Expanding black subjectivities in Toni Morrison’s Song of Solomon and Chimamanda Ngozi Adichie’s Americanah

Abstract

ABSTRACTDeploying the call-and-response mode as the artistic premise of her fiction, foremost African-American author, Toni Morrison, has persistently called in her criticism for a participatory, intellectual and political, engagement with her position on and concerns around blackness. Morrison’s ideas are being critiqued and expanded to reflect contemporary ‘African’ attitudes and perspectives within the contemporary Afrodiasporic writing of critically acclaimed emergent author, Chimamanda Ngozi Adichie. In particular, Adichie has, in conversation and in her most recent fiction, suggested that Africans (in the diaspora) articulate themselves differently from African-Americans. Problematized and politicized thus as contested, rather than universally accepted, subjective terrain, blackness more significantly points to the diversity and dynamism of black culture and testifies, in the current socio-political/-historical moment, to recognition of the enduring complexity of black subjectivity. In a close, comparative reading of Morrison’s celebrated novel, Song of Solomon (1977), and Adichie’s popular text, Americanah (2013) – both recipients of the National Book Critics Circle award, this essay offers a fresh, specifically transatlantic and transnational, analysis of Morrison’s African-American views on blackness through the contemporary, Afrodiasporic lens of Adichie. Guided by the dialogic call-and-response mode, and underpinned by cultural, race and diaspora theory, the essay suggests and explores the ways in which Americanah speaks (back) to Morrison’s Song of Solomon, interrogating ontologies of race, particularly blackness, through an ‘Africanness’ that takes cognizance of culturally specific and context-responsive, globalized configurations of female subjectivity in particular. In this way, this essay seeks to expand understandings of, and discussions around, black issues and black life in order not just to resituate the relevance of black cultural ontologies but, through comparative engagement with the ‘politics’ of blackness, to revive in the political consciousness and imagination their crucial significance.