Literature analysis of the novel Sula essay

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Content Synopsis
“Sula”  opens  by introducing  us to  a  place in the
hills called “the Bottom” that was once inhabited
by  black  people  (“Sula”  3).  The  land  has  been
stripped  of its trees to make  way  for  houses  and
the  Medallion  City  Golf  course.  The  narrator
remembers the Bottom as a place where strangers
would hear a “shucking, knee-slapping, wet-eyed
laughter” without noticing the pain beneath it (4).
The hilly land on the Bottom was diffi cult to manage. The citizens joke that slaves were tricked into
taking it  by their masters who lived  on the  “rich
valley  fl oor”  but  promised  their  slaves  the  best
land  at  “the  bottom  of  heaven”  (5).  In  1920  the
residents  of  the  Bottom  were  preoccupied  with
two of their citizens: Shadrack and Sula. Shadrack
founded  National  Suicide  Day  when  he  returned
from the war, traumatized by witnessing a soldier’s
face  being  blown  off.  Although  suffering  from
shellshock,  Shadrack  was  released  from the  hospital. Unable to function properly, he was arrested
for intoxication. In the jail cell he saw his refl ection
in the toilet  bowl. His  “blackness” told  him who
he was  and  he  slept  peacefully  (13). On  his way
back to Medallion,  Shadrack  decided to  dedicate
one day a year to his fear of the “unexpectedness”
of death (14).
Other  citizens  include  Wiley  Wright  and  his
wife,  Helene  Sabat.  Helene  was  raised  by  her
Catholic  grandmother.  Her  mother  was  a  Creole
prostitute. The couple has a daughter, Nel, whom
Helene  raises  with  a  fi rm  hand.  When  Helene’s
grandmother falls sick, Helene reluctantly returns
to New Orleans with Nel. She is  reprimanded on
the  train  for  walking  through  the  “white  only”
compartment.  When  Helene  is  reprimanded  by
the conductor, she responds with a dazzling smile.
The black soldiers on the train look at Helene with
hatred and Nel resolves to “always be on her guard”
(22). When they arrive, Mrs. Sabat is already dead.
Helene’s mother is there. She hugs Nel but Helene
keeps her distance. They  return to Medallion and
Nel  feels that  she  has  changed.  She looks in the
mirror and recognizes herself as Nel, rather than as
merely Helene’s daughter. This gives her the courage to befriend Sula Peace, a girl at school whose
family her mother dismisses as “sooty” (29). When
Sula  visits, Helene accepts  her; Sula  has  none  of
the “slackness” of her mother, Hannah (29).
Sula lives in an ever-expanding house, ruled over
by  her  one-legged  grandmother,  Eva.  Eva’s  husband Boyboy left her with three children:  Hannah,
Pearl  and  Plum.  She  left  them  with  a  neighbor
for  eighteen  months  and  returned  with  only  one
leg and money. She  built  her  own  house, took in
tenants and retreated to her bedroom. She took in
three  boys and  named them all Dewey. Although
they are of different ages and ethnic backgrounds,
they embrace their collective identity. Another tenant, Tar Baby, is believed to be “half-white” (39).Sula
by Toni Morrison
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He lives on cheap wine and seems intent on killing
himself. Sula’s father dies when she is young.
Hannah sleeps with the husbands of her friends
and neighbors. Plum served in the war and returns
after years of traveling, still clearly traumatized.
One night Eva pours kerosene over her son, lights
a stick and throws it onto his bed.
Nel and Sula walk to the ice cream parlor under
the gaze of men. A man named Ajax says the words
“pig meat” as they walk by. When some boys
threaten them, Sula takes a knife and slashes off
the tip of her finger. The boys retreat. One day Sula
overhears Hannah saying that she loves Sula but
does not like her. Sula and Nel meet a boy called
Chicken Little. He and Sula climb a tree. When
they descend, Sula picks him up and swings him
around. He slips from her hands and lands in the
river where he drowns. The girls run to Shadrack’s
house across the river to find out if he saw the
accident. Sula is about to ask him if he saw what
happened and he smiles at her and says the word
“Always” (61). Sula runs out of the house and
cries. She is thinking of Shadrack and the sense
of “promise” encapsulated by the word “Always.”
Nel and Sula attend Chicken Little’s funeral.
Hannah asks Eva why she killed Plum. Eva
responds that Plum wanted to crawl back into her
womb when he returned from war. She killed him
so that he could die like a man. A few days later,
Eva sees Hannah on fire in the yard. She rushes out
to save her but it is too late. As Eva lies in shock
she recalls seeing Sula on the porch, simply watching her mother burn. The action moves to Nel’s
wedding. Jude Greene proposed when he learned
that a new road was being constructed to transport
merchants to Medallion. When he is passed over
for “thin-armed white boys,” he turns to marriage
as a “posture of adulthood” (82). Nel’s wedding
day is the last time she will see Sula for ten years.
In part two, Sula returns. Eva asks her when
she is going to get married and have children and
Sula replies that she does not want to make anyone
but herself. They argue, accusing each other of
watching their loved ones burn. Sula sends Eva to
an old people’s home. Nel is shocked that Eva is in
a home run by white people. Sula says that she was
scared of being burned and had nowhere else to go
but home. Jude enters and complains about work.
Sula challenges him, joking that he should be flattered that “everything in the world” worries about
black men (103). Nel and Jude laugh. The narrative
perspective shifts to the first person: Nel recounts
finding Sula and Jude naked on her floor. Jude saw
her and cast her the same look of resentment as
the soldiers on the train to New Orleans. Sula sat
naked on the bed, as if waiting for them to argue
and be done. Jude departed, leaving only a tie. Nel
tries to avoid the gray ball in the corner of her eye
which represents her pain. Unable to release her
grief for the loss of her husband and friend, Nel
mourns over the emptiness of her thighs. The community turns against Sula when it learns that she
put out Eva and took Jude only to reject him for
other men. The men of Medallion ensure that Sula
is cast out forever when they hear that she sleeps
with white men. Accidents begin to happen around
her. Suspicion grows when one of the citizens sees
Shadrack tip his hat at Sula. Sula has no sense of
compunction towards Nel; she presumed that she
could sleep with Jude because they had always
shared everything. She is disappointed that Nel has
capitulated to the town’s narrow values. She sleeps
with lots of men but finds that sex compounds her
loneliness until Ajax comes to her door with an
offering of milk bottles. With Ajax, Sula begins
to understand the meaning of “possession” (131).
Ajax tells her that Tar Baby has been arrested for
an offense committed by the mayor’s niece. He had
been stumbling along the road, drunk, and she had
swerved to avoid him, hitting another car. When
Ajax complained, he was arraigned. When Sula
offers him sympathy, Ajax decides to leave. Sula
is haunted by his absence. She realizes that she has
“sung all the songs there are” (137).
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Sula |   245
Three years after Sula slept with her husband,
Nel calls on her. Sula is suffering from a mysterious illness. Nel asks why she slept with Jude. Sula
tells her that she needed him to fill up a space in
her head. Nel is shocked that Sula did not even
love Jude. Sula refuses to live by Nel’s standards of
good and bad. She predicts that the world will love
her when these standards lose their currency. Nel
leaves and Sula dreams of the Clabber Girl Baking
Powder lady who beckons to her but disintegrates
when she approaches Sula. The baking powder
chokes Sula and she wakes up, in pain. She imagines jumping out of the window and finally being
alone. She remembers the word “always” and tries
to recall who promised her a “sleep of water” with
that one word (149). As Sula dies, she looks forward to the time when she will tell Nel about the
ease of death. The community sees Sula’s death as
a good omen. Their optimism is compounded by
the construction of a new old people’s home and a
tunnel across the river. However, there is a sudden
frost that October. The citizens are housebound and
fall ill. When the frost thaws, a restlessness sets in.
Those who had blamed Sula for their misfortunes
have no one to “rub up against” (153). Meanwhile
Shadrack has begun to feel lonely. He looks at a
purple and white belt that Sula left behind and
remembers saying the word “always” to reassure
the girl of permanency. He sees Sula’s body in a
coffin at the undertaker’s.After this, he gives up his
daily routine. He reluctantly prepares for National
Suicide Day. This year, the community joins his
parade. They march to the mouth of the tunnel that
they were not allowed to build and smash the materials. Many of them perish on their way down the
tunnel, including Tar Baby and the Deweys.
The action leaps forward to 1965. Black and
white people have begun to integrate. The community in the Bottom has dissolved as more people
have moved to the valley.The hilly land has become
more valuable so that black people cannot afford
to move back. Nel remembers the boys of 1921
fondly. She has failed to have lasting relationships
with men and her love for her children has dwindled. She visits Eva who asks her why she killed
the little boy in the river. Nel tells her that Sula
killed him and Eva reminds her that she watched
the little boy die. She says that Plum tells her these
things. She remembers the death of Chicken Little
and wonders why she did not feel guilty. She visits Sula’s grave. She recalls how nobody went to
collect Sula’s body when they heard that she was
dead. Nel herself had to call the mortuary. When
Nel leaves the cemetery, she sees Shadrack. He
recognizes her as a face from the past but cannot
identify her. Nel sees a ball of fur scatter in the
breeze. She realizes that all this time she has been
missing Sula, not Jude.
Symbols & Motifs
Clothes and colors take on symbolic significance
in “Sula.” Brights colors figure individuality, often
distinguishing those who are marginalized by society. Rochelle, Helene’s prostitute mother, wears a
canary yellow dress. Sula wears a purple and white
belt. When Sula dons a green ribbon, however,
Ajax reads this as a sign of her burgeoning dependence on him. The color red signifies death: shortly
before she dies, Hannah has a dream in which she
wears a red wedding dress. She is consumed by
flames, her dying body surrounded by smashed
tomatoes.
The novel abounds with omens and presentiments. Before she dies, Sula dreams of the Clabber Girl Baking Powder lady disintegrating in her
hands. “[E]xcesses in nature” mark disturbances
in Medallion (89): a plague of robins accompanies
Sula on her return and an October frost follows her
death. Spring arrives in January and unexpected
gales of wind bring no rain or lightning.
Names are clearly significant in “Sula.” Some
critics have objected to Morrison’s treatment of
black men in the novel. Names such as Dewey,
Boyboy and Chicken Little suggest their infantile
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qualities. In the prelude to the novel, Shadrack is
identified as a foil to Sula. His narrative emulates
that of his biblical namesake whose faith saved
him from death and won him recognition.
Morrison’s symbols are characteristically ambiguous and their significance changes as the novel
unfolds. The gray ball symbolises Nel’s pain at
Jude’s betrayal. At the end of the novel a soft ball
of fur fragments and Nel recognizes her pain for
what it is: her longing for Sula. Sula’s birthmark—a
stemmed rose that stretches from her eyelid towards
her brow—figures her connection with the natural
world and symbolizes her vitality and nonconformity; it gives her face “a broken excitement and
blue-blade threat” (52). When the community learns
that she has slept with Jude and put out Eva, they
read the mark as a sign of evil. However, when
Shadrack encounters Sula, he sees a tadpole over
her eye: a sign of friendship and the mark of the fish
he loves.
In a novel populated by mothers, maternal imagery abounds: the image of Nel “excret[ing], “milkwarm commiseration” for her husband (103); the
milk bottle which Ajax drains before handing it to
Sula, the one woman who can match his mother’s
self-sufficiency; Nel’s intuition that her children’s
love has dried up because their mouths “quickly
forgot the taste of her nipples” (165).
The final image of “Sula” reflects tensions
embodied by the novel’s structure. Morrison leaves
us with the sound of Nel’s cry; it has “no bottom
and no top, just circles and circles of sorrow”
(174): this image figures the primacy of circularity
and repetition over the tyranny of linear time and
the hierarchical social structures which marginalize the citizens of the Bottom.
Societal Context
Before reaching its final chapter, the novelstretches
from 1919 to 194l. Morrison dramatizes some of
the effects of racist ideology on American society throughout this time span. The bargeman who
discovers Chicken Little’s body only retrieves him
because he is a child; he reflects that if he had been
an old black man, he would have left him there.
The bargeman immediately presumes that the
child has been drowned by his parents and wonders if “those people” will “ever be anything but
animals” (63). When he considers the smell that
the body will make, he dumps the body back in
the water. Racial prejudice manifests itself in the
treatment of Tar Baby. The community thinks that
he is “half white,” but Eva identifies him as “all
white,” insisting that she knows her own blood
when she sees it (39). When the mayor’s daughter
causes an accident involving Tar Baby, the police
beat him and leave him in soiled underwear. They
also identify Tar Baby as white, and tell Ajax that
“if the prisoner didn’t like to live in shit, he should
come down out of those hills, and live like a decent
white man” (133). Jim Crow laws prevail on public
transport. Helene, a Creole woman, and her daughter Nel find themselves in a “white only” carriage
on the train to the South. Helene walks through
the compartment to the “colored only” door and is
scolded and humiliated by the conductor. In retaliation, Helene gives him a most dazzling smile.
The black soldiers in the compartment look at the
Creole woman with resentment. When they reach
Birmingham, there are no longer toilet facilities for
black people and Helene and Nel have to squat in
the grass at the station houses.
In its final chapter, the novel moves forward
to 1965. The 1960s are generally regarded as a
time of progress for African Americans. The Civil
Rights Movement fought for and won the right to
vote. Morrison both registers and queries the value
of this ‘progress’: “Things were so much better in
1965. Or so it seemed” (163). Black people work
behind the store counters. A black man teaches
mathematics at the local junior school. Strangely,
Nel compares the new look of the young people to
the look of the Deweys, who never found a role in
society. Communities have dissolved, as families
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become more insular, cutting themselves off from
their neighbors.
The novel also dramatizes the effects of hegemonic gender ideology. Some critics have identified “Sula” as a feminist novel. As young girls,
both Nel and Sula are aware that they need to ­create
new narratives to escape the constraints of race
and gender ideology: “Because each had discovered years before that they were neither white nor
male, and that all freedom and triumph was forbidden to them, they had set about creating something
else to be” (52). White standards clearly influence
Helene; she tells Nel to pull her nose to counter
its flatness and to straighten her hair. Through her
friendship with Sula, Nel comes to reject these
standards. Sula refuses to live her life according to
social determinants. She sees no fulfilment in the
life of the wife and mother. Instead, she sets about
inventing a new, unfettered identity, incurring the
hostility of the community. Some readers and critics have queried Sula’s credentials as a feminist
figure, questioning the extremity of her views and
her ‘betrayal’ of Nel.
Historical Context
By heading each chapter with a date, Morrison
constantly reminds us of the significance of the
historical context. The horrors of the First World
War haunt the novel; Shadrack and Plum are
deeply traumatized by their experience; soldiers
who fought for America sit in the “colored only”
compartment of the train to New Orleans. The
novel was written during the Vietnam War. Dr.
Martin Luther King Jr. described this conflict as
“the white man’s war, the black man’s fight,” to
draw attention to the disproportionate number of
African-Americans serving and dying in Vietnam.
Patterns of repetition and circularity counter the
sense of unremitting chronology furnished by the
dates. The narrative reveals that time is anything
but linear and that history repeats itself. In 1927,
the “fake prosperity,” a hangover from the war,
leads the black people to hope for new jobs (81).
The construction of the River Road gives them this
hope but all the jobs go to white men. A decade
later, they are let down again when the tunnel is
constructed and the work is given to white men.
Although “Sula” ends on an image of circularity,
Morrison has compared the novel’s structure to
that of a spiral (Tate 128). Narrative lines not only
repeat themselves, but also advance and retreat,
continuously rising and falling.
“Sula” dramatizes both the dangers of living in
and ignoring the past. The people of the Bottom
are unable to relinquish their vision of the past
and move forward. The joke about the origin of
the Bottom serves as a constant reminder of the
oppression of black people. A slave owner promised his slave good land in the hills, telling him
that it is blessed land from “the bottom of heaven”
(5). When the slave arrived there, he found that
thehillylandrequired“backbreaking”work(5).The
citizens of Medallion are reluctant to let go of
the past because this requires finding new ways
to live and conceive the self. Sula reflects: “If
they were touched by the snake’s breath, however
fatal, they were merely victims and knew how to
behave in that role … But the free fall, oh no, that
required—demanded—invention” (120).
However, the novel does not fully endorse Sula’s
commitment to the moment. In “Rootedness: The
Ancestor as Foundation,” Morrison writes: “I want
to paint out the dangers, to show that nice things
don’t happen to the totally self-reliant if there is
no conscious historical connection” (Evans 344).
Sula’s narrative of alienation and her disturbing
vision of the future reveal these dangers.
Religious Context
The opening description of the Bottom and the
joke about its origins establishes the parabolic
tenor of the novel. However, the novel challenges
the strict categories which form the basis of western religion, revealing how religious belief can be
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used as an exclusionary force. Fear informs the
town’s religious faith. At Chicken Little’s funeral,
the congregation senses that “the only way to avoid
the Hand of God was to get in it” (66). Morrison
exposes the dangers of such a narrow, either/or
vision. The citizens of the Bottom accept evil without questioning it or trying to change it: “they let
it run its course, fulfill itself, and never invented
ways either to alter it, to annihilate it or to prevent
its happening again” (90). They align the evil of
racial oppression with accidents or misfortunes
such as tuberculosis and famine (90). They show
little interest in forgiveness and interpret the freak
occurrences reminiscent of the Old Testament
selectively.
As white people call on their own interpretations of religion to justify racial oppression—the
bargeman is confounded by the “terrible burden
his own kind had of elevating Ham’s sons” (63)—
so the citizens of Medallion draw on biblical discourse to justify their exclusion of anyone who
challenges their dichotomized conception of right
and wrong. Sula eludes definition so she must be
the devil, the fourth face of God; when Shadrack
arrives resembling a prophet with a new message,
he is dismissed as mad; Ajax’s mother is an “evil
conjure woman” (126); Mrs. Sabat raises her granddaughter “under the dolesome eyes of a multicolored Virgin Mary” to protect her from her mother’s
wild blood (17). Through Sula, Morrison offers a
counter-argument to such narrow definitions. Sula
reflects that for Nel to escape the role of victim
embraced by the town, would require “invention”
beyond the town’s imagination (120). However,
when she is betrayed by her husband and friend,
morality becomes the main constituent of Nel’s
identity: “Virtue, bleak and drawn, was her only
mooring” (139). Sula challenges her moral code,
telling her that “Being good to somebody isjust like
being mean to somebody” (144–5). In a ­disturbing
vision, she talks of a time when these categories
will no longer apply: when “the old women have
lain with the ­teenagers,” “the whores make love to
their grannies,” and ­“Lindbergh sleeps with Bessie
Smith” (145).
Although the novel does not endorse Sula’s
vision, her death exposes the inadequacy of the
town’s moral vision. The citizens interpret Sula’s
death as a good omen but they soon realize that
their moral system was contingent upon their
outrage at Sula’s behavior: “… mothers who had
defended their children from Sula’s malevolence
… now had nothing to rub up against. The tension
was gone and so was the reason for the effort they
had made” (153).
Scientific & Technological Context
The people of the Bottom welcome news of urbanization but in the final chapter, Morrison reveals
how ‘progress’ and ‘advancement’ have eroded
community life. As “[o]ne of the last true pedestrians,” Nel is a lonely figure, “walk[ing] the shoulder road while cars slipped by” (166). Technology
ousts nature and alienates people. Trees are cut
down and towers for television stations are erected.
People live in “separate houses with separate televisions and separate telephones” (166).
Biographical Context
Toni Morrison is one of America’s most eminent
novelists. She has garnered a formidable array
of awards and honors, including the 1993 Nobel
Prize for Literature. Born Chloe Anthony ­Wofford
in 1931, Morrison was raised in Ohio after her
parents moved there from the South. She attended
Howard University in Washington D.C. and Cornell
University, where she wrote her Master’s thesis on
Virginia Woolf and William Faulkner. In 1965 she
joined Random House and worked in publishing while writing. Morrison’s first novel, “The
Bluest Eye,” evolved from a short story and was
published in 1970. “Sula” followed in 1973. Her
third novel, “Song of Solomon” (1977) interweaves ­African-American folktales with American
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history; it won the National Book Critics Circle
Award. “Tar Baby” appeared in 1981. Her next
three novels form a thematically linked trilogy:
“Beloved” (1987), “Jazz” (1992), and “Paradise”
(1998). “Beloved,” her most acclaimed novel, was
made into a film, produced by and starring Oprah
Winfrey. The novel retells the true story of Margaret Garner, a black slave who killed her daughter to
save her from slavery. In 1992, Morrison published
“Playing in the Dark: Whiteness and the Literary
Imagination,” a hugely influential work of literary
criticism. She published her eighth novel, “Love,”
in 2003.
Morrison views the collaboration between
reader and writer as essential to the creative
process; she states that she wishes the reader to
“work with the author in the construction of the
book” (341). Her novels are characterized by their
polyvocality, lyricism, and alinear, fragmented
structures. Prevalent themes include: race and
gender ­ideology; sexuality; standards of beauty;
memory and loss; identity and community. She
has written books for children, including the
“Who’s Got Game?” series. Morrison has two
sons from her marriage to Harold Morrison.
She is Robert F. Goheen Professor, Council of
Humanities, Princeton University. She is a member of numerous bodies, including the National
Council of the Arts and the American Academy
and Institute of Arts and Letters.
Rachel Lister, Ph.D
Works Cited
Morrison, Toni. “Rootedness: The Ancestor as
Foundation.” Black Women Writers:
A Critical Evaluation. Ed. Marie Evans. New York:
Anchor, 1984. 339–45.
——. Sula. 1973. London: Picador, 1991.
Tate, Claudia. Black Women Writers at Work. New
York: Continuum, 1984.
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Discussion Questions
1. Discuss Morrison’s representation of Sula.
Why does she present her heroine from a
third-person perspective only? How might
our conception of Sula differ if she were
given narrating privileges?
2. Morrison dedicates “Sula” to her two
sons. She opens the dedication with the
declaration that, “It is sheer good fortune to
miss somebody long before they leave you.”
Using the dedication as a starting-point,
explore Morrison’s treatment of the themes
of absence and loss.
3. “…she felt no compulsion to verify herself—
be consistent with herself.” Identify and
discuss moments when you were puzzled by
Sula’s actions.
4. “Hell is change” (Nel in “Sula”). Discuss the
different attitudes to change presented in the
novel.
5. “A bright space opened in her head and
memory seeped into it.” Discuss the represention and function of memory in “Sula.”
6. “You say I’m a woman and I’m colored.
Ain’t that the same as being a man?” By
what means does Morrison challenge identity categories and oppositions in “Sula?”
7. Discuss Morrison’s dramatization of trauma
in “Sula.”
8. “Being good to somebody is just like being
mean to somebody.” Discuss Morrison’s
treatment of morality in “Sula.”
9. Take one of the following scenes from Sula
and discuss its significance to the novel as
a whole: Helene’s smile and the reaction of
the soldiers; Sula cutting off her finger tip;
Shadrack’s encounter with Sula; the communal parade on National Suicide Day.
10. “She had clung to Nel as the closest thing
to both an other and a self, only to discover
that she and Nel were not one and the same
thing” (119). Discuss the close relationship
between Sula and Nel. How do their choices
and actionsimpinge on each other’sidentity?
Essay Ideas
1. “The Peace women simply loved maleness,
for its own sake.” Explore Morrison’s representation of masculinity in “Sula.”
2. “I don’t want to make somebody else. I
want to make myself.” Discuss Morrison’s
treatment of maternity in “Sula.”
3. How does Morrison represent the tension
between isolation and contact in “Sula?”
4. To what extent might one define “Sula” as a
feminist novel?
5. Morrison comparesthe structure of “Sula” to
the shape of a spiral. Taking this analogy as
a starting-point, examine Morrison’s formal
and narrative strategies.
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With us you are guaranteed of quality work done by our qualified experts.Your information and everything that you do with us is kept completely confidential.You have to be 100% sure of the quality of your product to give a money-back guarantee. This describes us perfectly. Make sure that this guarantee is totally transparent.The Product ordered is guaranteed to be original. Orders are checked by the most advanced anti-plagiarism software in the market to assure that the Product is 100% original. The Company has a zero tolerance policy for plagiarism.The Free Revision policy is a courtesy service that the Company provides to help ensure Customer’s total satisfaction with the completed Order. To receive free revision the Company requires that the Customer provide the request within fourteen (14) days from the first completion date and within a period of thirty (30) days for dissertations.The Company is committed to protect the privacy of the Customer and it will never resell or share any of Customer’s personal information, including credit card data, with any third party. All the online transactions are processed through the secure and reliable online payment systems.By placing an order with us, you agree to the service we provide. We will endear to do all that it takes to deliver a comprehensive paper as per your requirements. We also count on your cooperation to ensure that we deliver on this mandate.