Summary of “How Toni Morrison Fostered a Generation of Black Writers”

How Toni Morrison fostered a generation of black writers.
Morrison had on a white shirt over a black leotard, black trousers, and a pair of high-heeled alligator sandals.
Morrison positioned the white world at the periphery; black life was at the center, and black females were at the center of that.
Morrison’s view of contemporary black literature transcended the limitations of the “Down with honky” school of black nationalism popularized by writers like Eldridge Cleaver and George Jackson.
Situating herself inside the black world, Morrison undermined the myth of black cohesiveness.
“I really liked that book,” one black woman told Morrison after reading “The Bluest Eye.” “But I was frustrated and angry, because I didn’t want you to expose us in our lives.” Morrison replied, “Well, how can I reach you if I don’t expose it to the world?” Others, myself included, accused her of perpetuating rather than dismantling the myth of the indomitable black woman, long-suffering and oversexed.
With the deaths of Wright and Baldwin, Morrison became both mother and father to black writers of my generation-a delicate situation.
In 1978, “Song of Solomon” won the National Book Critics Circle Award, beating out Joan Didion’s “A Book of Common Prayer” and John Cheever’s “Falconer.” It was chosen as a main selection by the Book-of-the-Month Club-the first by a black since Wright’s “Native Son.” When “Tar Baby” came out, four years later, Morrison was on the cover of Newsweek, the first black woman to appear on the cover of a national magazine since Zora Neale Hurston in 1943.

The orginal article.