The Joys of Motherhood by Jamie Mallette

The irony of the title The Joys of Motherhood grows more apparent with each passing chapter. It is clear that the title of the novel is meant to point out the inequality and harsh facts of life for women in Nigeria in the twentieth century.

Nnu Ego, the main female character, desires nothing more than to prove that she is a woman by becoming a mother. Through the various trials in her life, it is shown how the art of becoming a mother and having children to care for makes life all the more difficult. Nnu Ego tries to be a good wife and mother as her tribe mandates, but her every action is scrutinized. Throughout her marriages and life, Nnu Ego is vilified. However, nothing is more heart wrenching then the end of The Joys of Motherhood. Nnu Ego dies and becomes a demigod that her family prays to for success in fertility. She is deemed a cruel and selfish woman because she never blesses her progeny with children, “ Stories afterward, however, said that Nnu Ego was a wicked woman even in death…” (224). The key word in that phrase is even, showing that her tribe believed her to be a wicked woman in life despite her later prosperity in bearing copious amounts of children. In my opinion, Nnu Ego is being a responsible “mother” figure by never allowing the women in her family to go through the strife and turmoil that she experienced.

It was difficult the to read The Joys of Motherhood without judging the culture that forces women to become submissive and breed for the benefit and honor of their husband. However, I tried not to make such judgements as an outsider to the Nigerian ways of life. Towards the end of the novel, I began to sympathize for Nnu Ego and the difficulties she faced with little help from her husband and children. The responsibility thrust onto to Nnu Ego, mothers and women, in general, is enormous. As Nnu Ego ages and younger wives are integrated into her household, Nnu Ego’s duties to her husband and family grow. I found the ending of the novel to be an interesting juxtaposition. As Nnu Ego’s worries and responsibilities multiply with age, her tribe and Lagos society believe that her role as mother and wife should be shrinking in magnitude. After Nnaife’s trial, Nnu Ego asks Adaku if Nnaife still owns her and her family, a telling sign of her cultural background. Adaku replies, “I’m afraid even that has changed. Nnaife does not own anybody, not in Nigeria today.” (218) This denotes the changing of the society in Lagos and a movement away from the husband owning his wife and daughters, which Nnu Ego does not realize or accept.

The conclusion that I reached is that ironically “the joys of motherhood” are not so joyful.

The Complete Woman, By David Kane

“The Complete Woman”

~David Kane

(11/4/11)

At the beginning of Buchi Emecheta’s The Joys of Motherhood, I was expecting an optimistic romp; the story is set in post-colonial Africa, so while I didn’t think I would be reading a thoroughly happy story, I didn’t think it would make me think about how dire the situation was for characters like Nuu Ego and her mother, Ona. They face the challenge of attaining the mantle of “the complete woman.” It is a standard against which they are constantly judged.

For most of Chapter 2, the narration focuses on Nwokocha Agbadi’s haughty, indomitable mistress named Ona, “who managed to combine stubbornness with arrogance.” (pg. 11). At first, she appears to be whom the author sets up as “the complete woman,” an intellectual equal who “refused to be dazzled by his wealth, his name, or his handsomeness.” (pg. 11). Ona confounds not only Agbadi, but also his many wives, who could not understand how he could love “a woman who openly treated the man they all worshipped so badly.” (pg. 21).

Chief among these objectors is Agbadi’s senior wife, Agunwa, described by her husband as “a good woman. So unobtrusive, so quiet,” when she falls ill not long after Agbadi is injured. (pg. 22). Suddenly, all that Ona wasn’t becomes all that is to be praised and lauded. A fiery and tempestuous woman being presented a “complete woman” was a progressive juxtaposition against the African tribal setting, yet upon Agunwa’s death, it becomes clear that even the village of Oboli is subject to the same hierarchy that is so prevalent in stories penned by European authors. Agunwa was submissive and bore sons to Agbadi, while Ona was disobedient and bore a daughter.

Perhaps the idea of completeness is less black and white than we think. Agunwa dies with Agbadi’s reverence, where Ona dies with Agbadi’s respect. What, as a woman is more important?

The Inferior Sex by MELINDA MEDINA

Melinda Medina

English 37503 (Sec. D)

Professor Laura Hinton

The Inferior Sex

            In the novel, Joys of Motherhood, byBuchi Emecheta,females are perceived as inferior in the patriarchal system of African society.  Women are expected to bare children, specifically male children, to carry on their husband’s family name.  If a woman is infertile or barren, she seems to not be a woman at all.  Female inadequacy leads women to feel unable to fit feminine characteristics, such as baring children.Furthermore, men are defined by the ability to impregnate a woman and to have male children.  If a woman is unsuccessful at becoming impregnated, the fault falls solely on her, and never the man.  Hence, men are considered superior and never are they assumed to be inadequate due to their position in the hierarchy.   Furthermore, women and female children are secondary to males in the African society.

            Women always have a duty to be loyal to a man and what that man desires.  Emecheta writes, “Because [Ona’s] father had no son, she had been dedicated to the gods to produce children in his name, not that of any husband...She had to be loyal to her father, as well as to her lover Agdabi” (18).  This statement is proof that once a woman is born, her loyalty is expected to be shown to her family, specifically her father.  The loyalty of a woman is transferred from one man to another.  For example, the loyalty is transferred from a woman’s father to her husband.  Therefore, a woman never has control over herself, her body, her sexuality, and what she desires to do.  A woman is expected to be content in following the men in her life, and the position they place her in.  Ona states to Agdabi, “You know my father would not have liked it...I refuse to be intimidated by your wealth and your position” (27).  This statement is proof that as a woman, Ona must keep her promise to her father because she feels a sense of obligation to him.

            Women are perceived in the African society as subhuman and as property.  For example, Emecheta writes, “[Ona] supposed she should regard herself as lucky for two men to want to own her” (25).  This statement implies that women are treated as property and objects, and men are their owners.  Emecheta goes on to write, “She is a woman so I don’t see why [she would not go back on her promise]” (26).  This statement is proof that the word of a woman means less than a man’s.  As a woman, one is not upheld to the same standards and expectations of honesty and righteousness as men.

            From a very early age, women and men are taught their place in African society.  For example, Emecheta writes, “My sons, you will all grow to be kings among men...My daughters, you will all grow to rock your children’s children” (29).  This statement is proof that men and women all have their place.  Men are referred to as “kings,” which displays their superior position in the hierarchy system between men and women.  Women are expected to be content in their positions as mothers, and grandmothers caring for the children they bare.  Furthermore, a woman’s sexuality is oppressed in African society.  Agdabi states, “My daughter has been found an unspoiled virgin” (31).  This is proof that a woman’s virginity is highly praised in African society.  A woman is expected to be a virgin up until the point of marriage.  If she is not found to be a virgin, she is disgraced and the shame falls upon her and her family.

            Women are expected to bare children, and if they do not do so, they are considered barren and infertile.  If this occurs they are subjugated by their society to being identified as subhuman.  Furthermore, women who are barren are perceived as unfeminine.  For example, Emecheta writes, “Nnu Ego was not surprised when Amatokwu told her casually one evening that she would have to move to a nearby hut kept for older wives, because his people have found him a new wife” (32).  This statement is proof that males are expected to take whatever steps necessary to impregnate a woman to carry on their name and inherit their land.  Therefore, women fall secondary to marriage and the sanctity of marriage is in question in terms of the Westernized ideal of it.  Men marry women to reproduce other males, and if a woman cannot bear children, she is outcasted.  Nnu Ego says, “O my chi, why do you have to bring me so low?” (32)  This statement is proof of a woman feeling less than a woman, because she cannot conceive.

            It is difficult for a man to consider himself as imperfect.  Emecheta writes, “It is difficult for him to accept the fact that anything that comes from him can be imperfect” (33). This statement is proof of a man being defined by a women’s inadequacy.  However, men believe themselves to be superior and therefore, it is difficult for a man to conceive that he has issues or has a child that has issues.  Hence, in men’s eyes, men are perfect.  Men want to control women.  Emecheta writes, “[Ibuza men] wanted women who could claim to be helpless without them” (36).  This statement is displays that a man desires a woman who is weak and unable to be independent. 

            African society has a lot of sexist ideology where women are considered inferior and expected to follow in the footsteps of the man in her life.  The male figure can be a woman’s husband or her father.  There are rules and expectations set that women are expected to follow.  In African society, men are the owners of women and whatever property that woman has, belongs to the man.  However, in pre-colonial versus post-colonial society, feminism and masculinity, and the roles of men and women start to be redefined.

Joys of Motherhood - Elizabeth Kelman

        Reading The Joys of Motherhood has been painful. Over the course of reading the first hundred and thirty pages, I had to physically put down and close the book dozens of times out of sheer emotional strain. Despite being mostly unfamiliar with the culture and environments described in this novel—any knowledge I do have came from reading Things Fall Apart in a postcolonial literature course in high school—I still felt a connection to the characters, especially the female ones, and was upset by all the travesties that befall them.

Perhaps more upsetting than the unfortunate events, however, are the social structures that I want to denounce but know that, as an outsider, I have no right to pass judgment on them. In particular, I repeatedly read that women are viewed as property in the societies described in The Joys of Motherhood. A woman is the property first of her father, and then of her husband. If her husband dies, her husband’s closest male relative inherits her and her children. Nnu Ego’s mother, Ona, belongsc to her father and was forbidden to marry. Nnu Ego belongs first to her father, then to her first husband (with whom she had no children), then to her father once more, and finally to her second husband, Nnaife. As her owners, these men could beat her, chastise her, and force her to do things against her will. She is expected to cook, clean, raise children and be respectful—even reverent—of her husband, father and male children. In return, she is provided with a home and access to food, clothing and other necessities.

When I read Things Fall Apart, there was a fair amount of discussion about the difference between the European dowry system and the African bride price custom. Whereas in the dowry system a bride’s family must pay the groom to marry their daughter, a bride price means that the groom’s family must pay for the privilege of marrying the bride. In both systems the woman is objectified, but we agreed that the bride price system was better because it seemed to value the female more than the dowry system, in which she is seen as a burden.

While reading about marriage in The Joys of Motherhood, I came to doubt this assumption. Emecheta presents the bride price as the purchase of a woman from her family, which entitles him to the many benefits that come with having a wife. Even Nnu Ego’s name reflects the way women are perceived as objects within an economy, to be traded from father to husband when the time is right; her father said “That should be her name, because she is a beauty and she is mine, Yes, ‘Nnu Ego’: twenty bags of cowries” (26). A woman’s value is based on her family’s social status, the number of children she bears, especially male children, and her youth/beauty. Men, on the other hand, “are never ugly” (75); “A woman may grow ugly and old but a man is never ugly and never old. He matures with age and is dignified” (71). To express his daughter’s value and his own wealth (which are intertwined) upon her first marriage, Nnu Ego’s father sends her off with an array of animals, people and objects. The practice of having a bride price affects the husband’s perception of his wife’s role. As Nnaife says to Nnu Ego early in their marriage, “Did I not pay your bride price? Am I not your owner?” (48). I squirmed with discomfort upon reading such dialogue, as well as less direct descriptions of this inferior position of women. Though for the most part the female characters seem to have internalized their oppressed status, there are occasions in the story when a female character (mostly Nnu Ego) challenges this role, and these few moments give me hope that perhaps the system will change—if not within her lifetime then for her daughters. 

Sula 1st half by Narolyn Mendez

Narolyn Mendez

Sula

            Reading a novel by Toni Morrison is similar to being a detective in how you have to search for the meaning that is attached to a sentence or passage. Sometimes you’re forced to read a passage or sentence multiple times because of the complexity and significance her analogies and metaphors carry. They’re filled with so much meaning that so much is intended without blatantly saying so. Morrison uses adjectives to describe a scheme of feelings, situations, relationship and people in ways that are almost unimaginable. While reading Sula, Morrison’s unique style and one of a kind and uncommon descriptions by way of adjectives and analogies is very much evident and dominant from page to page.

At times she presents events that although the reader knows is loaded with meaning is not very clear until further explanation is given. An example of this is Eva’s killing of her son Plum. All the trouble of picking up her own weight and going down the stairs with one leg on crutches does not make any sense until she sets him on fire. Naturally the shocked feeling of how a mother could possible commit such a monstrous act leads way to many questions. A mother is the person that usually is responsible to give a person life and taking it away seems like the drastic opposite.

Plum’s drug addiction did not make him the ideal son that every mother wanted to have but it did not make him a necessarily bad person either. Many say that there are not many things that can compare to a mother’s love, because of how immensely deep and unconditional it is. Killing seems to exemplify the opposite of what love is, usually an act of hate that spews from deep dislike and threat. Although this is predominantly the negative connotation that is associated with killing, it might be an act of love also. Eva gives Hannah a very emotional explanation when she says, “ After all that carryin’ on, just getting’ him out and keepin’ him alive, he wanted to crawl back in my womb and well…I ain’t got the room no more even if he could do it.” (71). Eva obviously loved her son very much, the way any mother loves her son or maybe even more, and how she cared for him in the beginning of his life is evident of this. The passage speaks to how Eva loved Plum so much that she just could not bear to watch him grow dependent on her all over again because of his addiction to drugs.  His dependency made him a child all over again in her eyes and she had raised a man with dignity and respect. Plum’s actions demonstrated the opposite of this and so it was heart-breaking for her.

            Eva never stopped loving her son, but some things are not matters of the heart and love is not always blind. She states,“I had room in enough in my heart, but not in my womb, not no more.”, which is proof of this ( 71). It seems that she looked at her son and recognized all she had ever given him in love and life had gone to waste and since she had given him the beautiful gift of life, she also had the power to take it away. She had the power to take him out of his misery that she much less than he, had the ability to accept.

Although all of this might be Morrison’s intended meaning, it is one that is hard to agree with. It’s hard to say if killing out of an act of love is actually helpful for someone like Plum that was an addict. It would have been easier to recognize how much love was in the act if Eva would have tried to intervene with his problem or had tried different solutions to get him sober. Her insistence would have spoken clearly to the reader, but killing is such a drastic alternative that it is hard to see just how much love Eva, as a mother had for her son.

Clara Boothby, 2nd Half of Sula

            Having so recently read Passing with the dichotomy of Irene Renfield and Clare Kendry, I was tempted to categorize Sula and Nel’s friendship as another pairing of opposites.   I could have simply pigeonholed Nel as the equivalent of Irene, the family-oriented, lady of bourgeois society, and Sula as Clare, the homewrecker with no emotional connection to family.  At the end of Sula’s life, even Nel sees herself as Sula’s polar opposite as she argues bitterly with Sula who is on her deathbed.  Nel insists that Sula wouldn’t be selfish if she was a mother (142) and she takes a shot at Sula for being unable to “keep a man” (143) in the same ways that Irene accused Clare of being selfish and laughed at her sham of a marriage. 

But if I had taken that perspective, this journal entry would have been a great deal shorter and more boring.  The strange thing about Sula is that it wouldn’t let me neatly categorize Nel and Sula as I’d been able to do with Irene and Clare.  Interestingly, the Sula gave Nel in response to her condemnation echo some things that Nel had thought herself earlier in life.  For example, Sula is proud of owning herself and says, “Girl, I got my mind. And everything that goes on in it. Which is to say, I got me” (143). Sula’s independence and embrace of self flies in the face of Medallions conventions as they are voiced by Nel.  The independent Sula does not keep a man, like the rest of the women of medallion, nor does she want to; the independent Sula is not lonely, even when she has no one but herself, because she finds her own mind to be a satisfying companion. 

 But as Nel was commenting that Sula must get lonely without any connections to husband or family, Nel forgets that as a young girl, she had been delighted by the idea that she only belonged to herself, “‘I’m me. I’m not their daughter. I’m not Nel, I’m me. Me.’ Each time she said the word me there was a gathering in her, like joy, like power, like fear” (28). Nel loved the freedom of being detached from her mother and grandmother, and was empowered by the knowledge that she was herself.  This old declaration of self from Nel’s childhood is sharply contrasts her condemnation of  Sula’a satisfaction with owning only her own mind.  If Nel’s childhood hides the same declaration of “Me-ness” that she scorns as an adult, I have to question if Nel was really meant to be cast as Sula’s opposite.  Although Nel’s words make her sound like another upright woman who follows Medallions’ conventions, her actions cast a subtly Sula-like attitude.  The way Nel’s children are barely mentioned in the narrative indicate that she is somewhat detached from them. After Jude commits adultery and leaves her, Nel is unable to cry for her husband, and later she finds that she never missed him to begin with.  It is Sula who Nel discovers she had missed the whole time.  Nel was more like Sula than she was ever like the family oriented woman she appeared to be.  Nel’s image as a good mother and wife was a façade that her upbringing had imposed on her, as Sula tells her, “But my lonely is mine. Now your lonely is someone else’s. Made by someone else and handed to you. Ain’t that something, a secondhand lonely” (143).

Sula is a book that challenges the reader’s belief that the world is divided into extremes, so there must be more behind Nel’s relationship with Sula than the shallow interpretation that Nel and Sula represent complete opposites.  Once Nel discovers that she was more like Sula than any other woman in Medallion, she muddles the seemingly distinct roles of the upright woman and the renegade.  

Sula Entry (first half) by Gisell Vasquez

After reading the first half of Sula, what impacted me the most was the realization Nel had that she is her own person. This passage, found on page 28, seemed to have been plucked out right from my own memory. I once had a very similar experience in which I realized that I was independent and not a part of my parent’s lives or the part of the lives of people around. I was very young, around 7, when the thought just seemed to plant itself in my head. I realized that I could make my own decisions and have my own opinions without looking to my parents for approval. I can recall the first decision I made was what clothes I would wear for the day. In retrospect, it was the most inconsequential of decisions, but at the time, it was life changing. Nel’s experience very much mirrors my own. She looks in the mirror and says to herself: “I’m me. I’m not their daughter. I’m not Nel. I’m me. Me.” Although those were not my exact words, it was the same thought I had.

            For me, this new found identity brought a freedom that I hadn’t felt previously. I feel like this is the same thing that is happening with Nel. She decides then and there that she wants to be accomplished. She prays to Jesus to make her wonderful. She decides she’s going to go places and see things. Nel wants to get out of Medallion and at this time, this is her ultimate goal.

            This point in Nel’s life is one that I believe all people can relate to. The point where you say to yourself “I am my own person and I will have accomplishments”. Although the passage had a more morose tone to it, I couldn’t help but smile while reading it because it reminded me of my childhood and all the plans I made for myself. Some I have achieved while others have fallen off my bucket list, but the feeling of wanting something badly and making it a point to recite it to myself while looking at my reflection in the mirror is something that is etched in my memory. While reading that one part in the book, I imagined it was me who was living in that moment.

Caitlinmarie Ramirez- Sula Reading Journal

            My initial reaction on the scene where Hannah burns is to be reminded of when Eva burned Plum. The burning of Hannah is very different than Plum’s in that Hannah does not burn at the hands of her mother. The two are similar in that Eva was aiming to save her children in both situations and both her son and daughter die. In a sense the two are saved by going to the safest place available to them which is heaven. This theme of heaven as a safe haven is often seen in slave narratives where African Americans would be eased by the idea of their hardship someday ending in death. Mothers would tell this to their children who’s live had just begun as something to look forward to. For me this relates back to whether or not Eva’s burning of Plum was justified and to me it was.

            Plum had reached the bottom of a downward spiral and was lying in stagnation. He was hooked on drugs and clinging onto better times. There was no future for him and Eva knew this. The way I see the scene where Eva burns Plum he is almost like a phoenix. Before Plum is set on fire “He opened his eyes and saw what he imagined was a great wing of an eagle pouring a wet lightness over him. Some kind of baptism, some kind of blessing, he thought (Toni Morrison, 47)”. Eva is pouring kerosene over him but at least Plum is in a state of peace. Unlike Plum, poor Hannah is awake for her burning and feels the “agony so intense that for years the people who gathered ‘round would shake their heads at the recollection of it (Morrison, 76).” But Hannah also gets baptized when Mr. and Mrs. Suggs throw the water on her, the only difference is it causes more harm than good because it “seared to sealing all that was left of the beautiful Hannah Peace (Morrison, 76)”.

The fact that Hannah’s burning was not done by Eva’s hand and was portrayed as more physically painful makes me see Plum’s burning as smaller than Hannah’s. Many would see Eva’s act as insane but her intentions seemed to be just considering that her type of love is different than the typical definition of love which states that providing your child with necessities is love. Even if there was no playing with the children it was only because she lacked the luxury to do so as a single mother. Also it is not as if Eva does not show Plum indifference before the burning. She takes him and rocks him in her arms and remembers him as a child; she even cries for him. “Eva lifted her tongue to the edge of her lip to stop the tears from running into her mouth (Morrison, 47)”.

            Another important thing about Hannah’s burning is that right before it happens Eva is reminded of the dream “of a wedding in a red bridal gown until Sula came in and woke her up (Morrison, 73)”. White wedding dresses are typically worn as a sign of virginity and it was well known that Hannah Peace was well like but also promiscuous. Perhaps her burning is symbolic of retribution of her sins. She is described as a “flaming, dancing figure (Morrison, 76)” which has a very tribal undertone to it. Dancing is normally done at time of celebration. Also the fact that Sula is the one who wakes of Eva after the dream is foreboding. It seems to be foreshadowing of the traitorous act that Sula later commits against Nel by having sex with her husband. This can be brought to the final point of the scene where Eva notes that Sula witnessed her mother burn and just watched it seems “because she was interested (Morrison, 78)”. I often see Sula as an evil character because even though she can be sympathized with because she heard her mother say she doesn’t like her, she does nasty things later on. Here she watches her mother burn without any attempt to call for help or call an ambulance. Later on she will show a similar lack of compassion to Eva by placing her in a nursing home and taking over the Peace house.

Assignment Update

Dear students,
Thanks for the postings thus far on Sula and The Joys of Motherhood.  I'm enjoying reading them!  I will make comments in the "comments" sections of your posting once the rest of you get yours up, as well.  Try to do that soon.

Assignment update:  Since I was still sick on Wednesday, just continue with the same assignment I posted on Monday for this coming Monday, Oct. 31st.  And since it is Halloween, feel free to dress in costume and/or bring treats (or tricks) to share.   The assignment in review:  Groups 3, 4, 5. come prepared to discuss your passages from Sula to the larger group.   Everyone should bring the new book, The Joys of Motherhood, reading as far as you can.

And don't forget to look at the film schedule -- we have a showing scheduled for next week.

Regards to all, and see you on Monday --
Professor Hinton

Kimalee Blake- Reponse to Katherine Delgado

After reading Katherine Delgado response to The Joys of Motherhood, I cannot help but agree. This story is very touching and when you started, “When Nnu Ego loses her baby, I almost cried with her,” I too got a little teary eyed because as I mother I would go insane if I was to lose my child, especially after bonding with my child. I also agree with you when it pertains to the men in this story because I too believe the women are suppressed and overpowered by men. The fact that the men can keep and drop any women they feel like without the women having a say in the manner is total domination.  

The Joys of Motherhood - Katherine Delgado

Reading the first few chapters of "The Joys of Motherhood" has left me in Awe. This story begins with the "end" and goes back to what led it there. When Nnu Ego loses her baby, I almost cried with her. I couldn't believe that after having married Amatokwu, whom she was madly in love with, but ended up divorcing because he replaced her. Nnu couldn't bear children with him, and after marrying a man she didn't even know and despised after, she was blessed with motherhood. But her chi took him away from her after just weeks of having received him. This story hit home, because I know the pain that people go through when they lose a pregnancy that they wanted so much. But other than the sad story that Nnu Ego goes thru (up till chapter 6) there are many elements of feminism in this story. Buchi Emecheta writes about women who are suppresed and overpowered by men. The only character that possibily stands out as not being suppresed is Nnu Ego's mother, Ona. She was apparently liberal and didn't marry Agbadi. He was her lover and had him praising the ground she walked on because she was forbidden to him. Yet she was being oppressed by her father. Her father didn't allow her to marry and it was said that if she had a son, then he would have to carry on Ona's father's name. With this it almost seemed like the men held the power in the novel. Yet there was this line, said by Cordelia, "Men here are too busy being white men's servants to be men. We women mind the home. Not our husbands. Their manhood has been taken away from them. The shame of it is that they don't know it. All they see is the money, shining white man's money" (51). And so it's interesting to see that though the men think they have the power over their women, the white man has power over them. A few passages before Nnu Ego tells her husband, Nnaife, "I want to live with a man, not a woman-made man" (50). This line reminds me of Woolf's idea that a man needs to me man-womanly and a woman, woman-manly. This is an idea that I think Nnu Ego would strongly disagree.

Jasmine Nieves Second Half of Sula

I could not help but to realize that in Part two, on chapter 1937, there is a drastic change on the character Sula. This is where the reader gets the idea that she is no longer the same person as she was before. The opening chapter explains her visiting Eva, after being gone for quite a while. This is where we get an image of how many years has passed since the two have met, when Sula asks the following to Eva, “Don’t you say hello to nobody when you ain’t seen them for ten years?” This demonstrates Sula’s tone which is forward and direct. This quote also signifies the tension that will start to mount between Sula and Eva, and how Sula’s attitude shifts drastically (91).
As the chapter progresses, Sula’s and Eva’s conversation becomes more intense. Sula adds constant stabs to her remarks against Eva. She starts to fight back towards Eva’s hostile personality, “Which God? The one watched you burn Plum?” (93). This question is an attack towards Eva’s previous remark, “Pus mouth! God’s going to strike you!” This conversation between these two women is highly significant because it shows the route that Sula is taking, and that is the route to rebelliousness. It further demonstrates how Sula’s character is growing, which was a surprise because I had the idea that she was going to stay the same throughout the novel.
Another important factor in this conversation is that both women do not deny the accusations that are being thrown at them. Sula blames Eva for burning her son, whereas Eva blames Sula for watching her mom burn to death. This shows that these two women represent guilt, but that it is something that they are not able to express so forwardly, instead they blame each other for the guilt that they possess inside. Finally, this conversation signifies Sula’s end to innocence, and the beginning of her achieving whatever she wants.
That achievement is when she beds her former best friend’s husband Jude. Sula’s intention was not to end Nel’s marriage with Jude. It was to demonstrate a change in how women should feel and think, and that they should not feel pressured into the norms of marriage. They should not have constraints on what they want to do with their lives. This idea manifests into Sula’s ultimate character towards the end of the novel. She develops an intense transformation and eventually affects those that are around her.

First Half of Sula- Kathleen O'Donnell

Choice and Choosing in Sula

I’ve heard that Toni Morrison is a “love or hate” kind of author. Her simplistic writing style can either win people over or deter them from reading any other piece of her work. Halfway through Sula, I’m not convinced either way. I do enjoy the drama and characterization, but I find myself wondering why on earth people are burning to death and how it could have happened so suddenly. Despite my personal woes with Sula, I have found an interesting theme throughout Part One of the novel: Choice.

Life up in the Bottom of Medallion is not very glamorous. For years, all of the black families that live there have struggled to make ends meet. Though their circumstances are not surprising, their experiences lead to an age-old question: Do we determine our own futures or are they determined for us by society, destiny, or some other unknown force? The choice of the families of the Bottom is maybe not to change their paths, but to make the most of them. In some cases, that’s all they can do.

On a deeper level, the characters in Sula make drastic decisions throughout their histories. There are the older women, Helene’s mother and Eva,who make drastically different choices regarding their children. Helene’s mother is distant and abandon’s her daughter early in her life. Eva, on the other hand, abandons her children for a short time only to return and a build a life for them that previously seemed dismal. The ideas of sacrifice and pride are put at odds with each other with these matriarchal figures in the text.

Hannah, Sula’s mother, and Helene, Nel’s mother are also very contrasted characters. Helene runs an ordered household. Dirt and grime bother her and she is supremely happy that she only has to see her husband every once in a while. Hannah on the other hand, is more of a free spirit. Her house is the epitome of busy with tenants, stray children, and her own mother and daughter. She frequently has lovers and craves the consistent company of men. Their choices affect their families and as Part One draws to a close, it seems as though Nel and Sula’s personalities and futures have been chosen for them by their upbringings.

Nel and Sula’s decision to become friends might just be the most important choice they ever make. With all that is sure to come in part two of the book, the choices in their adult life will strongly affect their lives and those around them. Thinking of my own struggle with Toni Morrison, I choose to keep reading and find out the fate of the two heroines.

Sula by Deja Murrain

One particular part of this novel that stuck out to me was the relationship between Sula and her entire community. I found it extremely captivating how a group of people who had so much in common at the the time could be so against one person, Sula. It made me think of High School and that idea of bullying or singling a person out for some odd reason or difference. You have an outcast or that one person who refuses to conform to societies agenda and he or she is singled out as a result of it for the rest of their life! This is how I view Sula.

She is described as "evil" because she did not fit the ideal role of a woman during this time. Yes, she was very promiscuous and bold in her character but so were other characters. One example being that of Ajax, another character who slept around just as much as Sula but was never singled out or scrutinized for it. This also made me question this issue with sexism and how it still applies to our society today which also leads back to our diagram on the id and the ego.

However, I believe Sula's brazen character is a direct result of her upbringing. For an example, she overhears her mother (Hannah) confirm that she "does not like her daughter but she loves her." After hearing something as harsh as this as a child there is no wonder that Sula loses her childhood innocence and completely rebells because of it. I always believe that such instances stem from the home, the parents, the roots and Sula is a perfect example of this.

The community claims Sula to be evil but she is only evil because they raised her to be that way.

Wednesday, Oct. 26, Assignment

Dear students,

I'm sorry to report that I am home sick today. Yana said she would post a sign on the door, and I asked her to tell you to check the blog here for your assignment.

Your assignment for Wednesday is the same assignment we had for today: to finish Sula and start (get as far as you can reading) The Joys of Motherhood. BRING BOTH BOOKS. On Wednesday, we will pick up with the group discussions from last week, giving Groups No. 3-5 time to present their textual passages and discuss their viewpoints. Then, we will examine the topic of "the historical mother" -- mothers, and daughters, as cultural images -- before starting our lecture on and discussion about Buchi Emecheta's novel.

You might take this opportunity early this week to post your assigned blog entry (a journal entry on either Sula or The Joys of Motherhood). Thanks to Kimbalee for getting the process started, and for your moving testimonies on behalf of Clem and his family.

My best to all,
Prof. Hinton

1st half of Sula By Kimalee Blake

After reading the first half of Sula, I was amazed as to all the drama one person can make to a whole community. The person that captivated my attention from the beginning of the book was Sula herself. The community said, “Sula’s mother was sooty” (29) and as a result, parents do not want their children around Sula because of the reputation her mother carried. Then Nel, one of the other children in the neighborhood started to befriend Sula but her mother Helene states, “Her daughter friend seemed to have none of the mother’s slackness” (29). Meaning, Sula had manners and completely proved everyone was wrong about her especially her only friend mother.
However, as I continued the text, I began to feel as if Sula is similar to her mother but that part of her is waiting to reveal her true self. For instance, Sula’s mother states, “sex was pleasant and frequent, but otherwise unremarkable…so she watched her mother’s face and the face of the men…” (44) By her mother discussing sex with her, which is all she is around, she might be curious at some point in her life. Nevertheless, the fact that her mother behaviors might rub off on her because if someone is around another person for a long period of time, a few of their characteristics will become the other person’s characteristics without them even knowing. “…Sula, who could hardly be counted on to sustain any emotion for more than three minutes” (53), therefore one can assume Sula more than likely picked up the characteristic of not showing emotion from her mother.
As the first part of Sula approach to an end, I still have unanswered questions when it pertains to Sula. Questions such as what becomes of Sula’s and Nel’s friendship? Do the community view on Sula and her mother ever change? And finally, does Sula eventually become her mother? These are just a few questions that I hope will be answered by the end of the text.

Remembering Clem Healy by Deja Murrain

First I would like to thank Gregory, Clem's son for sharing one of the most amazing pieces of his father with us all, his mind and his soul. Clem's determination, hard work, and perseverance is something to be admired by us all, especially me. Reading his paper brought tears to my eyes at the beauty and precision in which he wrote so passionately. Clem was such an inspiration to myself and several of my classmates. The little time shared with Clem was definitely represented in the presence of his strong spirit. It was almost as if you could feel something special sitting in that room, it was your father. It was his courage, his intelligence, and his victory at fighting one battle with another. Clem's legacy and his achievements will forever be a reminder to me that in life you must go after even your wildest dreams no matter what's holding you back. If Clem did it then I too know that I can do it too. I am extremely proud and excited that Clem completed his degree, he deserves all the praise and more. In Clem's poem he worries that his passion for knowledge and the world around him will remain dead but to be honest it lives through us all, always will he be remembered.

In Memory of Clem Healy by Jasmine Nieves

I just want to thank-you for being who you are and fighting for what you believed in. I want to take a few moments to say that I appreciate the dedication that you had in continuing your studies. Your story is what makes us students stronger each day, the idea that no matter what obstacles we may encounter we are able to overcome them just like you had. In your poem you wrote, " I ask is there a place out there for me," and well the answer to that is pretty clear, yes Clem there is a place out there for you. Though it may not be right here with us at the moment, right above us there is, and heaven will open its arms to you indefinitely.

Dustin R. Tabeta

Before I post my journal entry, I'd like to say a few words to Clem's son, Gregory.

"Death is the most sophisticated form of beauty, and the most difficult to accept."
~ Simon Van Booy

Gregory, it was a pleasure to share a classroom with your father these past couple semester. His insight and wisdom was always well received and greatly appreciated. I was heartbroken when I heard the news. Thank you for sharing his poem and journal entry, they were lovely. I hope these words find you. My heavy heart goes out to you and your family.

My journal entry

Journal Entry #1
My first read through chapter one of Virginia Woolf’s A Room of One’s Own was a confused one; a lost one filled with anxiety. I felt the narration haphazard, scattered, and puzzling. Then I realized the narrator’s puzzling ways was an emphasis to her thesis. The title refers to a woman and fiction and what is needed in order for those two elements to coexist (she speaks about writing, but I feel reading is just as sacred a process), but my personal reading of it (being on the train) proves her title is not closed to just women, but can ring true all who try to enjoy fiction. Fiction, the reading and writing of, allows one to leave the place they are in and enjoy another for a while, and a room of one’s own is a fundamental necessity. Chatter, television, traffic, and visuals are distractions that disable your full concentration. Even a silent room full of people can be distracting to some. It brings to mind one of my favorite author’s, Simon Van Booy. In his short story compilation, Love Begins in Winter, at the end of his book in a section titled, “How to Find a Story,” he writes:
I go somewhere (generally in winter when tourism lulls) with no idea whatsoever for a story. Then after I’m settled into a hotel, I begin walking the streets. Sometimes I walk all day - sometimes all night, sometimes in the rain (Stockholm for “The City of Windy Trees”), sometimes heat (Las Vegas for “The Missing Statues”) and occasionally in heavy snow (Quebec City for “Love Begins in Winter”). This is one of the most enjoyable parts to building a story because the key is NOT to look for a story but to simply be open to the idea of wandering around and just lingering - like a peculiar odor…For a place to yield a story, I must travel to it alone, always alone. If I am to meet a friend there, it must be someone who will allow me to be alone and who understands the need for silence and total secrecy. All writers live a secret life. All writers are spies…Only in solitude do I realize the true value of life.
He continues, reverberating Woolf’s necessity for privacy. I returned to my apartment and gave the chapter another go, but this time in the solitude. It must have been the combination of having read it once before and the comfort of my apartment that allowed me to better digest the work. Woolf’s character is continually distracted by some entity or another which bars any though process to fully develop. Reading is the same; your mind is engaged and developing thoughts about what is being read, and for distractions to pop every now and again forbids any engagement or development of thought. Woolf maybe should have began her book with a disclaimer; a sort of subtle forewarning: Listen to the Title or something to that degree. She ends the chapter with thoughts about entrapment: “how unpleasant it is to be locked out…how it is worse perhaps to be locked in” and continues with ideas of the lack of tradition and how writers must create some for themselves. It seems as if Van Booy is a student of Woolf’s essay; she says one needs money and a room of one’s own and Van Booy has just that: money to travel (neither locked in or locked out) and a room of his own in every city he visits.


--
Dustin R. Tabeta

Remembering Clem Healy
Post 2

Eulogy for a Father – Clem Healy

By Gregory Healy

The following was sent to me by Gregory along with his dad's essay / journal entry on Virginia Woolf -- as well as this photograph. Gregory agreed I might post his eulogy to his father here, along with the poem at the end, which Clem wrote. -- Prof. Hinton

I've been pondering for days what to say about my father. The "things" done are external measures of the man and I will not repeat what an obituary can detail.

I've spent some days reading his school papers and am proud to report repeated comments by professors appreciating his incredibly dry humor, creativity, enthusiasm, honesty and admiration of his desire and commitment to get things right.

I've smiled at the happy memories that my friends have sent reminding me of my dad's willingness to share our household - Fall Sunday afternoons watching/lamenting the Giants while eating home made chili, Spring & Summer fishing trips on Long Island Sound where, on occasion, we even caught a fish and our home’s back door that friends knew was left locked.

Most of you know that dad had lived with Seren & myself for the past 2 1/2 years and it is time for which I am very grateful to God. Dad spent time traveling to Austin to see Martia & her family. He spent weeks at Carrie & Joe’s enjoying Daniel, Jonathan & Joanne while continuing to work on papers. He roamed about New York City getting to explore museums & institutions he’d not had time for in years past. When I could drag him away from his school-work I was able to take him to see the Giants, Knicks & Mets. He still hated the Yankees. I am thankful that, as a family, we are not wracked with regrets of things not done or words left unsaid.

I think the truest measure of my dad as a man is found in a paper he'd written last year for a class titled "Journey to Redemption". In it he answered a question I'd asked him a couple of years ago - how was he able to beat an addition that has felled so many others? I will read some of his words that provide the answer and also tell us what my dad thought was important and lasting...

"How did I manage to come to terms with the fact that the path to a better life required letting to of my personal support system? It had become clear that the real choice was a loving relationship with my three children, or a love affair with alcohol. I chose the children. It took a long time to regain my children’s respect (I like to believe I had never had lost their love). I give thanks to my higher power on a daily basis, and there is no fear of loosing my relationship with my children and 10 grandchildren."

Yes, dad, there is no fear of loosing your relationship with us.

****

A Poem written by Clem

When I have fears I’ll die before my time,

That feeling the Grim Reaper’s close at hand,

I find the need to put it all in rhyme,

Before my pen is stilled by Death’s command.

When looking at the sky or out to sea,

I wonder at the secrets that they hold,

I ask is there a place out there for me,

or will my love for you be left untold.

And will my sonnets words fall to the ground,

Just buried by my side and left unread,

my poetry, my love, my praise, unfound.

as with my last remains-my passion dead.

last words of love, last words of lover lost,

as when a stone into the sea is tossed.

Remembering Clem Healy
Post 1

Clement Healy -- or Clem, as he liked to be called -- told me at our first class that he was pursuing his dream of another college degree, in spite of health difficulties and a speech impediment caused by cancer. We had a wonderful email exchange the weekend after our first class -- which I would soon learn was to be his last. On Labor Day weekend he acquired a pneumonia, and this strong and resilient man passed on. His son, Gregory Healy, found this first reading-journal assignment completed in his father's room, and Gregory asked me to accept it. He knew his Dad would want his English paper turned in.

And -- Clem gets an "A".