Latest news with #ToniMorrison
New York Times
6 days ago
- Entertainment
- New York Times
You Know the Novelist. Now Meet Toni Morrison the Editor.
TONI AT RANDOM: The Iconic Writer's Legendary Editorship, by Dana A. Williams Among the Merriam-Webster dictionary definitions for 'icon' is this: 'In Eastern Orthodox Christianity: a representation … used as an object of veneration or a tool for instruction.' No writer has been churned through the iconography machine more than Toni Morrison, especially since her death in 2019. There are objects galore adorned with her image: Christmas ornaments, refrigerator magnets, T-shirts and on and on. Beyond objects, her words are culled from her lectures and rigorously crafted novels and presented as context-free inspo. Dana A. Williams's new biography, 'Toni at Random,' does much to lift the writer above this morass. While the book has the words 'iconic' and 'legendary' in its subtitle, one of its primary virtues is that it treats Morrison as neither. Instead, it basks in her ordinary humanity. With great respect and meticulous research, Williams reveals Morrison as a hard worker, a devoted literary citizen and one of the most important book editors of the 20th century. While Morrison's career as a writer could scarcely be more heralded and closely studied, Williams's book is the first exploration of her nearly 20 years at the publisher Random House, where Morrison worked as a trade editor across various imprints from 1965 until 1983. She started out in Syracuse at the textbook publisher L.W. Singer, which had recently been acquired by Random House. Taking the job was a risk: She was a single mother of two, living at the time in Ohio. 'The idea of returning to upstate New York with two young sons and no family to help her raise them was daunting,' Williams writes. But she needed employment, and, as Williams explains, 'being paid to work with books all day was undeniably appealing.' She worked at the publisher for two years before moving to New York to join the editorial team at Random House proper in 1967. There she found not only employment but also fulfillment, and she commenced a mission, one supported by the team at Random: publish books by Black authors about Black life. Want all of The Times? Subscribe.
Tatler Asia
16-06-2025
- Entertainment
- Tatler Asia
9 magical realism literature for the jet-set book club
2. 'Beloved' by Toni Morrison Above 'Beloved' by Toni Morrison (Photo: Vintage Classics) In Morrison's haunted tale of a runaway enslaved woman, magical realism becomes a way to process intergenerational trauma. The ghost of a dead child—named Beloved—returns not to comfort but to disrupt. Morrison's language is hypnotic, but never indulgent. Here, the genre does not entertain so much as indict. It insists that certain truths can only be told through the unreal. 3. 'The Master and Margarita' by Mikhail Bulgakov Above 'The Master and Margarita' by Mikhail Bulgakov (Photo: Vintage Classics) A talking cat named Behemoth, Satan visiting 1930s Moscow and a manuscript that refuses to burn—this novel is outrageous in premise yet razor-sharp in satire. Bulgakov uses magical realism to lampoon Soviet censorship and artistic cowardice. For those tired of solemn symbolism, this offers irreverence with bite. It's best read with vodka, or perhaps while waiting for a delayed flight out of Sheremetyevo. 4. 'Pedro Páramo' by Juan Rulfo Above 'Pedro Páramo' by Juan Rulfo (Photo: Serpent's Tail Classics) Sparse, elliptical and eerie, Rulfo's novel helped shape Latin American magical realism long before it became fashionable. When Juan Preciado arrives in the ghost town of Comala to find his father, he discovers a village populated by murmurs and memories. This isn't a page-turner—it's a slow descent. Still, its compact length makes it a perfect read between check-ins and cocktails. 5. 'The House of the Spirits' by Isabel Allende Above 'The House of the Spirits' by Isabel Allende (Photo: Vintage Classics) Allende's debut blends family saga with political upheaval in postcolonial Chile. Critics have debated whether it's derivative of Márquez, but the book holds its own in its exploration of matriarchal memory, spiritual visions and domestic power. Magical realism here is a tool of female resistance, quietly upending a patriarchal world through the domestic and the divine. 6. 'The Famished Road' by Ben Okri Above 'The Famished Road' by Ben Okri (Photo: Vintage Classics) Okri's Booker Prize-winning novel follows Azaro, a spirit child caught between life and the afterlife in postcolonial Nigeria. The prose can veer toward the ornamental, but it captures a world where ancestors interrupt daily life and reality pulses with unseen energies. Magical realism, in Okri's hands, becomes both political and philosophical. It's not a casual read, nor should it be. 7. 'The Palm-Wine Drinkard' by Amos Tutuola Above 'The Palm-Wine Drinkard' by Amos Tutuola (Photo: Faber & Faber) A chaotic, exhilarating plunge into Yoruba folklore, Tutuola's novel is unlike anything in the Western canon. It was derided when first published in 1952, but later celebrated for its raw invention. The narrator's quest through spirit lands and shapeshifting creatures may lack polish, but it pulses with authenticity. Magical realism here is deeply rooted, drawing power from oral traditions rather than literary fashion. 8. 'Kafka on the Shore' by Haruki Murakami Above 'Kafka on the Shore' by Haruki Murakami (Photo: Vintage) A boy runs away from home. A man talks to cats. A storm of leeches falls from the sky. Murakami's novel is cryptic but deliberate, filled with riddles rather than revelations. The surreal elements aren't decorative—they form the architecture of the characters' emotional landscapes. While not all critics agree on calling it magical realism, the novel's refusal to distinguish dream from reality puts it firmly in the genre's most modern lineage. Best read in transit, when your sense of time and space is already in flux. 9. 'Like Water for Chocolate' by Laura Esquivel Above 'Like Water for Chocolate' by Laura Esquivel (Photo: Black Swan) A cookbook of longing disguised as a novel, Esquivel's story of forbidden love and inherited recipes popularised magical realism for a broader audience. Tita's emotions infuse her cooking, causing dinner guests to weep or lust depending on the dish. Though its popularity has led some to dismiss it as sentimental, the novel's sensual intelligence remains sharp. It turns domestic ritual into rebellion, a theme as relevant in contemporary kitchens as it is in literature. For the jet-set reader, magical realism offers more than a surreal detour. It's a way of seeing—one that acknowledges beauty without denying brutality, and wonder without abandoning doubt. These books are not whimsical escapes. They are invitations to reconsider what we take for granted about reality, especially when viewed from a window seat at 35,000 feet. NOW READ 7 upgraded travel essentials for the savvy flyer's wellness kit From sleep tourism to 'quietcations: 4 wellness travel trends for the weary 7 inspiring wellness books for a grounded, mindful life
Scoop
31-05-2025
- Entertainment
- Scoop
Biennale Of Sydney Announces 2026 Exhibition: Rememory
Press Release – Biennale of Sydney The edition will highlight marginalised narratives, share untold stories, and inspire audiences to rethink how memory shapes identity and belonging, giving voice to stories from Aboriginal communities and the divergent diasporas that shape Australia today. Sydney, Australia: The Biennale of Sydney has announced the curatorial vision, first wave of 37 artists and collectives, and exhibition locations for the 25th edition, titled Rememory. The major international contemporary art festival will be open free to the public from 14 March to 14 June 2026, presented in various locations across Sydney. Led by internationally acclaimed curator Artistic Director Hoor Al Qasimi, the 25th Biennale of Sydney: Rememory takes its title from celebrated author Toni Morrison, exploring the intersection of memory and history as a means of revisiting, reconstructing, and reclaiming histories that have been erased or repressed. By engaging with Rememory, artists from across the world and within Australia reflect on their own roots while engaging with Sydney and its surrounding communities and histories, exploring global themes that connect us. The edition will highlight marginalised narratives, share untold stories, and inspire audiences to rethink how memory shapes identity and belonging, giving voice to stories from Aboriginal communities and the divergent diasporas that shape Australia today. A dedicated program for children and young audiences will provide space and exploration for these stories to be passed on to the next generations. The largest contemporary art event of its kind in Australia, the 25th Biennale of Sydney will be presented at Art Gallery of New South Wales, Campbelltown Arts Centre, Chau Chak Wing Museum at the University of Sydney, Penrith Regional Gallery and the iconic restored White Bay Power Station, with further details to be announced later this year. Artistic Director Hoor Al Qasimi said: ' Rememory connects the delicate space between remembering and forgetting, delving into the fragmented and forgotten parts of history, where recollection becomes an act of reassembling fragments of the past—whether personal, familial, or collective. Through the defiant act of sharing, seeing, and understanding, the artists and cultural practitioners I've invited to participate explore the hidden effects of history and how it continues to shape the present in an evolving and consuming conversation. Rather than focusing on linear storytelling, I hope to highlight how we can become active participants in retelling our collective stories by revisiting and reinterpreting past events.' Of the 37 artists announced today, 15 First Nations artists from around the world have been commissioned by the Biennale of Sydney with Visionary Partner the Fondation Cartier pour l'art contemporain to create new work for the 25th edition. These artists include Ángel Poyón, Angélica Serech, Cannupa Hanska Luger, Carmen Glynn-Braun, Edgar Calel, Fernando Poyón, Frank Young & The Kulata Tjuta Project, Gabriel Chaile, Gunybi Ganambarr, John Harvey & Walter Waia, John Prince Siddon, Nancy Yukuwal McDinny, Rose B. Simpson, Tania Willard and Warraba Weatherall. They will work closely with Bruce Johnson McLean, Fondation Cartier pour l'art contemporain First Nations Curatorial Fellow, to realise their artworks. Johnson McLean is from the Wierdi people of the Birri Gubba Nation. Al Qasimi's curatorial approach centres on the histories of each place and multidisciplinary programming, with a collaborative perspective and emphasis on supporting experimentation and innovation in the arts. Over the past 20+ years, she has worked extensively with various mediums including contemporary art, film, music, dance, talks, publications and more, to bring together all forms of art in conversation. Barbara Moore, Chief Executive Officer, Biennale of Sydney said: 'The Biennale of Sydney is a space for discussion, exploration and sharing ideas, presenting innovative work by some of the most impactful contemporary artists of our time. The 25th Biennale of Sydney celebrates the diverse communities of Sydney and their stories, encouraging audiences to think of new ways to engage with history, coming together to create and share memories. Entry to the Biennale of Sydney is free for everyone, and we can't wait to throw open the doors again next year with an expansive program of art and ideas.' Minister for Jobs and Tourism, Steve Kamper said: 'Biennale of Sydney will be a highlight of the NSW major events calendar next year and a significant visitor drawcard for our city. It will spotlight Sydney as a global cultural hub where art and creativity is celebrated, and a place where locals and visitors can enjoy the most exciting and cutting-edge cultural experiences. As one of the world's longest running biennales, next year's theme of Rememory is an important reflection of Sydney's rich and diverse cultural history and a fantastic opportunity to showcase that history to visitors from across the nation and around the world.' Fondation Cartier pour l'art contemporain First Nations Curatorial Fellow Bruce Johnson Mclean said: 'It's a privilege to work alongside this remarkable group of First Nations artists from across the globe, each bringing powerful, place-based perspectives to the 25th Biennale of Sydney. Together, their practices speak to deep cultural knowledge, ancestral memory and contemporary experience, creating a dynamic dialogue that transcends borders. Through this collaboration, we aim to foster connections between communities here and around the world.' Béatrice Grenier, Director of Strategic Projects and International Programs at Fondation Cartier pour l'art contemporain said: 'The Fondation Cartier pour l'art contemporain is proud to continue its partnership with the Biennale of Sydney. We are honoured to collaborate with Artistic Director Hoor Al Qasimi and the Biennale team for the 25th edition, Rememory to realise bold new commissions that speak powerfully to the interconnectedness of memory, place, and identity.' Arts worker, creative producer, and mentor Claudia Chidiac and writer, educator, cultural worker, and creative producer Paula Abood have been appointed as Community Ambassadors for the 2026 edition. They will provide specialist advice on local community engagement in the Greater Western Sydney area and liaise on behalf of the Biennale of Sydney between different cultural groups and organisations. The first 37 artists and collectives announced today as part of the 25th Biennale of Sydney (2026) are: Abdul Abdullah (Australia / Thailand) Ángel Poyón (Maya Kaqchikel, Guatemala) Angélica Serech (Maya Kaqchikel, Guatemala) Bouchra Khalili (Morocco / Austria) CAMP (India) Cannupa Hanska Luger (Standing Rock Indian Reservation, North Dakota / New Mexico, USA) Carmen Glynn-Braun (Kaytetye, Arrernte, Anmatyerr, Australia) Chang En Man (Paiwan, Taiwan) Chen Chieh-jen (Taiwan R.O.C.) Daisy Quezada Ureña (USA) Decolonizing Art Architecture Project (DAAR) (Palestine) Deirdre O'Mahony (Ireland) Dennis Golding (Kamilaroi/Gamilaraay, Australia) Dread Scott (USA) Edgar Calel (Kaqchikel, Guatemala) Elverina Johnson (Yarrabah, Australia) Ema Shin (Japan / Australia) Fernando Poyón (Maya Kaqchikel, Guatemala) Frank Young & The Kulata Tjuta Project (Aangu Pitjantjatjara Yankunytjatjara (APY) Lands, Australia) Gabriel Chaile (Argentina / Lisbon) Gunybi Ganambarr (Yolŋu (Ŋaymil) people, Australia) John Harvey (Kalaw Kawaw Ya/Saibai Island, Torres Strait, Australia) & Walter Waia (Kalaw Kawaw Ya/Saibai Island, Torres Strait, Australia) John Prince Siddon (Walmajarri, Australia) Kapwani Kiwanga (Canada / France) Lamia Joreige (Lebanon) Marian Abboud (Australia) Maritea Dæhlin (Norway / Mexico) Merilyn Fairskye (Australia) & Michiel Dolk (Netherlands / Australia) Michael Rakowitz (USA) Nancy Yukuwal McDinny (Garrwa / Yanyuwa, Australia) Rose B. Simpson (Santa Clara Pueblo, USA) Tania Willard (Secwepemcúlecw, Canada) Taysir Batniji (Gaza, Palestine / France) Tuan Andrew Nguyen (Vietnam / USA) Warraba Weatherall (Kamilaroi, Australia) Wendy Hubert (Yindjibarndi Country, Australia) Yaritji Young (Aangu Pitjantjatjara Yankunytjatjara (APY) Lands, Australia) The full 25th Biennale of Sydney program, including the full list of participating artists, will be announced later this year. Currently on display at the Sydney Opera House, and marking the second year of a creative collaboration between the Opera House, Biennale of Sydney and the Fondation Cartier pour l'art contemporain, Badu Gili: Healing Spirit illuminates the world-famous Bennelong sails. The dynamic projection displays the works of celebrated First Nations artists, the late Bidjigal Elder Esme Timbery and two of her children, Marilyn Russell and Steven Russell, and artist Joseca Mokahesi Yanomami of the Yanomami people, appearing on the Opera House's Eastern Bennelong sails six times a night from sunset. Key Dates for the 25th Biennale of Sydney (2026) 10 March 2026: Media Preview 11 – 13 March 2026: Vernissage (Professional Preview) 14 March – 14 June 2026: 25th Biennale of Sydney open to the public Admission is free.
Scoop
31-05-2025
- Entertainment
- Scoop
Biennale Of Sydney Announces 2026 Exhibition: Rememory
Sydney, Australia: The Biennale of Sydney has announced the curatorial vision, first wave of 37 artists and collectives, and exhibition locations for the 25th edition, titled Rememory. The major international contemporary art festival will be open free to the public from 14 March to 14 June 2026, presented in various locations across Sydney. Led by internationally acclaimed curator Artistic Director Hoor Al Qasimi, the 25th Biennale of Sydney: Rememory takes its title from celebrated author Toni Morrison, exploring the intersection of memory and history as a means of revisiting, reconstructing, and reclaiming histories that have been erased or repressed. By engaging with Rememory, artists from across the world and within Australia reflect on their own roots while engaging with Sydney and its surrounding communities and histories, exploring global themes that connect us. The edition will highlight marginalised narratives, share untold stories, and inspire audiences to rethink how memory shapes identity and belonging, giving voice to stories from Aboriginal communities and the divergent diasporas that shape Australia today. A dedicated program for children and young audiences will provide space and exploration for these stories to be passed on to the next generations. The largest contemporary art event of its kind in Australia, the 25th Biennale of Sydney will be presented at Art Gallery of New South Wales, Campbelltown Arts Centre, Chau Chak Wing Museum at the University of Sydney, Penrith Regional Gallery and the iconic restored White Bay Power Station, with further details to be announced later this year. Artistic Director Hoor Al Qasimi said: ' Rememory connects the delicate space between remembering and forgetting, delving into the fragmented and forgotten parts of history, where recollection becomes an act of reassembling fragments of the past—whether personal, familial, or collective. Through the defiant act of sharing, seeing, and understanding, the artists and cultural practitioners I've invited to participate explore the hidden effects of history and how it continues to shape the present in an evolving and consuming conversation. Rather than focusing on linear storytelling, I hope to highlight how we can become active participants in retelling our collective stories by revisiting and reinterpreting past events.' Of the 37 artists announced today, 15 First Nations artists from around the world have been commissioned by the Biennale of Sydney with Visionary Partner the Fondation Cartier pour l'art contemporain to create new work for the 25th edition. These artists include Ángel Poyón, Angélica Serech, Cannupa Hanska Luger, Carmen Glynn-Braun, Edgar Calel, Fernando Poyón, Frank Young & The Kulata Tjuta Project, Gabriel Chaile, Gunybi Ganambarr, John Harvey & Walter Waia, John Prince Siddon, Nancy Yukuwal McDinny, Rose B. Simpson, Tania Willard and Warraba Weatherall. They will work closely with Bruce Johnson McLean, Fondation Cartier pour l'art contemporain First Nations Curatorial Fellow, to realise their artworks. Johnson McLean is from the Wierdi people of the Birri Gubba Nation. Al Qasimi's curatorial approach centres on the histories of each place and multidisciplinary programming, with a collaborative perspective and emphasis on supporting experimentation and innovation in the arts. Over the past 20+ years, she has worked extensively with various mediums including contemporary art, film, music, dance, talks, publications and more, to bring together all forms of art in conversation. Barbara Moore, Chief Executive Officer, Biennale of Sydney said: 'The Biennale of Sydney is a space for discussion, exploration and sharing ideas, presenting innovative work by some of the most impactful contemporary artists of our time. The 25th Biennale of Sydney celebrates the diverse communities of Sydney and their stories, encouraging audiences to think of new ways to engage with history, coming together to create and share memories. Entry to the Biennale of Sydney is free for everyone, and we can't wait to throw open the doors again next year with an expansive program of art and ideas.' Minister for Jobs and Tourism, Steve Kamper said: 'Biennale of Sydney will be a highlight of the NSW major events calendar next year and a significant visitor drawcard for our city. It will spotlight Sydney as a global cultural hub where art and creativity is celebrated, and a place where locals and visitors can enjoy the most exciting and cutting-edge cultural experiences. As one of the world's longest running biennales, next year's theme of Rememory is an important reflection of Sydney's rich and diverse cultural history and a fantastic opportunity to showcase that history to visitors from across the nation and around the world.' Fondation Cartier pour l'art contemporain First Nations Curatorial Fellow Bruce Johnson Mclean said: 'It's a privilege to work alongside this remarkable group of First Nations artists from across the globe, each bringing powerful, place-based perspectives to the 25th Biennale of Sydney. Together, their practices speak to deep cultural knowledge, ancestral memory and contemporary experience, creating a dynamic dialogue that transcends borders. Through this collaboration, we aim to foster connections between communities here and around the world.' Béatrice Grenier, Director of Strategic Projects and International Programs at Fondation Cartier pour l'art contemporain said: 'The Fondation Cartier pour l'art contemporain is proud to continue its partnership with the Biennale of Sydney. We are honoured to collaborate with Artistic Director Hoor Al Qasimi and the Biennale team for the 25th edition, Rememory to realise bold new commissions that speak powerfully to the interconnectedness of memory, place, and identity.' Arts worker, creative producer, and mentor Claudia Chidiac and writer, educator, cultural worker, and creative producer Paula Abood have been appointed as Community Ambassadors for the 2026 edition. They will provide specialist advice on local community engagement in the Greater Western Sydney area and liaise on behalf of the Biennale of Sydney between different cultural groups and organisations. The first 37 artists and collectives announced today as part of the 25th Biennale of Sydney (2026) are: Abdul Abdullah (Australia / Thailand) Ángel Poyón (Maya Kaqchikel, Guatemala) Angélica Serech (Maya Kaqchikel, Guatemala) Bouchra Khalili (Morocco / Austria) CAMP (India) Cannupa Hanska Luger (Standing Rock Indian Reservation, North Dakota / New Mexico, USA) Carmen Glynn-Braun (Kaytetye, Arrernte, Anmatyerr, Australia) Chang En Man (Paiwan, Taiwan) Chen Chieh-jen (Taiwan R.O.C.) Daisy Quezada Ureña (USA) Decolonizing Art Architecture Project (DAAR) (Palestine) Deirdre O'Mahony (Ireland) Dennis Golding (Kamilaroi/Gamilaraay, Australia) Dread Scott (USA) Edgar Calel (Kaqchikel, Guatemala) Elverina Johnson (Yarrabah, Australia) Ema Shin (Japan / Australia) Fernando Poyón (Maya Kaqchikel, Guatemala) Frank Young & The Kulata Tjuta Project (Aangu Pitjantjatjara Yankunytjatjara (APY) Lands, Australia) Gabriel Chaile (Argentina / Lisbon) Gunybi Ganambarr (Yolŋu (Ŋaymil) people, Australia) John Harvey (Kalaw Kawaw Ya/Saibai Island, Torres Strait, Australia) & Walter Waia (Kalaw Kawaw Ya/Saibai Island, Torres Strait, Australia) John Prince Siddon (Walmajarri, Australia) Kapwani Kiwanga (Canada / France) Lamia Joreige (Lebanon) Marian Abboud (Australia) Maritea Dæhlin (Norway / Mexico) Merilyn Fairskye (Australia) & Michiel Dolk (Netherlands / Australia) Michael Rakowitz (USA) Nancy Yukuwal McDinny (Garrwa / Yanyuwa, Australia) Rose B. Simpson (Santa Clara Pueblo, USA) Tania Willard (Secwepemcúlecw, Canada) Taysir Batniji (Gaza, Palestine / France) Tuan Andrew Nguyen (Vietnam / USA) Warraba Weatherall (Kamilaroi, Australia) Wendy Hubert (Yindjibarndi Country, Australia) Yaritji Young (Aangu Pitjantjatjara Yankunytjatjara (APY) Lands, Australia) The full 25th Biennale of Sydney program, including the full list of participating artists, will be announced later this year. Currently on display at the Sydney Opera House, and marking the second year of a creative collaboration between the Opera House, Biennale of Sydney and the Fondation Cartier pour l'art contemporain, Badu Gili: Healing Spirit illuminates the world-famous Bennelong sails. The dynamic projection displays the works of celebrated First Nations artists, the late Bidjigal Elder Esme Timbery and two of her children, Marilyn Russell and Steven Russell, and artist Joseca Mokahesi Yanomami of the Yanomami people, appearing on the Opera House's Eastern Bennelong sails six times a night from sunset. Key Dates for the 25th Biennale of Sydney (2026) 10 March 2026: Media Preview 11 - 13 March 2026: Vernissage (Professional Preview) 14 March – 14 June 2026: 25th Biennale of Sydney open to the public
Indian Express
30-05-2025
- Entertainment
- Indian Express
‘They shoot the White girl first': Toni Morrison's opening line from ‘Paradise' first hooks, then haunts
'They shoot the White girl first.' – Paradise (1997), Toni Morrison Imbrued with violence, the first line of Toni Morrison's Paradise pierces like a gunshot. With just six words, the Nobel laureate grabs us by the collar and hurls us into a world that is a far cry from the Paradise promised. Sentries to this brutal world, her words scream from the pages, warning readers to venture further at their own risk: this is no utopia, but a warped world where young girls are being killed. One is likely to stumble across a massacre at best, and genocide at worst. The title, Paradise, suggests an idyll, a promised land—but Morrison obliterates that expectation at the get go. Instead, we are thrust into a scene of execution. The racial specificity—the White girl—immediately complicates the power dynamics. It is also intriguing. In a nation with a history of racial violence against African Americans, why is the White victim targeted first? Also, if the issue is race, why are only girls being attacked? Morrison doesn't explain why, she drops us into a world where this act is already normalised, demanding we catch up. The lines that follow deepen the dread. Nine men are headed to the Convent with murder on their mind. '…but the rest they can take their time. No need to hurry out here.' The casual pacing of the attackers ('they have the paraphernalia for either requirement—rope, a palm leaf cross, handcuffs…') makes the scene even more sinister. Clearly, this is no frenzied act—it's planned. The convent, a place meant for refuge, becomes a slaughtering ground. The biblical undertones (the 'palm leaf cross,' the convent as sanctuary-turned-slaughterhouse) underscore that the attackers embody the patriarchy, purity, and the corruption of community. In that first sentence, Morrison plants the seeds of Paradise's central concerns: the corrosive nature of purity, the violence of exclusion, and the ways in which communities turn on themselves in the name of righteousness. The town of Ruby, Oklahoma—founded as an all-Black utopia—has become its own kind of trap, its ideals warped into something monstrous. The white girl's death is not just a plot point; it is a provocation. Morrison forces us to ask: Who gets to define Paradise? Who is allowed inside, and who must be cast out? This opening is a microcosm of Morrison's genius: it confronts race, gender, and power in a single stroke, forcing readers to reckon with America's unresolved sins. Morrison's prose here is clinical, almost detached, which only heightens the horror. There is no sentimentalising, no attempt to soften the blow. The violence is presented as fact, and the reader is left to absorb its weight. The opening line doesn't just hook, it haunts. Decades after its publication, Paradise's first sentence lingers because it refuses to release the reader from its grip. ('Drawing a Line' is an eight-column weekly series exploring the stories behind literature's most iconic opening lines. Each column offers interpretation, not definitive analysis—because great lines, like great books, invite many readings.)
