Abstract
This essay argues that Toni Morrison’s lean art of storytelling in God Help the Child is evocative of a synesthetic experience. Synesthesia is defined as a union of the senses; it is a neurological condition in which the five senses are not locked into their separate channels but are intertwined in any number of ways. This is not to suggest that any one character in the novel is a synesthete; rather, Morrison’s handling of color offers a distilled, yet cross-sensory vision of pain and trauma saturated with chromatic pigmentation. This essay contextualizes Morrison’s turn to color as an alternative signifying system in God Help the Child with her earlier work, revealing a sophisticated improvisation of narrative and color.
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