Here is a lesson in the fact that people are products of their environments; they are not necessarily products of their cultures, but of their immediate environments. How does Morrison use history to portray her stories and her characters?
Hannah had sex, casual quick sex, with men all the time, and Sula saw that and figured, hey, that's how it works. How did Morrison become known as one of the premier African-American authors in America?
Sula in fact persuades Nel to join up with her in order to confront the bullies on Carpenter's Road; and when Sula shows the guts to pull her grandma's paring knife from her pocket and slice a piece of her finger off, the boys star "open-mouthed at the wound" (Morrison 54).
If I can do that to myself, what you suppose I'll do to you? Nel is impressed, the boys back off, and a feminine-strengthening act by Sula helps build an even stronger friendship between Sula and Nel.
Nel's twig breaks though, and she throws it into the hole; in order to move into a closer bond with her friend, Sula breaks hers on purpose, and throws it in.
They both "replaced the soil and covered the entire grave with uprooted grass" (Sula 59). So very kind and warm though that child-driven scene was, Morrison did not let the two continue on such a soft path later in life.It’s almost like learning a foreign language: at times difficult, yet once understood, revelations and insight are new awakenings to a world around us which we previously were asleep in.Denial of it’s very existence is detrimental to the overall history and comprehension of America, as Toni Morrison confirms that “a criticism that needs to insist that literature is not only “universal” but also “race-free” risks lobotomizing that literature, and diminishes both the art and the artist” (“Playing” 12).African American critical theory is one of the most diverse modes of interpretation to explore in literary works.Because of its history, subject, and interpretation, African American critical theory is equally complex and, often times, confusing.And along with that morality Sula had "no thought at all of causing Nel pain when she bedded down with Jude." Jude, of course, left Nel - in the same manner as Boy Boy left Eva earlier in the novel - and with Nel now living alone, she had plenty of time to reflect on how Sula had hurt her.As for Sula, she had grown up in a house "with women who thought all men available" (Sula 119) so why wouldn't she just take what was there when it was available, as Jude obviously was? Bloomington, in: Indiana Toni Morrison What meanings can be attributed to the literary accomplishments of American author Toni Morrison?Nel narrates to her husband Jude, saying that she expected Sula to "..one of those lovely college words like aesthetic or rapport, which I never understood but which I loved because they sounded so comfortable and firm" (Sula, 105).As Sula sat naked on the bed, "not even bothering to put on her clothes" because in reality she didn't need to; "she didn't look naked to me, only you did." This embarrassing scene would keep the two women from being as close as they once were, and Morrison "deconstructs the affair in light of Sula and Nel's friendship." Clearly, Sula marches to an "alternative morality," as Fulton puts it; Sula has "no affection for money, property, or things, no greed, no desire to command attention or compliments - no ego" (Sula 119).Meanwhile, Nel and Sula stroke blades of grass "up and down, up and down," which is an obvious sexual pantomime.Nel finds a nice twig and strips the bark away so what's left is "a smooth, creamy innocence." Sula follows suit; and when both twigs were "undressed" Nel moved into the "next stage" (then joined by Sula) as both eventually began poking their bark-less (phallic-inspired) twigs "rhythmically and intensely into the earth." Each started with a separate hole, but in the end, "..two holes were one and the same." That is a very erotic scene, one that can cause arousal in the reader, and yet at the same time, it is entirely innocent, and brings with it the theme of genuine feminine sweetness.