Abstract
ABSTRACT Examining America’s racially-integrated army during the Korean War, Toni Morrison’s Home (2012) debunks 1950s orientalist biases and views of transnational supremacy. Further, it interrogates domestic nationalism and racism. Protagonist Frank Money’s social status along with his complacent gaze at race and gender changes according to the disparate geopolitical environments he encounters. His self-serving monologue confirms his identity as a “strong good Self” in both Korea and America. Therein, he metaphorically consumes two parallel and sexually victimized female characters: the Korean girl and Ycidra. His unconscious craving for self-vindication incurs a naïve, self-made redemption, exposing his home’s precarious foundation.
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