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Toni Morrison

Toni Morrison Quotes

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Famous Toni Morrison Quotes

“Tall, head forward, eyes fastened on a rock, his arms higher than the pines, his hands holding a melon bigger than the sun, he paused an instant to get his bearing and secure his aim. Watching the figure etched against the bright blue sky, Cholly felt goose pimples popping along his arms and neck. He wondered if God looked like that. No. God was a nice old white man, with long white hair, flowing white beard, and little blue eyes that looked sad when people died and mean when they were bad. It must be the devil who looks like that -- holding the world in his hands, ready to dash it to the ground and spill the red guts so niggers could eat the sweet warm insides. If the devil did look like that, Cholly preferred him. He never felt anything thinking about God, but just the idea of the devil excited him. And now the strong, black devil was blotting out the sun and getting ready to split open the world.”

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Book:The Bluest Eye
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“... [t]he air was thinning out, as if from too much wear, not when Scout was killed but two weeks later--even before Scout's body had been shipped--when they were informed that Easter was dead too. Babies. One nineteen, the other twenty-one. How proud she was when they enlisted. She had actively encouraged them to do so. Their father had served in the forties. Uncles too. Jeff Fleetwood was back from Vietnam and none the worse. And although he did seem a little shook up, Menus Jury got back alive. Like a fool, she believed her sons would be safe. Safer than anywhere in Oklahoma outside Ruby. Safer in the army than in Chicago, where Easter wanted to go. Safer than Birmingham, than Montgomery, Selma, than Watts. Safer than Money, Mississippi, in 1955 and Jackson, Mississippi, in 1963. Safer than Newark. She had thought war was safer than any city in the United States. Now she had four unopened letters mailed in 1968 and delivered to the Demby post office four days after she buried the last of her sons. She had never been able to open them. Both had been home on furlough that Thanksgiving, 1968. Seven months after King's murder, and Soane had sobbed like the redeemed to see her boys alive. Her sweet colored boys unshot, unlynched, unmolested, unimprisoned.”

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Book:Paradise
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“Minstrelsy had virtually nothing to do with the way black people really were; it was a purely white construction. Black performers who wanted to work in minstrelsy were run off the stage or forced to blacken their black faces. The form worked literally as, and only as, a black façade for whites: whites in blackface. The black mask permitted whites to say illegal, unorthodox, seditious, and sexually illicit things in public. In short, it was a kind of public pornography, the main theme of which was sexual rebellion, sexual license, poverty, and criminality. In short, all of the fears and ambivalences whites had that were otherwise hidden from public discourse could be articulated through the mouth of a black who was understood to be already outside the law and therefore serviceable. In this fashion, the black mask permitted freedom of speech and created a place for public, national dialogue. For whites that is. On the other hand, the mask hid more ligence, and most importantly, it hid the true causes of social conflict by transferring that conflict to a black population.”

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Book:The Source of Self-Regard: Selected Essays, Speeches, and Meditations
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“Black people's music is in a class by itself and always has been. There's nothing like it. The reason for that is because it was not tampered with by white people. It was not on the media. It was not anywhere except where black people were. And it is one of the art forms in which black people decided what is good in it. Nobody told them. What surfaced and what floated to the top, were the giants and the best.”

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Author:Toni Morrison
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“It's always seemed to me that black people's grace has been with what they do with language. In Lorrain, Ohio, when I was a child, I went to school with and heard the stories of Mexicans, Italians, and Greeks, and I listened. I remember their language, and a lot of it is marvelous. But when I think of things my mother or father or aunts used to say, it seems the most absolutely striking thing in the world.”

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Author:Toni Morrison
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“Two parents can't raise a child any more than one. You need a whole community - everybody - to raise a child. And the little nuclear family is a paradigm that just doesn't work. It doesn't work for white people or for black people. Why are we hanging onto it, I don't know. It isolates people into little units - people need a larger unit.”

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Book:Conversations with Toni Morrison
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“...black women write differently from white women. This is the most marked difference of all those combinations of black and white, male and female. It's not so much that women write differently from men, but that black women write differently from white women. Black men don't write very differently from white men.”

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Book:Conversations with Toni Morrison
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“I lived in a little working-class town that had no black neighborhoods at all - one high school. We all played together. Everybody was either somebody from the South or an immigrant from East Europe or from Mexico. And there was one church, and there were four elementary schools. And we were all, pretty much until the end of the war, very, very poor.”

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Author:Toni Morrison
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“And talking about dark! You think dark is just one color, but it ain't. There're five or six kinds of black. Some silky, some woolly. Some just empty. Some like fingers. And it don't stay still, it moves and changes from one kind of black to another. Saying something is pitch black is like saying something is green. What kind of green? Green like my bottles? Green like a grasshopper? Green like a cucumber, lettuce, or green like the sky is just before it breaks loose to storm? Well, night black is the same way. May as well be a rainbow.”

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Author:Toni Morrison
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“True the Black woman did the housework, the drudgery; true, she reared the children, often alone, but she did all of that while occupying a place on the job market, a place her mate could not get or which his pride would not let him accept.And she had nothing to fall back on: not maleness, not whiteness, not ladyhood, not anything. And out of the profound desolation of her reality she may very well have invented herself.”

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Book:What Moves at the Margin: Selected Nonfiction
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“All the books that were being published by African-American guys were saying 'screw whitey', or some variation of that. Not the scholars but the pop books. And the other thing they said was, 'You have to confront the oppressor.' I understand that. But you don't have to look at the world through his eyes. I'm not a stereotype; I'm not somebody else's version of who I am. And so when people said at that time black is beautiful – yeah? Of course. Who said it wasn't? So I was trying to say, in The Bluest Eye, wait a minute. Guys. There was a time when black wasn't beautiful. And you hurt.”

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Author:Toni Morrison
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“My daddy's face is a study. Winter moves into it and presides there. His eyes become a cliff of snow threatening to avalanche, his eyebrows bend like black limbs of leafless trees. His skin takes on the pale cheerless yellow of winter sun; for a jaw he has the edges of a snowbound field dotted with stubble; his high forehead is the frozen sweep of the Erie.”

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Book:The Bluest Eye
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“Of course I'm a black writer... I'm not just a black writer, but categories like black writer, woman writer and Latin American writer aren't marginal anymore. We have to acknowledge that the thing we call "literature" is more pluralistic now, just as society ought to be. The melting pot never worked. We ought to be able to accept on equal terms everybody from the Hasidim to Walter Lippmann, from the Rastafarians to Ralph Bunche.”

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Author:Toni Morrison
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