In awarding 1993 Nobel Prize for literature African American novelist Toni Morrison, Swedish Academy called Morrison literary artist of first rank whose work is unusually finely wrought and cohesive, yet at same time rich variation. The Academy statement then applauded Morrison's linguistic achievement by proclaiming that writer delves into language itself, a language she wants liberate from fetters of race. As Paul Gray correctly observes, Academy made an honorable choice Morrison, but for at least one wrong reason. Her purpose, Gray notes, is the blackness of her characters and bestow them an abstract that can understand. It is, instead, insist upon particular racial identities of her fictional people - black women and men under stresses peculiar them and their station U.S. - and to break through limitations and prejudices of those lucky enough read her fiction (Gray 87). Indeed, what is so problematic about Swedish Academy's statement is that search for abstract universalities only justifies, but also necessitates, what British scholar Raymond Williams calls of essential. Williams posits that traditional notion of typicality literature is in effect a rendering of 'universals,' those characteristics which purport be permanently important elements of human nature and human condition (101). The problem with upholding traditional definition of typicality, Williams suggests, is that, instead of looking at social and historical reality as a dynamic process, people, seeking out permanent elements of human social situation, gravitate toward not only recognition of essential but through this recognition . . . its desirability and inevitability (102). African American feminist scholar Mae G. Henderson sees problem of the rhetoric of universality be as cultural as it is political. Rather than canonizing any voice, including African American voice, Henderson would prefer the privileging of difference, or multiplicity of 'interested readings,' order resist the totalizing character of much theory and criticism - readings that can enter into dialogic relationship with other 'interested readings' - past and present. Henderson remains concerned that the rhetoric of . . . has excluded gender, race, and class perspectives from dominant literary-critical discourse as well as socio-political centers of power, and she observes that the reduction of multiplicity undifferentiated sameness . . . has empowered white feminists speak for all women, black men speak for all blacks, and white males speak for everyone (156).(2) Indeed, contrary what is suggested Swedish Academy's statement about Toni Morrison's achievement with language, best writings African American literature are those that use languages that transcend African American experience, but those which are inspired by what Morrison calls huge silences literature, things that had never been articulated, printed or imagined (M. Brown 6A). The best writings African American literature challenge cultural, political, and social configuration of literary voice America with their insistence on celebrating African American cultural heritage. As Morrison once told a reporter from New York Times, My world did shrink because I was a black female writer. It just got bigger.(3) To understand ethos of contemporary African American literature is, therefore, reappropriate our understanding of dialectical relationship between specificity and and between marginality and centralization; appreciate contemporary African American writers' accomplishments is understand importance for African Americans achieve what Houston A. Baker, Jr. …
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