The African American woman has the most to complain about in America. She, after all, was brought here against her will in the bowels of a ship, raped by her master before she turned fourteen, bore his illegitimate children, fell in love with her lighter progeny, lost her mind when her children were ripped away and sold to other plantations, lashed across her back and legs when she did not submit, and forced to smile day after day beside her master’s wife.
To understand the African American woman’s plight, we must contemplate the plight of all women in America.
Most still have not achieved equity. This is tragic, especially for a country that pats itself on the back for its individual rights. No, American women don’t all wear veils and burkas, but their voices still are silenced and subjected to the will of men in power.
Blatant examples exist all throughout American society.
One example: American Catholic women have no voices. The power of the church is carefully guarded and only granted to males through church “laws” that maintain male power. When Catholic women speak, they are expected to follow the strict rules set down by Catholic men ever since the church was first adopted as the official Roman Empire religion. Never mind that, prior to the Roman take-over, Christian prayer groups were once led by women. Catholic women are not encouraged to think independently; instead, they are coerced into following orders. Like soldiers in the military: valued for their obedience, not their wholesome humanity.
In American culture, women are raped and blamed for their acquiescence. They are prevented from rising above the glass ceiling while blamed for having children. They are paid less than men who hold the same jobs and blamed for not working harder.
Even First Lady Melania Trump walks like a voiceless doll next to her husband. When she is asked a question, her answer is amended by the opinion of her husband. And so, she is silenced, muzzled.
But the African American woman has suffered some of the greatest indignities. Perhaps this is why Toni Morrison chose to be her voice. In interviews, Morrison said that she wanted to tell the story of the female slave: what being a woman was like under the yoke of bondage, the lack of having a voice or will, the scourge of being at the mercy of selfish and insensitive men.
I first read Beloved by Toni Morrison when I was a mother of two young children. Much as I wanted to appreciate the story, written by this African American professor whom I admired for her achievements, I was confused. Trying to understand how a dead daughter floated in and out of her mother’s life and then lived and haunted her mother, sister, and friends for over a year was intriguing, but what was the author’s point?
I was frustrated that I couldn’t understand the story. Was my white privilege so strong that my heart was unable to empathize with a slave woman’s experience? Was I too comfortable in my white prosperity that I didn’t really want to understand? I knew that slavery was immoral, but what else could I learn? Clearly, Morrison had pondered about the African American story for a long time. She knew a story that I didn’t know, and I longed to overcome my ignorance.
After I read Beloved, I read every Morrison novel I could find: Sula, Song of Solomon, Tar Baby, The Bluest Eye. I also read essays which spoke to the aspects of Morrison’s writing such as “Toward the Limits of Mystery: The Grotesque in Toni Morrison’s Beloved” by Susan Corey. Then, finally, I read one of Morrison’s own essays, “The Source of Self-Regard,” in which she supposes that Beloved is an intimate version of history.
Much to my surprise, Beloved is based on a true story of a run-away slave named Margaret Garner. While being pursued as a fugitive slave, Gardner slit the throats of three of her children so they wouldn’t have to return to the cruelty of slavery and endure the abuse and torture that she knew too well. One of those children died. Remarkably, Garner wasn’t tried for murder; she was tried for the theft of her master’s property. Proving that history is carved by those in power.
In Morrison’s fictional version, the protagonist is Sethe. Sethe escapes from Sweet Home Plantation with her four children across the Ohio River to Cincinnati. When the slave-catchers find her, she grabs her kids and hides in a woodshed where she slits the throats of three of her babies. Her two older boys live, but her oldest daughter dies in her arms. We never learn this dead baby’s name, but Sethe has the word “Beloved” etched into her tombstone. Her younger daughter, Denver, is uninjured.
Abolitionists succeed in securing Sethe and her three remaining children’s freedom, and she moves into a house in the community. When the boys become teenagers, they leave home, tired of their mother’s grief for Beloved and wanting to become men.
One day, neighbors find a strange adolescent girl sleeping outside of Sethe’s house, and they believe it is Sethe’s dead daughter Beloved. Sethe becomes enamored with Beloved; she cooks for her, bathes her in affection, and ignores her other daughter.
A former fellow slave, Paul D., escapes captivity and finds his way to Sethe’s house. He, at first, removes Beloved’s ghost from the house, but later, when Beloved has transformed into a more physical presence, she seduces him and becomes pregnant with his child.
Once I understood that Morrison wanted to tell the story of the female slave. I decided to read Beloved again. To hear the female slave’s voice. To feel her pain and sorrow. To experience her fear and dread. I finally felt like I was ready to understand the meaning of the story that had eluded me for twenty years.
This is what my second reading of Beloved taught me.
When Sethe is attacked in the plantation’s barn by the Schoolteacher’s grown nephews while her husband watches from the rafters, I feel her indignity—a knife thrust into the pin cushion of her femininity. They drink the milk from her breasts that she needs for her infant. Not only do they rob her of her intimacy, but they harm her child’s viability. These men violate her center, the core of her femaleness. Tragically, her husband, her one-time protector, dies from insanity, not having the power to save her, and she loses his partnership.
When Sethe takes the life of her daughter, her already weakened core responds, and she acts out of distress—trying to save her children from all the abuse that their parents have endured. At least in death, they can find peace; in a slave’s life, peace will never come.
But Sethe suffers dearly for her actions. Psychologically, she lives in anxiety, questioning whether or not she made the right choice for her child. No matter what the child’s name, the child is her “beloved.”
The pain of Sethe’s conscience is so deep that she believes that Beloved comes back to her, so that she can make up for depriving her mother’s love. This is a manifestation of Sethe’s guilt. Whether or not Beloved is really present is unimportant; in Sethe’s mind, Beloved is present, loved, lost, wanted, missed, and grieved. Beloved can also wound Sethe, and she does when she becomes pregnant with Paul D. Like betrayal, the loss of a child hurts acutely and forever.
Sethe’s suffering is raw, violent, and close to the surface. Her pain wracks her body with weakness and her soul with despair. She can barely live, and has no need for freedom after she has lost so much of herself.
At the end of the story, Sethe tells Paul D., “She was my best thing.” This means that when Beloved died, Sethe died with her. She lost her willingness to live, he ability to think without guilt or sorrow, and even her capacity to love her other children completely so that they could enjoy their free lives.
Female slaves lost not only physical dignity, but also their emotional and psychological self-possession.
Paul D. corrects her gently: “You your best thing Sethe.” What he is asserting is that she can overcome her deep grief and loss and find a way to recapture who she is. She can wash up her battered body and mind and live the present. Put the past in the past. It does not have to define her.
As an American female, I am the African American’s sister; I, too, have lived with the loss of dignity. Even though my damage does not equal the forfeiture of slavery, I have been slashed by violations, a lack of voice, and scars of discrimination.
I stretch out my femaleness, my soft center, my vulnerable heart to my African American sister so we can raise each other up, celebrate our communal bond, and feel unified. Our past does not determine our future. We have changes to make in this America.