Paris Review interview

 

Toni Morrison

When Keith Jarret plays “Ol’ Man River,” the delight and satisfaction is not so much in the melody itself but in recognizing it when it surfaces and when it is hidden, and when it goes away completely, what is put in its place. Not so much in the original line as in all the echoes and shades and turns and pivots Jarret plays around it. I was trying to do something similar with the plot in Jazz. I wanted the story to be the vehicle that moved us from page one to the end, but I wanted the delight to be found in moving away from the story and coming back to it, looking around it, and through it, as though it was a prism, constantly turning.

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Nonsecular: William Faulkner, Gabriel Garcia Marquez, Toni Morrison

… Nonsecular isn’t the first word I’d reach for when it comes to these three — it’s close, but not quite spot-on.   But then no other words seems spot-on either.   How to describe that particular combination of the matter-the-fact and the over-the top…

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About This Project

An Open Source Platform exploring extended networks through many channels: from the cultural archives circulating across the Atlantic, the Pacific, and the Caribbean, to dynamic interactions . . .

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On Wiki

Color photo of Richard PowersColor photo of Ruth OzekiColor photo of Agha Shahid AliColor photo of Edwidge Danticat

On Facebook

Black and white photo of Elizabeth Bishop and Robert LowellBlack and white photo of Langston Hughes, Mikhail Koltsov, Ernest Hemingway, Nicholas GuillenBlack and white photo of Nina Simone and James BaldwinBlack and white photo of Toni Morrison and Alice Walker

 

Graduate Conference, April 11, 2014

Our four panels this year were “Natives and Migrants,” “Bilingualisms,” “Ethnographies of Material Life,” and “The Environmental Turn,”  also workshops with Gordon Hutner, Editor, American Literary History,  and Lan Samantha Chang, Director, Iowa Writers’ Workshop.

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