by Anita Van de Ven
I was late to come to Toni Morrison. Of course, I have been aware of her for some time. Her work was on a list in the back of my mind, a list of necessary works to be read to feed my own writing. Having grown up in Europe, I wasn’t exposed to a lot of American literature, which at times feels like a hindrance, and at other times liberating.
My initial introduction to Morrison had more to do with her character than her writing. After her death, countless YouTube video’s of interviews made their way around the internet, as well as quotes and impressions of Morrison from other famous authors who had been lucky enough to meet her. She seemed to be someone who basked in her success. Someone who did not credit “the universe” with her multitude of awards. Something else that came up, was the question she was often asked about the “limitations” of writing about the Black experience. When was she going to step into the broader world of literature, and start writing about the rest of us—or more specifically, white people? The question was insulting, both the question of her ability to do so and the suggestion that the Black experience was somehow not worthy enough to dedicate a career to.
I am now halfway through Beloved. Upon reading the first paragraph, it became clear to me why this work is a classic, why it is celebrated. Her use of language is exquisite, the story is stirring and the subject matter deeply important. When listening to an interview with Terri Gross, Morrison spoke of her mother who had so beautiful a voice that people traveled far and wide to hear her sing at her local church. Morrison herself claimed that she can’t sing a note. But as Gross pointed out, her mother's musicality has not been lost—it shines through gloriously in her literature.
As a writer, I know that I will be drawing from Toni Morrison’s work and spirit for many years to come