have ever known.
#
Something has happened to the reading of books in my lifetime. I don't want to sound like one of those cranky old men who say everything was better in my day, because I don't think it was. But the worst aspects of book-reading definitely have taken the place of the better ones. Our academics and critics select a few books each year (often written by their friends) as worthy of consideration without having read anything else; then they congratulate one another for liking the same books, or pick petty quarrels about which end of the book should be cracked first. Which book is more reactionary than the other two? Which undermines gender stereotypes more effectively, or unravels the always unravelling thread of language? At the end of the day, you don't feel anybody is talking about books at all. They're talking about themselves, and the disciplinary institution called, for want of a better term, literary culture. They're talking about their boring jobs.
When I think about all those huge indigestible books hovering up there behind us, I think about the statues on Easter Island that were erected by people we don't know much about. Statues bigger than us, more frightening, and more real than we're supposed to be, and while I think that I can live with the statues erected by somebody a few thousand years ago, I can't bear to watch my colleagues, my students, and myself, straining to erect more of them.
Books are about a lot of things: race, gender, the Napoleonic Wars, sex, death, food, social norms, social outcasts, social incasts, fantasy, fact, dreams, sadness, loneliness, elation, injustice, class, the Mason-Dixon line, language, stupidity, co-habitation and rage. But ultimately, they are about the process of reading them; they are about the things their authors have known and seen and imagined long enough to write them down. They are, by their nature, transitory experiences, just like our lives, and we shouldn't judge them, or be judged by them. We should only live with them, much the same way as we live with one another. We do not owe them respect or allegiance; we only owe them the considerable effort of trying to read them the best we can.
When I first thought up the title of this essay, I felt uncertain and defensive about it. But in the course of writing it, I have come to conclude that I don't mind hearing anybody say that they hate or love any book, or any writer. To hear people disagreeing about books, hating and loving them, doesn't make some of those people good and other ones bad. It doesn't sound like a bunch of "right wing" people arguing with a bunch of "fully in step" ones. It just sounds like the noisy contentious clash and accord of people reading. You see, it's my opinion that the most terrible statement you can utter is not "I hate X" or "I love Y." The most terrible thing you can say, especially to your students, is: "You must hate X." Or: "You must love Y."
For it seems to me that the greatest lesson we can teach our students about the power of beauty of books is that they are not—or should not be—a set of conclusions handed down to us by people who know better than we do. Rather they are a series of decisions we make every day of our lives, perpetually and unceasingly, each of us alone in our imperfect heads, continually glancing at one another for confirmation, elucidation, and contradiction, with the books stacked up around us, and lying on the floor.
Brighton, Sunday September 12: Scott Bradfield will be reading at ACE Stories, which is a terrific reading series supported by Arts Council England, Serpents Tail, and Momentum Pictures.
We published Scott Bradfield's eighth book of fiction, The People Who Watched Her Pass By, in April, and here we are -- it's August -- and it's still getting raves from reviewers.
The People Who Watched Her Pass By is being recommended at Skylight Books by manager, Steve Salardino, who says:
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